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GREAl 

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B>EDEKER'S  GUIDE  BOOKS. 


GREAT  BRITAIN;  with  15  Maps,  30  Plans,  and  a  Panorama. 
Second  Edition.    1880.  10  marks. 

LONDON  AND  ITS  ENVIRONS,  with  3  Maps  and  15  Plans. 

Seventh  Edition.    1889.  6  marks. 

BELGIUM  AND  HOLLAND,  with  12  Maps  and  20  Plans. 

.rks. 
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43  Plans,  a  Pano- 

20  marks. 

languages.  Eng- 

3  marks. 

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3  marks. 


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Edition. 

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English, 


CENTRAL  ITALY 


AND 


ROME. 


MONEY-TABLE. 
(Comp.  p.  xiil.) 

Approximate  Equivalents. 


Italian. 

American.   \ 

English 

1 

German. 

Austrian.    | 

Lire. 

Cent. 

Doll. 

cu.  ; 

L. 

S. 

D. 

Mk. 

m- 

Fl. 

Kr. 

5 

1 

Is 

4 

_ 

2 



25 



5 





2l2 



20 

— 

10 



50 



10 





5 



40 

— 

20 



75 



15 



— 

71  4 

— 

60 

— 

30 

1 



20 





9»4 



80 



40 

2 





40 



1 

71  4 

1 

60 



80 

3 

__ 

.^ 

60 



2 

5 

a 

40 

1 

20 

4 

_ 

_ 

80 



3 

2»|8 

3 

20 

1 

60 

5 

_. 



4 

4 

-» 

2 

— 

6 



20 



4 

9^4 

4 

80 

2 

40 

7 

' 

40 



5 

71  2 

5 

60 

2 

80 

8 



60 



6 

5 

6 

40 

3 

20 

9 

_j 

80 



7 

21|2 

7 

20 

3 

60 

10 



2 



8 

8 

— 

4 

— 

11 



2 

20 



8 

9T4 

8 

80 

4 

40 

12 



2 

40 



9 

71  2 

9 

60 

4 

80 

13 



2 

60 



10 

5 

10 

40 

5 

20 

14 



2 

80 

_^ 

11 

21|2 

11 

20 

5 

60 

15 



3 

_» 

12 

12 



6 



16 



3 

2d 



12 

^4 

71  2 

12 

80 

6 

40 

17 



3 

40 



13 

13 

60 

6 

80 

18 



3 

60 



14 

5 

14 

40 

7 

20 

19 



3 

80 



15 

21|2 

15 

20 

7 

60 

20 



4 





16 

16 

— 

8 

— 

25 



5 



1 



.— 

20 

— 

10 



100 

~~ 

20 

— 

4 

— 

— 

80 

"~" 

40 

— 

Distances.  Since  the  consolidation  of  the  Kingdom  of  Italy  the 
French  mitre  system  has  been  in  use  throughout  the  country,  but  the  old 
Italian  mifflio  (pi.  le  miglia)  is  still  sometimes  preferred  to  the  new  kilo- 
mitre.  One  kilometre  is  equal  to  0.62138,  or  nearly  Vs^^s,  of  an  English 
mile  (8  kil.  =  5  M.).  The  Tuscan  miglio  is  equal  to  1.65  kilometre  or  1  M. 
44  yds.;  the  Roman  miglio  is  equal  to  1.49  kilometre  or  1630  yds. 


MONEY-TABLE. 
(Comp.  p.  xiil.) 

Approximate  Equivalents. 


Italian. 

American. 

English 

German. 

Austrian.    | 

Lire. 

Cent. 

Doll. 

Cti.    , 

L. 

S. 

D. 

Mk. 

P/ff.\ 

Fl. 

Kr. 

5    , 

r 

1 

_ 

*l< 

_ 

4 

_ 

2 



25    1 
60 



5 





2l2 



20 



10 





10 

_ 

5 



40 



20 



75    1 



15 

3 



71 

4 



60 



30 

1 

—    1 



20 





9» 

4 



80 



40 

2 



40 



1 

71 

4 

1 

60 



80 

3 

__    , 

__ 

60 



2 

5 

a 

40 

1 

20 

4 

—    1 

«_ 

80 



3 

2»|a 

3 

20 

1 

60 

6 

—    1 

1 



— 

4 

4 

_ 

2 

— 

6 

20 



4 

9»4 

4 

80 

2 

40 

7 

1 

40 

1    

5 

71, 

5 

60 

2 

80 

8 

— 

60 

1    _ 

6 

5 

6 

40 

3 

20 

9 

— 1 

80 

1    

7 

21|2 

7 

20 

3 

60 

10 

— 

2 



1 

8 

8 

— 

4 

— 

11 



2 

20 

1    

8 

9^4 

8 

80 

4 

40 

12 



2 

40 



9 

71  2 

9 

60 

4 

80 

13 



2 

60 



10 

5 

10 

40 

5 

20 

14 



2 

80 

_» 

11 

21J8 

11 

20 

5 

60 

15 



3 



__ 

12 

12 

— 

6 



16 



3 

20 



12 

s 

12 

80 

6 

40 

17 



3 

40 



13 

13 

60 

6 

80 

18 



3 

60 



14 

5 

14 

40 

7 

20 

19 



3 

80 



15 

21|2 

15 

20 

7 

60 

20 



4 





16 

16 

— 

8 



25 



5 



1      1 

_ 

20 



10 



100 

~" 

20 

— 

4 

— 

— 

80 

— 

40 

— 

Distances.  Since  the  consolidation  of  the  Kingdom  of  Italy  the 
French  mitre  system  has  been  in  use  throughout  the  country,  but  the  old 
Italian  mifflio  (pi.  le  miglia)  is  still  sometimes  preferred  to  the  new  kilo- 
mitre.  One  kilometre  is  equal  to  0.62138,  or  nearly  Vsths,  of  an  English 
mile  (8  kil.  =  5  M.).  The  Tuscan  miglio  is  equal  to  1.66  kilometre  or  1  M. 
44  yds.;  the  Roman  miglio  is  equal  to  1.49  kilometre  or  1630  yds. 


ITALY. 


HANDBOOK  FOR  TRAVELLERS 


BY 


E.  BAEDEEEB. 


SECOND  PART: 

CENTEAL  ITALY  AND  ROME. 


With  10  Maps,  31  Plans,  a  Panorama  of  Borne,  and  a  View  of  the 
Forum  Bomanum. 


Tenth  revised  Edition. 


LEIPSIC  :  KARL  BAEDEKER,  PUBLISHER. 

LONDON:   DULAU  AND  CO.,  37  SOHO  SQUARE,  W. 

1890. 

All  right*  reserved. 


J^Xjuo-^ 


/S-^'^.   2t:> 


IMVAM)  OOUCBI  UflMir 

HKHQUOTOr 
tNGOOOREJBlSnCMnMli 

mi 


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


^'  PREFACE.^  - 


The  objects  of  the  Handbook  for  Italy,  which  consists 
of  three  yolumes,  each  complete  in  itself,  are  to  supply  the 
traveller  with  some  information  regarding  the  progress  of 
civilisation  and  art  among  the  people  he  is  about  to  visit, 
to  render  him  as  independent  as  possible  of  the  services  of 
guides  and  valetsnie-place,  to  protect  him  against  extortion, 
and  in  every  way  to  aid  him  in  deriving  enjoyment  and 
instruction  from  his  tour  in  one  of  the  most  fascinating  coun- 
tries in  the  world.  The  Handbook  will  also,  it  is  hoped,  be 
the  means  of  saving  the  traveller  many  a  trial  of  temper; 
for  there  is  probably  no  country  in  Europe  where  the  patience 
is  more  severely  taxed  than  in  some  parts  of  Italy. 

The  Handbook  is  based  on  the  Editor's  personal  ac- 
quaintance with  the  places  described,  most  of  which  he  has 
repeatedly  and  carefully  explored.  As,  however,  changes 
are  constantly  taking  place,  he  will  highly  appreciate  any 
communications  with  which  travellers  may  favour  him,  if  the 
result  of  their  own  observation.  The  information  already  re- 
ceived from  numerous  correspondents,  which  he  gratefully 
acknowledges ,  has  in  many  cases  proved  most  serviceable. 
Hotel-bill8,with  annotations  showing  the  traveller's  opinion  as 
to  his  treatment  and  accommodation,  are  particularly  useful. 

The  tenth  edition  of  Central  Italy  and  Rome,  like  its  pre- 
decessors, has  been  carefully  revised  and  brought  down  to 
date.  The  introductory  articles  on  art  by  Prof.  R,  KekuU  of 
Bonn  and  Prof.  A.  Springer  of  Leipsic  have  been  adapted  for 
the  use  of  English  travellers  with  the  kind  assistance  of  Mr. 
J.  A.  Crowe,  the  eminent  historian  of  art.  Professor  Springer 
has  also  contributed  many  valuable  incidental  remarks  c 
modem  art. 


vl  PREFACE. 

The  Maps  and  Plans,  on  which  special  care  has  been 
bestowed ,  will  abundantly  suffice  for  the  use  of  the  ordinary 
traveller.  The  Plan  of  Rome  (scale  1  :  15,000)  is  divided 
into  three  sections  with  a  view  to  obviate  the  necessity  of 
unfolding  a  large  sheet  of  paper  at  every  consultation ,  and 
its  use  will  be  further  facilitated  by  reference  to  the  small 
clue-plan  inside  the  cover  at  the  end  of  the  volume. 

HBiaHTS  are  given  in  English  feet  (1  Engl.  ft.  =  0,3048 
m6tre),  and  Distances  in  English  miles  (comp.  p.  11). 

Hotels  (comp.  p.  xxi).  In  no  country  does  the  treat- 
ment which  the  traveller  experiences  at  hotels  vary  more 
than  in  Italy,  and  attempts  at  extortion  are  perhaps  no- 
where so  outrageous.  Besides  the  modern  palatial  and  ex- 
pensive establishments,  the  Handbook  also  contains  a  selec- 
tion of  modest ,  old-fashioned  inns ,  where  gentlemen  trav- 
elling alone  will  not  unfrequently  find  good  accommodation 
at  moderate  charges.  The  asterisks  indicate  those  hotels 
which  the  Editor  has  reason  to  believe  from  his  own  ex- 
perience, as  well  as  from  information  supplied  by  numerous 
travellers,  to  be  respectable,  clean,  and  reasonable.  The 
value  of  these  asterisks,  it  need  hardly  be  observed,  varies 
according  to  circumstances,  those  prefixed  to  town-hotels 
and  village-inns  signifying  respectively  that  the  establish- 
ments are  good  of  their  kind.  At  the  same  time  the  Editor 
does  not  doubt  that  comfortable  quarters  may  occasionally 
be  obtained  at  inns  which  he  has  not  recommended  or  even 
mentioned.  Although  changes  frequently  take  place,  and 
prices  generally  have  an  upward  tendency,  the  average 
charges  stated  in  the  Handbook  will  enable  the  traveller  to 
form  a  fair  estimate  of  his  probable  expenditure. 

To  hotel-proprietors,  tradesmen,  and  others  the  Editor 
begs  to  intimate  that  a  character  for  fair  dealing  and  cour- 
tesy towards  travellers  forms  the  sole  passport  to  his  com- 
mendation, and  that  advertisements  of  every  kind  are  strictly 
excluded  from  his  Handbooks. 


CONTENTS. 


Introdudtion.  Page 

I.   Trayelling  Expenses.    Money  .......  xiil 

n.   Season- and  Plan  df  Tour  ..•.•.;....  xiy 

in.   Lan^age    .     • ^^ 

lY.   Passports.     Custom  House.     Luggage    .               .  xvi 

V.   Public  Safety,    Begging xvl 

VI.   Intercourse  with  Italians xvii 

Vn.  GonTeyances xviil 

Vin.  Hotels xxi 

IX.   Bestanrants,  Cafes,  etc xxii 

X.   Sights.,  Theatres,  etc xxiv 

XI.   Post  Office.     Telegraph. xxv 

Xn.   Climate.    Health xxv 

XIII.   Dates  of  Recent  Events xxvii 

Ancient  Art,  by  Prof.  R.  Kekule xxix 

Mediffival  and  Modem  Roman   Art,    by  Prof,  A. 

Springer xliii 

Fi&ST  Sbctiok. 

S.  Ttutcany.   Umbiia.   The  Marches. 

Roiite 

1.  From  Leghorn  or  Pisa  to  Rome  by  the  Maremme     ...  1 

1.  From  Leghorn  to  Civitk  Vecchia  by  sea i 

2.  Piombino  and  Populonia 2 

3.  From  Orosseto  to  EuaelliB  ......*...  3 

4.  Monte  Axgentario.    Cosa      .  ' 3,  4 

5.  From  Hontalto  to  Vulci 4 

6.  From  Corneto  to  Toscanella 6 

7.  From  Civitk  Vecchia  to  La  Tolfa        ......  7 

2.  From  Leghorn  to  Volterra  and  'CoUe      ......  7 

1.  From  Volterra  to  Monte  CerboU 8 

.  2.  From  Volterra  to. 8.  Girolamo 11 

3.  From  Volterra  to  the  copper-minefl  of  Monte  Gatini  .      .  11 

8.   Elba  and  the  Tuscan  Islands 11 

4.  From  Florence  to  Siena  and  Chiusi  via  Empoli .     ...  13 

1.  From  Poggibonsi  to  l^an  Gimignano 14 

2.  From  A«ciano  to  Grosseto.    Monte  Amiata                  .      .  17, 18 

3.  From  Montepnlciano  to  Pienza 20 

5.  Siena 20 

Ezcurfliona  from  Siena.    L'Oaservanza ,  S.  Colomba,  etc.    .  3G 

6.  From  Florence  to  Perugia  via  Arezzo  and  Terontola  (Chiusi, 

Borne),     . 37 

1.  From  Arezao  to  Slia  and  Pratovecehio ^ 

3.  From  Arazzo  to  Monte  Sansavino,  Fojano,  and  Betolle  .  42 

7.  Perugia.     .   • ^6 

From  Perugia  to-Narni  ria  Todi •  "" 

8.  From  Arezzo  to- Fossato.    Borgo   S.  Sepolcro.    Citt&  di 

Oastello,   Oubbio 


7ill  CONTENTS. 

Route  Page 

9.    From  Florence  to  Rome  vift  (Artxzo)  Terontola  and  Chiusi  69 

1.  From  ChiuBi  to  Cittk  della  Pieye.    Cetona      .....  61 

2.  Orvleto 6L 

8.  Bolsena 65 

4.  From  Borghetto    to    Civita    Castellana.    FaletiL    Mount 
Soracte 67,68 

10.  From  AttigUano  to  Viterbo 69 

1.  Excursions  from  Viterbo.  Toscanella.    Castel  d^Asso.  Ye- 

tralla.   Xorchia.   Caprarola.    Sutri.   Nepi.   Castel  8.  Blia    72-74 

11.  From  Peragia  to  Foligno  and  Orte  (Borne),  Assisi.    Spo- 
leto.  Waterfalls  of  Ternl.  Narni 74 

12.  From  Bologna  to  Rimiiii,  Falconara  (Rome),  and  Ancona      87 

1.  From  Rimini  to  San  Marino 94 

2.  From  Pesaro  to  Urbino 96 

8.  From  Fano  to  Fossato  via  Fossombrone  and  the  Furlo  Pass  100 

13.  Ancona  and  Its  Environs.   Osimo.    Loreto 102 

From  Porto  Givitanoya  to  Fabriano 107 

14.  From  Ancona  to  Foligno  (Orte^  Rome) 108 

From  Fabriano  to  Sassoferrato 109 

Sbcond  Section. 
Kome. 

Preliminary  Information:  — 

Arrival.  Police.  Embassies  and  Consulates  ....  110 
Hotels.  Pensions.  Private  Apartments.  Restaurants  .  110,  HI 
Osterie.  Gaf^.  Gonfectioners.  Gratuities  ....  113,114 
Baths.  Glimate.  Physicians.  Ghemists.  Bankers .  .  114, 115 
Booksellers.  Libraries.  Reading  Rooms.  Newspapers  115,  lf6 
Guides.  Teachers  of  Italian.  Music.  Studios.  Goods  Agents  116, 117 

Shops 117 

Theatres 118 

Garriages.  Porters.  Post  Office.  Telegraph  Office  .  .  119 
English  Ghurches.  Italian  Protestant  Churches.  Glubs  .  119 
Ghurch  Festivals.    Popular  Festivals.    Street  Scenes     .       119-122 

Garrison 122 

Gollections,  Villas,  etc 122 

Diary.    Summary  of  Attractions 125, 126 

Bibliography 127 

ffistory  of  the  City  of  Rome 129 

Chronological  Table  of  Roman  Emperors  and  Popes     .     139 

Topography 143 

/.    Strangers'  Quarter  and  Corso 146 

Piazza  del  Popolo.     S.  Maria  del  Popolo        ....      146, 147 

The  Pincio 148 

Villa  Medici.    S.  TrinitA  de'  Monti 149 

Gasa  Zuccari-Bartholdy.    Piazza  di  Spagna.    Propaganda  150 

5.  Andrea  delle  Fratte.    Fontana  di  Trevi 151 

The  Corso 162 

S.  Garlo  al  Gorso.    S.  Lorenzo  in  Lucina 153 

Post  and  Telegraph  Office.     Pal.  Ghlgi.     Piazza  Colonna. 

Golumn  of  Marcus  Aurelius.     Piazza  di  Monte  Gitorio. 

Gamera  de*  Deputati 154 

Dogana  di  Terra.    Palazzo  Sciarra-Golonna.    S.  Ignazio        .  156 

Gollegio  Romano.    Museo  Kircheriano 156 

S.  Marcello.    S.  Maria  in  Via  Lata.    Palazzo  Doria  .      .      157, 158 


CONTENTS.  ix 

(Koim)  Pace 

Palaszo  di  Venesia.    Palazzo  Torlonla.    8.  Marco    ...  162 

Palasso  Colonna.    Galeria  Colonna.    Tomb  of  Bibulus  .  163 

SS.  Apostoli 166 

//.   The  Eastern  Quarter.     Quirinal,   VimiruU,  Eaquiline    .  166 
Piazza  delle  Tenne.     Bailway  Station.    Thermae  of  Dio- 
cletian.   S.  Maria  degli  Angeli 166, 167 

Via  Yenti  Settembre.    S.  Maria  deUa  Vittoria  ....  168 

Wall  of  Servitu.    Campo  MiUtare.    Via  Xazionale  ...  169 
Palazzo  and  Galleria  Barberini.    Piazza  Barberini    .      .      170, 171 

8.  Maria  dell*  Goneezione.    Villa  Ludovisi 172 

Piazza  del  Quirinale 173 

Palazzo  Begio  al  Quirinale.    Palasso  Bospigliosi       ...  174 

8.  SUyeatro  al  Quirinale.    8.  Pudensiana 175 

8.  Lorenzo  in  Panispema.    S.  Maria  Maggiore    ....  176 

8.  Praasede 178 

Arch  of  Oallienus.    Aquarinm.    Piazsa  Yitt.  Emanuele.    S. 

BibUna 179 

Temple  of  Minerva  Medica.    Porta  Maggiore        ....  180 

8.  Croce  in  Qeroaalemme.    8ette  8ale 181 

Gardens  of  Meecenaa.  8.  Martino  ai  Monti.  S.  Pietro  in  Yincoli  182 

///.  Rome  on  the  Tiber  (Left  Bank) 183 

Yia  di  Ripetta.    Mausoleum  of  Augustus       .      .      .      .      183,  184 

Palazzo  and  Galleria  Borgheae 184, 186 

8.  Agoatino 189 

Palazzo  LancelotU.    Piazza  Kavona.    S.  Agnese       ...  190 

8.  Maria  dell*  Anima.    8.  Maria  della  Pace 191 

Palazzo  Madama 192 

8.  Luigi  de'  Francesi.    Pantheon 193 

S.  Maria  sopra  Minerva 196 

Universitit  della  8apienza.    Gorso  Vittorio  Emanuele.    Gesii  197 

Palazzo  Vidoni.     8.  Andrea  della  Valle 198 

Pal.  Massimi  alle  Golonne.  Palazzo  della  Gancelleria.  8.  Lo- 
renzo in  Damaso 199 

Ghiesa  Nuova 200 

Palazzo  Braachi.  Piazza  del  Pasquino.   8.  Carlo  a^  Catinari. 

Piazza  Tartaruga 201 

Palazzo  Mattel.    8.  Gaterina  de'  Funari.    8.  Maria  in  Gam- 

pitelli 202 

Theatre  of  Marcellus.    Ghetto.    Portico  of  Octavia  ...  203 

Ponte  de'  Quattro  Gapi.    Isola  Tiberina.    8.  Bartolommeo  .  204 
Theatre  of  Pompey.    Palazzo  Farnese.    Palazzo  Spada  alia 

Regola 205 

8.  Giovanni  de*  Fiorentini 207 

IV.   Ancient  Rome 207 

The  Capitol 208 

8.  Maria  in  Araceeli 209 

Piazza  del  Gampidoglio 210 

Palazzo  del  Senatore 211 

Collections  of  the  Gapitol.    Palace  of  the  Conservatori        .  211 

Gapitoline  Museum 216 

Tarpeian  Bock.    Tabularium 221 

Foram  Romannm 222 

Colonnade  of  the  Twelve  Gods.    Temple  of  Vespasian    .      .  225 
Temple  of  Goncordia.    Temple  of  Gaator  and  Pollux.     Bas- 
ilica Julia. ^ 

Temple  of  Saturn ^ 

Arch  of  Septimius  Severus.    Rostra.    Column  of  Phocas      .  ^ 

Temple  of  Gseaar ^Si 

Atrium  Yestse SV 

Temple  of  Faustina.    SS.  Gosma  e  Damiano        ..-•'«» 


I  CONTENTS. 

(Bomt)  Paee 

Basilica  of  Gonstantine.    S.  Francesea  Bomana  ....  232 

Triumphal  Arch  of  TituA.    Temple  of  YenuB  and  Boma  233 

Colosseum  .      .      .* ' 234 

Triumphal  Arch  of  Ck)nstantine 296 

Thermae  of  Titus 2S7 

Fora  of  the  Emperors.     Academy  of  St.  Luke       .     .     .  237 

Career  Kamertinus 23T 

Accademia  di  S.  Luca 238 

Forum  of  Caesar.    Forum  of  Augustus.    Forum  of  TTerva    .  289 

Forum  of  Trajan.    Trajan's  Column 240 

The  Palatine 241 

Lupercal.      House  of  Livia 243 

Palace  of  Tiberius.    Palace  of  the  Flarii 2U 

Palace  of  Septimius  Severas 246 

Psedagogium 247 

Velabram  and  Forum  Boarinm 247 

S.   Teodoro.     S.   Giorgio  in  Yriabro.     Janus   Quadrifrons. 

Cloaca  Maxima 248 

S.  Maria  in  Cosmedin.    Bound  Temple.    8.  Maria  Egiziaca. 

House  of  Crescentius  or  Bienzi 249 

Ponte  Botto.    8.  l^icola  in  Carcere.    Via  de'  Oerchi  (Circus 

Maximus) 250 

The  Aventine    Monte  Testaccio 260 

Marmorata.    Monte  Testaccio.    Protestant  Cemetery  ...  251 

Pyramid  of  Cestius.    8.  Sabina 252 

8.  Alessio.    8.  Maria  Aventina 258 

8.  Prisca.    8.  8aba 264 

The  Via  Appia  within  the  City      ...      .     ,     .     .  254 

8.  Balbina 264 

Thermae  of  Caracalla 266 

88.  Kereo  ed  Achilleo.    8.  Cesareo.    Via  Latina      ...  266 

Tomb  of  the  Scipios.    Columbaria '.      .  257 

Arch  of  Drusus       ....*.' 268 

The  Calins 258 

8.  Gregorio  Magno                                      258 

88.  Gioranni  e  Paolo.     8.  Maria  in  Domnica.    Villa  Mattel  259 

8.  8tefano  Botondo 260 

S.  Clemente.     The  Lateran 260 

88.  Quattro  Coronati 264 

Piazza  8.  Gioyanni  in  Laterano.    Baptistery.    8.  Giovanni 

in  Laterano      .      .      .   ■ 266 

Palazzo  del  Laterano 267 

Gregorian  Museum.    Museo  Profano 268 

Christian  Museum.    Picture  Gallery 270 

Villa  Massimi.    8cala  8anta.    Villa  Wolkonslcy  ....  272 

Amphitheatrum  Castrense 273 

V.    Quarters  of  the  City  on  the  Bight  Bank 273 

The  Borgo 273 

Ponte  8.  Angelo.    Castello  8.  Angelo 274 

Palazzo  Giraud 279 

Piazza  di  8.  Pietro 277 

S.  Pietro  in  Vaticano 277 

Gimitero  del  Tedeschl        .      .      .      i      .^ 286 

The  Vatican      .  • .  286 

A.  Paintings:  — 
'  8istine  Chapel.    8cala  Begia.    8ala  Ducale.    Pauline  Chapel    287-292 
Baphaers  8tonze  and  Loggie.    CapptiU  Niecolina      .      .       292-801 
Picture  Gallery.    Baphaers  Tapestry      .      .      .      .      .       301-308 


CONTENTS.  xl 

(Kome)  Page 

B.  Antiquities:  — 
Museo  Pio.  Clementino.  Museo  C&iaramonti.  Braccio  Nuovo    304-816 

Egyptian  Musenm.    Museo  Btrusco 316-819 

0.  Library  of  the  Vatican 319 

The  Lungara ' 322 

S.  Onofrio.    Villa  Farnesina 822,  323 

Palazzo  Corsini.    Mnseo  Torlonia 324, 325 

Trasterere 327 

Ponte  Siato 827 

S.  Pietro  in  Montorio 328 

Acqna  Paola.    Passeggiata  M«rgherita.    Ponte  Garibaldi.    S. 

Crisogono.    S.  Maria  in  TiMterere 329,  330 

8.  Cecilia  in  Trastevere     .      .  : 331 

S.  Francesco  a  Bipa 382 

Thikd  Section. 

Environs  of  Bome. 

1.  Short  Excursions  m  (he  Campagna 333 

From  the  Porta  del  Popolo:  Villa  Borghese.    Parco  Begina 

Margherita.  Popte  Molle.   Via  Flaininia.   Villa  of  Livia. 

Acqua  Acetosa.     Villa  di  Papa  Ginlio.     Villa  Madama. 

Monte  Mario 334 

From  the  Porta  Salara:    Villa  Albani.     Antemnee.     Ponte 

Salaro.    Fidenee 338 

From  the  Porta  Pia:  Villa  Torlonia.  S.  Agneae  Fnori.  S.  Cos- 

tanza.    Ponte  Komentano.    Mens  Sacer 341 

From  the  Porta  S.  Lorenzo:  Via  Tiburtina.  S.  Lorenzo  Fuori- 

Campo  Verano 343 

From  the  Porta  Maggiore:  Tor  de'  Schiayi.  Torre  Pignattara  345 
From  the  Porta  S.  Ghioranni :  Via  Latina.  Porta  Furba  .  .  346 
From  the  Porta  S.  SebcMtiano:  Via  Appia.   Domini  Quo  Va- 

dis.  S.  Sebastiano.  Oircus  of  Maxentius.  Tomb  of  Gscilia 

Metella.    I>enfl  Rediculus.    Grotto  of  Egeria.    S.  Urbano       347 

From  the  PorU  S.  Paolo:  8.  Paolo  Fuori.    Tre  Fontane      .       352 

From  the  Porta  S.  Panerazio :  Villa  Doria  Pamphi^       .      .       855 

The  Catacombs 356 

2.  The  Alban  Mountains 363 

Frascati 364 

Grotta  Ferrata.    Marino 367 

Albano.  Castel  Gandolfo.  Lake  of  Albano.  The  Emissarium  368-370 
Ariccia.  Genzano.  Lake  of  Ifemi.  Kemi  ....  370, 371 
Palazzuola.    Alba  Longa.    Bocca  di[Papa.    Monte  Cavo       .       372 

3.  The  Sabine  Mountains 373 

From  Bome  to  Tivoli.    Acque  Albule.    Hadrian's  Villa     373,  374 

Tivoli 377 

Monte  Gennaro 379 

From  Tivoli  to  Subiaco 379 

^  Valley  of  the  Licenza.    Mandela.    Subiaco    ....      380, 881 

From  Bome  to  Palestrina 382 

From  Palestrina  to  Subiaco  via  Olevano 384 

4.  The  Volscian  Mountains 385 

Corf.    ICorma.    Ninfa.    Sezze.    Piperao.    Segni        .      .       ^®^¥§ 

5.  Etruscan  Towns 389 

Veii |9 

Galera ^ 

Bracciano ^2 

Gervetri  (Ctere) 


xU  CONTENTS. 

Page 

6.   The  Sea-Coast  of  Laiium 393 

Porto.    Finmicino 393 

Oatia 394 

Ansio.    Kettuno 397,898 

List  of  the  Artists  mentioned  in  the  Handbook       ....     399 

Index 404 

Omnibus  and  Tramway  BonteA  and  Gab  Tariff  in  Rome,  and  List  of  Streets 
in  the  Plan  of  Borne,  in  the  Appendix  at  the  end  of  the  volnme. 

Maps. 

1.  Map  of  Italt  (1:1,360,000),  facing  titte-page. 

2.  The  Bokan  Gakpaona  (1:400,000),  p.  332. 

3.  EmriBONS  of  Bokb  (1 :  60,000),  p.  334. 

4.  Thb  Alban  Mountains  (1 :  100,000),  p.  364. 

5.  Enyibons  of  Tivoli  (1 1 12,500),  p.  »76. 

6.  Thb   Sabinb  Mountains  (1 :  100,000) :  Plate  I. :  Tivoli  and  Valley 
of  the  Teverone,  p.  378. 

7.  Thb  Sabinb  Mountains:  Plate  II.    Boviano,  Subiaco,  Gapranica, 
p.  380. 

8.  Thb  Sabinb  Mountains:  Plate  III.:   Tivoli,  Paleslrina,  Olevano, 
p.  882. 

9.  Thb  Volsoian  Mountains  (1 :  150.000) :  p.  386. 

10.  Bailway  Map  of  Italy  (1 : 7,000,000),  at  the  end  of  the  Handbook. 

Flans. 

1.  Volteeba,  p.  9.  —  2.  Siena,  p.  20.  —  3.  Abbzzo,  p.  39.  —  4.  Ck>BTONA, 
p.  39.  —  5.  lEBUQiA,  p.  46.  —  6.  Obvibto,  p.  62.  —  7.  Assisi,  p.  78.  —  8. 
Tebni  and  its  Environs,  p.  79.  —  9.  Foeli,  p.  90.  —  10.  Bikini,  p.  91.  — 
11.  Angona,  p.  102.  —  12.  Large  Plan  of  Bohb,  and  —  18.  Glue  Plan  of  Bokb, 
both  at  the  end  of  the  book.  —  14.  Ancient  Bokb,  p.  207.  ~  15.  Palace 
op  the  Consebvatori,  p.  216.  —  16.  Capitoline  Museuk.  p.  217.  —  17. 
FoBUK  BoKANUK,  p.  222.  — 18.  Foba  of  the  Ekpebobs,  p.  238.  — 19.  Palaces 
of  the  Ekpebobs  on  the  Palatine,  p.  241.  —  20.  THSBKis  of  Gabacalla, 
p.  255.  —  21.  Section,  and  —  22.  Ground-plan  of  S.  Glekente  ,  p.  261.  — 
23.  S.  Giovanni  in  Latebano,  and  Lateban  Museuk,  p.  265.  —  24.  S.  Pie- 
tro  in  Vaticano  and  the  Vatican  Palacb  (survey-plan),  p.  276.  —  25. 
Ground-plan  of  S.  Pietbo  in  Vaticano  in  its  present  state,  p.  278.  —  26. 
S.  Pietbo  in  Vaticano  (Bramante*s  ground-plan),  p.  279.  —  27.  Vatican 
Palace,  S.  Wing  (Sistine  Ghapel,  Baphael's  Loggie  and  Stanze),  p.  289.  — 
28.  Vatican  Palace^  N.  Wing  (Museum  of  Antiquities),  p.  306.  —  29.  Hadrian's 
Villa, p.  377.  —  30.  Ostia,  p.  395.-31.  Porto  d'Anzio  and  Nettuno,  p.  397. 

Arks  of  the  Popes,  from  1417  to  the  present  day,  p.  142. 

View  of  the  Foruk  Bokanuk  in  its  former  and  present  condition,  p.  226. 

Panoraka  of  Bokb  (from  S.  Pietro  in  Montorio),  p.  328. 

The  best  maps  of  Gentral  and  Southern  Italy  are  the  Carta  Coro- 
grafiea  ed  Archeoloffica  delP  Italia  Centrale  (1:250,000;  4  sheets;  price 
10«.,  on  linen  13«.)  and  the  Nuova  Carta  Oenerale  deW  Italia  Mertdionale 
(1  :  800,000;  price  Qt.,  on  linen  8«.),  both  executed  under  the  superinten- 
dence of  Professor  Eiepert  of  Berlin  (1881-82). 

Abbreviations. 

B.  =:  Boom,  B.  =  Breakfast,  D.  =  Dinner,  A.  =  Attendance,  L.  = 
Light.  —  r.  =  right,  1.  =  left;  applied  to  the  banks  of  a  river  with 
reference  to  the  traveller  looking  dawn  the  stream.  —  N.,  S.,  E.,  W.,  the 
points  of  the  compass  and  adjectives  derived  from  them.  —  M.  =  English 
miles ;  ft.  =  English  feet. 

Asterisks  are  employed  as  marks  of  commendation. 


INTRODUCTION. 


^Thou  art  the  garden  of  the  world,  the  home 
Of  all  Art  yields,  and  Nature  can  decree ; 
E'en  in  thy  desert,  what  is  like  to  thee? 
Thy  very  weeds  are  beautiful,  thy  waste 
More  rich  than  other  climes*  fertility, 
Thy  wreck  a  glory,  and  thy  ruin  graced 
With  an  immaculate  charm  which  cannot  be  defaced.* 

Btbon. 

I.  TraYelling  Ezpenies.    Mon^. 

EzpensoB.  The  cost  of  a  tour  in  Italy  depends  of  course  ou  the 
traveller's  resources  and  habits ,  but ,  as  already  stated  in  the  first 
part  of  this  Handbook ,  it  need  not  exceed  that  incurred  in  the 
more  frequented  parts  of  the  continent.  The  average  expenditure  of 
a  single  traveller  may  be  estimated  at  20-30  francs  per  day,  or  at  12- 
15  francs  when  a  prolonged  stay  is  made  at  one  place ;  but  persons 
acquainted  with  the  language  and  habits  of  the  country  may  easily 
restrict  their  expenses  to  still  narrower  limits.  Those  who  travel  as 
members  of  a  party  effect  a  considerable  saving  by  sharing  the  ex- 
pense of  guides,  caniageSy  and  other  items.  When  ladies  are  of  the 
party,  the  expenses  are  generally  greater. 

Koney.  The  French  monetary  system  is  now  in  use  throughout 
the  whole  of  Italy.  The  franc  (lira  or  franco)  contains  100  centesimii 
1  fr.  25c.  =  1«.  =  1  German  mark  (comp.  p.  11).  In  copper  (bronzo 
or  rame)  there  are  coins  of  1,  2,  5,  and  10  centesimi.  A  piece  of  5  c. 
is  called  a  soldo,  or  sou ,  and  as  the  lower  classes  often  keep  their 
accounts  in  soldi,  the  traveller  will  find  it  useful  to  accustom  himself 
to  this  mode  of  reckoning.  The  gold  and  silver  coins  of  France, 
Switzerland,  Greece,  and  Belgium  circulate  freely,  but  the  traveller 
should  be  on  his  guard  against  old  coins  from  the  papal  mint,  which 
cannot  be  parted  with  except  at  a  loss,  and  should  also  refuse  Greek 
copper  coins.  The  recognized  paper  currency  consists  of  the  bank- 
notes of  the  Biglietti  di  8tato  and  the  Banca  Nasiondle;  those  of  the 
Banea  di  Toseana  are  legal  tender  in  Tuscany,  and  those  of  the 
Banea  di  Roma  in  Rome.  Other  notes  should  be  refused,  though 
those  of  all  the  large  Italian  banks  are  generally  accepted  at  Rome 
without  demur. 

Best  Monet  pob  the  Toxtb.  Circular  Notes  or  Letters  of  Ore- 
d«,  obtainable  at  the  principal  English  and  American  banks,  form 
the  proper  medium  for  the  transport  of  large  sums,  and  realise  the 
most  favourable  exchange.  English  and  German  banknotes  also 
realise  their  nominal  value.    A  moderate  supply  of  French  Gold  may 


xiT  SEASON  AND  PLAN  OF  TOUR. 

prove  useful.  Sovereigns  are  almost  eyerywhere  receiyed  as  the  eqai- 
yalent  of  25  fr.,  and  sometimes  a  little  more. 

ExoHANGB.  Foreign  money  is  most  adyantageonsly  changed  in 
the  larger  towns,  either  at  one  of  the  English  bankers  or  at  a  re- 
spectable money-changer's  (*eambiavaluta*).  As  a  rule,  those  money- 
changers are  the  most  satisfactory  who  publicly  exhibit  a  list  of  the 
current  rates  of  exchange.  The  traveller  should  always  take  care  to 
obtain  an  abundant  supply  of  small  notes  (1,  2,  and  5  fr.),  as  it  is 
often  difficult  to  change  those  of  large  amount.  When  a  railway- 
fare  has  to  be  paid  it  is  a  wise  precaution  to  be  provided  with  the 
exact  sum  beforehand,  in  order  that  mistakes  or  imposition  may  be 
prevented.  Besides  the  small  notes,  l-iV2f'«  1a  copper  should  also 
be  carried  in  a  separate  pocket  or  pouch. 

Money  Order*  payable  in  Italy,  for  sums  not  exceeding  iOl.,  are  now 

f ranted  \tj  the  EnfAiah  Post  Ottoe  at  the  followliig  rates :  not  exceeding 
f.,  6(1.;  5f..  1«.;  71.,  U.  6(1.;  102.',  2«.  These  are  paid  in  gold.  The 
identity  of  the  receiver  mnst  be  guaranteed  by  two  well-known  reaidents, 
or  by  a  Libretto  di  Rieoffnuione  (1  fr. ;  with  10  coupons)  obtained  beforehand 
in  the  central  post>office  at  Borne ;  an  exhibition  of  the  pawport,  however, 
often  suffices.  The  charge  for  money-orders  granted  in  Italy  and  payable 
in  England  is  40  c.  per  ll.  sterling. 

A  convenient  and  safe  method  of  carrying  money  for  a  journey  in  Italy 
is  afforded  by  the  Titoli  di  Credito^  which  may  be  procured  at  the  posV; 
offices  of  the  principal  Italian  towns  for  any  sum  not  exceeding  10,000  fr.' 
(400/.)  The  holder  of  one  of  these  orders  may  then  draw  what  sum 
(from  60  fr.  upwards)  he  requires  at  any  post-office  in  the  kingdom,  until 
the  amount  for  which  it  is  issued  has  been  exhausted.  At  small  places 
the  sum  drawable  at  once  is  limited  to  200  fr.,  in  provincial  capitals  to 
1000  fr.,  and  in  Rome  and  the  nine  chief  towns  to  20D0  fr.  It  is  necessary 
to  state  the  post-office  at  which  the  Jlret  payment  is  desired.  A  charge 
of  50  c.  is  made  for  each  100  fr.  up  to  1000  fr..  and  25  c.  for  each  additional 
100  fr.;  thus  an  order  for  10,000  fr.  costs  ZTVz  fr.  In  case  of  loss  the 
traveller  should  immediately  inform  the  postal  authorities,  giving  his  name 
and  the  number  of  his  ^titolo*. 

II.  Season  and  Flan  of  Tonr. 

Season.  The  season  selected  for  the  tour  must  of  course  depend 
on  the  traveller  himself,  but  the  colder  months  are  those  usually 
preferred.  Most  travellers  bound  for  the  South  cross  the  Alps  in 
September  and  October,  and  arrive  in  Rome  about  the  beginning  of 
November.  Rome  is  the  favourite  winter-resid^ce  of  strangers  till 
the  Carnival,  but  most  of  them  leave  it  in  Lent  for  the  gayer  scenes 
of  Naples ,  and  at  Easter  it  is  comparatively  deserted ,  as  the  chief 
attractions  of  the  festival  are  now  gone.  As  summer  approaches 
most  travellers  prepare  to  quit  the  country ,  but  even  during  th^ 
hot  season  tourists  are  not  unfrequently  met  with.  In  this  vast  and 
ever-varying  influx  of  travellers  the  Anglo-American  element  is  al- 
ways greatly  predominant. 

No  month  in  the  yiear*can  be  pronounced  absolutely  unfavourable 

for  travelling  in  Italy,  but  the  seasons  recommended  are  from  15th 

''—^  to  15th  Nov.,  and  the  months  of  April  and  May,    The  rainy 

months  should,   if  possible ,  be   spent  in  one  of  the  larger 


LANGUAGE.  xT 

cities,  of  which  Rome  is  nnqnestionably  the  most  interesting.  June, 
July,  and  August  are  haidly  suitable  for  a  tour.  The  soeneiy  indeed 
is  then  In  peileotion,  and  the  long  days  are  hailed  with  satisfaction 
by  the  active  traveller ;  but  the  fierce  rays  of  an  Italian  sun  seldom 
fail  to  sap  the  physical  and  mental  energies.  This  result  is  not 
occasioned  so  much  by  the  intensity,  as  by  the  protracted  duration 
of  the  heat,  the  sky  being  frequently  cloudless,  and  not  a  drop  of 
rain  falling  for  many  weeks  in  succession.  The  heat  generally  mod- 
erates about  the  end  of  August,  when  the  first  showers  of  autumn 
begin  to  refresh  the  parched  atmosphere. 

Flan.  The  plan  of  a  tour  in  Italy  must  of  course  be  framed  in 
accordance  with  the  object  which  the  traveUer  has  in  view.  In 
Central  Italy  the  principal  attraction  is  Borne  itself,  and  of  the 
other  towns  described  in  the  present  volume  the  next  in  importance 
are  Siena  and  Perugia^  both  of  which  afford  good  summer-quarters 
owing  to  their  elevated  situations.  Two  other  places  of  greikt  in- 
terest are  Orvieto  and  Aaaisi,  a  short  visit  to  which  should  not  be 
omitted.  Are»%Oy  Cortona,  Spoleto,  T«mi,  with  its  imposing  water- 
falls, and  Chiiui  and  CometOf  with  their  Etruscan  antiquities,  are 
also  interesting  points,  situated  near  the  railway.  Volterra,  8.  Oi- 
mifjn^no,  Montepulciano ,  and  ViterbOf  though  less  conveniently 
situated,  are  al^  well  worthy  of  a  visit.  With  regard  to  the  towns 
lying  on  the  coast  of  the  Adriatic,  comp.  p.  87.  Besides  these 
points  of  attraction  there  are  many  others  in  the  less-frequented 
disixicts  of  the  interior,  which  the  trayeller  who  desires  more  than 
a  superficial  acquaintance  with  Italy  should  not  fail  to  explore ;  and 
the  farther  he  diverges  from  the  beaten  track,  the  more  he  will 
learn  of  the  characteristics  of  this  delightful  country. 

m.  Language. 

The  time  and  labour  which  the  traveller  has  bestowed  on  the 
study  of  Italian  at  home  will  be  amply  repaid  as  he  proceeds  on  his 
journey.  It  is  quite  possible  for  persons  entirely  ignorant  of  Italiaa 
and  French  to  travel  through  Italy  with  tolerable  comfort ;  but  such 
travellers  cannot  conveniently  deviate  from  the  ordinary  track,  and 
are  moreover  invariably  made  to  pay  ^alla  Jngltae^  by  hotel-keepers 
and  others,  i.  e.  considerably  piore  than  the  ordinary  charges.  French 
is  very  useful,  as  the  Italians  are  very  partial  to  that  language,  and 
it  may  suffice  for  Rome  and  some  of  the  main  routes ;  but  for  those 
who  desire  the  utmost  possible  freedom,  combined  with  the  lowest 
possible  expenditure,  a  slight  acquaintance  with  the  language  of  the, 
country  is  indispensable,  t 

t  ^Baedeker**  Mamai  of  ConverMtion  in  EnglUh^  French,  German,  and 
Italian,  with  Vocabulary,  etc'  (Stereotype  Bdit.,  Baedeker,  Leipsic),  which  iff 
specially  adapted  for  the  use  of  iraveUere,  with  the  addition  of^edeier's 
C«fmrHUi<m  DieUonary  (in  the  same  tour  languages;  Deipsic,  1889;  price 
3  marks),  wiU  soon  enable  the  beginner  to  make  himscilf  ^a*®'? 'J^'fl-T 
A  few  words  on  the  pronunciation  may  be   acceptable  to  persons  un^*^' 


xTi  PASSPORTS.  —  PUBLIC  SAFETY. 

lY.  PassporU.    Oattom  Hoiim.    Lvggago. 

FMiports,  though  not  required  in  Italy,  are  occasionally  nseftd. 
Registered  letters,  for  example,  will  not  be  deliTered  to  strangers 
unless  they  exhibit  a  passport  to  prove  their  identity.  The  coante- 
nance  and  help  of  the  British  and  American  consuls  can,  of  course, 
be  extended  to  those  persons  only  who  can  prove  their  nationality. 
The  Italian  police  anthorities  are  generally  civil  and  obliging. 

Foreign  Office  paMports  may  be  obtained  in  London  through  B.  Stan> 
ford,  26  Cock  spur  Street,  Charing  Cross,  W.  J.  Adams,  69  Fleet  Street,  or 
Lee  and  Carter,  440  West  Strand. 

Cnstom  Home.  The  examination  of  luggage  at  the  Italian 
custom-houses  is  usually  lenient.  Tobacco  and  cigars  are  the  articles 
chiefly  sought  for.  At  the  gates  of  most  of  the  Italian  towns  a  tax 
(dazio  eonsumo)  is  levied  on  comestibles,  but  travellers'  luggage  is 
passed  at  the  barriers  (limite  datiario)  on  a  simple  declaration  that 
it  contains  no  such  articles. 

Luggage.  If  possible,  luggage  should  never  be  sent  to  Italy  by 
goods-train,  as  it  is  liable  to  damage,  pilferage,  and  undue  custom- 
house detention.  If  the  traveller  is  obliged  to  forward  it  in  this 
way,  he  should  employ  a  trustworthy  agent  at  the  frontier  and  send 
him  the  keys.  As  a  rule  it  is  advisable ,  and  often  in  the  end  less 
expensive,  never  to  part  from  one's  luggage,  and  to  superintend  the 
custom-house  examination  in  person.    Gomp.  p.  xviil. 

v.  FnbUc  Safety.  Begging. 
Brigandage.  Italy  is  still  sometimes  regarded  as  the  land  of 
Fra  Diavolo's  and  Rinaldo  Rinaldinfs,  and  the  impression  is  fostered 
by  tales  of  travellers,  and  sensational  letters  to  newspapers;  but 
the  fact  is ,  that  travelling  in  Northern  and  Central  Italy  is  hardly 
attended  with  greater  hazard  than  in  any  of  the  northern  European 
countries,  while  Southern  Italy  is  unsafe  in  its  more  remote  recesses 
only.  Even  the  Roman  Gampagna  can  now  scarcely  be  looked  on  as 
less  safe  than  lonely  districts  in  the  neighbourhood  of  other  large 
cities.  For  information  as  to  the  safety  of  the  roads  the  traveller 
should  apply  to  the  Cardbinieriy  or  gensdarmes  (who  wear  a  black 
uniform ,  with  red  facings  and  white  shoulder-straps ,  and  cocked 
hats),  a  respectable  and  trustworthy  corps.  The  traveller  should 
avoid  the  poorer  and  less  frequented  parts  of  Rome  and  other  towns 
after  night-fall. 

qoainted  with   the  language.     C  before  e  and  t  is  pronounced  like  the 
English  ch)  g  before  e  and  i  like  j.    Before   other  vowels  e  and  ff   are 
hard.    Ch  and  ^A,  which  generally  precede  e  or  <,  are  hard.    8e  before  e 
or  i  is  pronounced  like  sh ;  gn  and  gl  between  vowels  like  nyY  and  IjX. 
The  vowels  a,   «,   t,   o,   u  are  pronounced  ah,  a,   ee,    o,  oo.  —  In  ad- 
dressing persons  of  the  educated  classes  *Ella^  or  'Lei',  with  the  3rd  pers. 
sing.,  should  always  he  employed   (addressing  several  at  once ,   »loro'  with 
the  3rd  pers.  pi.).    *Voi'  is  used  in  addressing  waiters,  drivers,  etc.,  »tu'  by 
only  who  &re  proficient  in  the  language.    'Vol'  is  the  usual  mode  of 
among  the  Neapolitans,   but  is  elsewhere  generally  regarded  as 
or  discourteous. 


ITALIANS.  XTii 

Weapons y  which  for  the  ordinary  traveller  are  a  mere  burden, 
cannot  legally  be  carried  without  a  license,  obtainable  through  the 
traveller's  consul  or  ambassador.  Those  of  a  secret  character,  such 
as  sword-sticks  and  stick-guns,  are  entirely  prohibited,  and  the 
bearer  is  liable  to  imprisonment  without  the  option  of  a  fine. 

Begging,  which  was  countenanced  and  even  encouraged  under 
the  old  system  of  Italian  politics,  still  continues  to  be  one  of  those 
national  nuisances  to  which  the  traveller  must  habituate  himself. 
The  present  government  has  adopted  energetic  measures  for  its  sup- 
pression, but  hitherto  with  only  partial  success.  The  average  Italian 
beggar  is  a  mere  speculator,  and  not  a  deserving  object  of  charity. 
The  traveller  should  therefore  decline  to  give  anything,  with  the 
words,  'non  c'd  niente',  or  a  gesture  of  disapproval.  If  a  donation 
be  bestowed,  it  should  consist  of  one  of  the  smallest  possible  copper 
coins,  A  beggar,  who  on  one  occasion  was  presented  with  2c.  and 
thanked  the  donor  with  the  usual  benedictions,  was  on  another  pre- 
sented with  50  c. ;  but  this  act  of  liberality,  instead  of  being  grate- 
fully accepted,  only  called  forth  the  remark  in  a  half-offended  tone : 
—  *Ma,  signore,  h  molto  poco!' 

YI.  IntercoTume  with  ItaUans. 

In  Italy  the  pernicious  custom  of  demanding  considerably  more 
than  will  ultimately  be  accepted  has  long  been  prevalent;  but 
a  knowledge  of  the  custom,  which  is  based  on  the  presumed  igno- 
rance of  one  of  the  contracting  parties,  tends  greatly  to  mitigate  the 
evil.  Where  tariffs  and  fixed  charges  exist,  they  should  be  carefully 
consulted.  In  other  cases,  where  a  certain  average  price  is  establish- 
ed by  custom,  the  traveller  should  make  a  distinct  bargain  as  to 
the  article  to  be  bought  or  service  to  be  rendered,  and  never  rely  on 
the  equity  of  the  other  party.  Nor  should  any  weight  be  attached  to 
the  representations  of  waiters ,  drivers ,  and  guides  in  matters  in 
which  they  have  an  interest,  and  with  whom  even  the  inhabitants 
of  the  place  often  appear  to  act  in  concert. 

Individuals  who  appeal  to  the  generosity  of  the  stranger,  or  to 
their  own  honesty,  or  who,  as  rarely  happens,  are  offended  by  the 
traveller's  manifestation  of  distrust,  may  well  be  answered  in  the 
words  of  the  proverb,  ^patti  chiari,  amicizia  lunga\  The  equanimity 
of  the  traveller's  own  temper  will  greatly  assist  him  if  involved  in 
a  dispute  or  bargain ,  and  he  should  pay  no  attention  whatever  to 
vehement  gesticulations  or  an  offensive  demeanour.  The  slighter 
his  knowledge  of  the  Italian  language  is,  the  more  careful  should  he 
be  not  to  involve  himself  in  a  war  of  words ,  in  which  he  must  ne- 
cessarily be  at  a  great  disadvantage.  In  Rome  and  the  larger  towns 
of  Tuscany  the  traveller  will  now  meet  comparatively  few  causes  for 
complaint,  and  even  in  smaller  places  he  will  find  a  little  tact  and 
good- temper  all  that  is  necessary  to  avoid  disputes. 

In  a  country  where  trifling  donations  are  in  constant  demand,  the 

Baedeker.     Italy  II.     iOth  Edition.  b 


XTiii  CONVEYANCES. 

traveller  should  always  be  provided  with  an  abundant  supply  of 
copper  coins.  Drivers,  guides,  porters,  donkey-attendants,  etc.,  in- 
variably expect,  and  often  demand  as  their  right  a  gratuity  (buona 
manOj  manciaj  da  bere^  bottiglia,  cafp,  fumata)^  in  addition  to  the 
hire  agreed  on,  varying  according  to  circumstances  from  2-3  sous  to 
a  franc  or  more.  The  traveller  need  not  scruple  to  limit  his  dona- 
tions to  the  smallest  possible  sums,  as  liberality  is  often  a  source 
of  annoyance  and  embarrassment.  Thus  if  half-a-franc  is  bestowed 
where  two  sous  would  have  sufficed,  the  fact  speedily  becomes 
known,  and  the  donor  is  sure  to  be  besieged  by  numerous  other 
applicants  whose  demands  it  is  impossible  to  satisfy. 

VII.    GonYeyances. 

SailwayB.  The  remarks  made  in  the  first  volume  of  the  Hand- 
book are  also  applicable  to  the  railways  of  Central  Italy.  The  rate 
of  travelling  is  very  moderate,  and  the  trains  are  often  behind  time. 
The  first-class  carriages  are  tolerably  comfortable,  the  second  are 
inferior  to  those  of  the  German  railways,  and  resemble  the  Eng- 
lish and  Frenchy  while  the  third  class  is  chiefly  frequented  by  the 
lower  orders.  Among  the  expressions  with  which  the  railway-tra- 
veller will  soon  become  familiar  are  —  ^jprontV  (ready),  *parten«a' 
(departure),  *si  cambia  convoglW  (change  carriages},  and  ^uscita^ 
(egress),  which  are  shouted  by  the  officials  with  characteristic  vigour. 
The  station-master  is  called  'capo  stazione'.  Smoking  compartments 
are  labelled  ^pei  fumatori\  those  for  non-smokers  '^  vitiato  di  fu- 
mare.  Separate  first  and  second-class  compartments  are  reserved 
for  ladies.  Sleeping-carriages  (coupS  a  letti)  are  provided  on  all  the 
main  lines  at  a  small  extra  charge.  Railway  time  is  that  of  the 
meridian  of  Rome,  52  min.  ahead  of  that  of  Greenwich  and  40  min. 
before  Paris. 

When  about  to  start  from  a  crowded  station,  the  traveller  will 
find  it  convenient  to  have  as  nearly  as  possible  the  exact  fare  ready 
before  taking  tickets  (^fare  il  biglitUo*).  In  addition  to  the  fare  a 
tax  of  5  c.  is  payable  on  each  ticket,  and  the  express  fares  are  about 
10  per  cent  higher  than  the  ordinary.  It  is  also  important  to  be  at 
the  station  early.  The  booking-office  at  large  stations  is  open  1  hr., 
at  small  stations  V4"V2  ^r.  before  the  departure  of  the  trains.  Hold- 
ers of  tickets  are  alone  entitled  to  enter  the  waiting-rooms.  At  the 
end  of  the  journey  tickets  are  given  up  at  the  wscila,  except  in  the 
case  of  the  very  large  stations,  where  they  are  collected  before  the 
passengers  alight. 

The  traveller  is  recommended  to  ascertain  the  weight  of  his  lug- 
gage, if  possible,  before  going  to  the  station,  in  order  to  guard 
against  imposition  (1  kilogramme  =  about  21/5  lbs.).  No  luggage  is 
allowed  free  except  small  articles  (which  must  not  exceed  20x10 
Xl2  inches)  taken  by  the  passenger  into  his  carriage.  Porters  who 
^vey  luggage  to  and  from  the  carriages  are  sufficiently  paid  with 


CONVEYANCES.  xix 

a  few  sous,  where  there  is  no  fixed  tariff.  Those  who  Intend  to  make 
only  a  short  stay  at  a  place,  especially  when  the  town  or  village  lies 
at  a  distance  from  the  railway,  should  leave  their  heavier  luggage  at 
the  station  till  their  return  (dare  in  deposito,  or  depositare,  10  c.  per 
day  per  owt.  or  fraction  of  a  cwt.). 

In  crossing  the  frontier  travellers  should  travel  with  the  same  train 
as  their  luggage  and  superintend  the  custom-house  examination  in  person. 
During  the  last  few  years  an  extraordinary  number  of  robberies  of  pass- 
engers'* luggage  have  been  perpetrated  in  Italy  without  detection,  and  ar- 
ticles of  great  value  should  not  be  entrusted  to  the  safe-keeping  of  any 
trunk  or  portmanteau^  however  strong  and  secure  it  may  seem. 

The  enormous  weight  of  the  trunks  used  by  some  travellers  not  un- 
frequently  causes  serious  and  even  lifelong  injury  to  the  hotel  and  railway 
porters  who  have  to  handle  them.  Travellers  are  therefore  urged  to  place 
their  heavy  articles  in  the  smaller  packages  and  thus  minimize  the  evil 
as  far  as  possible. 

The  best  collections  of  time-tables  are  the  ^Jndicatore  UfficiaU 
delle  Strode  Ferrate'  (published  monthly  by  the  Fratelli  Pozzo  at 
Turin;  price  1  fr.)  and  the  Orario  del  Movimento  Trerii  e  Piroscafi 
(published  by  Arnaboldi  at  Florence ;  1  fr.).  It  is  advisable,  how- 
ever, not  to  trust  implicitly  to  their  accuracy  but  to  consult  the  lo- 
cal time-tables  as  well. 

Through  Tickets  to  different  parts  of  Italy  are  issued  in  London 
(at  the  principal  railway-stations ;  by  Messrs.  Cook  &  Son,  Ludgate 
Circus,  Messrs.  Gaze,  142  Strand,  etc.),  in  Paris,  and  at  many  of 
the  principal  towns  in  Germany  and  Switzerland.  They  are  generally 
available  for  30  days,  and  each  passenger  is  allowed  56  Engl.  lbs.  of 
luggage  free. 

Those  with  whom  economy  is  an  object  may  save  a  good  deal  by  buy- 
ing return-tickets  to  the  Swiss  frontier,  travelling  third-class  through 
Switzerland,  and  then  taking  circular  tour  tickets  in  Italy. 

CiKCULAB  Tickets  (viaggi  circolari)  to  the  principal  towns  in 
Italy ,  available  for  20-60  days ,  may  be  purchased  in  London,  in 
France,  and  in  Germany,  as  well  as  in  Italy,  at  a  reduction  of  45 
per  cent  (but  usually  without  a  free  allowance  of  luggage).  Farther 
particulars  will  be  found  in  the  time-tables.  These  tickets  require 
to  be  stamped  at  each  fresh  starting-point  with  the  name  of  the 
next  station  at  which  the  traveller  intends  to  halt.  If,  therefore, 
the  traveller  leaves  the  train  before  the  station  for  which  his 
ticket  has  been  stamped  he  must  at  once  apply  to  the  capo  stazione 
for  recognition  of  the  break  in  the  journey  (^accertare  il  cambia- 
mento  di  destinazione^J.  When  the  traveller  quits  the  prescribed 
route ,  intending  to  rejoin  it  at  a  point  farther  on,  he  has  also  to 
procure  an  ^annotazione'  at  the  station  where  he  alights,  enabling 
him  to  resume  his  circular  tour  after  his  digression  (^vale  per  ri- 
prendere  alia  stazione  .  .  ,  il  viaggio  interrotto  a  .  .  .).  If  this 
ceremony  be  neglected  the  holder  of  the  ticket  is  required  to  pay 
treble  fare  for  the  omitted  portion  of  the  route  for  which  the  ticket 
is  issued. 

Return  Tickets  (Biglietti  d'andata  e  ritomo)  may  often  be  ad- 


XX  STEAMBOATS. 

yantageonsly  used  for  shoit  excursions ,  but  they  are  generally 
available  for  one  day  only.  It  should  also  be  observed  that  if  the 
traveller  alights  at  a  station  short  of  his  destination  he  forfeits  the 
rest  of  his  ticket  for  the  direction  in  which  he  is  proceeding.  In 
returning  the  ticket  is  not  available  unless  he  starts  from  the 
end- station  for  which  the  ticket  was  issued. 

Steam  Tramways.  The  system  of  Tramvia  a  Vapore,  with  which 
the  traveller  in  Northern  Italy  has  become  familiar,  has  also  extend- 
ed to  Central  Italy.  The  rate  of  speed  attained  by  them  is  about 
half  that  of  the  ordinary  railways. 

Steamboats.  There  are  now  so  many  different  railway-routes 
from  N.  Italy  to  Rome  that  few  travellers  will  care  to  travel  by 
steamer  firom  Genoa  or  Leghorn  to  Civitli  Vecchia,  or  from  Trieste 
to  Ancona ,  although  many  will  still  prefer  the  sea-voyage  to  the 
long  railway-journey  if  bound  for  Naples  direct  (see  vol.  iii.  of  the 
Handbook).  In  fine  weather,  especially  in  summer,  when  sea- 
sickness need  rarely  be  apprehended,  a  voyage  on  the  Mediterranean 
is  very  enjoyable ,  but  as  the  steamers  generally  ply  at  night  the 
finest  parts  of  the  scenery  are  often  missed.  The  boatmen  charge 
1  fr.  for  embarkation  or  disembarkation. 

Diligences.  As  several  of  the  most  interesting  places  described 
in  the  following  pages  lie  at  some  distance  from  the  railway  (such 
as  Urblno,  Gubbio,  Viterbo,  and  S.  Gimignano),  the  traveller  must 
visit  them  by  carriage  or  by  diligence.  The  Corriere ,  which  carries 
the  mails,  has  seats  for  2-3  passengers  only,  and  the  fares  are  high. 
The  Diligenza,  or  ordinary  stage-coach,  conveys  travellers  with  tol- 
erable speed,  and  generally  at  the  same  fares  as  similar  vehicles  in 
other  parts  of  the  continent.  They  are  in  the  hands  of  private  specu- 
lators, and  where  several  run  in  competition,  the  more  expensive  are 
to  be  preferred.  When  ladies  are  of  the  party  the  coup^  (fare  one- 
third  higher)  should  if  possible  be  secured.  The  drivers  and  ostlers 
generally  expect  a  few  soldi  at  the  end  of  each  stage.  —  For  a 
party  of  three  or  four  persons  the  expense  of  a  carriage  with  one  or 
two  horses  hardly  exceeds  the  diligence  fares,  while  the  travellers 
are  far  more  independent.  A  carriage  with  one  horse  may  generally 
be  hired  for  50-75  c.  per  kilometre,  and  a  single  seat  in  a  carriage 
(*un  posto')  may  often  be  obtained. 

Walking  Tours.  The  ordinary  Italian  rarely  walks  if  he  can  pos- 
sibly drive ;  and  how  walking  can  afford  pleasure  is  to  him  an  inex- 
plicable mystery.  The  remark  has  frequently  been  made  to  the  Edi- 
tor :  ^Lei  ^  signore  e  va  a  piedi  ?  / '  In  the  more  frequented  districts, 
however,  such  as  the  vicinity  of  Rome,  the  natives  are  accustomed 
to  this  mania  of  foreigners,  and  are  no  longer  surprised  to  find  them 
exploring  the  Gampagna  and  the  Sabine  and  Alban  Mts.  on  foot. 
There  seems,  moreover,  to  be  a  growing  taste  for  walking  among 
the  Italians  themselves,  as  a  great  many  stations  of  the  Italian 
^lub  Alpino  have  recently  been  established  for  the  purpose  of  ren- 


HOTELS.  xxl 

dering  the  Apennines  more  accessible  to  travellers.  Cool  and  clear 
weather  should  if  possible  be  selected,  and  the  scirocco  carefully 
avoided.  The  height  of  summer  Is  of  course  unsuitable  for  tours  of 
this  kind. 

Biding.  A  horse  (eavallo)  or  donkey  (sommato)^  between  which 
the  difference  of  expense  is  slight ,  will  often  be  found  serviceable, 
especially  in  mountainous  districts.  The  attendant  (pedone)  acts  as 
a  guide  and  servant  for  the  time  being.  Riding  is  now  common 
among  the  Alban  and  Sabine  Mts. ,  where  animals  are  provided  for 
the  use  of  ladies  also.  A  previous  bargain  should  be  made ,  tutto 
compresOy  a  gratuity  being  added  if  the  traveller  is  satisfied.  The 
donkey-drivers  have  an  unpleasant  habit  of  inciting  their  animals 
to  the  top  of  their  speed  when  passing  through  a  town  or  village, 
and  it  is  as  well  to  warn  them  beforehand  that  their  'mancia'  will 
suffer  if  they  do  not  go  quietly  through  the  streets. 

VIII.   Hotels. 

First  Class  Hotels  ,  comfortably  fitted  up  ,  are  to  be  found  at 
Rome,  Siena ,  Perugia ,  and  at  most  of  the  principal  resorts  of  tra- 
vellers in  Central  Italy.  Several  of  those  at  Rome  are  kept  by  Swiss 
and  German  landlords.  Room  272-5  fr.,  bougie  75  c.  to  1  fr.,  atten- 
dance 1  fr.  (exclusive  of  the  'facchino'  and  porter),  table  d'h6te 
4-6  fr.,  and  so  on.  The  charge  for  dinner  does  not  include  wine, 
which  is  generally  poor  and  dear.  For  a  prolonged  stay  an  agree- 
ment may  generally  be  made  with  the  landlord  for  pension  at  a 
more  moderate  rate.  Visitors  are  expected  to  dine  at  the  table 
d'h6te;  otherwise  the  charge  for  rooms  is  apt  to  be  raised.  The 
cuisine  is  a  mixture  of  French  and  Italian.  The  charge  for  the  use 
of  the  hotel-omnibus  from  the  station  to  the  hotel  is  so  high  (1- 
1^2  f^O*  ^^^^  ^^  ^^  often  cheaper  to  take  a  cab.  It  is  also  easier  for 
those  who  use  a  cab  to  proceed  to  another  hotel,  should  they  dislike 
the  rooms  offered  to  them.  Rooms  on  the  ground-floor  should  be 
avoided. 

The  Second  Class  Hotels  are  thoroughly  Italian  in  their  ar- 
rangements ,  and  they  are  rarely  very  clean  or  comfortable.  The 
charges  are  little  more  than  one-half  of  the  above.  There  is  no 
table  d'hdte,  but  there  is  generally  a  trattoria  connected  with  the 
house ,  where  refreshments  d  la  carte  or  a  dinner  a  prezzo  fisso 
may  be  procured  at  any  hour.  These  inns  will  often  be  found  con- 
venient and  economical  by  the  voyageur  en  gar^on^  and  the  better 
houses  of  this  class  may  even  be  visited  by  ladies  j  but  the  new-comer 
should,  perhaps,  frequent  first-class  hotels  only.  As  a  rule,  it  is 
advisable  to  make  enquiries  as  to  charges  beforehand.  A  dinner, 
for  example  at  2-3  fr.,  may  be  stipulated  for,  and  in  bargaining  as 
to  the  charge  for  a  room  the  *servizio  e  candela'  should  not  be  for- 
gotten. If  no  previous  agreement  has  been  made  an  extortionate 
bill  can  seldom  be  reduced  without  a  great  deal  of  trouble.    At  the 


xxii  RESTAURANTS  AND  CAF^S. 

smaller  inns  a  fee  of  1  fr.  per  day  is  usually  diyided  between  the 
waiter  and  the  facchino,  or  less  for  a  prolonged  stay.  Copper  coins 
are  never  despised  by  such  recipients. 

Hotels  Ga&nis  and  Pbivatb  Apabtments  are  recommended 
for  a  prolonged  residence.  A  distinct  agreement  as  to  rent  should 
be  made  beforehand.  When  a  whole  suite  of  apartments  is  hired,  a 
written  contract  on  stamped  paper  should  be  drawn  up  with  the  aid 
of  some  one  acquainted  with  the  language  and  customs  of  the  place 
(e.^.  a  banker),  in  order  that  'misunderstandings'  maybe  prevented. 
For  single  travellers  a  verbal  agreement  with  regard  to  attendance, 
linen,  stoves  and  carpets  in  winter,  a  receptacle  for  coal,  and  other 
details  will  generally  suffice.    Gomp.  p.  xxvi. 

Money  and  other  valuables  should  either  be  carried  on  the  per- 
son or  entrusted  to  the  landlord  in  exchange,  for  a  receipt. 

The  popular  idea  of  cleanliness  in  Italy  is  behind  the  age,  dirt  being 
perhaps  neutralised  in  the  opinion  of  the  natives  by  the  brilliancy  of  their 
climate.  The  traveller  will  rarely  suffer  from  this  shortcoming  in  hotels 
and  lodgings  of  the  best  class  \  but  those  who  quit  the  beaten  track  must 
be  prepared  for  privations.  Iron  bedsteads  should  if  possible  be  selected, 
as  they  are  less  likely  to  harbour  the  enemies  of  repose.  Insect-powder 
ipolvere  di  Persia,  or  Keating's)  or  camphor  somewhat  repels  their  ad- 
vances. The  tamdre^  or  gnats,  are  a  source  of  great  annoyance,  and  often 
of  suffering,  during  tlie  autumn  months.  Windows  should  always  be  care- 
fully closed  before  a  light  is  introduced  into  the  room.  Light  muslin 
curtains  (zanzarieri)  round  the  beds,  masks  for  the  face,  and  gloves  are 
employed  to  ward  off  the  attacks  of  these  pertinacious  intruders.  The 
burning  of  insect  powder  over  a  spirit-lamp  is  also  recommended,  and 
pastilles  may  be  purchased  at  the  principal  chemists^  for  the  same  purpose. 
A  weak  dilution  of  carbolic  acid  in  water  is  efficacious  in  allaying  the  dis- 
comfort occasioned  by  the  bites. 

A  list  of  the  Italian  names  of  the  ordinary  articles  of  underclothing 
(la  biancheria)  will  be  useful  in  dealing  with  the  washerwoman:  Shirt 
(linen,  cotton,  woollen),  la  eamieia  (di  Ma,  di  eotone,  di  lana);  collar,  il 
solino,  il  colleito;  cuff,  ilpolsino;  drawers,  lemufande;  woollen  undershirt, 
una  flanella  or  giuba  diflanella;  petticoat,  lasottana;  stocking,  lacalza; 
sock,  la  calzetta;  handkerchief  (silk),  il/azoletto  (disefa).  To  give  out  to 
wash,  dare  a  hueato  (di  bncato,  newly  washed)^  washing-list,  la  nota; 
washerwoman,  laundress,  la  itiratriee,  la  lavandaj'a;  buttons,  t  bottoni. 

IX.    BestaurantB,  Caf^B,  OBterie. 

Restaubants  (trattorie)  are  chiefly  frequented  by  Italians  and 
gentlemen  travelling  alone ,  but  those  of  the  better  class  may  be 
visited  by  ladies  also.  They  are  generally  open  from  12  to  8,  but 
are  frequented  chiefly  between  5  and  7.  Dinner  may  be  obtained 
h  la  carte  (1Y2~3  fr.),  and  sometimes  a  prezzo  fisso  (un  pranzo  da 
2,  3,  4,  5  fr.).  The  waiters  expect  a  gratuity  of  2-5  soldi.  The 
diner  who  wishes  to  confine  his  expenses  within  reasonable  limits, 
should  refrain  from  ordering  dishes  not  mentioned  in  the  bill  of  fare. 
Besides  the  old-fashioned  trattoriCj  a  number  of  ^restaurants^  of  a 
better  class  have  recently  been  opened  in  Rome.  The  cookery  is 
^nerally  French,  and  the  charges  and  arrangements  are  similar  to 
'se  in  the  other  European  capitals.  The  waiter  is  caEed  cameriere 


RESTAURANTS  AND  CAF^S. 


(or  bottegd),  but  tlie  approved  way  of  attracting  his  attention  is  by 
knocking  on  the  table. 

A  late  hour  for  the  chief  repast  of  the  day  should  be  chosen  in 
winter,  in  order  that  the  daylight  may  be  profitably  employed,  but 
an  early  dinner  is  preferable  in  summer  when  the  midday  heat  pre- 
cludes exertion. 

List  of  the  ordinary  dishes  at  the  Italian  restaurants :  — 

Minestra  or  Zuppa^  soup. 

Consumij  broth  or  bouillon. 

Zuppa  alia  SanU^   soup  with  green 

vegetables  and  bread. 
Onocchiy  small  puddings. 
Riso  con  piselli,  rice-soup  with  peas. 
Risotto  (alia  Milanese),  a  kind  of  rice 

pudding  (rich). 
Macearoni  al  burro,  with  buttery  al 

pomidoro,  with  tomatoes. 
Lesso  or  BolUto,  boiled  meat. 
ManzOy  boiled  beef. 
Fritto,  fried  meat. 
Frittwa  mista,   a  mixture  of  fried 

liver,  brains,  and  artichokes. 
Frittata,  omelette. 
Arrosto,  roasted  meat. 
Arrosto   di  vitello,   or   di  mongana, 

roast-veal. 
Bistecca,  beefsteak. 
Coscetto,  loin. 

Testa  di  vitello,  calfs  head. 
Figato  di  mtello,  calfs  liver. 
Braccioletta  di  vitello,  veal- cutlet. 
Costoletta    alia   minuta,   veal -cutlet 

with  calves'  ears  and  truffles. 
Esgaloppe,  veal-cutlet  with  bread- 
crumbs. 
Palate,  potatoes. 
Q^aglia,  quail. 
Tordo,  field-fare. 
Loddla,  lark. 
Sfoglia,  a  kind  of  sole. 
Prineipi  alia  tavola ,  or  piattitii ,  hot 

relishes. 
Funghi,  mushrooms  (often  too  rich). 


Presdutto,  ham. 

Sal3mi,  sausage. 

Polio,  or  pollastro,  fowl. 

Potaggio    di   polio,    chicken-fricas 

86e. 
Oallinaccio,  Oallotta,  turkey. 
Umido,  meat  with  sauce. 
Stufatino,  ragout. 
Erbe,  vegetables. 
Carciofi,  artichokes. 
Piselli,  peas. 
Lenticchie,  lentils. 
Cavoli  fiori,  cauliflower. 
Fave,  beans. 

Fagiuolini,  Corneti,  French  beans. 
Sale,  salt. 
Pepe,  pepper. 
Mostarda,  simple  mustard. 
Sendpe,  hot  mustard. 
Ostriche,   oysters  (good  in  winter 

only). 
Giardinetto  or  frutta,  fruit-desert. 
Crostata  di  frutti,  fruit-tart. 
Crostata  di  pasta  sfoglia ,  a  kind  of 

pastry. 
Fragole,  strawberries. 
Pera,  pear. 
Mela  or  porno,  apple. 
Pdrsid,  peaches. 
Uva,  bunch  of  grapes. 
Limone,  lemon. 

Arancio  or  portogallo,  orange. 
Finocchio,  root  of  fennel. 
Pane  francese,  bread  made  with  yeast 

(the  Italian  is  made  without). 
Formaggio,  cacio,  cheese. 


Wine  {nero,  red;  bianco,  white ^  dolce,  sweety  asciutto,  dry;  del  paese 
or  nostrale,  wine  of  the  country)  is  usually  placed  on  the  table  in  large 
bottles  at  the  Tuscan  restaurants  and  charged  for  according  to  the  quantity 
drunk.  At  Borne  and  some  other  places  the  visitor  is  asked  if  he  wishes 
un  mezzo  litro  or  un  quinto  (Vsth  litre;  also  called  bicchiere).  Wines  of  a 
better  quality  are  sold  in  ordinary  quarts  and  pints. 

Gaf^a  are  frequented  for  breakfast  and  luncheon,  and  in  the  even- 
ing by  numerous  consumers  of  ices. 

Cajff'i  nero,  or  coffee  without  milk,  is  usually  drunk  (20-25 c.  per 
cup).  Co/fd  latte  is  coffee  mixed  with  milk  before  being  served  (20-30c.); 
or  eaffb  e  latte,  i.e.  with  the  milk  served  separately,  may  be  preferred 
(30-40c.).  MUchio  or  Aura  is  a  mixture  of  coffee  and  chocolate  gP;jP<^->'^°**" 
sidered  wholesome  and  nutritious.  Cioecolata,  or  chocolate,  30-50  c.  Fane 
(a  roll)  5  c.-,  pasta  (cake)  10  c.  -,  bread  and  butter  (pane  al  burro)  ^  c. 

The  usual  viands  for  lunch  are  ham,  sausages,  cutlets,  beefateaKS,  ano 
egga  (ttova  da  bere,  soft ;  toste,  hard ;  uova  al  piatto,  fried). 


xxiT  SIGHTS,  THEATRES. 

Ices  (sorbetto  or  gelato)  of  every  possible  variety  are  supplied  at  the 
caf^s  at  50  c.  per  portion ;  or  a  half  portion  (mezza)  may  be  ordered. 
Oranita ,  or  half-frozen  ice  iUmonatOy  of  lemons ;  aranciata  of  oranges) ,  is 
much  in  vogue  in  the  forenoon.  The  waiter,  who  expects  a  sou  or  more, 
according  to  the  amount  of  the  payment,  is  sometimes  inaccurate  in  chang- 
ing money  if  not  narrowly  watched. 

The  principal  Parisian  newspapers  are  to  be  found  at  all  the  larger 
cafds,  English  rarely.  —  Roman  newspapers,  see  p.  116. 

Wine  Shops  (osterie),  especially  at  Rome,  are  a  favourite  haunt 
of  the  lower  classes.  The  rooms  are  generally  dirty  and  uninviting, 
hut  the  wine  is  often  good.  Bread  and  cheese  may  he  ohtained  at 
some  of  the  osterie  and  cooked  dishes  at  a  few  (Osteria  con  cucinaj. 
As  a  rule,  however,  those  who  sup  at  a  wine-shop  must  bring  their 
own  eatables  from  a  pizzicarolo,  or  dealer  in  comestihles. 

Cigars  in  Italy  are  a  monopoly  of  Government,  and  bad.  The  price 
of  the  home-made  cigars  (Scelti  Romania  Virginias^  Toseani^  Napoleiani^ 
Cavours^  Mingheiti^  etc.)  vary  from  71/2  to  18  c.  Good  Hcnanna  Cigar* 
(26-60  c.)  and  foreign  Cigarettes  may  be  bought  at  the  ^Regia  dei  Tabacchi^ 
(p.  114)  and  other  large  shops  in  Rome.  Passers-by  are  at  liberty  to  avail 
tl^emselves  of  the  light  burning  in  every  tobacconists,  without  making 
any  purchase. 

X.  Sights,  Theatres,  etc. 

Churches  are  open  in  the  morning  till  12  or  12.30,  and  generally 
again  from  4  to  7  p.m. ,  while  some  of  the  most  important  remain 
open  the  whole  day.  Visitors  may  inspect  the  works  of  art  even 
during  divine  service,  provided  they  move  about  noiselessly,  and 
keep  aloof  from  the  adtar  where  the  clergy  are  officiating.  On  the 
occasion  of  festivals  the  works  of  art  are  often  entirely  concealed 
hy  the  temporary  decorations.  The  verger  (sagrestano ,  or  nonzolo) 
receives  a  fee  of  30-50  c.  or  upwards,  if  his  services  are  required. 

Museums ,  picture-galleries ,  and  other  collections  are  usually 
open  from  10  to  3  o'clock.  By  a  law  passed  in  1875  all  the  col- 
lections which  belong  to  government  are  open  on  week-days  at  a 
charge  of  1  fr.,  and  on  Sundays  gratis.  The  attendants  are  forbidden 
to  accept  gratuities. 

In  Rome  the  collections  of  the  Vatican  and  the  private  galleries  are 
closed  on  Sundays  and  on  ecclesiastical  festivals.  The  national  collections 
are  closed  only  on  the  holidays  recognized  by  government,  viz.  Easter 
Day,  Sept.  20th  (anniversary  of  the  entry  of  the  Italian  troops  in  1870, 
see  p.  341),  Nov.  1st  (All  Saints  Day),  and  Christmas  Day.  In  smaller 
towns  museums  and  galleries  are  also  often  closed  on  New  Year's  Day, 
during  the  Carnival ,  on  Palm  Sunday,  Ascension  Day,  Whitsunday  and 
Whitmonday,  FSte  de  Dieu  (Corpus  Domini),  the  Festa  dello  Statuto  (first 
Sunday  in  June),  and  the  Assumption  of  the  Virgin  (15th  Aug.).  The 
day  sacred  to  the  local  patron  saint  is  often  observed  as  a  holiday. 

Theatres.  Performances  in  the  large  theatres  begin  at  8,  8.30, 
or  9,  and  terminate  at  midnight  or  later,  operas  and  ballets  being 
exclusively  performed.  The  first  act  of  an  opera  is  usually  succeeded 
by  a  ballet  of  three  acts  or  more.  The  pit  (plateaj  is  the  usual  re- 
sort of  the  men,  while  the  boxes  and  sometimes  the  stalls  (poltrone 
or  po8ti  distinti)  are  frequented  by  ladies.  A  box  (palco)  must  al- 
'vays  be  secured  in  advance.  —  The  theatre  is  the  usual  evening- 


CLIMATE.    HEALTH.  xxv 

resort  of  the  Italians,  who  seldom  observe  strict  silence  during  the 
performance  of  the  music. 

Valets  de  Place  (iervifori  di  piazza)  may  be  hired  at  6-7  fr.  per  day. 
They  are  generally  reBpectable  and  trustworthy,  but,  as  they  are  seldom 
good  judges  of  what  is  really  worth  seeing,  the  traveller  should  specify 
to  them  the  places  he  desires  to  visit.  Their  services  may  generally  well 
be  dispensed  with  by  those  who  are  not  pressed  for  time.  Purchases  should 
never  be  made,  nor  contracts  with  vetturini  or  other  persons  drawn  up, 
in  presence  or  with  the  aid  of  a  commissionnaire,  as  any  such  intervention 
tends  considerably  to  increase  the  prices.    Gomp.  p.  116. 

XI.   Post  Offtce.    Telegraph. 

Letters  (whether  ^poate  r€stante\  Italian  ^ferma  in  po8ta\  or  to 
the  traveller's  hotel)  should  be  addressed  very  distinctly,  and  the 
name  of  the  place  should  be  in  Italian.  When  asking  for  letters  the 
traveller  should  present  his  visiting  card  instead  of  pronouncing  his 
name.  Postage-stamps  (francoboll)  are  sold  at  the  post-of flees  and 
at  many  of  the  tobacco-shops.  —  Letters  of  15  grammes  (V2  oz., 
about  the  weight  of  three  sous)  to  any  of  the  states  included  in  the 
postal  union  (now  comprising  the  whole  of  Europe)  25  c.;  post-card 
(cartolina  postale;  for  foreign  countries,  per  Vestero)  10  c,  with 
prepaid  answer  (con  riaposta  pagata)  20  c. ;  book-packets  (stampe 
aotto  fascia)  per  50  grammes  5  c. ;  registration-fee  (raccomanda- 
zione)  25  c.  —  Post  Office  Orders^  see  p.  xiv. 

Letters  by  town-post  5c.;  throughout  the  kingdom  of  Italy  20c. 
prepaid,  or  30  c.  unpaid.  Post-card  10 c,  with  prepaid  answer  15  c. 
Book-packets  2  c.  per  40  grammes  (1^/3  oz.). 

Parcels,  not  exceeding  3  kil.  (7lbs.)  in  weight  or  2  ft.  in  length, 
may  be  sent  from  one  part  of  Italy  to  another  for  60  c. 

In  Rome  the  post-office  is  open  daily  from  8  a.m.  to  8  or  9.30 
p.m.  (also  on  Sundays  and  holidays);  in  smaller  places  it  is  gener- 
ally closed  in  the  middle  of  the  day  for  two  or  three  hours. 

TelegraxnB.  For  telegrams  to  foreign  countries  the  following 
rate  per  word  is  charged,  in  addition  to  an  initial  payment  of  1  fr. : 
Great  Britain  39  c.,  France  14,  Germany  18,  Switzerland  6-14, 
Austria  6-14,  Holland  23,  Belgium  19,  Denmark  23,  Russia  49, 
Sweden  38,  Norway  36  c.  —  To  America  from  3^/4  fr.  per  word  up- 
wards, according  to  the  state.  —  Within  the  kingdom  of  Italy,  15 
words  1  fr. ,  each  additional  word  5  c.  —  Telegrams  with  special  haste 
(teUgrammi  urgenti,  which  take  precedence  of  all  others)  may  be 
sent  at  thrice  the  above  rates. 

XII.   Climate.   Health. 

The  climate  of  Rome  is  determined  by  its  situation  in  the  Ce 
pagna,  almost  equidistant  from  the  Apennines  and  the  sea  (14  ." 
and  about  100  ft.  above  the  level  of  the  latter.    During  wintei 
prevalent  wind  is  the  Tramontana ,  a  term  applied  not  only  tc 
N.  wind  but  also  to  the  N.N.E.  wind  (Qreco);  it  blows  more 


xxvi  CLIMATE.    HEALTH. 

more  frequently  from  Octolaer  to  December,  then  becomes  gradually 
rarer,  and  by  April  or  May  ceases  altogether.  This  dry  and  cool 
(sometimes  even  cold)  wind  is  generally  accompanied  by  a  clear 
sky,  and  except  when  unusually  violent  (in  which  case  it  irritates 
the  mucous  membrane)  is  not  found  trying  even  by  invalids.  The 
Sciroeco,  a  general  name  for  the  S.E.,  S.,  and  S.W.  winds,  is 
especially  prevalent  in  October  and  April.  It  has  an  alleviating 
effect  upon  colds  and  coughs ,  but  is  apt  to  take  away  the  appetite 
and  impair  the  nervous  energy. 

The  most  favourable  month  for  a  visit  to  Rome  is  October^  dur- 
ing which  the  average  temperature  is  about  63®  Fahr.  The  rain  that 
then  falls  is  drunk  in  greedily  by  the  parched  earth,  and  all  nature 
seems  to  awaken  to  a  second  spring.  November^  with  a  mean  tem- 
perature of  54®  and  an  average  of  12 1/2  days  of  rain,  is  also  often  a 
pleasant  month.  In  December  the  N.  and  S.  winds  contend  for 
mastery,  and  wet  weather  alternates  with  cold ,  the  mean  tempera- 
ture being  47  °  and  the  average  number  of  rainy  days  eleven.  Jan^ 
itary  (mean  temp.  Ab^/2^,  wet  days  11  Vs)?  *»*  February  (mean  temp. 
46V2**>  ■'^ct  days  10),  during  which  the  N.  wind  prevails,  are  the  two 
coldest  months.  Travellers  arriving  at  this  season  from  the  Riviera, 
where  the  mean  temperature  in  these  months  is  from  48®  to  54®, 
should  be  careful  to  guard  against  the  sudden  change  by  warmer 
clothing.  March  (mean  temp.  501/2 °>  rainy  days  10),  though  often 
cold,  and  as  usual  in  the  S.  the  windiest  month  of  the  year,  seldom 
passes  without  some  charming  spring  days.  After  October  April  and 
the  first  half  of  May  form  the  pleasantest  time  for  visiting  Rome. 
The  heat  then  rapidly  increases,  and  from  the  end  of  May  till  Octo- 
ber it  is  almost  insufferable  (June  72®,  July  76®,  August  7b°,  Sept- 
ember 691/2°  F.). 

Health.  Malaria  or  Roman  fever  is,  of  course,  most  prevalent 
in  summer,  particularly  from  the  middle  of  August  till  the  begin- 
ning of  September,  but  also  occurs  in  spring  and  even  in  the  milder 
and  damper  months  of  winter.  Large  parts  of  the  city,  however, 
enjoy  an  almost  perfect  immunity  from  it.  The  most  conspicuous 
of  these  is  the  central  district  bounded  towards  the  W.  by  the  Via 
del  BabuinOj  the  Via  Sistina,  and  the  Via  del  Quirinale,  extending 
on  the  S.  to  8.  Pietro  in  Vincoli  and  the  Capitol,  and  on  the  E.  al- 
most reaching  the  Tiber.  The  streets  on  the  Esquiline,  Palatine^ 
and  Caelius  are^  on  the  other  hand,  all  dangerous  in  summer, 
and  few  of  the  inhabitants  of  the  S.  E.  district  between  the 
Colosseum  and  the  Monte  Testaccio  escape  an  annual  visitation 
of  fever.  Some  of  the  suburban  districts,  such  as  the  "W.  slopes 
of  the  PinciOy  and  many  of  the  streets  on  the  Viminalj  are  now  com- 
paratively healthy,  while  on  the  right  bank  of  the  Tiber  the  neigh- 
bourhood of  the  Piazza  S.  Pietro  and  the  quarter  between  the  Ponte 
'sto  and  the  Ponte  Boito  are  almost  exempt  from  the  scourge. 

The  visitor  should  exercise  some  care  in  choosing  his  apartments 


CHRONOLOOICAL  TABLE.  xxvii 

and  in  seeing  that  they  are  supplied  with  all  needful  comforts.  Gar- 
pets  and  stoyes  are  indispensable.  A  southern  aspect  is  absolutely 
essential  for  the  delicate,  and  highly  desirable  for  the  robust.  An 
Italian  proverb  says :  ^Dove  non  va  U  sole,  va  il  medico'.  Rooms  on 
the  upper  floor  are  drier  than  those  on  the  ground-floor.  Windows 
should  be  closed  at  night. 

Inhabitants  of  more  northern  countries  generally  become  unusu- 
ally susceptible  to  cold  in  Italy,  and  therefore  should  not  omit  to  be 
wedl  supplied  with  warm  clothing  for  the  winter.  Even  in  summer 
it  is  advisable  not  to  wear  too  light  clothing.  Flannel  is  strongly 
recommended.  —  The  Pincio  is  the  safest  promenade  in  Rome,  but 
a  prolonged  sojourn  in  the  somewhat  damp  gardens  of  the  Villa 
Borghese  is  not  advisable.  The  visitor  should  be  careful  not  to  drive 
in  an  open  carriage  after  dark,  or  to  sit  in  the  evening  in  such 
malarial  places  as  the  Colosseum.  In  visiting  picture-galleries  or 
churches  on  warm  days ,  it  is  advisable  to  drive  thither  and  walk 
back,  as  otherwise  the  visitor  enters  the  chilly  building  in  a  heated 
state  and  has  afterwards  no  opportunity  of  regaining  the  desirable 
temperature  through  exercise.  Exposure  to  the  summer-sun  should 
be  avoided  as  much  as  possible.  According  to  a  Roman  proverb,  only 
dogs  and  foreigners  (Inglesi)  walk  in  the  sun,  Christians  in  the  shade. 
Umbrellas  or  spectacles  of  coloured  glass  (grey,  concave  glasses  to 
protect  the  whole  eye  are  best)  may  be  used  with  advantage  when  a 
walk  in  the  sun  is  unavoidable.  Blue  veils  are  recommended  to 
ladies.  Repose  during  the  hottest  hours  is  advisable,  and  a  siesta  of 
moderate  length  is  often  refreshing. 

The  drinking-water  of  Rome  is  very  palatable,  but  strongly  impreg- 
nated with  lime,  which  makes  it  unsuitable  for  those  suffering  from  gout, 
and  sometimes  causes  constipation.  Persons  with  delicate  chests  often  find 
a  winter  in  Rome  very  beneficial.  It  is  less  dusty  than  the  Riviera,  and 
not  so  windy  as  the  Sicilian  health-resorts.  —  Typhui  Fever  does  not  occur 
in  Rome  as  an  epidemic 

There  are  several  good  English  and  Gterman  doctors  in  Rome,  but  it 
is  sometimes  wise,  in  the  case  of  maladies  arising  from  local  causes,  to 
employ  native  skill.  German  and  English  chemists  are  preferable  to  the 
Italian.  Foreigners  frequently  suffier  from  diarrhoea  in  Italy,  which  is  gener- 
ally occasioned  by  the  unwonted  heat.  Ice  and  rice  are  two  of  the  com- 
monest remedies.  The  homoeopathic  tincture  of  camphor  may  also  be 
mentioned.  In  such  cases,  however,  thorough  repose  is  the  chief  desid- 
eratum. A  small  portable  medicine-case,  such  as  those  prepared  and 
stocked  with  tabloid  drugs  by  Messrs.  Bitrroughe,  Wellcome,  d:  Co.,  Holborn 
Viaduct,  London,  will  often  be  found  useful. 

XIII.   Chronologioal  Table  of  Beoent  Events. 

1846.  June    16.  Election  of  Pius  IX. 

1848.  March  18.  Insurrection  at  MUan.  —  March  22.  Charles  Al- 
bert enters  Milan.  Republic  proclaimed  at  Venice.  —  May  15. 
Insurrection  at  Naples  quelled  by  Ferdinand  II.  (*Re  Bomba'). 
—  May  29.  Radetsky's  victory  at  Curtat^ne.  —  May  30.  Ra- 
detsky  defeated  at  Goito;  capitulation  of  Peschiera.  —  July  25 


xxviii  CHRONOLOGICAL  TABLE. 

Radetsky's  victory  at  Custozza.  —  Ang.  6.  Radetsky's  victory 
at  Milan.  —  Aug.  9.  Armistice.  —  Nov.  15.  Murder  of  Count 
Rossi  at  Rome.  —  Nov.  25.  Flight  of  the  Pope  to  Gaeta. 

1849.  Feb.  5.  Republic  proclaimed  at  Rome.  —  Feb.  17.  Republic 
proclaimed  in  Tuscany,  under  Guerazzi.  —  March  16.  Charles 
Albert  terminates  the  armistice  (ten  days'  campaign).  — 
March  23.  Radetsky's  victory  atNovara. — March  24.  Charles 
Albert  abdicates  (d.  at  Oporto,  July  26th);  accession  of  Victor 
Emmanuel  II.  —  March  26.  Armistice;  Alessandria  occupied 
by  the  Austrians.  —  March  31.  Haynau  captures  Brescia.  — 
April  5.  Republic  at  Genoa  overthrown  by  La  Marmora.  = 
April  11.  Reaction  at  Florence.  —  April  30.  Garibaldi  de- 
feats the  French  under  Oudinot.  —  May  11.  Leghorn  stormed 
by  the  Austrians.  —  May  15.  Subjugation  of  Sicily.  —  May 
16.  Bologna  stormed  by  the  Austrians.  —  July  4  Rome  ca- 
pitulates. —  Aug.  6.  Peace  concluded  between  Austria  and 
Sardinia.  —  Aug.  22.  Venice  capitulates. 

1850.  April  4.  Pius  IX.  returns  to  Rome. 

1855.  Sardinia  takes  part  in  the  Crimean  War. 

1856.  Congress  at  Paris.  Cavour  raises  the  Italian  question. 

1859.  May  20.  Battle  of  Montebello.  —  June  4.  Battle  of  Magenta. 
June  24.  Battle  of  Solferino. — July  11.  Meeting  of  the  em- 
perors at  Villafranca.  —  Nov.  10.  Peace  of  Zurich. 

1860.  March  18.  Annexation  of  the  Emilia  (Parma,  Modena,  Ro- 
magna).  —  March  22.  Annexation  of  Tuscany.  —  March  24. 
Cession  of  Savoy  and  Nice.  —  May  11.  Garibaldi  lands  at 
Marsila.  —  May  27.  Taking  of  Palermo.  —  July  20.  Battle 
of  Melazzo.  —  Sept.  7.  Garibaldi  enters  Naples.  —  Sept.  18. 
Battle  of  Castelfldardo.  —  Sept.  29.  Ancona  capitulates.  — 
Oct.  1.  Battle  of  the  Volturno.  —  Oct.  21.  Plebiscite  at 
Naples. — Dec.  17.  Annexation  of  the  principalities,  Umbria, 
and  the  two  Sicilies. 

1861.  Feb.  13.  Gaeta  capitulates  after  a  four  months'  siege.  — 
March  17.  Victor  Emmanuel  proclaimed  King  of  Italy. 

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

1866.  June  20.  Battle  of  Custozza.  —  July  5.  Cession  of  Venetia. 
July  20.  Naval  battle  of  Lissa. 

1867.  Nov.  3.  Battle  of  Montana. 

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

1878.  Jan.  9.  Death  of  Victor  Emmanuel  II. ;  accession  of  Hum- 
bert I.  —  Feb.  7.  Death  of  Pius  IX.  —  Feb.  20.  Election 
of  Leo  Xni. 


Ancient  Art. 

A  Hiitorieal  Sketch, 

from  the  Qerman  of 
Pr«r.  B«iahAvd  K«kttle. 

'As  the  streams  lose  themselves  in 
the  mightier  Ocean  ^  so  the  history  o/ 
the  peoples  once  distributed  along  the 
Mediterranean  shores  is  absorbed  in  that 
of  the  mighty  Mistress  of  the  World^", 

KiKBUHR. 

Tlie  traveller  who  would  not  wander  through  the  galleries  of 
Rome  in  mere  vacant  wonderment  may  hear  in  mind  these  words  of 
Niehohr.  As  a  preface  to  the  following  pages,  they  will  not  only 
help  the  intelligent  ohserver  to  a  worthy  appreciation  of  the  master- 
pieces presented  to  him,  hut  enahle  him  to  invest  them  with  appro- 
priate historical  associations. 

Amongst  the  crowd  of  statues  which  flU  the  galleries  and  cham- 
hers  of  the  Vatican  and  Capitol  of  Rome  are  to  he  seen  the  nohlest 
examples  of  Antique  Sculpture.  These  do  not,  however,  stand  in  the 
same  relation  to  Imperial  Rome  as,  for  example,  the  frescoes  of  Fra 
Angellco  in  the  Cloisters  of  St.  Mark,  or  those  of  Andrea  del  Sarto 
in  the  Church  of  the  Annunziata  to  Florence,  or  as  the  masterpieces 
of  Raphael  and  Michael  Angelo  to  mediaBval  and  pontifical  Rome. 
These  latter  originated,  so  to  speak ,  with  her,  were  her  peculiar 
attrihutes,  the  fitting  emhlems  of  her  ecclesiastical  supremacy.  The 
genius  which  created  them,  she  inspired,  fostered,  and  rewarded. 
On  the  other  hand,  Rome,  the  mistress  of  the  World,  the  Rome 
of  ancient  history,  though  attracting  to  herself  the  accumulated 
treasures  of  entire  epochs  of  Greek  art ,  though  through  her  inter- 
position names ,  which  otherwise  must  have  remained  mere  phan- 
tom sounds,  survive  to  receive  individually  the  homage  due  to 
their  transcendent  genius,  had  nevertheless  as  little  influence 
on  the  marvellous  development  of  Greek  art,  as  London  had  upon 
the  Italian  Renaissance,  on  Giotto  and  Masaccio ,  on  Raphael  and 
Michael  Angelo.  In  fact,  those  particular  works,  which,  while  they 
fill  the  mind  with  a  wonder  akin  to  awe,  minister  to  our  nohlest 
gratification,  and  in  the  presence  of  whose  marvellous  perfection  all 
suhsequent  efforts  are  dwarfed  into  insignificance,  occupied  in  Rome 
ages  ago,   and  still  occupy,  a  place  corresponding,  to  that  which 


XXX  ANCIENT  ART. 

the  masterpieces  of  the  Italian  and  other  schools  of  painting  fill  in 
the  galleries  of  London,  Paris,  and  Dresden.  Winckelmann  was  the 
first  to  trace  in  bold  and  comprehensive  outline  the  history  of  Art 
amongst  the  Ancients ,  from  its  infancy  and  earlier  growth  to  its 
maturity  and  gradual  decline.  Following  in  the  wake  of  Winckel- 
mann, unceasing  research,  patiently  and  persistently  pursued,  has 
served  to  confirm  and  extend  his  survey,  and  to  supply,  in  addition, 
a  host  of  particulars  pregnant  with  interest.  Those  indeed,  who  have 
conducted  this  laborious  quest ,  stimulated  and  directed  by  the  for- 
tunate recovery  of  monuments  and  various  relics  of  antiquity,*  have 
been  the  means  of  determining  the  history  of  Antique  Art,  so  far  at 
least  as  Sculpture  and  Architecture  are  concerned ;  and  this  not  only 
In  its  more  salient  features ,  but  with  an  elaboration  of  detail ,  so 
careful  and  so  well  authenticated,  that  the  authorship  of  numerous 
works  is  clearly  established ,  and  the  interest  and  value  of  their 
discoveries  in  so  far  unspeakably  enhanced.  Much  indeed  remains 
to  be  done,  and  the  path  of  the  explorer  is  besot  with  doubt  and 
difficulty;  but  the  future  promises  farther  encouragement,  if  not 
complete  solution. 

In  Art,  the  Oreeks  were  content  to  learn  from  nations  whose 
civilisation  preceded  theirs.  Long  before  the  first  image  was  graven 
by  Grecian  hands,  the  Egyptians y  as  far  as  history  acquaints  us,  had 
been  the  first  to  overcome  those  difficulties  in  the  choice  of  a  suitable 
form  of  expression  inseparable  from  every  fresh  manifestation  of  Art. 
They  had  established  a  well-defined  system,  a  traditional  style, 
which  was  exemplified  as  well  in  their  Sculpture  as  in  their  Archi- 
tecture. On  the  other  hand  the  richly-elaborated  Art  of  the  Baby- 
lonians and  Assyrians^  with  its  sumptuous  wealth  of  decoration,  must 
also  of  necessity  have  had  its  influence  on  the  Greeks  of  Asia  Minor. 
Grecian  Art  had,  to  begin  with,  not  only  adopted  the  method, 
implements,  and  workmanship  of  their  predecessors ;  it  had  possess- 
ed itself  of  their  forms  and  not  unfrequently  of  the  motives  of 
their  imagery.  Greece  did  not,  however,  accept  this  heritage  of 
art  in  the  spirit  of  slavish  imitation.  Architectural  models  were  not 
adopted  in  their  entirety.  Each  part  separately,  each  ornament  in 
Itself,  became  the  centre  of  a  new  conception,  and  this  conception 
once  embodied  became  a  distinct  type,  the  expression  of  a  taste 
purely  Greek.  In  like  manner  they  treated  tho  conventional  render- 
ing of  the  human  form  transmitted  to  them.  This,  by  constant 
reference  to  the  living  model,  they  continued  to  manipulate  and 
modify  until  they  attained  to  that  profound  and  comprehensive 
grasp  of  nature,  which  to  this  day  remains  the  subject  of  wonder 
and  delight  to  our  greatest  artists.  The  way  thus  traversed  was 
long  and  wearisome.  It  carries  us  back  through  an  incalculable  suc- 
cession of  ages  into  the  impenetrable  past.  The  oldest  Ionic  and 
^oric  temples,  although  well-nigh  of  prehistoric  antiquity,  exhibit 

all  essential  particulars  a  clearly-defined  architectural  system; 


ANCIENT  ART.  xxxi 

and,  let  it  be  borne  In  mind,  the  architecture  of  the  Greeks  did  not 
start  into  being  as  Athena  from  the  head  of  Jupiter,  fully  armed 
and  equipped.  Careful  observation  will  detect  in  the  Orders  associ- 
ated in  name  with  the  two  principal  Hellenic  races  evidences  of  a 
very  gradual  development.  Subsequently,  to  these  two  orders  was 
added  a  third,  known  as  the  Corinthian.  It  was  inevitable  that  in 
the  practice  of  Sculpture  as  well  as  Architecture  divergences  arose 
which  may  be  characterised  as  provincialisms;  and  it  is  equally 


tem|ib 


tic  pV^ortions ,  these  provincialisms  should  have  become  less  and 
less  observable. 

They  were  finally  obliterated  by  the  glories  of  what  may  be  distin- 
guished, in  reference  to  art,  as  the  Age  of  Pb&icles;  glories 
associated  with  the  talismanic  names  of  Phidias,  Myron,  and  Poly^ 
elttus  in  Sculpture,  and  ot  letinus  and  MneaieUs  in  Architecture. 
The  golden  age  of  the  Italian  Renaissance,  when  Raphael  filled  the 
world  with  rapturous  wonder,  can  alone  be  compared  to  a  time 
which  witnessed  the  surpassing  achievements  of  art  in  Greece.  Of 
the  painters  of  this  period,  otPolygnotua  for  example,  who  flourished 
somewhat  earlier,  little  can  be  ascertained.  Their  works  have 
perished ;  and  all  that  we  can  learn  of  them  is  at  best  too  hypothe- 
tical to  be  worthy  of  record. 

The  name  of  Polyclbtus  belongs  to  the  Peloponnesus.  The  con- 
noisseur of  his  day  claimed  for  him  the  merit  of  having  presented 
the  human  form  complete  in  its  minutest  details,  correct  in  pro- 
portion, perfect  in  symmetry.  One  of  his  works  in  particular,  the 
figure  of  a  powerful  youth  armed  with  a  spear  (Doryphorus), 
was  upheld  as  an  example  of  the  master's  peculiar  excellence, 
and  hence  was  surnamed  the  Canon.  As  a  counterpart  to  the  Dory- 
phorus,  and  in  like  manner  regarded  as  a  type  or  model,  is  the  figure 
of  a  youth  of  distinguished  beauty,  who  with  both  hands  folds  a 
band  round  his  head  (Diadumenus).  Of  one  of  his  Amazons  it  was 
said,  that  it  surpassed  even  the  Amazon  of  Phidias  in  beauty. 
Finally,  especial  glory  was  claimed  for  his  statue  of  Hera  placed 
in  a  temple  dedicated  to  this  goddess  at  Delphi.  —  Myron's  chief 
delight  was  to  portray  the  human  form  in  action,  but  his  success 
was,  to  say  the  least  of  it,  partial.  Thus  he  represents  his  Disco- 
bolus  actually  doubled  up  in  the  act  of  throwing  the  discus.  In 
a  group  on  the  Acropolis  at  Athens  the  same  artist  has  chosen  for 
his  subject  the  incident  of  Marsyas  in  the  act  of  seizing  the  pipes 
which  the  Goddess  Athena  has  rejected,  and  on  which  he  plays 
while  dancing  with  delight.  He  recoils  in  terror  and  bewilderment 
as  the  Goddess,  suddenly  appearing,  dashes  the  pipes  from  his  hand. 
Finally  the  Cow  of  Myron  was  especially  popular.  It  was  boasted 
of  her  that  so  lifelike  was  she  that  she  deceived  both  man  and  beast : 
nay  imposed  even  on  a  living  calf.  But  mightiest  amidst  this 
sculptor  band  was  Phidias.     His  colossal  Statue  of  Zeus  excited 


xxxli  ANCIENT  ART. 

wonder  even  in  Olympia.  It  was  accounted  a  reproach  not  to  have 
seen  it.  His  principal  works  were,  however,  devoted  to  the  adorn- 
ment of  his  native  city  Athens.  The  colossal  figure  of  Athens'  tute- 
lary deity,  the  virgin  goddess  Athena  in  the  Parthenon,  was  from 
the  hand  of  Phidias.  "Wflh  him,  we  may  assume  ,  originated  those 
plastic  decorations  of  her  temple  the  remains  of  which  are  preserved 
in  Athens  and  in  London ;  and  in  all  that  his  friend  Pericles  under- 
took with  a  view  to  enhance  the  beauty  and  glory  of  their  native 
city,  the  creative  genius ,  if  not  always  the  hand  of  Phidias  was 
active.  So  completely  indeed  had  he  subjected  to  his  irr^|^tible 
will  the  resources  of  his  art,  so  far  had  he  distanced  all  competi- 
tors,, whether  in  the  present  or  past,  that  the  force  of  his  genius, 
overstepping  the  narrow  confines  of  Attica,  imposed  its  sway  upon 
successive  generations  of  artists.  Alcamenes  and  his  favourite  Ago- 
racritus  were  his  most  distinguished  and  successful  pupils.  The 
Statue  of  a  Victor  in  the  pentathlon  by  Alcamenes  was,  in  a  simi- 
lar way  to  the  Doryphorus  of  Polycletus ,  distinguished  by  the  title 
of  *Enkrinomenu8',  or  'the  classicaP. 

In  the  history  of  Art,  as  in  the  history  of  Poetry,  there  usually 
succeeds  to  what  "Winckelmann  terms  the  *lofty  style',  which 
delights  rather  in  depicting  the  sublime  and  majestic,  a  reaction  in 
favour  of  a  vein  of  sentiment  more  tender,  more  expressive  of  beauty 
in  her  gentler  and  more  graceful  aspects;  while  at  the  same 
time  freer  and  more  forcible  utterance  is  given  to  joy  and  anguish, 
and  generally  to  the  emotions  and  passions.  Tenderness  and  grace 
were  the  divine  attributes  of  Pbaxitbles  and  the  family  of  whom  he 
was  chief.  At  this  time  when  Athens,  weary  of  conflict  with  the 
Hellenic  confederacy,  longed  for  peace ,  one  of  the  family,  Cephiso- 
dotus  (the  Elder) ,  produced  his  Irene  and  Plutus ,  the  Goddess  of 
Peace  bearing  in  her  arms  the  infantine  god  of  riches,  of  which  there 
is  a  copy  in  the  Glyptothek  in  Munich.  Praxiteles  himself  belongs 
to  a  succeeding  generation.  Above  all  his  Eros  in  Thespia,  his  Satyr 
and  the  Aphrodite  in  Cnidus ,  were  the  wonder  and  delight  of  anti- 
quity. His  sons  Cephisodotua  (the  Younger)  and  Timarchidea  had 
also  considerable  repute.  Scopas  is  usually  regarded  as  the  re- 
presentative of  the  more  pathetic  and  impassioned  expression  in 
Art ;  and  amongst  his  numerous  works  a  Group  of  Sea  Deities  and 
fantastical  Sea  Monsters  is  accopnted  particularly  impressive.  — 
The  Niobe  and  her  Children^  afterwards  carried  to  Rome,  was  at- 
tributed variously  to  Praxiteles  and  Scopas.  Leochares,  another 
contemporary  of  Scopas,  is  believed  to  be  the  author  of  a  group  re- 
presenting Ganymede  borne  to  Olympus  on  the  wings  of  an  eagle. 

It  is  said  that  Alexander  the  Great  would  entrust  the  execu- 
tion of  his  portrait  to  none  other  than  Ltsippus  of  Sycium  in  the  Pe- 
loponnesus :  and  with  the  name  of  Lysippus  is  associated  a  revolution 
in  taste  which  culminated  in  this  period.    The  painter  and  sculptor 
vhranor,  a  contemporary  of  Lysippus,  but  older  than  he,  whose 


ANCIENT  ART.  xxxlll 

especial  delight  it  was  to  celebrate  heroic  exploit  y  had  already 
with  purpose  and  deliberation  modified  the  recognised  rules  of  pro- 
portion. Lysippus  moulded  the  head  smaller,  and  the  figure  rela- 
tively taller  than  had  hitherto  been  the  practice.  In  posing  the 
figures  too,  either  standing  or  in  movement,  as  well  as  in  the  entire 
conception  and  rendering  of  Nature,  he  appears  to  have  developed 
anew  and  with  dazzling  effect  what  hitherto  had  not  been  more 
than  suggested.  His  forms,  though  of  unmistakably  Greek  charac- 
ter, are  more  in  conformity  with  modem  taste  than  those  of  earlier 
artists.  Among  the  best  known  works  of  Lysippus  is  the  Apoxyomentts , 
the  figure  of  a  youth  fresh  from  a  struggle  in  the  PalsBstra,  in  the 
act  of  using  the  scraping  iron.  Gods  and  heroes,  scenes  of  war  and 
the  chase,  furnished  him  with  subjects  for  a  host  of  other  works. 
Among  his  sons  and  pupils  Latppus,  BoedcUf  and  Euthyeratea,  the 
last  is  most  highly  esteemed.  Not  only  those  of  their  generation  but 
posterity  agreed  that  Lysippus  and  the  painter  Apellea  had  reached 
the  highest  attainable  point  in  the  truthful  rendering  of  nature, 
as  well  as  in  the  more  technical  mastery  of  their  art.  The  influence 
of  Lysippus  endured  throughout  and  beyond  the  end  of  the  follow- 
ing century.  His  method  sufficed  for  the  schools  which  succeeded 
him  because  the  new  spirit  in  which  they  worked  had  already 
triumphed  in  Lysippus. 

The  conquests  of  Alexander  and  all  that  followed  in  their  train 
— the  glories  and  treasures  of  the  East  unfolded,  mighty  monarchies 
founded  ,  stately  cities  built,  and  growing  into  centres  of  wealth  and 
luxury,  new  forms  of  worship  consequent  upon  a  more  intelligent 
study  of  nature  —  afforded  conditions  both  material  and  other, 
which  stimulated  afresh  the  arts  of  Architecture  and  Sculpture. 
Henceforward  Greek  art  vied ,  in  the  splendour  of  its  colossal  pro- 
portions, with  that  of  the  East.  The  deeds  of  victorious  monarchs 
were  her  favourite  theme :  she  was  indefatigable  in  the  contrivance 
of  new  forms  of  luxury  and  fresh  splendour  for  city,  mansion,  and 
palace.  Meanwhile,  however,  the  Past  was  losing  its  hold  upon  her. 
The  traditions  of  the  Periclean  age,  which  told  how  art  was  content 
to  serve  the  household  Gods  vrith  simple  piety  and  to  adorn  domestic 
life,  were  but  feebly  remembered.  Places  once  instinct  with  art 
life  were  lost  in  the  new  and  overwhelming  growth  of  cities,  now 
the  emporiums  of  the  world's  commerce :  Alexandria  in  Egypt, 
Antioeh  on  the  Orontes  in  Syria,  Pergamum,  and  Rhodes.  —  As  an 
example  of  what  Greek  art  was  doing  about  this  time  in  Eotpt,  we 
may  mention  the  reclining  figure  ofthei2iver-^0(i  of  the  Nile.  Around 
this  colossal  personage,  so  benignant  in  aspect,  play,  with  true  in- 
fantine grace ,  sixteen  cherub-like  children.  These  are  symbols  of 
the  16  cubits ,  the  measure  of  that  periodical  rise  in  the  Nile's 
waters  which  annually  submerges  the  land  and  endows  Egypt  with 
perennial  fruitfulness.  —  A  pupil  of  Lysippus,  one  Eutyehides,  re- 
presented the  city  of  Antiooh  in  a  group  of  considerable  grace.  The 

Bakdekeb.    Italy  II.    10th  Edition.  c 


xxxiv  ANCIENT  ART. 

tutelary  deity  (Tyehc)  of  the  city  is  seated  on  a  lock.  In  her  right 
hand  she  holds  ears  of  com ,  and  on  her  head  she  wears  a  mural 
crown ;  while  at  her  feet  appears,  in  the  shape  of  a  youth  rising  out 
of  the  earth,  the  riyer-god  Orontes  (the  river  actually  flows  under- 
ground for  some  distance). 

The  sculptors  of  Pbboamum  celebrated  the  yictories  of  their  kings 
over  the  Celts.  The  statue  of  the  Dying  Oaul  (the  so  called  'dying 
gladiator')  in  the  museum  of  the  Capitol,  and  the  Qroup  of  Gauls 
in  the  Villa  Ludovisi  are  most  impressive  examples  of  the  manner 
in  which  they  were  Inspired  by  the  theme.  The  northern  barbarian, 
differing  widely  as  he  did  in  configuration,  costume,  and  habit  from 
the  Greek,  was  a  study  of  engrossing  interest  to  the  sculptor,  and 
was  reproduced  with  physiological  accuracy.  At  the  same  time, 
that  the  fame  of  the  victor  might  be  magnified  to  the  utmost,  the 
sculptor  sought  to  embody  all  that  was  admirable  in  the  character 
of  the  vanquished:  his  ill-trained  but  chivalrous  valour,  his 
inflexible  determination  to  die  rather  than  suffer  disgrace.  So  late 
as  the  4th  century  A.D.  there  was  still  to  be  seen  on  the  Acropolis 
a  votive  offering  of  King  Attains  in  the  shape  of  a  group  with 
numerous  figures  representing  the  struggles  of  the  gods  with  the 
giants,  of  the  Athenians  with  the  Amazons,  of  the  Athenians  with 
the  Persians,  and  Attalus  himself  with  the  Celts.  Quite  recently, 
figures  have  been  recognised  as  belonging  to  these  groups  in  the 
collections  of  Venice,  Rome,  and  Naples.  —  Of  the  Rhodian  School 
we  have  examples  in  the  so-called  Famese  Bull  in  the  museum  of 
Naples,  and  in  the  Laoeoon,  The  date  of  the  Laocoon  has  not  been 
established.  Since  the  days  of  Winckelmann,  who  assigned  it  to 
the  time  of  Alexander,  and  of  Lessing,  who  maintained  that  it 
belonged  rather  to  that  of  Titus,  there  has  been  a  constantly 
recurring  controversy  on  the  subject.  It  is,  however,  highly  im- 
probable that  the  Rhodian  School  retained,  as  late  as  the  reign  of 
Titus,  the  vitality  necessary  for  the  production  of  so  considerable 
a  work. 

From  the  preceding  pages  it  will  be  gathered  how  many  crises 
and  how  varied  a  development  had  been  experienced  by  Greek  art 
down  to  the  time  when  Bome  herself  came  to  be  included  within 
the  charmed  circle  of  Greek  culture.  Transplanted  to  strange  lands, 
and  subjected  to  new  influences  and  associations,  Greek  art  ex- 
changed its  distinctive  Greek  character  for  one  universal  and  cos- 
mopolitan. Rome  had  not  been,  it  may  be  remarked,  without  an  art 
she  could  call  her  own.  The  old  City-  Walla  raised  in  the  time  of 
the  Kings,  the  Career  Mamertinua ,  and  the  Cloaca  Maxima  prove 
that  the  Romans  could  in  times  comparatively  remote  carry  out 
architectural  works  on  a  grand  scale,  although  principally  for  utili- 
tarian purposes.  The  rudiments  of  Sculpture  they  probably  acquired 
'>m  Etruscan  artists ,  whose  earliest  attempts  would  be  the  exe- 

'on   of  images    of   the   gods  in  wood  and  clay.     In  EtruriOf 


ANCIENT  AET.  xxxv 

where  Greek  influenoe  had  long  been  actlye,  cousideiahle  profloienoy 
as  well  as  actiyity  preyailed  in  the  pursuit  of  ait.  although  but 
scanty  traces  of  the  purity  and  elevation  of  Greek  taste  are  dis- 
cernible. In  Borne,  however,  the  Greeks  of  Southern  Italy  grafted 
their  art  on  that  of  the  Etruscans.  A  bronze  toilet  casket  (the  bo 
called  FicororUan  Cistd)  found  in  Palestrina,  which  was  executed  in 
the  workshop  of  Novius  Plautius  in  the  3rd  century  B.C. ,  exhibits 
in  its  tracery  a  purity  of  design  unmistakably  Greek,  although 
differing  little  in  shape  and  plastic  accessories  from  the  very  ordin- 
ary and  often  rude  vessels  of  the  period.  The  Romans  highly  esteem- 
ed faithful  rortraits.  Likenesses  of  ancestors  were  preserved  in  wax 
masks,  and  displayed  on  occasions  of  ceremony.  The  plastic  art  of 
the  Etruscans  gives  evidence  of  a  certain  grasp  of  portraiture,  which, 
though  not  profound,  was  still  effective.  As  Roman  rule  extended 
itself  over  Southern  Italy  and  Sicily ,  and  later  to  Greece  and  the 
Asiatic  continent,  a  constantly  increasing  number  of  works  by  Greek 
artists  found  their  way  to  Rome,  for  the  most  part,  probably,  as  spoil 
of  war.  Presently,  too,  the  wealthy  patrician,  following  the  bent  of 
his  individual  taste  or  the  prevailing  fashion,  gave  commissions  for 
works  to  be  executed  in  Greece,  or  in  Rome  itself,  to  which  ne- 
cessity had  brought  many  artists.  Rome  thus  became  the  recognised 
centre  of  a  taste  and  fashion  which  she  could  call  her  own.  Both 
stood  in  close  relation,  not  only  in  point  of  time,  but  in  a  community 
of  idea  and  aspiration ,  to  the  art  of  a  period  immediately  following 
the  reign  of  Alexander.  There  is  no  doubt,  however,  that  a  vast 
number  of  works  are  accepted  as  specifically  Roman  only  because  all 
traces  of  the  Greek  models  have  been  lost.  From  these,  it  may  be 
taken  for  granted,  the  artists  of  Imperial  Rome  derived  the  designs 
or  at  least  the  suggestion  of  works  of  utility,  as  well  as  of  buildings 
devoted  to  mere  display,  such  as  temples,  palaces,  triumphal 
arches,  and  tombs. 

The  student  familiar  with  the  three  orders  of  Abchitbotube,  viz. 
the  Doric,  Ionic,  and  Corinthian,  as  they  are  to  be  seen  in  Athens, 
and  comparing  these  examples  with  their  reproductions  in  Rome, 
will  have  little  difficulty  in  detecting  a  divergence  which  cannot 
be  explained  by  differences  either  in  forms  of  worship  or  in  the 
general  scope  of  the  design  (a  conspicuous  basement  with  flights  of 
steps  in  front).  The  delicate  modelling  of  the  best  period  of  Greek 
art  was  in  Roman  hands  either  simplified,  and  so  denuded  of  its  true 
artistic  significance  —  looking  in  short  like  the  work  of  the  handi- 
craftsman—  or  so  overloaded  as  to  become  hopelessly  confused. 
Even  in  their  most  admirable  buildings  a  mere  profusion  of  super- 
ficial decoration  is  substituted  for  that  perfect  harmony  pervading 
and  animating  the  Greek  structure ,  whether  as  a  whole  or  in  its 
minutest  detail,  which  we  find  in  the  Parthenon  for  example.  The 
Doric  and  Jonie  orders  found  comparatively  little  favour  with  the 
Romans ,  and  where  they  appear ,  it  is  rather  in  the  form  of  mura^ 


xxxvi  ANCIENT  ART. 

columns  than  entire  shafts.  Tlie  exquisite  taper  of  the  shaft  was 
thus  sacrificed,  the  capitals  were  not  happily  disposed,  and  the 
Doric  column  instead  of  springing,  as  with  the  Greeks,  direct  from 
the  flooring  received  a  separate  base.  The  faTourite  style  was  the 
more  ornate  Corinthian ;  and  the  Romans  thought  yet  to  add  to  the 
wealth  of  ornament  by  superimposing  upon  the  capital  already 
veiled  with  the  graceful  form  of  the  acanthus  leaf,  the  volute  and 
abacus  of  the  Ionic  capital.  The  entablature  of  the  earlier  orders 
is  easily  distinguished.  In  the  Doric  the  architrave  rests  on  the 
column  and  is  unarticulated,  while  the  frieze  above  the  architrave 
receives  the  triglyphs  at  short,  regular  intervals.  The  Ionic  archi- 
trave on  the  other  hand  is  divided  into  three  horizontal  courses, 
the  frieze  being  without  triglyphs.  The  Corinthian  entablature  re- 
sembles the  Ionic ,  but  the  cornice  is  more  richly  articulated ,  cor- 
bels are  substituted  for  the  indentations ,  and  the  whole  is  richly 
wreathed  with  acanthus  leaves  and  other  ornamentation. 

The  noblest,  happily  also  the  best-preserved  building  of  old  Rome 
is  unquestionably  the  Pantheon  of  Agrippa,  built  in  the  time  of  Au- 
gustus. In  spite  of  much  disfigurement  received  in  later  times,  this 
vast  edifice,  comprised  in  its  interior  within  the  precincts  of  one 
majestic  circle,  and  obtaining  the  light  of  heaven  from  the  centre 
of  its  wondrous  dome ,  continues  to  impress  the  beholder  with  un- 
failing, overwhelming  effect.  Therefore  it  is  that  the  Pantheon,  hav- 
ing survived  the  period  of  art's  extinction  and  revival,  better  re- 
presents the  solidity,  the  daring,  and  the  splendour  of  Roman  archi- 
tecture than  the  stupendous  remains  of  palace ,  bath,  and  circus. 
An  important  innovation  which  Plastio  Abt  experiences  in  the 
latter  days  of  the  Roman  republic  remains  to  be  mentioned.  The 
introduction  of  Eclecticism  may  be  attributed  toPASiTBLES,  a  native 
of  Southern  Italy.  It  would  appear  that  he  had  striven,  by  way  of 
protest  against  the  unrest  and  violence  apparent  in  the  works  of 
his  predecessors  of  the  Rhodlan  School ,  to  restore  to  art  something 
of  her  primitive  simplicity,  and  to  combine  the  excellences  of  the 
older  schools  while  he  avoided  their  errors.  His  aim  was  to  revert 
to  the  stem  simplicity  and  thoroughness  of  the  earliest  sculptors. 
At  the  same  time  he  studied  nature  independently  and  carefully ; 
while  he  was  not  neglectful  of  the  minor  graces  of  his  art.  Ste- 
phanus  was  his  pupil,  whose  pupil  again  was  Menelaus,  from 
whose  chisel  we  have  a  group  now  in  the  Villa  Ludovisi,  com- 
monly known  as  Electra  and  Orestes,  Though  the  real  intention 
of  the  author  will  probably  never  be  known ,  this  work  serves  to 
teach  us  how  earnest  was  the  endeavour,  and  how  happy  the  result  of 
art-study  in  the  school  of  Pasiteles.  It  is  not,  however,  given  to  eclectic 
schools  to  exercise  a  powerful  or  enduring  infiuence.  Accordingly 
-  find  a  comparatively  small  number  of  works  belonging  to  the 
1.  of  Pasiteles. 
it  school  of  art,  too,  which  was  especially  encouraged  by  the 


ANCIENT  ART.  xxxtH 

Emperor  Hadhtaw,  adopting  as  it  did  not  only  Greek  but  aUo  Egyp- 
tian models,  was  eolectio  in  the  most  extended  sense  of  the  word. 
Amongst  its  better  known  works  is  the  figure  of  Hadrian's  favourite 
AntmoiUy  in  which  with  undoubted  beauty  of  form  is  combined  a 
somewhat  lugubrious  solemnity  together  with  a  smooth  glossy  and 
superficial  elegance  little  to  the  taste  of  the  modem  connoisseur. 
Far  more  attractive  are  the  basreliefs  on  various  public  monuments 
—  such  as  the  Arch  of  Tittu  and  Trajan's  Column  —  celebrating 
the  triumphs  of  Roman  arms.  With  Greek  artists  a  characteristic 
mode  of  representing  in  relief  the  triumphs,  actual  or  mythical, 
of  their  heroes  was  to  express  battle  by  means  of  isolated  groups 
of  single  combatants.  And  not  only  are  the  more  stirring  incidents 
of  the  battle  thus  signalised.  Appeal  is  made  to  the  gentler  emo- 
tions :  a  dying  warrior  is  carried  off  the  field ;  or  the  victor  spares 
the  life  of  a  prostrate  adversary.  For  plastic  purposes  this  was 
found  to  be  the  most  effective  mode  of  representation,  serving  as 
it  does  to  awaken  the  interest  and  rivet  the  attention  of  beholders . 
The  Assyrians  had ,  however ,  already  executed  reliefs  in  which 
the  effect  of  pitched  battle  was  rendered  with  more  literal  accuracy ; 
and  that  the  Greeks,  too,  could  on  occasion  meet  the  requirements 
of  this  more  arbitrary  taste,  we  learn  from  the  friezes  of  the  so- 
called  Nereid  monument  discovered  in  Lyoia,  where  the  con- 
tending hosts  dose  with  each  other  in  elaborate  order  of  battle. 
The  painter,  favoured  by  conditions  more  submissive  to  his  will,  had 
already  grouped  the  combatants  in  larger  and  denser  masses.  How 
admirably  they  contrived  along  with  the  crowd  and  confusion  of 
battle,  to  give  effect  to  traits  of  individual  heroism  and  to  give  to 
single  and  central  figures  their  appropriate  expression ,  is  exem- 
plified in  the  celebrated  mosaic  to  be  seen  in  Naples  of  the  Battle 
of  Alexander^  which,  there  is  no  doubt,  was  copied  from  a  painting  of 
the  period.  It  may  be  premised  therefore  that  this  condensed  and 
elaborated  treatment  in  relief  —  obviously  akin  to  painting  —  in 
which  the  marches,  battles,  and  triumphs,  the  operations  of  Roman 
armies  and  their  imperial  chiefs,  were  set  forth  with  the  utmost 
attainable  accuracy,  with  all  detail  of  equipment  and  armament  of 
camp  and  battle-field,  was  not  the  newly  gathered  fruit  of  Roman  in- 
ventiveness ,  but  must  rather  be  ascribed  to  the  age  of  Alexander 
and  his  successors.  And  the  same  may  be  assumed  of  the  archi- 
tectuial  form  of  these  monuments.  In  PorUraiU,  too,  whether  of  full 
length  or  only  busts,  of  emperors  and  empresses,  warriors  and  states- 
men, as  of  persons  of  less  exalted  position,  there  were  not  wanting 
impressive  examples  in  Greek  art;  and  here  again  Roman  taste 
coincides  with  that  of  the  Diadochan  age.  It  may  be  conceded, 
however,  that  owing  to  the  interest  long  taken  in  portraiture  by  the 
Romans  and  to  the  attention  which  this  branch  of  art  had  so  long 
received  in  Rome  and  Etruria,  it  had  acquired  a  more  distinctly 
Roman  and  Italian  character ,  and   so  had  a  peroeptiblo  influence 


xxxvttl  ANCIENT  ART. 

on  Greek  artiste  Tesident  in  Rome.  Tims  is  it  that  portraits  of  the 
Emperors  exhibit  a  degree  of  power  in  execntion  and  expression 
pcarcely  to  be  looked  for  at  so  late  a  period.  Not  nnfreqnently  the 
Emperors  were  represented  in  the  costume  proper  to  religions  cere- 
monies ;  or  in  fashion  like  to  the  gods  themselves,  and  invested  with 
their  attribntes.  Most  commonly,  however,  they  appear  in  the 
costume  and  character  of  a  general  in  the  act  of  haranguing  his 
cohorts.  "We  have  striking  examples  of  these  imperial  portraits  in 
the  equestrian  statue  in  bronze  of  Marcus  Aurelius  on  the  Capitol, 
and  in  the  marble  statue  of  Augustus  in  the  Vatican.  This  latter 
gives  unmistakable  evidence  of  having  been  painted.  From  the 
reliefs  on  the  richly  ornamented  armour  which  set  forth  with  due 
regard  to  historical  accuracy  the  more  conspicuous  and  familiar  in- 
cidents of  a  reign  especially  favoured  by  the  gods,  we  are  justified 
in  the  conclusion  that  this  figure  was  executed  about  the  year  17 
B.C.  In  his  treatment  of  the  female  figure,  too,  whether  seated  or 
standing,  the  sculptor  knew  how  to  impart  a  distinguished  and 
imposing  view  by  a  sumptuous  arrangement  of  the  drapery.  There  is 
a  peculiar  gratification  in  finding,  after  a  careful  study  of  these 
portraits  —  many  of  them  of  personages  famous  in  history —  an  exterior 
so  closely  corresponding  to  the  picture  of  the  historian.  Many  of  the 
heads,  indeed,  which  thus  impress  thebeholder  have  not  been  identi- 
fied. In  portraiture,  the  Greek  sculptor  adopted  the  Hermean  form, 
while  the  work  of  the  Roman  is  recognised  almost  infallibly  in  the  6tMt 
form.  The  latter  largely  preponderate,  although  amongst  the  collective 
works  of  sculpture  preserved,  the  Greek  element  is  considerably  in 
excess  of  the  Roman.  An  attentive  observer  will  not  fail  to  mark 
this  distinction,  and  learn  also  to  detect  the  handiwork  of  the 
modern  restorer  which  too  often  disfigures  these  antique  marbles. 

The  same  tendency  which  led  the  wealthy  citizens  of  Rome  to 
adopt  the  literature  and  culture  of  Greece  was  observable  in  the  taste 
displayed  in  the  works  of  art  they  chose  for  the  decoration  of  their 
palaces  and  villas,  whether  executed  in  Rome  itself  or  in  Greece. 
In  other  respects  they  appear  to  have  been  attracted  by  the  same 
objects  of  interest  as  English  collectors  of  the  present  day.  Antique 
art  taken  as  a  whole  would  probably  fail  to  interest  the  average 
man  of  rank,  unless  it  were  associated  with  some  historical  inci- 
dent ,  some  names  of  renown,  or  some  startling  anecdote.  But  of 
such  works  as  the  figures  of  the  Three  Graces  in  bas-relief  (though 
rigid  in  execution)  which  the  ciceroni  of  the  Acropolis  shew  as  the 
work  of  Socrates ,  and  the  group  of  Harmodius  and  Aristogitortj  the 
Tyrant  slayers,  in  the  market  place  of  Athens,  of  archaic  antiquity, 
which  had  been  carried  off  by  Xerxes  and  restored  to  its  wonted  place 
by  Alexander :  —  of  works  such  as  these  copies  at  least  would  be  in 
request.  The  powerful  development  displayed  in  the  figures  of  Po- 
''cletus,  and  the  action  expressed  in  those  of  Myron,  appear  to  have 
ssessed  greater  attractions  for  the  Romans  than  the  works  of  Phi- 


ANCIENT  ART.  xxxlx 

dias.  Numbers  of  statnes  belonging  to  the  Periclean  age  have  come 
to  light  in  Rome,  replicas  for  the  most  part  of  Vietort  in  the  Oames 
and  of  Anuuons.  Figures  of  the  Oodsj  with  few  exceptions,  belong 
to  a  later  period.  The  most  numerous,  and  also  very  charming,  were 
the  graceful  forms  of  more  recent  Attic  art,  represented  by  Praxiteles 
and  his  compeers ;  also  the  elegant  and  animated  creations  of  the 
Lysippian  and  post-Lysippian  schools.  It  is  hardly  conceivable  that 
in  the  museums  of  Rome,  filled  as  they  are  with  works  of  sculpture 
collected  on  the  spot,  no  original  works  are  to  be  found.  Assuredly 
there  has  been  a  time  when  they  have  not  been  wanting  in  Rome : 
and  it  seems  Improbable  that  one  and  all  should  have  been  lost 
in  the  devastation  which  has  more  than  once  made  wreck  of  the 
Eternal  City.  Certain  it  is ,  however ,  that  the  greater  part  of  what 
we  now  see  are  either  replicas  or  copies.  This  fact  is  determined 
by  the  material.  The  great  statues  of  Phidias  and  Praxiteles  set 
apart  for  the  temples  were  of  gold  and  ivory,  while  Polycletus  and 
Lysippus  worked  in  bronze.  In  Attica,  too,  this  costly  material  was 
preferred  by  the  earlier  sculptors.  It  was  only  by  degrees  that 
marble  came  into  use  for  groups  as  well  as  single  figures.  The 
^Discus  thrower'  of  Myron,  as  well  as  the  groups  of  Marsyas 
and  Athena  were  originally  in  bronze.  In  the  Palazzo  Massimi 
alle  Colonne  there  is  to  be  seen  a  striking  figure  readily  recogni- 
sed as  that  of  Myron's  ^Discus  thrower',  but  it  is  in  marble*  In 
like  manner  the  Marsyas  in  the  Lateran  is  of  marble,  and  so  also  is 
the  Apoxyomenus  in  the  Vatican  museum.  Just  as  we  modems 
delight  in  the  copy  or  engraving  of  some  celebrated  picture,  the 
amateur  of  old  gave  his  commission  for  the  copy  of  some  favourite 
statue,  to  be  executed  in  bronze,  or,  more  frequently,  in  marble. 
At  any  rate  comparatively  few  works  in  bronze ,  of  importance  in 
point  of  size,  are  preserved.  It  was  not  enough  to  have  simply 
repeated  the  celebrities  of  sculpture.  The  artists  of  the  so-calle  d 
New  Attic  School,  which  flourished  in  the  last  century  B.  C,  we  find 
reproducing  the  works  of  their  predecessors  very  effectively  with 
such  departures  from  the  original  as  are  to  be  seen  in  a  more  arti- 
ficial and  highly  wrought  arrangement  of  drapery,  a  more  decorative 
rendering  of  the  detail  generally,  and  an  attempt  to  impart  increased 
animation  to  the  figure  as  a  whole.  Such  piracies,  when  tolerably 
successful ,  became  in  their  turn  models  for  numerous  imitations. 
The  results  of  this  process  are  exactly  what  the  connoisseur  will 
be  prepared  to  find ,  and  such  as  present  themselves  in  the  oollec- 
.  tions  of  antique  art  in  Rome.  He  must  not  expect  to  find  himself  in 
the  presence  of  the  simplicity  and  directness  as  well  as  grandeur  of 
aim  characteristic  of  Greek  art  in  her  loftiest  moods :  but  rather  of 
her  attenuation  in  the  shape  of  imitations  and  adaptations ,  the 
growth  of  the  Imperial  age.  Antique  art,  however,  exhibits  through- 
out its  career  an  astonishing  vitality  and  continuity.  The  spirit  of 
the  Qreek  is  mighty  even  in  expiring:  and  nowhere  can  the  cours- 


xl  ANCIENT  ART. 

of  her  marvelloas  development  be  stadiedwith  tlie  eame  complete- 
ness as  in  Rome. 

Monumental  woiks,  inconspicuous  and  unfamiliai  as  they  so  of- 
ten are,  appeal  less  powerfully  to  the  imagination  than  statuary, 
where  dazzling  beauty  enthrals  the  senses.  These  monuments, 
however ,  will  have  a  charm  of  their  own  for  the  discriminating 
observer.  In  the  Egyptian  department  of  the  Vatican  he  can  con- 
template the  relics  of  a  primsval  antiquity,  while  in  the  Gregorian 
Museum  he  is  reminded  of  the  mysterious  Etruscans.  It  will  be 
interesting  to  compare  the  attitude  and  proportions  of  Eoyftian 
with  GraBco-Roman  figures ,  and  to  discover  in  the  Sphinxes  of  the 
Villa  Albani,  in  the  Lions  by  the  approach  to  the  Capitol,  as  well 
as  in  the  numerous  obelisks ,  to  be  seen  in  the  piazzas  of  Rome, 
evidence  of  the  mastery  acquired  by  the  Egyptian  in  Art.  And  their 
works  were  in  the  Roman's  eye  fitting  objects  where  with  to  celebrate 
his  triumphs,  and  adorn  the  capital  of  an  empire  including  within 
its  far  reaching  bounds  people  of  almost  every  race  and  climate. 

In  the  Gregorian  Museum  the  portrait  busts  in  terracotta  by  the 
Etruscans  exhibit  a  mode  of  expressing  individuality  peculiar  to 
themselves ;  the  bronze  vessels  display  that  skill  in  the  working  of 
metals  for  which  they  had  long  been  famous;  while  the  large  copies 
of  mural  paintings  which  adorned  the  tombs  bring  to  light  the  method 
of  painting  as  practised  by  the  Etruscan  as  well  as ,  in  the  choice 
of  subject,  their  preference  for  scenes  of  sensualism  and  bloodshed. 

Here,  too,  is  to  be  seen  a  collection  of  PaintbdGbbbk  Vases  ex- 
ceedingly rich  and  beautiful,  discove  ed,  it  is  true,  in  Etruria,  but, 
as  is  evident  from  the  subjects  represented,  from  the  drawing,  but 
chiefly  from  the  inscriptions,  imported  from  Greece  —  the  greater 
part  indeed  from  Athens.  It  is  not  difficult  to  distinguish  those  speci- 
mens, which,  though  borrowed  from  the  Greeks,  were  of  Etruscan 
manufacture.  They  are  inferior  in  taste  and  execution,  as  well  as 
in  design  and  modelling,  and  are  not  to  be  mistaken  for  the  work 
of  artists.  But  the  Greek  vases  themselves  vary  in  character ;  those 
for  instance  having  the  black  figures  on  a  red  ground  being  of  earlier 
date  than  those  showing  the  reverse  arrangement  of  these  colours. 
Nevertheless  the  painters  of  these  vases,  mere  handicraftsmen  as  we 
must  suppose  them  to  have  been,  could  render  mythological  subjects, 
and  scenes  of  everyday  life,  with  a  vivacity  and  poetry  of  conception  ; 
they  knew  so  well  how  to  draw ,  and ,  with  means  and  resources 
necessarily  very  limited,  were  so  far  masters  of  expression,  that — 
despised  though  they  may  be  by  the  superficial  and  ignorant — they- 
bear  not  only  remarkable  testimony  to  the  quality  of  workmanship 
then  prevailing  in  Attica,  but  afford  a  glimpse  at  the  art  of  their  day 
in  Athens  as  seen  through  the  eyes  of  these  unpretending  artificers. 

Finally  there  remain  to  be  noticed  the  Sarcophagi,  which,  vari- 

'^usly  ornamented  with  reliefs,  are  to  be  seen  in  museum,  in  villa, 

id  in  palace  court.  The  only  specimen  preserved  to  us  from  the  old 


ANCIENT  ART.  xU 

Roman  time  is  the  Sarcophagiis  of  L.  OomeliDj  Soipio  Baibatus  in 
the  Museum  of  the  Vatican.  It  lesemblos  an  altar  both  in  shape  and 
style  of  omamentation^  and  is  almost  the  oounteipart  of  one  still 
standing  in  Pompeii.  It  is  only  consistent  with  the  then  prevailing 
religious  rites  that  sepulohial  monuments  should  have  been  thus 
architectural  in  character.  In  Greece  itself  this  was  conspicuously 
the  case:  all  sarcophagi  which  have  been  discovered  within  the  con* 
fines  of  Qeece  proper  showing  a  distinctly  architectural  treatment. 
The  Roman  sarcophagi  combine  much  that  is  essentially  Greek  with 
adaptations  from  the  funeral  urns  of  Etruria.  They  give  signs,  how- 
ever, of  an  independent  development,  and  although  including  a  di- 
versity of  shapes  and  decoration ,  have  for  the  most  part  their  bas- 
reliefs  arranged  on  the  front  and  sides  (and,  where  extraordinary  rich- 
ness of  effect  was  desiderated,  on  the  back  also)  as  a  frieze  or  band. 
One  naturally  endeavours  to  trace  in  the  decoration  bestowed  on 
these  repositories  of  the  dead,  some  indication  of  their  purpose.  In 
many  instances,  however,  it  is  evident,  that  appropriateness  of  design, 
if  originally  acknowledged  as  indispensable,  was  presently  lost  in  a 
promiscuously  lavish  decoration.  Ceitainly  there  is  no  obscurity  in 
such  allusions  to  the  goal  of  life  as  we  discover  in  Cupids  rovring  te 
the  lighthouse  tower,  or  when  we  see  them  careering  round  the  goal  in 
the  circus.  In  such  symbolical  figures  as  those  of  the  seasons  we  are 
taught  to  reflect  on  the  inevitable  course  of  creation,  existence,  and 
decay  succeeding  to  maturity.  AsHylas  is  borne  away  by  the  Nymphs, 
and  Ganymede  by  the  eagle,  so  we  may  fancy  the  soul  begrudged 
from  its  earthly  existence.  Hippolytus  may  serve  to  recal  the  virtues 
of  such  as  came  to  an  untimely  end,  Niobe,  the  grief  of  the  survivors ; 
sleeping  Cupids  may  symbolise  sleep  favoured  by  the  Gods,  while 
Ariadne  discovered  by  Dionysus,  Endymion  visited  by  Selene 
present  death  itself  as  but  sleep  in  unfamiliar  guise.  On  the 
other  hand  scenes  of  Bacchanalian  revelry  can  hardly  be  accepted  as 
allusions  to  the  future  state ;  and  even  in  a  less  degree  are  Nereids 
and  Medeahs ,  and  more  of  the  like,  in  bas-relief,  capable  of  such 
interpretation :  and  rarely,  too,  does  any  reference  of  a  distinctly  per- 
sonal character  go  beyond  a  mere  vague  allusion  to  life  and  death. 
It  is  tolerably  certain  that  these  sarcophagi  were  made  in  large 
numbers,  in  advance  of  immediate  requirements.  A  somewhat  extra- 
ordinary expedient  for  introducing  a  reference  to  particular  indi- 
viduals, was  that  of  bestowing  the  lineaments  of  the  departed  upon 
such  heroes  of  mythology  as  were  made  to  figure  in  these  reliefs. 
Thus  it  is  we  find  portraits  of  the  deceased  in  such  mythical  per- 
sonages as  Admetus  andAlcestis,  in  Hippolytus,  and,  what  is  more 
remarkable,  in  Phaedra  herself.  In  a  considerable  number  of  oases 
these  reliefs  are  almost  identical,  and  are  evidently  made  after  one 
model,  with  such  modifications  as  might  be  effected  by  the  intro- 
duction or  omission  of  single  figures  or  groups,  showing  nevertheless 
more  or  less  of  artistic  intelligence  and  resource.     They  form  a 


xlii  ANCIENT  AKT. 

gionp  displaying  the  established  forms  and  traditional  models, 
which  in  respect  of  means  of  expression  and  motiTe  are  the 
worthy  inheritance  of  Greek  art  at  its  best.  Yet  these  sarcophagi, 
regarded  eTen  as  Roman  works,  are  by  no  means  of  early  origin.  It 
must  not,  however,  be  forgotten  in  estimating  the  quality  of  work 
bestowed  upon  the  sarcophagns,  that  it  was  not  intended  to  be 
closely  inspected  by  the  light  of  day,  bat  would  be  consigned  to  the 
twilight  of  the  tomb,  where  a  stray  gleam  of  light  might  but  for 
a  moment  reveal  its  detail.  Hence,  in  the  execution  of  these  reliefs 
the  object  was  to  give  prominence  to  leading  features,  without  an 
overscrupulous  nicety  of  finish,  and  this  end  has  been  attained 
with  a  success  worthy  of  all  admiration.  It  has  been  ascertained 
beyond  doubt,  that  the  introduction  of  the  sarcophagus  as  described 
above  was  coeval  with  a  mode  of  burial  which  became  the  fashion 
in  Imperial  times ;  otherwise  the  artistic  merits  of  these  monuments 
might  well  have  misled  us  in  computing  their  age.  The  great 
majority  of  Roman  sarcophagi  belong  to  the  2nd  and  3rd  centuries 
after  Christ,  and  to  an  even  later  period. 

The  Early  Christian  Sarcophagi  simply  repeat  and  perpetuate 
preceding  pagan  models.  It  is  a  peculiar  coincidence  that  these  in- 
conspicuous memorials  should  have  contributed  to  the  revival  of  art 
in  the  middle  ages.  Niccold  Pisano  found  a  fertile  source  of  inspi- 
ration in  the  Roman  sarcophagi  of  the  Campo  Santo  in  Pisa ;  nor 
did  Peruzzi  and  Raphael  disdain  to  use  them  as  models. 

With  this  passing  glance  at  the  homage  thus  done  by  Raphael  and 
his  compeers  to  the  art  of  antiquity,  these  pages  may  fitly  conclude. 
The  endeavour  has  not  been  to  fetter  the  judgment  of  the  reader, 
but  rather  so  to  direct  his  observation  and  stimulate  his  interest  as 
to  give  him  that  self-reliance  which  alone  will  arouse  in  him  an 
intelligent  interest,  and  afford  him  a  genuine  pleasure  in  what 
he  sees.  To  praise  the  creations  of  great  artists  in  empty  or  mere 
conventional  phrase  would  simply  offend.  They  alone  will  exper- 
ience the  full  measure  of  delight  to  be  derived  from  the  contem- 
plation of  these  treasures ,  who  rely  upon  their  own  judgment  and 
cultivate  to  the  utmost  the  delicacy  of  their  perceptions. 


Boman  Art, 

HEDIiBVAL  AND   MODERN, 

by 
Prof.  AatoA  Spriacer. 

Rome  as  Mistress  of  the  world  became  the  centre  of  contempora- 
neous cnltnre.  Art  had  found  with  her  a  new  term :  and  Greece  as 
fitting  tribnte  to  the  conqueror  laid  at  her  feet  the  accomnlated 
wealth  of  ages  —  the  treasures  of  her  art,  which  long  had  embodied 
the  loftiest  conception  of  the  beautiful. 

Her  supremacy  secured,  Rome  became  the  chief  resort  of  artists, 
and  their  liberal  patron.  She  dictated  the  tone,  alike  in  taste  and 
fashion ,  and  determined  the  destinies  of  art.  Down  to  medisBval 
times  Rome  continued  to  receiye  the  proud  title  of  'Caput  mundi'. 
Presently,  however,  she  laid  claim  to  supremacy  in  another  realm 
than  that  of  art;  and  this  latter,  as  the  ancient  traditions 
were  gradually  outlived,  Anally  fell  into  neglect.  In  more  recent, 
as  in  former  times  Rome  has  failed  to  create  for  herself,  as  the  out- 
come of  her  individuality,  an  art  peculiar  to  and  a  part  of  herself. 
Her  destiny  seems  to  have  been  to  gather  from  external  sources 
the  wealth  in  which  she  revelled,  with  the  difference  that  while 
ancient  Rome  furnished  nothing  beyond  a  magnificent  arena  for 
the  art  of  her  day,  in  later  times  the  artist  found  in  Rome  herself 
his  sources  of  inspiration ,  compelled  as  he  was  to  contemplate 
perfection  reflected  in  the  dazzling  mirror  of  antique  art.  Ten 
centuries,  however,  elapsed  ere  Rome  resumed  this  proud  pre- 
eminence. A  glance  may  now  be  directed  to  the  interval  between 
the  fall  of  old  Rome  and  the  period  when ,  animated  with  a  new 
life,  Rome  drew  to  herself  the  foremost  representatives  of  the 
Renaissance ,  to  whom  she  afforded  inspiration  for  their  grandest 
efforts.  It  is  not,  however,  the  16th  century ,  not  the  glories  of 
the  Renaissance,  that  give  to  the  Rome  of  our  day  her  distinctive 
character,  but  rather  the  new  and  imposing  exterior  which  she  re- 
ceived at  the  hand  of  her  architects  in  the  17th  century.  The  mind 
must  be  disenchanted  before  the  veil  can  be  penetrated  and  the 
Rome  of  antiquity  adequately  comprehended. 

The  protracted  suspension  of  all  activity  in  art  makes  it  appa- 
rent that  Roman  art  has  a  history  distinct  flrom  Italian  art.     Fc 


%Ut  ROMAN  ART. 

jM;ver«l  centuries  the  towns  of  Tuscany  weie  tlie  principal  abodes  of 
*  HAtnral  art  life.  But  Jast  as  in  Rome  Italian  art  achieved  its 
moit  signal  triumphs  in  the  persons  of  Raphael  and  Michael  Angelo 
and  the  masters  of  that  period :  so  in  Roman  gronnd  we  find  that  Chris- 
tian art  first  took  root  and  attained  to  its  most  important  dimen- 
sions. In  Rome  then  we  And  the  strongest  inducements  as  well  as 
the  richest  opportunity  for  the  study  of  Early  ChriBtian  Art. 

In  the4th  century  heathendom,  long  tottering  to  its  fall,  was,  in 
appearance  at  least,  absorbed  in  the  younger  Christian  world.  A  new 
era  in  art  is  inaugurated.  Not  that  we  are  to  assume  the  simulta- 
neous extinction  of  the  pagan  art  of  ancient  Rome ,  nor  that  it  was 
at  once  superseded  by  an  altogether  new  style  provided  as  it  were 
for  the  emergency.  The  eye  and  hand  are  to  a  greater  extent  crea- 
tures of  habit  than  the  mind.  New  views  and  altered  conceptions 
of  the  Supreme  Being  as  well  as  of  the  destiny  of  man  found 
acceptance.  But  to  embody  them  the  artist  had  to  resort  to  the  old 
established  forms.  Then  heathen  rules  were  by  no  means  uni- 
formly hostile  to  Christianity  (the  period  of  bitterest  persecution 
began  with  the  3rd  century  A.  D.);  and  that  the  new  doctrine 
should  have  expanded  and  talien  root,  should  have  been  permitted 
to  organise  itself  in  the  very  midst  of  heathen  society ,  is  evidence 
that  it  was  received  even  with  favour. 

As  a  consequence  of  these  conditions  it  will  be  observed  that 
the  art  of  the  early  Christians  presents  no  remarkable  con- 
trast to  that  which  precedes  it,  and  that  they  were  content  to  adopt 
and  perpetuate  the  traditions  of  the  antique.  The  Roman  Cata- 
combs afford  abundant  proof  of  this.  Encircling  the  city  as  with 
a  subterranean  trench,  they  were  originally  far  from  being  what 
they  subsequently  became  —  secret,  carefully  concealed  places  of 
refuge  for  the  early  Christians ;  but  rather  their  regularly  ordained 
and  publicly  accessible  places  of  burial  (e.g.  the  Catacomb  of  Nico- 
medus  and  that  of  Flavia  DomitUla'),  and  were  flrst  designedly  con- 
signed to  darkness  and  concealment  during  the  3rd  century,  a  period 
of  constantly  recurring  persecution.  The  Christian  community, 
reared  as  it  was  in  the  midst  of  Roman  paganism,  probably  did 
not  dream  of  subverting  the  principles  of  antique  art.  In  the  adorn- 
ment of  the  Catacombs  they  retain  the  types  transmitted  to  them ; 
so  also  in  the  particulars  of  drawing  and  colour  the  precedent  of 
the  Antique  is  closely  followed.  Christ  represented  as  the  Good 
Shepherd,  Orpheus  as  the  symbol  of  Christ,  and  evidences  of  the  long 
standing  repugnance  to  any  rendering  of  the  Passion-history,  afford 
proofs  of  the  readiness  to  accept  the  art  heritage  of  their  precursors. 
The  older  these  catacomb  paintings  are  the  more  closely  they  ap- 
proximate to  the  types  of  antiquity.  Even  the  Sa£Copha.ous 
Sculpture  of  the  4th  and  5th  centuries  differs  in  purpose  only,  not  in 
^/hnical  rendering  of  form,  from  the  typical  reliefs  found  on  pagan, 
bs.     It  was  only  in  the  latter  half  of  the  6th  century  that  a 


ROItfAN  ART.  xlv 

new  style  declared  itself  In  painting  vMch  like  other  branches  of 
plastic  art  had  more  or  less  fallen  into  a  state  of  decay  meanwhile. 
Architecture  adapted  itself  to  the  exigencies  of  Christian  worship, 
and  in  allying  itself  to  the  new  architectural  forms,  painting 
acquires  a  new  character. 

The  term  Basilica  is  understood  to  apply  to  Christian  temples 
np  to  the  iOth  century.  The  subsequent  belief  that  a  more  inti- 
mate relation  than  that  suggested  by  a  common  name  subsisted 
between  these  early  Christian  edifices  and  the  forensic  Basilica 
of  ancient  Rome,  was  altogether  an  erroneous  one.  The  latter 
were  in  fact  the  Roman  courts  of  law  and  places  of  public  meet- 
ing.  They  had  a  place  in  most  of  the  towns  of  the  Roman  em- 
pire and  were  erected  in  the  forum,  but  have  nothing,  whether  of 
origin  or  form ,  essentially  in  common  with  the  early  Christian 
temple  or  church.  These  forensic  basilicas  were  not  adapted  to 
purposes  of  Christian  worship ,  nor  did  the  old  Roman  basilica 
serve  as  a  model  for  the  building  of  Christian  places  of  worship. 
In  proof  of  the  one  assertion  may  be  adduced  the  fact  that  the 
forensic  basilicas  at  the  end  of  the  4th  century  retained  intact 
their  original  destination,  and  in  individual  cases  have  been 
restored ;  while  the  other  will  be  justified  by  an  unprejudiced  exam- 
ination of  the  various  parts  of  the  Christian  basilicas,  which 
give  evidence  of  having  sprung  from  another  source  than  that  of 
the  old  Roman  basilica.  Neither  did  the  Temple  of  antiquity  fur- 
nish the  model  for  churches  built  by  the  early  Christians.  The 
church  of  88.  Cornia  e  DamianOj  of  the  6th  century,  is  the  earliest 
example  of  a  pagan  temple  applied  to  Christian  use.  The  Chris- 
tian basilica  may  be  said  rather  to  have  grown  out  of  the  Roman 
dwelling-house,  where  at  first  the  community  was  in  the  habit 
of  assembling.  The  plan  for  future  ecclesiastical  edifices  was 
acquired  by  simply  extending  the  proportions  of  the  dwelling-house. 
The  church  of  8.  Clemente  in  Rome  is  relatively  the  most  perfect 
example  existing  of  the  architectural  properties  and  internal  arran- 
gement of  the  early  Christian  basilica.  A  small  portico  supported 
by  pillars  leads  to  the  outer  court  (atriuni),  enclosed  by  a  colonnade 
and  having  in  its  midst  a  fountain  (cantharus).  The  eastern  colon- 
nade leads  into  the  interior  of  the  church  which  was  usually  divi- 
ded into  three  aisles.  Two  rows  of  columns  divide  the  side  aisles 
from  the  loftier  one  in  the  centre  known  as  the  nave ;  the  nave 
and  aisles  abut  upon  a  half  circle  or  apse.  At  right  angles  to 
these  aisles,  between  them  and  the  apse,  was  sometimes  inter- 
posed a  third  space  —  the  transept;  the  altar  stood  within  the  apse 
and  apart  beneath  a  canopy  supported  by  pillars ,  and  in  its  front, 
enclosed  by  rails  or  eaneelli,  was  the  choir  for  the  officiating  priests 
and  two  pulpits  (amhones),  one  used  for  reading  the  Gospel,  the  other 
the  Epistles,  In  marked  contrast  to  the  temple  of  antiquity,  little 
care  was  bestowed  upon  the  external  architecture  of  these  ear 


%M  ROMAN  ART. 

ChristUn  bMilicas ,  the  most  impiessive  effect  being  reserved  for 
the  interior.  And  to  this  end ,  especially  in  earlier  medisYal  times, 
a  ready  expedient  for  supplying  decorative  material  was  adopted  in 
the  plunder  of  the  monoments  of  antiquity.  Columns  were  carried 
off  and  set  up  in  Christian  churches  without  regard  to  congruity 
of  material  or  consistency  of  style.  Thus  in  the  churches  of 
8.  Maria  in  Trcutevere  and  8.  Loremo  Fuori  le  Mura  are  to  be  seen 
pillars  of  different  material  and  workmanship.  The  churches  of 
8.  Sahina,  8.  Maria  Maggiore  and  others  give  evidence  of  similar 
depredations.  Crosses  and  lustres  in  metal ,  tapestries  bestowed  by 
papal  piety  contributed  to  the  ornate  effect  of  these  interiors.  But 
the  principal  decorative  feature  were  the  pictures  in  mosaic  which 
covered  the  recess  of  the  apse  in  particular  as  well  as  the  arch  which 
connected  the  apse  with  the  nave  (the  Triumphal  ArcK),  These 
Mosaic  Pictubbs,  as  far ,  at  least,  as  the  material  was  concerned, 
demanded  a  novel  artistic  treatment ,  massive  and  monumental  in 
character.  In  them  we  find  the  traditions  of  antiquity  abandoned, 
giving  place  to  a  style  which  from  its  harshness  as  well  as  austere 
solemnity  of  conception  has  been  confounded  with  the  Byzantine 
style.  In  reality  the  art  was  of  indigenous  growth;  and  its  salient 
characteristic  may  be  defined  as  the  substitution  of  the  real  for  the 
symbolical  in  general  treatment.  Now  for  the  first  time  the  pop- 
ular mind  became  thoroughly  imbued  with  ecclesiastical  senti- 
ment, of  which  the  crucified  Saviour  was  the  chief  embodiment. 
The  oldest  mosaics ,  composed  of  glass  cubes ,  are  to  be  seen  in 
the  church  of  8.  Pudenziana.  They  date  from  the  4th  century 
like  those  in  S.  Costanza  and  the  Baptistery  of  Naples ;  while  those 
in  S.  Maria  Maggiore  and  S.  Sabina  belong  to  the  5th  ^ientury. 
The  mosaics  in  88.  Coama  e  Damiano  in  the  Forum  (526-30)  may 
be  pronounced  as  the  most  beautiful. 

The  rudiments  of  Christian  art  are  to  be  found  in  Rome  *,  but 
its  further  development  was  promoted  in  an  equal  degree  by  other 
Italian  states.  Building  was  still  active  in  the  9th  century ,  while 
the  Popes ,  especially  Leo  III. ,  of  the  7th  and  8th  centuries 
did  good  service  in  church  decoration.  But  during  this  period 
there  is  no  evidence  either  of  progress  or  continuous  develop- 
ment in  the  Mosaic  art  and  as  little  in  architecture  itself.  The 
experiment  (as  seen  in  <fif.  PrassedCj  9th  century)  of  combining  piers 
with  the  pillars  of  the  nave  as  a  support  to  the  wall  sand  of  con- 
necting these  with  transverse  arches  was  not  repeated.  Finally  it 
may  be  said  of  the  Mosaics  (8,  PrassedCy  88.  Nereo  ed  AchUleo, 
8.  Mareo),  that,  while  they  bear  a  superficial  resemblance  to  the 
works  of  the  5th  and  6th  centuries,  they  show  unmistakable  signs  of 
corruption  and  decline.  This  may  be  accounted  for  to  some  extent 
by  the  evil  times  which  had  fallen  upon  Rome  since  the  9th  century, 
'culminating  in  a  conflagration  —  the  work  of  an  incendiary  Guis- 

\o  —  which  laid  waste  the  entire  southern  quarter  of  the  city. 


ROBfAN  ART.  xWU 

extending  from  the  Forum  to  the  Lateran  and  to  the  slopes  of  the 
Esqniline.  The  chief  employment  of  the  architect  was  the  con- 
stmction  of  fortified  towers  and  places  of  strength  rendered  neces- 
sary by  the  ceaseless  warring  of  factions  within  the  city.  In  1257 
Brancaleoni  demolished  140  of  these  strongholds,  the  minority  of 
which  had  been  erected  on  the  ruins  of  some  monument  or  other  of 
antiquity.  The  most  striking  example  of  the  rudeness  of  early 
mediSYal  architecture  is  to  be  seen  in  the  Ctua  di  Pilato  or  di 
Rienzi.  Built  by  one  Nicolao ,  son  of  Crescentlus  (probably  in  the 
i2th  century),  its  chief  ornamentation  consists  of  marble  fragments 
apparently  picked  up  at  random  and  put  together  in  the  wildest 
confusion. 

At  the  close  of  the  12th  century  brighter  days  dawned  for 
Roman  art.  'Magister  Romanus'  now  became  a  title  which  the 
artist  was  proud  to  append  to  his  surname.  A  speoiality  in  decora- 
tlTO  art  appeared  in  Rome  about  this  time  which  did  not  connect 
itself,  it  is  true ,  with  the  traditions  of  antique  art,  though  ready 
to  utilise  its  material,  without,  however,  resort  to  the  depredations 
of  a  bygone  age.  And  material  was  still  at  hand  in  richest  abun- 
dance, in  an  endless  array  of  shattered  marbles.  These  were  divided 
and  subdlYided,  out  or  sawn  into  minute  slabs,  arranged  in  patterns, 
enlivened  by  the  introduction  of  stained  glass  and  gold  leaf ,  pre- 
senting as  a  whole  a  richly  coloured  decorative  effect.  These  marble 
mosaics  adorn  the  flooring  of  churches,  altar  sides,  episcopal  chairs, 
pulpits,  and  doorways;  they  enliven  monumental  sculpture,  they 
fill  the  flutlngs  of  the  elegantly  twisted  columns  which  bore  the 
Easter  candles  or  adorn  the  entablature  of  cloistered  courts.  This 
art  became  the  monopoly  of  particular  families  and  was  regularly 
transmitted  from  generation  to  generation.  The  monumental 
marbles  of  this  time  are  generally  known  as  Cosmjlto  Wokk,  a  name 
derived  from  two  members  of  a  family  thus  privileged.  Such  work 
is  frequently  to  be  met  with  in  Rome.  Conspicuous  among  the 
mosaic  floorings  are  those  of  iS^.  Maria  MaggiorCy  S.  Maria  in  Trat- 
teverty  and  8,  Lorenzo  Fuori  le  Mura  (12th  century).  S.  CUmente 
and  8,  Giorgio  possess  altar  tabernacles  of  Cosmato  work  and  8. 
Lorenzo  the  finest  example  in  its  pulpit.  Of  similar  work  in  cloisters 
(8.  Sabinay  LaUran)  the  best  specimen  is  in  the  convent  of  8,  Paolo 
(i3th  century).  Cosmato  work  is  not  infrequently  found  elsewhere 
than  in  Rome.  It  is  uncertain  how  far  this  Roman  work  is  connected 
with  kindred  examples  to  be  met  with  in  Southern  Italy.  In  tech- 
nical detail  some  differences  are  to  be  detected,  such  as  the  more 
copious  use  of  the  glass  pastes  by  the  artists  of  the  South.  On  the 
other  hand  we  fancy  that  the  identity  of  pattern  in  the  mosaics  of 
theOappella  Palatina  in  Palermo  with  those  of  S.  Lorenzo  cannot  be 
accidental. 

Along  with  this  decorative  mosaic  work ,  the  Mosaic  Painting 
ef  apse  and  choir -arch  had  since  the  12th  century  successfully 


xlvlil  ROMAN  ART. 

asBerted  itself.  That  impiess  of  the  antique  borne  by  the  early 
Christian  mosaics  is  gone ;  the  drawing  has  lost  its  incisiveness  as 
well  as  its  traditional  typical  character,  and  in  lieu  of  this,  receives 
a  new  and  more  lively  impulse  from  colour  and  wealth  of  ornament. 
The  mosaics  in  front  of  the  church  of  8.  Mctria  in  Trastevere,  in 
the  apse  of  8.  Clemente(i2ih  century),  those  in  the  altar-tribune  of 
the  Lateran  (13th  century)  and  Anally  those  in  the  apse  of  8.  Maria 
Maggiote ,  the  work  of  Jacobus  Torriti  in  1295 ,  are  examples  of 
this  mosaic  painting.  —  Wall-Paintiko  also  came  once  more  into 
use  as  we  see  from  paintings  discovered  in  1858  in  the  lower 
church  of  8,  CUmente — that  basilica  which  in  1108  was  lost  by  a  new 
structure  being  built  upon  it.  — And,  if  church-architecture  was  con- 
fined to  the  rehabilitating  of  older  edifices  or  the  mere  reproduction 
of  earlier  types ,  the  numerous  Belfribs  (the  best  is  that  of  8. 
Maria  in  Cosmedin)  show  an  abundant  fertility  of  resource  in  the 
architects  of  that  period.  They  tower  aloft,  story  upon  story  follow- 
ing in  light  and  airy  succession,  relieved  by  flights  of  slender  pillars, 
and  stand,  eloquent  tributes  to  the  genius  of  medieval  Rome. 

The  condition  of  art  in  Rome,  however  (particularly  in  the 
14th  century) ,  was  far  behind  that  of  Tuscany.  While  in  Tuscany 
popular  forces  directed  by  the  municipalities  provided  an  ample  field 
for  the  cultivation  of  artistic  tastes ,  Rome  was  distracted  by  the 
incessant  war  of  factions  and  families,  or  the  quarrels  of  the 
popes.  Strangers  were  invited  to  execute  works  which  where  beyond 
the  ordinary  resources  of  art  as  it  then  existed  in  Rome.  Dominican 
Friars  introduced  Gothic  architecture  into  Rome  —  Fra  BistorOf 
Fra  Sisto  are  probably  the  builders  of  the  church  of  8,  Maria  aopra 
Minerva  —  and  Oiotto  (chief  of  the  Florentine  school)  was  summoned 
to  Rome  during  the  pontificate  of  Boniface  VIII. ,  and  at  the  in- 
stance of  his  patron  Cardinal  Gaetano  Stefaneschi,  to  execute  a 
mosaic  (Navicella)  for  the  Porch  of  St.  Peter's,  and  to  paint  a 
Ciftoriwm (in part  preserved  in  the  Sacristy  of  St.  Peter's);  probably 
also  to  execute  a  commission  from  the  Pope,  to  represent  the  pro- 
clamation of  the  Jubilee  of  the  year  1300.  Of  Giotto's  Roman  con- 
temporary Pietro  Cavallini  we  have  unfortunately  no  certain 
information. 

It  was  not  until  the  return  of  the  Popes  from  their  exile  at 
Avignon,  when  Italians  held  exclusive  possession  of  St.  Peter's 
chair,  and  aimed  at  supremacy  amongst  the  secular  powers  of  the 
peninsula ;  when  the  Humanists  acquired  their  shortlived  ascen- 
dency at  the  Papal  court  —  that  Roman  art  first  approaches  its 
maturity.  Rome  indeed  had  no  direct  share  in  the  creation  of  the 
BenaiBsanoe.  To  Florence  belongs  the  exclusive  and  imperishable 
renown  of  this  achievement.  On  the  other  hand  it  must  not  be  for- 
gotten how  powerful  an  impression  the  spectacle  of  the  mighty  relics 
of  antiquity  must  have  made  upon  the  receptive  minds  of  the  first 
^anists,  exciting  their  emulation  and  inciting  to  a  more  reverent 


BOMAN  ART.  xlix 

study  of  the  Antique ;  neithei  must  it  be  forgotten  that  by  study  of 
old  Bom&n  ait  Brunelleschi  and  Donatelio  became  familiar  with  those 
forms  in  "vrhich  they  were  wont  to  express  their  artistical  thought, 
and  so  were  led  to  new  and  unexplored  paths  in  the  realm  of  art. 

Once  more  Rome  ocenpies  a  foremost  place  in  the  history  of  art 
when  Pope  Nioeolas  Y.  (1447-1455),  a  Humanist,  ylea  with  the 
Medici  in  hia  passion  for  books  and  building.  He  is  bent  upon  a  r&- 
novation  of  the  Yatiean  Quarter ;  his  ambition  is  to  erect  a  papal 
residence  of  surpassing  splendour ;  nay,  he  entertains  designs  on 
the  St.  Peter's  pile  itself  and  contemplates  its  reoonstnietlon.  The 
most  imposing  wgA  of  this  period  was  the  Venation  Palace  begun  by 
Pietro  Barbo  (1455),  afterwards  Pope  Paul  II. ,  which,  like  the  Albergo 
delt  Orao  recently  as  it  were  again  discovered,  is  to  a  great  extent 
medittTal  in  character.  Leon  B<Uti9ta  Albertij  who  resided  in  Rome 
about  this  time  and  died  there  in  1472,  is  supposed  to  have  furnish- 
ed the  plana  for  this  palace. 

So  far  indeed  had  the  fostering  of  art  become  obligatory  on  the 
ooeupants  of  the  papal  chair,  that  they  could  not  neglect  this 
f  unetion  without  forfeiting  their  individual  influence,  and  Impairing 
the  dignity  of  their  offlee.  The  right  powers  were  not,  however, 
immediately  at  hand,  which  should  give  effect  to  the  building  pro- 
jects of  these  Sovereign  Pontiffs,  enamoured  as  they  were  of  splen- 
dour in  every  shape.  The  architect  who  during  the  pontificate  of 
SixiUB  lY.  (1471-1484)  was  most  employed ,  Baeeio  PirUelHy  was 
a  practitioner  of  moderate  skiU,  and  far  behind  the  great  Florentines 
of  his  day.  The  building  of  S.  Agoatino  and  S.  Pietro  in  Montorio, 
as  well  as  the  facades  of  88.  Apostoli  and  8.  Pietro  in  Vineoli  were 
firom  his  plans.  His  most  celebrated  work  is  the  Popes*  private 
Chapel  in  the  Yatiean,  called  after  the  Pope  Sixtus  the  8i8tine 
Chapel,  which  ewes  its  chief  attractions  far  less  to  its  architectural 
merits,  than  to  the  artistic  decoration  of  wall  and  ceiling. 

Abundant  employment  together  with  the  favour  which  artists 
found  with  dignitaries  of  the  Church  had  already  allured  numerous 
Tuscan  andUmbrianPATNTSBS  to  Rome.  Amongst  those  thus  engag- 
ed in  beautifying  the  churches  of  Rome  and  the  Yatiean  Palace  we 
meet  sudi  Florentine  celebrities  as  Maestri  8andro  BottioelU,  Filip- 
pino  Lippiy  Domenico  Qhirland<njOy  Cosimo  RoaseUi;  and  from  the 
Un^ian  sichool  the  immediate  forerunner  of  Michael  Angelo ,  bold 
Luea  Siffnoreliiy  along  with  Perugino  and  Piniuriechio,  An  attempt 
is  made  to  found  an  Academy,  or  Guild  of  St.  Luke  at  Rome.  Amongst 
its  members  we  find  (14d4)  Melozto  da  lorlij  the  painter  of  a  fresco 
(traotferred  to  canvas)  in  the  Yatiean  Gallery,  representing  the 
foundation  of  the  Yatiean  library.  —  The  execution  of  the  Wall 
Paintings  in4he  Sistint  Cktpd,  by  order  of  Sixtus  lY. ,  waa  a  moment- 
ous event  in  a  time  prdiflc  in  art  enterprise.  In  accordance  with  the 
then  prevailing  point  of  view  the  acts  of  Moses  are  represented  as 
symbolically  parallel  to  those  of  Christ.  On  the  left  wall  are  incidents 

Babdekbb.    Italy  II.    lOth  Edit.  d 


1  ROMAN  ART. 

in  the  life  of  Moses  by  Botticelli,  Rosselli,  Signorelli,  on  the  right 
wall  events  in  the  life  of  Christ  by  Botticelli,  Bosselli,  Ohirlandajo, 
and  Perngino.  Those  lovers  of  ait  who  are  unable  to  visit  Florence 
before  going  to  Rome  are  recommended  to  make  these  wall  paintings 
their  especial  study.  They  will  learn  ttoxa  them  to  appreciate  the 
descriptive  power  of  the  Florentines  and  will  be  familiarised  with 
the  field  subsequently  occupied  by  the  heroes  of  Italian  Art. 

Tuscan  Sculptoss,  too,  find  their  way  frequently  to  Rome 
and  are  constantly  employed  either  as  workers  in  bronze  or  marble. 
Little  attention  seems ,  however,  to  have  been  paid  to  the  fbrmer. 
The  great  bronze  doors  of  St.  Peter,  the  joint  work  of  FilareU 
and  Simone,  are  interesting  rather  from  the  wealth  of  mythological 
imagery  with  which  they  are  embellished ,  than  f^m  their  artistic 
pretensions,  which  will  not  compare  with  those  of  Qhiberti's  famous 
gates.  So  much  the  more  powerfully  does  the  sculptor  appeal  to  us 
in  marble.  A  taste  for  profusion  and  splendour  of  monumental  de- 
coration in  adorning  the  tombs,  which  fact  declares  itself  in  the  15th 
century  —  a  result  probably  of  that  thirst  for  fame  which  is  identi- 
fied with  the  Renaissance — gave  the  sculptor  unceasing  opportunity 
for  the  exercise  of  his  art,  particularly  in  its  purely  decorative  phases. 
There  is  scarcely  a  single  church  of  a  certain  date  which  does  not 
contain  sepulchral  monuments  from  the  close  of  the  15th  century. 
The  church  of  8.  Maria  del  Popolo  possesses  the  largest  number. 
These  monuments  —  perfected  in  Florence  and  probably  naturalised 
in  Rome  by  Mino  da  Fiesole  —  are  nearly  uniform,  viz.  a  sarcopha- 
gus surmounted  by  a  statue  of  the  deceased,  and  supported  by  a 
pedestal  ornamented  with  a  garland  of  fruit  and  flowers,  and 
genii.  A  niche  or  panelled  screen  finished  with  a  medallion  of  the 
Madonna  form  the  nsual  background.  The  majority  of  these  sculp- 
tures cannot  be  traced  to  any  particular  artist.  It  would  appear 
Indeed  that  the  sarcophagi,  as  with  the  ancient  Romans,  were  rather 
articles  of  manufacture  than  works  of  art,  made  wholesale  fashion 
after  some  favourite  pattern  and  bought  ^ready  made',  a  com- 
mission being  given  to  the  sculptor  for  a  portrait  of  the  deceased 
to  which  would  be  added  the  armorial  bearings  with  inscription. 

Whoever  might  have  visited  Rome  in  the  earlier  years  of  the 
16th  century  would  have  found  himself  in  the  presence  of  an  in- 
tense movement  in  the  art  world ;  he  would  have  found  Archi- 
tect, Sculptor  and  Painter  alike  occupied  with  projects  of  more  or 
less  grandeur.  So  far,  however,  Rome  did  not  in  this  respect  sur- 
pass the  other  chief  towns  of  Italy ;  so  far  art  had  not  assumed  that 
particular  form  of  life  and  direction  which  only  the  atmosphere  of 
Rome  could  sustain,  or  which  the  genius  of  the  Vatican  alone  could 
quicken  —  during  the  Pontificate  of  JumusII.  (1503-1513),  where 
the  golden  era  of  Roman  art  began,  this  consummation  was  actu- 
ally achieved. 

To  Julius  belongs  the  glory  of  having  associated  with  Rome  three 


ROMAN  ART.  U 

names,  Bramantef  Michael  Angdo,  Baphatly  everlasting  beacons  in 
tile  path  of  art  —  three  men  who  in  the  course  of  the  16th  century 
(einquecento)  raised  modern  art  to  its  loftiest  pitch  of  splendour. 
His  successor  Lbo  X.  (i513<-1522)  of  the  house  of  Medici  owes 
it  to  his  lineage  only  that  he  should  have  transmitted  to  posterity  so 
splendid  a  reputation, — that  his  name  should  be  associated  insepa- 
rably with  the  greatest  triumphs  of  art  in  modern  times.  Leo  X. 
inherited  the  well-earned  fame  of  his  predecessor,  but  knew  not  how 
either  to  value  or  to  use  his  inheritance  aright.  It  was  not  given  him 
to  sway  the  imperious  temper  of  Michael  Angelo,  nor  fully  to  com- 
prehend the  mighty  schemes  of  BramaAte.  The  latter's  chief  work, 
the  rebuilding  of  8t.  Peter*8,  can  be  adequately  studied  only  in  the 
collection  of  original  drawings  in  Florence  which  set  forth  the  gran- 
deur of  Bramante's  designs  in  all  their  completeness ;  for  so  many 
different  hands  were  employed  in  giving  effect  to  these,  that  little 
remains  of  the  original  plan.  Happily  this  little,  vis.  the  dome  with 
the  overwhelming  impression  of  vastness  it  conveys,  is  of  the  very 
best.  Bramante  contemplated  a  central  structure  in  the  form  of  a 
Greek  cross,  rounded  at  its  extremities,  which,  crowned  by  a  gigantic 
dome,  should  present  an  ensemble  at  once  simple  and  majestic. 
Succeeding  generations  have  failed  to  embody  Bramante's  ideal. 
His  career,  extending  probably  from  1444  to  1514,  is  involved  in  ob- 
scurity. Of  his  works,  Rome  possesses  numerous  examples.  The  cir- 
cular chapel  in  the  monastery  of  8.  Pietro  in  Montorio ,  the  court 
of  8.  Mafia  deUa  Pace,  the  arcades  in  the  first  court  of  the  Vatican 
(Cortile  di  8.  DamasoJ,  the  Palazzo  Qiraud  and  above  all  the  Cancels 
leria  are  perfect  examples  of  Renaissance. 

We  are  wont  to  wonder  at  the  profusion  and  splendour,  too,  of 
works  to  which  the  einquecento  gave  birth.  How  much  richer,  how 
much  more  splendid  would  have  been  this  profusion,  had  only 
these  works  been  carried  out  as  originally  designed  by  the  artist's 
creative  genius ! 

The  same  fatality  which  pursued  Bramante's  mightiest  projects 
served  to  mar  Kiohael  Angelo's  (1475-1564)  supreme  effort  in  the 
realm  of  Plastic  Abt.  The  Tomb  of  Julim  II.,  begun  while  that 
pope  was  still  living,  was  to  consist  of  a  large  detached  edifice  with 
statues  of  Moses,  St.  Paul,  and  other  colossal  figures  at  its  projecting 
angles,  and  ranged  along  its  wall  the  naked  forms  of  men  in  chains. 
The  work,  however,  soon  came  to  a  standstill,  and  at  last,  30  years 
after  its  commencement  (1545),  it  was  placed  in  the  church  of 
S.  Pietro  in  Vincoli  where  it  now  stands,  deplorably,  a  mere  fragment 
of  the  original  design.  Its  most  striking  feature  is  the  tremendous 
figure  of  Moses,  rising  in  wrathful  indignation  at  the  worship  of  the 
golden  calf,  to  denounce  the  idolatry  of  the  Israelites.  In  addition 
to  the  Moses,  Rome  contains  two  conspicuous  works  from  the  hand 
of  Michael  Angelo:  ihePiethy  badly  placed  in  one  of  the  chapels  in 
St.  Peter's,  and  the  8tatu€  of  Christ  in  S,  Maria  sopra  Minerva.  The 

d* 


lil  ROMAN  ART. 

foimei  Burpasses  all  other  efforts  of  the  great  sculptor  in  the  deli- 
cacy of  its  modelling  as  -well  as  in  the  force  witii  which  it  appeals 
to  human  sympathies. 

As  Fbesco  Painter  Michael  Angelo  figures  exclusiTely  in 
Rome.  Tradition  tells  us  how  loath  he  was  to  exchange  the 
chisel  for  the  hrush,  when  at  the  behest  of  the  imperious  Julius  II. 
he  undertook  the  decoration  in  fresco  of  the  ceiling  of  the  Sixtine 
Chapel.  These  frescoes  are  nevertheless  the  most  important  of  Mi- 
chael Angelo's  contributions  to  art.  They  afford  a  wider  field  for 
the  exercise  of  his  creative  power  than  sculpture ,  where  plastic 
forms,  unequal  as  they  are  to  the  demands  of  his  prolific  genius,  be- 
tray him  into  exaggeration.  These  frescoes  of  Michael  Angelo  are 
closely  akin  to  the  wall  paintings  of  Florentine  and  Umbrian  artists 
at  the  close  of  the  15th  century,  in  which  the  deliverer  of  the  Israelites 
is  made  to  prefigure  the  Saviour  of  mankind.  How  salvation  came 
to  the  world,  and  how  proclaimed ,  is  the  theme  which  Miohael 
Angelo  undertakes  to  Illustrate.  In  the  centre  piece  is  depicted  the 
Creation,  the  history  of  Adam  and  of  Noah ;  how  sin  came  into  the 
world,  but  with  sin  the  promise  of  redemption.  Forecasting  all 
this  we  next  see  the  figures  of  Prophets  and  Sibyls.  In  the  mar- 
ginal pictures  we  see  continued  reference  to  the  Redemption,  in 
the  various  deliverances  of  the  Jewish  people  (the  brazen  serpent, 
David  and  Goliath,  the  fate  of  Haman,  and  Judith),  in  conformity 
with  modisBval  conceptions,  together  with  symbols  of  the  Redemption. 
Connecting  themselves  with  the  above  are  the  groups  occupying  the 
lunettes,  pourtraying  expectation,  the  anguish  of  suspense,  and  con- 
trition, which  include  at  once  matters  of  fact  and  a  twofold  allusion 
to  the  vicissitudes  of  the  Israelites  and  the  events  of  our  Saviour's 
life  (progenitors  of  Christ  and  Jews  captive  in  Babylon).  The  sub- 
limity of  the  work  is  to  be  attributed  very  much  to  the  skill  with 
which  mere  matters  of  fact  are  everywhere  subordinated  to 
the  claims  of  individual  action  as  well  as  artistic  purpose.  Moreover 
Michael  Angelo  has  contrived  so  to  dispose  the  various  portions  of 
his  vast  work,  ascending  by  figures ,  single  and  in  groups,  from  the 
simply  decorative  margin  to  the  crowning  effort  in  the  centre,  so  to 
adapt  them  to  the  place  they  occupy ,  that  the  entire  work  becomes 
architecturally,  so  to  speak,  self-supporting;  while  the  compo- 
sition as  a  whole  is  wielded  with  a  wealth  of  resources  together 
with  a  power  of  organisation  such  as  no  other  artist  has  attained  to. 
The  thoughtful  beholder  will  not  confine  himself  exclusively  to  the 
study  of  the  central  pictures.  The  figures  in  monochrome  and  minor 
decorations  are  replete  with  a  beauty  peculiar  to  themselves. 

Of  the  ^Last  Judgment* ,  painted  by  Michael  Angelo  at  a  much 
later  period  (1641),  it  is  difficult,  owing  to  its  dilapidated  condition, 
to  form  an  accurate  estimate.  The  unerring  audacity,  however, 
with  which  figure  and  group  alike  are  thrown  into  every  conceivable 
attitude  and  movement,  must  command  a  mute  and  amazed  attention. 


ROMAN  ART.  liil 

'With  the  names  of  Bramante  and  Michael  Angelo  is  associated 
that  of  Baphael  (1483-1520),  whose  youthful  genius  had  very 
eaily  declaied  itself,  first  in  Perugia  and  later  in  Florence.  In  Rome 
are  to  be  seen  interesting  mementoes  of  both  these  periods.  In  the 
CoroffuUion  of  the  Virgin  in  the  Vatican  Gallery  we  see  him  still  in 
the  trammels  of  the  Umbrian  School;  the  effects  of  his  Florentine 
training  are  visible  in  his  Entombment  of  Chriii  in  the  Borghese 
Gallery  (belonging  to  later  periods  are  the  so  called  Fomarina  in 
the  Baxberinl  Gallery,  the  Violin  Player  in  the  Palazzo  Sciarra, 
Navcigtro  and  Beaztano  in  the  Dorla  Gallery,  the  Madonna  di  Fo^ 
li^^no^  and  the  Tronefigwationy  the  master's  last  work,  both  in  the 
Vatican  Gallery).  The  m^ority  of  Raphael's  easel  pictures  are  to 
be  found  elsewhere  than  in  Rome. 

But  in  Rome  only  could  Raphael  have  found  a  field  suited  tJ 
the  exercise  of  his  highest  powers  in  Fbbsoo  Painting.  The 
mural  paintings  in  the  state  apartments  of  the  Popes  in  the  Vatican 
palace  must  first  be  noticed.  In  order  rightly  to  appreciate  these, 
it  must  not  on  the  one  hand  be  forgotten  that  fresco  painting 
never  completely  loses  its  decorative  character;  nor  on  the  other 
must  the  peculiar  position  of  the  Pontificate  in  the  beginning  of 
the  16th  century  be  lost  sight  of.  In  the  palace  of  the  Vatican  the 
same  courtly  tone ,  the  same  pursuit  of  sensuous  pleasures,  of  the 
mere  joys  of  existence ,  prevailed  as  in  the  courts  of  the  younger 
Italian  dynasties;  expressions  of  national  sentiment  met  with  a 
favorable  reception ,  while  an  active  agitation  on  the  part  of  the 
Humanists  did  not  appear  to  have  compromised  the  dignity  of 
the  Papal  Court.  These  conditions  are  more  or  less  distinctly 
reflected  in  the  frescoes  of  Raphael.  The  courtier  repeatedly  asserts 
himself;  even  a  delicate  oompliment  to  the  patron  is  not  disdained, 
nor  the  ceremonial  spectacle  excluded.  Political  as  well  as  personal 
allusions  are  not  wanting,  while  ample  space  is  devoted  to  the  glo- 
rification of  the  Humanistic  ideal.  Finally,  when  it  is  borne  in 
mind  that  Raphael  was  constantly  compelled  to  defer  to  the  exigen- 
cies of  the  allotted  space,  to  study  the  separate  requirements  of  wall 
and  ceiling,  we  gsin  an  insight  into  the  nature  and  extent  of  the 
restraints  imposed  upon  the  Artist.  They  beset  him  indeed  on 
every  hand,  and  constantly  compel  him  to  alter  or  modify  his  design. 
Curiously  enough  these  restrictions  are  to  this  day  interpreted  as 
an  act  of  the  Artist's  free  and  daring  will.  One  wonders  at  the 
amount  of  theological  learning,  of  philosophical  erudition  displayed 
in  theDispula  and  the  School  of  Athene,  as  well  as  at  the  inventive- 
ness which  could  connect  subjects  so  remote  ftom  one  another  as 
the  Heliodonu  driven  from  the  Temple ,  and  the  expulsion  of  the 
French  from  Italy.  Through  the  entire  range  of  subjects  there 
runs  a  vein  of  profound  and  continuous  thought.  But  especially 
admirable  are  alike  the  discernment  which  enabled  Raphael  to 
select,   from  apparently  the  most  heterogeneous  sources,  matter 


My  ROMAN  ART. 

suitable  for  pictorial  embodiment;  the  resolution  with  which  he 
guarded  the  realm  of  fancy;  and  his  sense  of  the  beautiful, 
whereby  he  was  enabled  to  bring  the  most  intractable  material  into 
subjection  to  his  purpose.  These  qualities  are  most  conspicuous 
in  the  picture  known  as  the  Burning  of  the  Leonine  Quarter 
(the  so-called  Borgo")  of  Rome,  or  rather,  as  the  artist's  patron 
would  have  it,  the  conflagration,  extinguished  by  intercession 
of  the  Pope.  The  spectator  forgets  the  preposterous  demand  that 
a  miracle  should  be  thus  palpably  depicted:  Raphael  relegates 
the  action  to  the  heroic  age,  fills  his  picture  with  figures  and 
groups  of  surpassing  grandeur  and  animation  (such  as  succeeding 
generations  have  striven  in  vain  to  imitate)  and  depicts  the 
confusion,  the  preparation  for  rescue  and  flight  with  surpassingly 
graphic  effect.  The  picture  was  not  what  he  had  been  commissioned 
to  paint ;  but  in  lieu  of  this  we  have  a  creation  teaming  with  ima- 
ginative power  and  masterful  execution.  In  like  manner  Raphael 
disposed  of  the  celebrated  frescoes  in  the  first  Stanza,  the  Disputa 
and  the  School  of  Athens.  Had  he  not  been  required  to  illustrate  a 
chapter  from  the  history  of  dogma  (the  proclamation  of  the  doctrine 
of  transubstantiation)  or  to  present  a  pictorial  extract  from  the 
history  of  ancient  philosophy,  the  task  of  depicting  a  procession  of 
historical  celebrities  known  to  fame  as  fathers  of  the  church  or 
mundane  philosophers  could  not  be  particularly  inviting.  And 
further ,  while  Raphael  mingled  with  historical  personages  figures 
purely  typical,  and  in  the  Disputa  represents  the  assembled  com- 
pany of  believers  as  beholding  a  vision ,  where  each  individual 
present  is  naturally  more  or  less  overpowered  by  emotion  —  while 
in  the  School  of  Athena  he  especially  emphasises  the  blessedness 
of  knowledge,  the  good  fortune  which  leads  to  the  higher  paths  of 
learning  (whether  his  representation  literally  coincides  with  the 
Diogenes  Laertius  or  Sidonius  Apollinaris  or  not)  —  he  has  asserted 
with  brilliant  success  the  Artist's  right  to  supremacy  in  the  realm 
of  creative  fancy. 

After  the  foregoing  remarks  the  unprejudiced  reader  will  need 
a  hint  only  as  to  the  mental  attitude  he  shall  assume  as  a  student 
of  Raphael's  works.  If  the  mere  subject  of  the  picture  exclusive  y 
occupies  his  attention,  if  he  must  know  the  name  and  history  of 
every  figure,  and  feels  it  incumbent  upon  him  to  admire  the  in- 
tellectual grasp  of  an  artist  who  gathered  his  materials  from  the 
remotest  provinces  of  learning  and  who  abounds  in  literary  allusions, 
he  is  no  longer  in  a  condition  fairly  to  test  the  artistic  value  of 
Raphael's  works.  From  this  point  of  view  he  will  fail  to  detect  in 
them  any  essential  difference  from  the  allegorical  pictures  of  the 
period,  nay  he  may  even  give  precedence  to  many  of  these:  to 
the  wall  paintings  in  the  Capella  degli  Spagnuoli  (S,  M.  Novella 
*n  Florence)  for  example,  which  indisputably  exhibit  greater  versati- 
"^j  a  superior  daring  in  the  embodiment  of  the  preternatural  and 


ROMAN  ART.  W 

a  loftier  conception  of  the  didactic  capabilities  of  art.  It  is  still 
a  matter  of  uncertainty  how  far  the  erudition  displayed  by  Raphael 
was  an  acquirement  of  his  own  or  how  far  he  may  have  relied  on 
the  contributions  of  contemporary  scholars,  such  for  example  as  Cas- 
tiglione,  Bembo,  and  Arlosto,  who  would  in  so  far  share  with  him 
the  merit  due  to  fertility  of  thought.  Assuming,  howoTer,  that  Raphael 
himself  supplied  the  wealth  of  literary  research  which  the  frescoes  of 
the  Stanze  are  said  to  reveal,  he  would  not  as  Artist  become  more  in- 
telligible to  us.  His  intellect  might  thus  have  been  exercised^  but 
not  his  imagination.  RaphaePs  pictures  will  not  only  be  more  tho* 
roughly  enjoyed,  but  his  Individuality  and  purpose  will  be  more  per- 
fectly apprehended  when  the  effort  is  made  to  understand,  how  the 
painter  by  force  of  his  imagination  could  out  of  material  for  thought, 
dead  in  itself,  create  new  and  living  forms ;  how  he  imparted  to 
single  figures  so  distinct  a  pyschologioal  impress  that  the  mere  bear- 
ers of  historical  names  are  made  to  appear  as  representative  hu- 
man characters;  how  subtly  he  balanced  action  and  repose  in  his 
groups,  not  dwelling  too  long  on  mere  beauty  of  outline  and  con- 
tour, but  intent  on  giving  harmonious  expression  to  a  more  profound 
intellectual  antithesis.  From  this  point  of  view,  interest  in  the 
vrorks  of  Raphael  will  be  enlightened  and  enduring.  Numerous  pro- 
blems will  present  themselves  to  the  amateur  for  solution :  what 
motive  Raphael  might  have  had  in  treating  the  Disputa  and  the 
School  of  Athens  so  differently  in  respect  of  colour ;  how  far  in  the 
latter  picture  the  architectural  character  of  the  background  is 
essential  to  the  collective  impression  to  be  conveyed;  for  what 
reason  the  domain  of  portraiture  is  here  narrowed  to  the  utmost, 
while  there  (Jurisprudence)  it  is  extended ;  what  were  the  grounds 
for  the  manifold  changes  in  composition  which  are  accurately 
traced  in  his  numerous  sketches,  etc. 

The  condition  of  the  Stanze  frescoes  is  such,  alas,  as  to  afford  any- 
thing but  unqualified  gratification,  just  as  in  the  Loggie  we  regret- 
fully trace  the  departed  glory  of  unique  examples  of  decorative  art, 
and  with  difficulty  recognise  the  summit  of  Raphael's  attainments  in 
the  grievously  injured  Tapestries,  These  latter,  it  is  true,  in  the 
detail  of  their  composition  may  be  studied  in  the  cartoons  now 
In  the  Kensington  Museum;  but  the  subordinate  decorations,  mar- 
ginal arabesques  and  the  like  are  still  in  part  preserved  in  the  ori- 
ginal tapestries,  and  are  essential  to  the  festive  character  of  orna- 
mentation originally  designed  for  the  Sistine  Chapel.  To  the  ten 
tapestries  so  long  known,  an  eleventh  discovered  in  the  dep6t  of  the 
Vatican  has  been  added.  These  tapestries  were  to  have  adorned 
the  lower  compartment  of  the  chapel  walls  and  to  this  end  they 
must  correspond  with  the  companion  pictures :  that,  while  these  re- 
late the  history  of  Redemption,  they,  the  former,  should  pourtray  tho 
power  and  grace  of  God  abiding  with  the  Church. 

In  apparently  irreconcileable  contrast  to  Raphael's  works  in  tl* 


lYl  ROMAN  ART. 

Vatican  we  have  Ms  frescoes  in  the  gay  Villa  Famesina.  On  the 
one  hand  we  are  awed  by  devotional  fervour,  sublime  aspiration, 
thought  earnest  and  profound;  on  the  other  we  find  Art  revelling  in 
the  joys  of  life,  each  form  radiant  with  an  ecstasy  of  innocent  mirth. 
Nevertheless  it  will  cost  no  great  effort  to  discern  in  the  Farnesina 
frescoes  the  impress  of  Raphael's  genius.  He  was  indebted  for  his 
version  of  the  myth  of  Cupid  and  Psyche  to  a  work  of  Apuleius,  fa- 
miliar to  readers  of  the  16th  century  as  it  had  been  to  the  Romans 
of  old.  Probably  no  author  either  in  ancient  or  modern  times  can 
boast  a  more  captivating  illustration  than  Apuleius ,  while  at  the 
same  time  none  has  been  more  freely  handled  by  his  iUnstrator. 
In  Raphael's  hands  the  myth  is  moulded  anew.  Remembering  that 
it  was  the  adornment  of  a  festive  chamber  he  had  in  hand,  Raphael 
sedulously  avoided  everything  repugnant  to  the  festive  mood.  Pysche's 
woes  were  consigned  to  the  background ;  the  painter  is  intent  upon 
recording  her  triumphs  only.  The  confined  space  afforded  by  the 
chamber  serves  only  to  stimulate  the  Artist's  mastery  of  form.  Ra- 
phael's representation  of  the  myth  is  condensed :  many  scenes  are 
but  glanced,  at  for  a  moment,  though  essentials  never  escape  him ; 
thus  the  claims  of  narration  and  decoration  are  adjusted  without 
restraint.  Harmony  alike  in  idea  and  form ;  nobility  of  proportion 
never  overstepping  the  bounds  of  refinement ;  the  power  of  so  losing 
himself  in  his  subject  as  to  present  it  devoid  of  individual  caprice : 
attributes  characteristic  of  Raphael  as  these  are  declare  themselves 
in  the  frescoes  of  the  Farnesina  as  unmistakably  as  in  the  wall 
paintings  of  the  Vatican.  The  spectator's  own  unassisted  eye  will 
not  fail  to  see  that  the  pictures  on  the  ceiling  of  the  principal  saloon 
are  far  inferior  in  execution  to  the  so-called  Oalatea  in  the  neigh- 
bouring apartment.  He  will  find  nevertheless  that  both  are  such  as 
will  reward  careful  study  with  the  highest  gratification  —  a  delight 
it  must  be  a  lasting  desire  to  renew. 

The  inaccessibility  of  the  upper  rooms  of  the  Farnesina,  adorned 
by  Bazzi  of  Siena  (1477-1549;  p.  23),  commonly  known  as  Sodoma, 
with  his  painting  of  the  Nuptials  of  Alexander  with  Roxane,  cannot 
be  too  much  regretted.  In  the  embodiment  of  sensuous  grace  and 
beauty,  Raphael  found  in  Sodoma  a  worthy  rival. 

In  the  Sibyls  of  Raphael  in  S.  Maria  della  Pace  (1514)  we  find 
him  competing  —  if  the  expression  may  be  allowed  —  in  another 
field.  Here  he  trenches  upon  the  domain  of  Mishael  Angelo ;  not, 
however,  that  he  is  for  a  moment  betrayed  into  disingenuousness  by 
contact  with  a  presence  so  overpowering ,  or  that  is  he  beguiled  into 
assuming  a  style  foreign  to  his  genius.  True  to  himself ,  he  accepts  the 
limits  prescribed  by  his  subject,  and  combines  an  air  of  pleasing  sere- 
nity and  infinite  grace  with  the  expression  of  prophetic  inspiration. 

Around  these  three  Art  heroes,  Bramante,  Raphael,  and  Michael 

''elo,  is  grouped  a  brilliant  circle  of  pupils  and  dependents.  The 
'orks  of  the  School  of  Raphael  are  undoubtedly  those  executed 


ROMAN  ART.  Ivll 

iii  Mb  lifetime  and  under  his  direction.  OiuitoJSamano (1493-1646) 
and  Francesco  Penni  (1488-1528)  had  a  considerable  share  in  the 
painting  of  the  Hall  of  Constantine  *,  the  completion  of  the  Loggia 
paintings  was  entrusted  to  them,  Perino  del  Vaga  (1499-1547), 
Raffaello  dal  ColU,  and  others.  For  the  decorative  ornamentation  of 
the  Loggie  and  the  Famesina  the  master  engaged  the  services  of 
Giovanni  da  JJdine  (1487-1564).  Romano  exhibits  himself  most 
clearly  as  a  pupil  of  Raphael  in  the  Villa  Madama  Qiulio,  less 
so  in  his  Madonnas  (Pal.  Golonna  and  Borghese). 

The  crowd  of  Akchitbotb,  who  appeared  in  Bramante's  time, 
showed  greater  independence:  BaWassawPertiwi  (1481-1563;  p.23), 
who  built  the  Farnesina  and  Pal.  Massimi,  Raphael  himself  and  G'lu- 
lio  Romano  (Villa  Madama),  AnUmio  da  Sangallo  the  younger,  with 
whom  originated  the  Pal.  Farnese  and  a  new  plan  for  St.  Peter's, 
and  lastly  Michael  Angblo  ,  whose  influence,  gradually  deposing 
Bramante,  irresistibly  impelled  the  architecture  of  Rome  into  new 
courses.  And  just  as  in  Plastic  art  he  scornfully  rejects  the  recognised 
forms  and  forces  upon  them  a  new  construction ,  in  like  manner  as 
Architect  he  concerns  himself  little  about  the  accurate  adjustment  of 
subordinate  parts,  intent  rather  upon  the  effect  to  be  produced  by  the 
structure  as  a  whole  —  usually  one  of  ponderous  immensity.  The 
colonnades  in  the  Palazzo  Farnese,  the  conversion  of  the  Baths  of 
Diocletian  into  the  church  of  8.  Maria  degli  Angeli — a  work  subse- 
quently spoiled — and  the  Porta  Pia  are  among  his  chief  works.  His 
chief  mer  t  consists  in  his  having  reverted  to  the  plans  of  Bramante 
for  the  completion  of  St.  Peter's,  which  since  1546  had  been  under 
his  superintendence.  The  Cupola  at  least  was  carried  out  according 
to  his  designs ,  but  the  ground-plan,  to  the  injury  of  the  building, 
was  much  altered,  and  the  Latin  substituted  for  the  Greek  Gross. 

Aslong  as  the  *divine' Michael  Angelo  lived,  Rome  was  so  dazzled 
by  the  splendour  of  his  renown  that  no  one  suspected  the  Decline 
OP  Art  was  at  hand.  In  fact,  however,  it  had  already  declared  itself 
at  the  death  of  Raphael.  Rome  once  more  captured  and  pillaged ; 
orthodoxy  reinstated;  the  church  recoiling  from  the  taint  of  Hu- 
manism :  these  were  incisive  events  in  the  history  of  art,  which  now 
received  a  more  distinctively  ecclesiastical  direction.  The  Foreign 
occupation  of  Rome  expelled  a  vast  number  of  her  artists  and  laid  a 
chasm  in  the  traditions  of  her  art.  As  she  once  more  recovered  herself 
and  under  the  pontificate  of  Sixths  V.  (Felice  Peretti,  1585-90)  was 
to  all  appearance  again  invested  with  her  pristine  grandeur,  the  en- 
couragement of  art  was  revived,  but  in  a  spirit  which  presently  pervaded 
and  brought  into  subjection  every  phase  of  art.  To  Sixtus  V.  the 
Eternal  City,  which  *  forthwith  doubled  itself,  owesher  present  aspect. 
The  Aequa  Felice,  the  Spanish  Staircase,  the  Via  Sisiina,  the  Piazza 
di  8.  Giovanni  in  Laterano ,  the  Ohelisk  in  the  Piazza  of  St.  Peter, 
the  restoration  of  the  Columns  of  Trajan  and  Marcus  Aurelius  are  his 
work.  Domenico  Fontana  of  Ticino  was  foremost  in  giving  effect  * 


lYiii  ROMAN  ART. 

this  Pope^s  projects.  The  authors  of  the  degenerated  Renaissance 
known  as  Baroque  were  really  Vignola  (1507-73)  and  Fontana^s 
nephew  Carlo  Madema  (1556-1639).  In  the  Jesuit  church  of  Geaii 
(1568)  the  former  furnished  the  type  of  the  style  which  prevailed 
during  the  following  century,  especially  in  the  numberless  Jesuit 
churches  then  built.  Maderna  with  Borromini  and  Carlo  Fontana  were 
the  leaders  of  that  band  of  Artists  who  conspired  to  rob  architecture 
of  its  fitting  repose,  and  by  the  introduction  of  figures  posed  in  start- 
ling attitudes,  aroused  or  convulsed  by  agency  unseen,  of  curves  in- 
stead of  straight  lines,  of  pillar  piled  upon  pillar,  substituted  a  tur- 
bulent unrest.  Not  that  the  style  was  without  striking  and  artistic 
effect.  An  undoubted  vigour  in  the  disposition  of  detail,  a  feeling 
for  vastness  and  pomp ,  together  with  an  internal  decoration  which 
spared  neither  colour  nor  costly  material  to  secure  an  effect  of  dazz- 
ling splendour :  such  are  the  distinguishing  attributes  of  the  Ba- 
roque style  as  in  Rome  it  is  to  be  seen  on  every  hand,  not  only  in  an 
endless  succession  of  churches  (S.  IgnaziOy  S.  Andrea  dtUa  Valle, 
8.  Carlo  alle  Quattro  ForUane,  etc.),  but  in  numerous  palaces, 
the  Barberini  being  a  conspicuous  example.  The  reader  will,  how- 
ever, scarcely  dwell  on  these  works  longer  than  will  suffice  to  give 
him  a  clear  general  impression  of  their  character. 

A  greater  tenacity  of  life  is,  however,  inherent  in  the  art  of 
Painting.  An  altogether  deplorable  interval  now  ensued,  during 
which  artistic  talent  was  beguiled  by  Michael  Angelo's  overwhel- 
ming ascendency ,into  a  slavish  imitativeness,  content  with  the  least 
possible  effort  to  crowd  into  a  given  space  the  greatest  possible 
numberof  unmeaning  figures,  not  devoid,  however,  ofa  certain  super- 
ficial charm  sufficient  to  captivate  the  eye.  After  an  interval  thus 
occupied  and  identified  with  this  supremacy  of  the  Mannerist 
School  (Arpir^o,  Zuecaro),  painting  once  more,  at  the  close  of  the 
16th  century,  was  galvanised  into  a  new  life,  destined  to  be  of 
brief  duration — Rome  becomes  a  scene  of  conflict  in  which  painters 
and  their  partisans  are  the  combatants.  During  the  reigns  of  tho 
popes  from  Sixtus  V.  to  Clement  VIII.  the  fashionable  artists  were 
Cireignani,  surnamed  Pomarancio,  and  his  pupil  Boncalli.  It  was 
not,  however,  till  the  accession  of  Paul  V.  (1605-21),  a  member  of 
the  Borghese  family,  that  the  interest  in  art  became  again  widely 
spread.  It  was  about  this  period  that  Rubens  visited  Rome,  where 
he  profited  by  a  study  of  the  best  qualities  of  every  school,  without 
identifying  himself  with  any. 

Cafat7agf^io  (1569-1 609)  was  the  chief  of  the  Naturalist  School. 
He  was  triumphant  in  the  possession  of  popular  favour.  On  the  other 
hand  it  was  objected  that  his  drawing  was  bad,  that  he  failed  in  the 
essential  of  grouping  the  figures  in  his  larger  compositions.  Never- 
theless the  mass  is  presented  with  such  startling  reality,  and  ani- 
"nated  with  gesture  so  impassioned,  that  every  figure  fitly  asserts  it- 

*',  while  a  corresponding  force  in  colour  conveys  an  impression 


ROMAN  ART.  lix 

powerfully  suggestive  of  the  tarbulent  license  then  piOTailing.  — 
The  EoLBonoB  took  an  opposite  direction.  Trained  in  a  regalarly- 
eonstitnted  school  of  art,  such  as  had  been  established  at  Bologna, 
Initiated  moreover  in  the  art  of  Ooreggio  and  the  Venetians,  full 
of  reverence  for  more  remote  traditions,  thoroughly  versed  in  the 
rules  of  drawing  and  composition  as  well  as  familiar  with  the  f^oo 
painter's  art  —  thus  formidably  equipped,  Annihale  Carraeei,  Do- 
menidiino,  Ouido  Reni,  Ouercino  appeared  amongst  the  rival  aspi- 
rants to  fame  in  Rome.  They  supplanted  the  Naturalists,  appro- 
priating as  much  of  the  latters'  method  as  appeared  available,  and 
finally  monopolised  the  favour  of  the  court  and  aristocracy.  Nor 
was  the  struggle  by  any  means  confined  to  the  pallette  and  the 
brush.  Personalities  arose,  and  amongst  themselves  the  partisans  of 
Gairacei  were  seldom  at  peace.  Their  contributions  axe  in  part,  at 
any  rate,  of  the  highest  excellence.  Annibale  CarraeeVs  firesooes  in 
the  Palazzo  Famese ;  Ckiido  Benffi  Aurora  in  the  Casino  Rospigliosi; 
the  frescoes  of  Domeniehino  in  S.  Luigl  dei  Frances!,  S.  Andrea 
della  Yalle,  in  Grotta  Fenata  near  Rome  are  not  mere  master- 
pieces of  technical  skill,  but  are  replete  with  artistic  beauty  and 
vitality. 

The  Neapolitan  sculptor  Lorenzo  Bernini  (1598-1680)  flourishes 
up  to  the  close  of  the  17th  century.  His  works  occupy  the  concluding 
chapter  in  the  history  of  Roman  Art.  It  is  superfluous  to  bid  the  be- 
holder bevare  of  being  led  captive  by  art  essentially  flimsy  and  mere- 
tricious ;  rather  perhaps  it  is  necessary,  as  a  set  off  against  the  now 
prevailing  depreciation  of  Bernini's  works,  to  plead  the  important 
historical  significance  they  posses  amidst  all  their  too  conspicuous 
defects  j  to  bear  in  mind  that  throughout  the  course  of  nearly  a 
century  they  were  regarded  as  the  most  brilliant  production  of 
that  period  and  were  verry  generally  imitated. 

Since  the  17th  century,  Rome  has  not  given  birth  to  nor  nur- 
tured any  distinctive  art  life,  though  the  past  has  held  Artists  of 
all  nations  spell-bound,  compelling  the  conviction  that  Rome  is  still 
the  true  High  School  of  Art,  whose  teaching  is  indispensable  to 
every  true  Artist.  So  late  as  the  close  of  the  18th  and  the  beginning 
of  the  present  century,  Rome  continued  to  give  proofs  of  the  potency 
of  her  influence.  Without  the  suggestions  which  Rome  alone  could 
furnish,  David  would  never  have  received  that  classical  impulse 
which  he  turned  to  such  admirable  account  in  France.  Asmus 
Carstens,  the  father  of  the  classical  style  of  modem  German  art, 
also  made  his  home  in  Rome.  Amid  the  art-collections  of  Rome 
aloiie  could  Thorvaldsen,  the  'Greek  of  the  19th  century',  have 
worthily  perfected  his  talents.  In  the  absence  of  such  inspiration 
as  the  spectacle  of  Rome's  master-pieces  alone  can  afford,  Cornelius 
and  his  associates  would  never  have  had  the  courage  to  attempt  the 
revival  of  fresco-painting. 

Thus  it  was  that  Rome  reacted  on  the  destinies  of  modem  art. 


Ix  ROMAN  ART. 

though  without  an  art  ife  she  could  call  her  own.  During  the  last 
fifty  years ,  however,  she  has  lOBt  much  of  her  importance  even  in 
this  respect,  through  the  ared  te  tendencies  of  the  artistic  schools 
of  France,  Belgium,  and  Germlany.  Foreign  painters  and  sculptor 
still  visit  Rome,  hut  it  has  entirely  ceased  to  dictate  the  tone  of 
European  art.  In  place  of  this,  Rome  may  perhaps  become  the 
centre  of  a  new  Italian  school  of  art,  though  the  productions  of 
modem  Roman  artists  have  hitherto  scarcely  warranted  the  suppo- 
sition. At  the  beginning  of  this  century  building  wholly  ceased  at 
Rome,  and  tbe  works  of  monumental  painting ,  such  as  Podetti's 
frescoes  in  the  Stanza  delV  Incendio,  prove  that  the  traditions  of 
the  classic  period  had  been  utterly  forgotten.  Since,  however, 
Rome  has  been  the  capital  of  a  united  Italy,  increased  activity  has 
been  manifested  in  the  field  of  art,  and  the  clever  Roman  stone- 
masons have  had  abundant  opportunity  to  show  their  skill  in  the 
ornamentation  of  handAOme  modem  edifices ,  The  resuscitation  of 
a  truly  elevated  style  of  sculpture  is  hindered  by  the  tendency  to 
exaggerated  realism  and  the  undue  value  laid  upon  mere  mechanical 
dextezity,  which  seem  nowhere  so  much  out  of  place  as  at  Rome. 
In  painting  Rome  has  not  yet  outstripped  the  flourishing  schools  of 
North  Italy. 


PIKST  SECTION. 


S.  TUSCANY.  DMBBIA.  THE  MARCHES. 


1.   From  Leghorn  or  Pisa  to  Borne 

1)7  the  Xaremme. 

208  M.  (from  Pisa  2(Tn/»  M.).  Railway.  Express  in  7-7V«hr8.,  fares  41  ft. 
65,  29  fr.  15  c.  (from  Pisa  41  fr.  66,  29  fr.  10  c.)  j  ordinary  trains  in  SVa  hrs., 
fares  37  fr.  90,  26  fr.  50,  17  fr.  5  c.  (or  37  fr.  75,  26  fr.  46  c,  17  fr.). 

The  Habbmhk  Railway  coincides  with  the  ancient  Via  Aurelia.  It  runs 
inland  as  far  as  Cecina,  where  it  approaches  the  coast,  commanding  fine 
views  of  the  sea  with  its  promontories  and  islands.  Views  always  on  the 
right.  —  This  is  perhaps  the  least  picturesque  of  the  routes  to  Rome ;  yet 
the  traveller  who  desires  to  explore  it  may  devote  several  days  to  the  jour- 
ney, though,  owing  to  the  malaria,  this  is  not  practicable  between  the  end 
of  May  and  the  end  of  October  (comp.  p.  2). 

Steamboat.  Another  route  from  Leghorn  to  Rome  is  by  sea  as  far 
as  Civitk  Vecchia,  and  thence  by  railway.  This  route  is  somewhat  more 
expensive  than  the  railway  journey.  Embarkation  at  Leghorn  in  the 
inner  harbour  1  fr.,  in  the  outer  harbour  IVa  fr.  The  steamers  generally 
weigh  anchor  towards  evening.  Arrival  at  Civitii  Vecchia  (landing  Vsf^* 
each  person,  trunk  to  the  station  1  fr.),  and  journey  thence  to  Rome,  see 
pp.  6,7. 

Leghorn  and  Pisa,  see  Baedeker  a  Northern  Italy.  —  The  lines 
unite  at  Vicarelle ,  near  the  first  station  CoUe  Salvetti,  which  is 
10  M.  distant  from  Leghorn  and,972  M.  from  Pisa.  To  the  right  we 
see  the  Monte  NerOj  a  celebrated  place  of  pious  resort,  with  an  an- 
cient picture  of  the  Virgin  brought  from  the  East  and  especially  re- 
vered by  sailors. 

13  M.  (from  Pisa)  Fauglia;  18  M.  Orciano;  24  M.  Rosignano, 
the  village  of  which  name  Is  situated  on  a  hill  to  the  right ;  28  M. 
Vada.  The  train  crosses  the  Cecinaj  the  ancient  Caecina.  The  fam- 
ily of  that  name  was  once  settled  In  this  district,  as  is  proved  by 
numerous  inscriptions  at  Yolterra. 

31^2  M.  Gedua  (poor  caf^  at  the  station),  where  a  branch-line 
to  Volterra  diverges  (see  p.  8),  is,  like  all  the  above-mentioned  vil- 
lages, of  modern  origin. 

The  line  now  approaches  the  coast.  The  loftily-situated,  ancient 
Etruscan  Populonia  (p.  2)  becomes  visible  to  the  right,  on  a  chain  of 
hills  projecting  into  the  sea ;  beyond  it  the  island  of  Elba  (p.  12). 

42  M.  Castagneto;  47  M.  8.  Vincenzo,  with  a  small  harbour. 

531/2  M.  Campiglia;  the  small  town  lies  to  the  left  on  the  height, 
with  a  ruined  castle  and  Etruscan  tombs  of  no  great  interest. 

Babobkbb.    Italy  II.    10th  Edition.  1 


2      Route  1,  PIOMBINO.  From  Leghorn 

F&OM  Gampiglia  to  Piombino,  71/2  M.,  diligence  every  evening  in  about 
2  hrs.,  returning  thence  at  noon  (fare  U/9  fr.). 

Piombino  (Albergo  d€tte  Apt,  unpretending,  bargaining  advisable),  a 
small  town  with  4000  inhab.j  originally  belonged  to  Pisa,  in  1399  became  a 
principality  of  the  Appiani,  in  1603  was  acquired  by  Spain,  and  then  by 
the  family  of  Buoncompagni-LiKiovUi^  from  whom  it  was  wrested  by  Nsr 
poleon  in  1805  in  favour  of  his  brother-in-law,  the  Corsican  Felix  Baeeiocehi. 
In  1816  it  was  assigned  to  Tuscany,  with  which  it  remained  united  till  1859. 
It  lies  at  the  S.  end  of  a  wooded  promontory,  bounded  on  the  land  side  by 
a  flat  district.  A  weather-beaten  tower  on  the  harbour  commands  a  grand 
*View  of  the  sea  and  the  island  of  Elba  (in  front  of  which  rise  the  cliffs 
of  Gerboli  and  Palmajola),  of  S.  Giglio  and  the  coast,  and  Corsica  in 
the  distance.  —  Steamboat  to  Elba  daily,  returning  the  following  morning 
(p.  12). 

A  forenoon  suffices  for  a  visit  to  (6  H.)  the  ancient  Fopnlonia,  the 
Etruscan  Pupluna,  at  the  N.  end  of  the  peninsula.  The  shorter  route 
through  the  woods  requires  a  guide.  The  town  with  its  mediseval  castle, 
situated  on  a  lofty  and  precipitous  hill,  is  conspicuous  from  all  sides.  Once 
a  prospero\is  seaport,  it  suffered  greatly  from  a  siege  by  Sulla*,  in  the  time 
of  Strabo  it  had  fallen  to  decay,  and  it  is  now  a  poor  village.  In  ancient 
times  the  iron  of  Elba  was  smelted  here.  The  old  town-walls  may  still  be 
distinctly  traced,  and  are  particularly  well  preserved  on  the  side  next  the 
sea^  they  consist  of  huge  blocks,  approaching  the  polygonal  style.  The 
views  towards  the  land  and  the  sea  are  striking  and  extensive.  Several 
vaults,  erroneously  said  to  belong  to  an  amphitheatre,  and  a  reservoir  may 
also  be  mentioned  as  relics  of  the  Roman  period.  The  Etruscan  tombs  in 
the  vicinity  are  hardly  worthy  of  a  visit. 

The  district  now  begins  to  exhibit  the  distinguishing  charac- 
teristics of  the  Maremme:  a  world  of  its  own,  consisting  of  forest 
and  swamp,  in  summer  poisoned  by  malaria,  and  still  but  sparsely 
cultivated,  in  spite  of  repeated  attempts  (especially  near  the  rail- 
way-stations) to  bring  it  under  tillage.  During  the  Etruscan  period 
the  Maremme  possessed  several  considerable  towns :  Populoniaj  Ve- 
tulonioj  RusellaCy  Coaa.  On  the  decline  of  agriculture  in  Italy  and 
the  conversion  of  the  farms  into  pasture  -  land ,  the  desolation  of 
the  coast-district  made  rapid  progress.  During  the  present  century 
the  first  successful  attempts  were  made  to  counteract  the  malaria  by 
the  drainage  and  filling  up  of  swamps  and  the  establishment  of  new 
farms ;  but  the  evU  is  still  very  great.  Charcoal-burning  and  in  win- 
ter cattle-grazing  are  the  chief  resources  of  the  inhabitants,  most  of 
whom  withdraw  to  the  Tuscan  hill-country  in  May,  when  the  ma- 
laria begins. 

64  M.  FoUonioa,  near  the  sea,  possesses  considerable  smeltlng- 
foundries  for  the  iron  from  Elba.  Beautiful  view  towards  the  sea ; 
to  the  right  the  promontory  of  Piombino  and  Elba,  to  the  left  the 
promontory  of  Castiglione  with  a  lighthouse,  and  the  small,  grotesquely 
shaped  island  of  Formica.  On  a  lull  to  the  left  is  Maaaa  Marittimaj 
one  of  the  largest  towns  of  the  Maremme,  with  13,000  inhabitants. 
In  the  vicinity  are  extensive  copper-mines.  —  The  train  again  quits 
the  coast  and  skirts  the  Promontory  of  Castiglione. 

73  M.  OavorratkOy  the  station  for  the  place  of  the  same  name,  situ- 
ated higher  up,  to  the  right.  Farther  on,  also  to  the  right,  on  a  hill, 
s  CoUmnUy'  and  in  the  distance,  at  the  mouth  of  the  Brurw,  the  small 
rtified  harbour  of  Castiglione  delta  Peseaja  is  visible.   Here,  as  in 


toRoint.  OKOSSETO.  I.  HouU,      3 

the  other  seaports  of  the  Maremme,  wood  and  charcoal  form  the  chief 
exports. 

821/2  M.  MonU  Pcacali ,  Junction  of  a  branch-line  from  Siena, 
which  runs  parallel  to  our  line  as  far  as  Grosscto.  The  village  is 
picturesquely  situated  on  a  hill  to  the  left. 

90 Va  M.  OroMOto  (*Eaa.  Restaurant;  Stella  d' Italia,  with  a 
good  trattoria ;  Bella  Toseana)j  the  capital  of  the  Maremme,  a  plea- 
sant town  with  7400  inhabitants.  The  Cathedral,  begun  in  1294, 
was  restored  in  1855.  TheMunicipio  contains  a  collection  of  Etrus- 
can cinerary  urns,  sarcophagi,  and  other  antiquities.  Branch-line 
to  Asciano  fSiena),  see  p.  17. 

About  3Vs  ^-  to  the  V.E.  of  Grosseto  (carriage-road)  lie  the  snlphnr- 
eoQS  Bagni  4i  Ro$ellet  whence  the  ruins  of  SumIub  are  reached  in  V*  hr. 
(guide  necessary).  Snsellse ,  anciently  one  of  the  twelve  capitals  of  the 
Etruscan  confederation,  has  been  deserted  since  the  middle  of  the  12th  cent, 
and  is  thickly  overgrown  with  underwood.  The  walls,  which  are  nearly 
2  M.  in  circumference,  and  in  most  places  accessible,  consist  partly  of 
horisontal  courses,  partly  of  polygonal  blocks  (6-8  ft.  high,  6-12  ft.  long). 

Around  Grosseto,  and  to  the  W.,  in  the  direction  of  Castigllone,  extends 
a  considerable  plain,  in  ancient  times  a  lake  (the  Laeut  Prelius  of  Cicero), 
which  gradually  became  shallower  and  productive  of  malaria  (Pahtde  di 
CcuHglione  and  di  Oroueto).  By  skilful  drainage,  and  by  conducting  hither 
the  deposits  of  the  neighbouring  rivers,  the  government  has  almost  entirely 
filled  up  the  morass  and  converted  it  into  a  valuable  pasture,  12-15  H.  long. 

Beyond  Grosseto  the  Onibrone  is  crossed.  99  M.  Albarese,  The 
line  skirts  the  wooded  Promontory  of  Talamone;  towards  the  S.  the 
imposing  Monte  Argentario  (see  below)  is  visible. 

At  (105  M.)  Talamone  a  beautiful  view  of  the  sea  is  disclosed. 
The  village  lies  at  the  end  of  the  promontory  and  possesses  an  an- 
chorage sheltered  by  the  island  of  Giglio  and  the  Mte.  Argentario 
(steamer  to  Elba,  p.  12}.  The  creek  has  been  much  diminished  by 
alluvial  deposits.  Here,  in  B.C.  225,  the  Roman  legions  landed 
and  signally  defeated  the  Gauls  who  were  marching  against  Rome. 

The  train  crosses  the  small  river  Osoj  then  the  more  important 
Albeyna  (ancient  Albmia')^  at  the  mouth  of  which  are  salt-works. 
109  M.  Albegna. 

II3V2  M.  Orbetello  (*Rail.  Restaurant).  On  the  arrival  of  the 
train  an  omnibus  (1  fr.)  starts  for  (1 Y2  M.)  Orbetello  (^Albergo  Rosa, 
Albergo  NazionalCj  both  unpretending),  with  6000  inhab.,  situated 
at  the  extremity  of  a  promontory,  near  the  foot  of  Monte  Argen- 
tario, which  rises  immediately  from  the  sea,  and  is  connected  with 
the  mainland  by  two  narrow  tongues  of  land,  whereby  a  large  salt- 
water lagoon  is  formed.  The  only  object  of  interest  is  the  polygonal 
wall  on  the  side  next  the  sea,  which  testifies  to  the  great  antiquity 
of  tbe  town,  although  its  ancient  name  is  unknown. 

From  Orbetello  an  embankment  has  been  constructed  across  the  shallow 
lake,  which  abounds  in  fish,  to  Mte.  Argentario.  A  carriage-road  leads  to  the 
N.  harbour,  Porto  S.  Stefano  (steamboat  to  Elba,  every  Friday  at  5  am^  see 
p.  12),  and  to  PorC  Ercole  on  the  S.  side.  The  Konte  Argentario  (2090  ft.) 
culminates  in  two  peaks ,  on  one  of  which  is  situated  a  monastery  of  the 
Fassionists.  The  ascent  is  very  interesting  (from  Orbetello,  2-3  hrs.  \  guide). 
The  *View  embraces  the  coast  of  Tuscany  and  the  surrounding  district  a.» 

1* 


4      Route  1.  CORNETO.  From  Leghorn 

far  as  Mte.  Amiata,  and  the  sea  with  its  numeroua  rocky  islands  as  far  as 
Sardinia.  If  time  is  limited,  the  first  and  lower  eminence,  s/4  hr.  from 
Orbetello,  with  a  picturesque  view  of  the  coast,  should  be  visited. 

Orbetello  is  the  most  convenient  starting-point  for  an  excursion  to  the 
(41/2  M.)  interesting  ruins  of  the  ancient  Oosa,  the  present  Antedonia  (car- 
riage there  and  back,  including  stay  of  5  hrs.,  8  fr.)  \  and  also  for  a  visit 
to  the  ancient  towns  of  Saturnia  and  Sovana^  90-35  M .  inland.  Cosa  is  an 
old  Etruscan  town,  deserted  in  the  5th  century.  The  polygonal  walls 
(1600  yds.  in  circumference)  with  their  towers  are  admirably  preserved. 
A  beautiful  prospect  of  the  sea  and  coast  is  enjoyed  hence. 

The  train  soon  enters  the  fonner  Papal  territory,  and  traverses 
the  Roman  Maremma;  scenery  unattractive.  121  M.  Capalbio ; 
12572  M.  Chiarone.  It  then  crosses  the  Fiora  and  reaches  (135  M.) 
MontaltOj  a  poor  village. 

From  llontalto  the  traveller  may  ascend  by  the  Fiora  to  the  ancient 
Ponte  della  Badia  and  the  site  of  Yulei,  where  thousands  of  Etruscan  vases 
and  other  antiquities  have  been  discovered  since  1828.  The  ancient 
Etruscan  city  itself,  the  circumference  of  which  is  ascertained  to  have 
been  5  H.,  has  disappeared  with  the  exception  of  its  tombs. 

Beyond  Montalto  the  country  is  undulating.  We  cross  the  small 
rivers  Arrone  and  Maria,  the  outlet  of  the  Lake  of  Bolsena. 

1441/2  M.  Cometo.  On  a  hill  (350  ft.)  1 V2  M,  to  the  left  of  the 
station  (seat  in  a  carriage  1/2  fr.)  is  the  antiquated  town  of  Cometo 
{Alh.  ^  Trot,  Orassi,  fair),  with  numerous  towers  and  a  population 
of  5000.  The  town  sprang  up  at  the  heginning  of  the  middle  ages 
near  the  ruins  of  the  ancient  Etruscan  town  of  Tarquinii,  to  which 
fact  it  owes  its  modern  official  name  of  Cometo  Tarquinia, 

The  handsome  but  unfinished  Gothic  Palazzo  Vitelleschi,  in  the 
main  street,  immediately  to  the  left  of  the  gate,  was  erected  by  Car- 
dinal Vltelleschi  in  1437.  —  On  the  N,  buttress  of  the  plateau  on 
which  the  town  stands  is  the  imposing  Caatello  of  Countess  Matilda, 
containing  the  recently  restored  church  of  *8,  Maria  in  Castello, 
begun  in  the  11th  cent.,  with  a  facade  dating  from  1121.  This 
church  (key  kept  by  the  keeper  of  the  Museo)  contains  a  taberna- 
culum  of  1168  and  a  pulpit  of  1209.  —  Adjacent  is  Seappinis 
Ceramic  Factory. 

The  smaller  Romanesque  churches  of  S,  Anastasia^  8.  Salvatore, 
S,  MartinOj  and  S.  Pancrazio  have  all  been  more  or  less  restored. 
Adjoining  the  last  Is  the  old  Palazzo  MunicipalCy  with  three  of  its 
original  eight  towers.  On  a  height  above  the  town  is  the  Gothic 
church  of  S,  Francesco.  —  A  genealogical  tree  *al  fresco'  in  the 
new  Palazzo  Comunale^  professing  to  trace  the  origin  of  the  place  to 
a  remote  mythical  era,  shows  an  amusing  disregard  for  history. 

The  lower  story  of  the  *Museo  Municipale  contains  a  number 
of  sarcophagi,  the  most  interesting  of  which  is  the  so-called  SSar- 
cofago  del  Magnate',  embellished  with  reliefs  (battles  of  Ama- 
zons) and  with  handsome  polychrome  figures  on  the  lid.  On  the 
upper  floor  are  smaller  antiquities,  vases,  gold  ornaments,  weapons, 
etc.  Among  these  are  an  antique  set  of  false  teeth  (3rd  room), 
and  a  fine  painted  bowl,  which  bears  the  names  of  Oltos  and 
Euxitheos  as  the  artists  and  represents  the  Arrival  of  Bacchus  in 


to  Rome.  TARQUINII.  1.  Route,     5 

Olympus,  the  types  of  the  deities  recalling  the  character  of  pre- 
Phidian  art.  The  last  rooms  contain  the  products  of  the  excayatlons 
carried  on  since  1881  in  the  oldest  part  of  the  Necropolis.  The  pot- 
tery Is  of  the  rndest  description  and  evidently  produced  without 
the  aid  of  a  wheel.  Four  cinerary  urns  in  the  form  of  huts  give  us 
an  idea  of  the  Italian  dwelling  of  the  period.  The  conical  helmets, 
with  bars  at  the  top,  were  evidently  imported ;  their  type  seems 
to  have  served  as  a  model  for  the  *Apices',  or  caps  of  the  Roman 
priests.  Among  the  remaining  contents  are  Carthaginian  scarahxi 
and  idols  in  fused  glass.  The  keys  of  S.  Maria  in  Oastello  and  of 
the  Museum  are  kept  hy  Frangionij  the  custodian  of  the  Necropolis 
of  Tarquinii  (fee  1  fr.). 

The  Palazzo  Bntschi  contains  a  very  fine  collection  of  Etruscan 
antiquities,  formed  by  the  mother  of  the  present  count ;  and  a  few 
£truscan  and  Roman  relics  are  also  preserved  in  the  Qiardino 
Bruschij  outside  the  town.  —  Gorneto  commands  a  fine  view  of  the 
sea  with  Monte  Argentario  and  the  neighbouring  islands,  and  also 
an  interesting  survey  of  the  bleak  environs. 

On  the  Turehinay  a  stony  hill  opposite,  separated  from  Montarozzi,  the 
hill  of  the  tombs,  hy  a  ravine,  lay  Tarquinii,  a  town  with  walls  abont 
5  H.  in  circumference,  anciently  one  of  the  twelve  Etruscan  capitals,  and 
remarkable  for  the  influence  which  it  exercised  on  the  development  of  tlie 
national  religion  of  Etruria.  It  participated  in  the  war  of  the  Etruscan 
confederation  against  Rome,  but  waa  compelled  to  surrender  after  the 
Samnite  war  and  to  receive  a  Roman  colony.  The  town  continued  to 
flourish  during  the  empire,  but  subsequently  declined  and  was  devastated 
by  the  Saracens  5  it  was ,  however ,  inhabited  down  to  1307 ,  when  its  last 
remains  were  totally  destroyed  by  the  inhabitants  of  Corneto.  No  ruins 
are  now  visible  save  the  scanty  vestiges  of  walls  and  foundations.  Of  its 
seaport  Graviscae  a  few  relics  on  the  right  bank  of  the  Marta^  I1/2  M.  from 
its  mouth,  still  remain. 

T01CB8.  The  principal  interest  attaching  to  Corneto  is  derived  from  its 
tombs,  the  ^Nbcbopous  of  ths  Ancibnt  Takquinii,  which  spreads  over  a 
great  part  of  the  hill  upon  which  the  town  itself  stands.  The  keys  are 
kept  by  the  keeper  of  the  Hnseo  (fee  iVt-3  fr.,  for  a  party  more  in  pro- 
portion; carriage,  hardly  necessary,  bargaining  advisable).  The  Necro- 
polis was  accidentally  discovered  in  1823  by  Carlo  Avvolta,  a  native  of  Cor- 
neto, who  while  digging  penetrated  into  a  tomb,  and  through  the  aperture 
beheld  a  warrior  extended,  accoutred  in  full  armour.  The  Influence  of  the 
air  cauaed  the  body  to  collapse  after  a  few  minutes*  exposure.  Even  in  an- 
cient times  the  tombs  were  frequently  plundered  for  the  sake  of  the  pre- 
cious trinkets  they  contained,  and  modem  excavations  have  despoiled  them 
of  every  movable  object  which  •  remained.  A  visit  to  them  is  nevertheless 
extremely  interesting  to  those  who  desire  to  form  an  idea  of  the  civili- 
sation ,  art,  and  religion  of  the  Etruscans ;  and  for  this  purpose  the  tombs 
of  Corneto  are  well  adapted  owing  to  the  good  preservation  of  their 
paintings.  The  decoration  of  the  chambers  is  in  a  style  that  was  preva- 
lent chiefly  in  the  towns  of  southern  Etruria,  and  indicates  a  close  relationship 
to  Hellenic  art.  The  Tumuli  which  externally  distinguished  the  tombs  have 
in  the  lapse  of  ages  been  entirely  destroyed;  the  subterranean  chambers 
now  alone  remain,  of  which  the  following  are  the  most  interesting :  — 

No.  4.  Oroita  delta  Caccia  del  Cignale  (boar-hunt),  or  Orotta  Querciola. 
The  faded  paintings,  copied  in  the  Huseo  Gregoriano  (p.  316) ,  represent  a 
banquet  with  music  and  dancing,  and  a  boar-hunt.  —  Opposite  to  this  tomb  — 

No.  5.  ''Grotta  del  Convito  Funebre,  or  del  TricliniOi  also  with  the  re- 
presentation of  a  banquet.    The  admirable  drawing  bears  witness  to  the  ir 


6     RouU  1.  CIVITA  VECOHIA. 

fluence  of  fhe  best  period  of  archaic  Greek  art.  The  men  here,  ag  in  all 
the  others,  are  coloured  dark  red,  the  women  sketched  in  outline  on  the 
walls  in  whitish  colours. 

No.  8.  Cfrotta  del  Morto,  small;  mourning  for  the  deceased,  and  dancers. 

Ko.  11.  ^OroUa  del  Tifone^  more  extensive,  supported  in  the  centre  by  a 
pillar,  on  which  are  Typhous,  or  winged  genii  of  death  terminating  in  ser- 
pents. The  sarcophagi  bear  Latin  as  well  as  Etruscan  inscriptions,  a  proof 
that  they  belong  to  a  comparatively  recent  epoch.  To  the  right  on  the  wall 
are  souls  escorted  by  genii  \  under  them  is  Charon  with  the  hammer. 

Ko.  12.    QroUa  degli  Scudi^  with  banqueting  scenes. 

No.  I'd.  Oroita  del  Cardinale^  the  most  spacious  tomb  of  Tarquinii, 
supported  by  four  pillars,  opened  last  century,  colours  almost  entirely  faded. 

No.  14.  *  Oroita  delV  Oreo  or  del  Poiifemo:  in  the  anterior  chamber, 
a  banquet ;  in  the  one  beyond  it  a  scene  from  the  infernal  regions  >  with 
Pluto,  Proserpine,  Geryon,  Tiresias,  Agamemnon,  Memnon,  and  Theseus  \ 
in  a  niche  in  this  chamber  is  Ulysses  blinding  Polyphemus.  —  The  paint- 
ings here  exhibit  unmistakable  Greek  influence. 

No.  15.  Orotta  dei  Vast  Dipinti,  and  No.  16.  Grotta  del  Vecchio,  with 
banquets  and  dances,  both  not  later  than  the  first  half  of  the  5th  cent.  B.  0. 

xTo.  18.  Oroita  delle  Iscrizioni^  so  called  from  the  numerous  Etruscan  in- 
scriptions, with  warlike  trials  of  skill. 

No.  19.  ^Orotta  del  Barone^  so  called  from  the  Hanoverian  ambassa- 
dor Baron  Eestner,  by  whom  it  was  opened,  contains  warlike  games,  riders, 
etc.,  partly  in  the  archaic  style ;  colours  well  preserved. 

No.  20.  QroUa  delle  Bighe,  discovered  in  1827  by  Baron  Stackelberg. 
A  copy  of  the  paintings  (funereal  games  and  dances)  is  preserved  in  the  Var 
tican.    Adjacent  — 

No.  21,  Orotta  del  Mare^  small,  with  sea-horses. 

No.  23.  Orotta  degli  Auguri  (with  funereal  games;  a  criminal  with 
veiled  head  fighting  with  a  large  mastiff,  hounded  on  by  a  figure  in  a 
mask),  of  the  same  date  as  Nos.  15  and  lb. 

From  Gorneto  to  (16  M.)  Toscanella  (p.  73)  a  diligence  runs  thrice  a 
week  (carriage  8fr.). 

The  train  skirts  the  foot  of  the  hill  of  Gorneto ,  which  lemains 
visible  for  a  long  time.  To  the  right ,  farther  on  ,  is  the  insigni- 
ficant Porto  ClementinOj  which  is  entirely  abandoned  in  summer  on 
account  of  the  malaria.  The  horizon  is  bounded  inland  by  the  moun- 
tains of  Tolfa  (p.  7),  which  yield  an  abundance  of  alum  and 
sulphur.  The  line  crosses  the  small  river  Mignone,  at  the  mouth  of 
which  stands  the  Torre  BerUUdo ,  where ,  according  to  a  legend,  an 
angel  dispelled  St.  Augustine's  doubts  respecting  the  Trinity. 

157  M.  Civit^  Yeoehia.  —  Halt  of  5-14  min.;   *  Railway  Restaurant. 

Omnibus  to  the  town  (within  a  few  minutes'  walk)  25  c. ;  one-horse 
carriage  V*  f'-i  two-horse  1  fr. ;  porter  for  a  box  40  c. 

Hotels:  ^Orlando,  to  the  right  at  the  entrance  of  the  town,  a  large 
hotel,  expensive;  Edbopa,  moderate. 

British  Consular  Agent,  L.  Sperandio;  American^  Gw  Marsanich. 

Civitd,  Vecchiay  the  seaport  of  Rome,  with  12,000  inhab.,  the 
ancient  Centum  Cellae  founded  by  Trajan,  and  sometimes  called 
Portus  Trajanij  was  destroyed  by  the  Saracens  in  828,  but  in  854 
the  inhabitants  returned  into  the  ^ancierU  city\  The  fortifications, 
built  In  the  16th  and  17th  cent.,  were  recently  restored  by  the 
French.  The  entrance  to  the  harbour,  in  front  of  which  lies  a  small 
fortified  island  with  a  lighthouse,  is  defended  by  two  strong  towers. 
Visitors   are  permitted  to  inspect  the  Bagno,   where  tlie   galley- 

victs  are  at  work.  The  town  is  uninteresting.  The  traveller  may 
spend  a  leisure  hour  in  walking  on  the  quay. 


PALO.  2.  RouU    7 

A  good  road  leads  from  GiviUi  Vecchia  to  the  volcanic  mountains  oi 
La  Tolfa  CX)40  ft.)  and  th(f  loftily -situated  village  of  that  name,  in  the 
vicinity  of  which  are  extensive  mines  of  alum.  The  scenery  is  picturesque, 
and  the  locality  interesting  to  geologists.  Some  mineral  springs,  with  the 
ruins  of  ancient  baths  (Aquae  Tauri)^  lie  about  3  M.  from  CiviU  Vecchia. 
F&OM  GiTiTA  Vecchia  to  Rome.  The  best  views  are  on  the  right 
till  Rome  is  approached,  and  then  on  the  left.  The  line  traverses 
a  dreary  tract ,  running  parallel  with  the  ancient  Via  Aurelia  near 
the  sea-coast  as  far  as  Palo.  On  clear  days  the  Alban  and  Volscian 
Mts.  are  visible  in  the  distance,  and  still  farther  off  the  promontory 
of  Circeii.  163  M.  Santa  Marinella  possesses  a  mediaval  castle  ris- 
ing above  a  small  bay.  —  166  M.  Santa  SeverOy  a  picturesque  ba- 
ronial castle,  formerly  the  property  of  the  Orsini  family,  and  now  of 
the  S.  Spirito  Hospital  at  Rome.  Here  in  ancient  times  lay  Pyrgos 
or  Pyrgiy  the  harbour  of  the  once  powerful  Etruscan  city  Caerej  now 
Cervetri  (p.  392),  situated  on  a  height,  6  M.  to  the  left. 

171  M.  Furbara.  The  solitary  towers  on  the  shore  were  erected  in 
the  middle  ages  for  protection  against  the  dreaded  Turkish  corsairs. 
177  M.  PalOy  the  junction  of  a  branch-line  (opened  in  Nov., 
1889)  to  Trastevere,  with  a  chateau  and  villa  of  the  Odescalchi,  oc- 
cupies the  site  of  the  ancient  Alsiumj  where  Pompey  and  Antoninus 
Pius  possessed  country-residences.  Relics  of  antiquity  now  scarce.  . 
The  sea-baths  of  Ladispoli,  near  Palo,  recently  founded  by  Prince 
Odescalchi  (fine  beach),  attract  a  considerable  number  of  summer 
visitors  (special  trains  from  Rome  on  Sun.  and  Thurs.). 

181  M.  Paliddro  lies  on  the  river  of  that  name,  which  has  its 
source  on  the  heights  near  the  Lago  di  Bracciano.  The  line  now 
approaches  the  plantations  of  (186  M.)  Macearese  to  the  right,  sup- 
posed to  be  the  ancient  Fregenae,  which  lay  near  the  mouth  of  the 
Arrone.  The  Lago  di  Ponente  or  Stagno  di  Maecarese  is  now  skirted. 
193  M.  Ponte  Galeta,  whence  a  branch-line  diverges  to  Potto 
9Si^\Fiumieino  (p.  393).  Near  (201  M.)  Magliana  the  Tiber  becomes 
visible,  and  the  line  follows  its  course  (comp.  Map,  p.  334).  A 
freer  view  is  now  obtained  of  the  extensive  Campagna  di  Roma ; 
to  the  right ,  in  the  background ,  the  Alban  Mts.  (p.  363 ;  comp. 
panorama,  p.  328)  and  to  the  left  the  Sabine  Mts.;  in  the  foreground 
is  the  grand  basilica  of  S.  Paolo  fuori  le  Mura  (p.  352).  The  train 
crosses  the  Tiber  by  an  iron  bridge  and  skirts  the  S.E.  walls  of  Rome. 
2071/2  M.  Borne,  —  Arrival,  see  p.  111. 

2.  From  Leghorn  to  Volterra  and  Colle. 

A  visit  to  Volterra,  the  antiquities  of  which  are  interesting,  is  best 
accomplished  from  Leghorn.  Bauwat  via  Gecina  to  Volterra  station, 
51  H..  in  3-33/4  hrs.-,  express  to  Gecina  (no  through-connection)  6  fr.  35, 
4fr.  46  c.;  ordinary  trains  5fr.  95,  4  fr.  15,  2fr.  65  c.;  from  Gecina  to 
Volterra  station  3  fr.  40,  2  fr.  40,  1  fr.  55  c.  —  Diligbncb  from  the  stotion 
to  Volterra  in  2  hrs.  (fare  iVz  fr. ;  one-horse  carr.  10  fr.).  Those  who 
intend  to  continue  their  journey  southwards  by  the  Maremme  line  should 
leave  their  luggage  at  Gecina.  —  DiuaBMCfi  to  GoUe  twice  a  week  only; 
one-horse  carriage  about  12  fr. 


8    BotUe  2.  VOLTERRA.  From  Leghorn 

Volterra  may  also  be  reached  from  Pimtedera.  a  station  on  tlie  Flor- 
ence and  Pisa  line,  by  driving  up  the  valley  of  tne  Era  (5-6  hrs.)* 

FsoM  Leohoan  to  Yoltb&ra.  To  (32  M.)  Cecirui  (Maremme 
Railway )y  see  pp.  1,  2.  The  branch-line  to  Volterra  ascends  hence 
on  the  right  bank  of  the  Ctcina,  traversing  a  district  of  great  mineral 
wealth.  —  51/2  M.  BiparbeUai  101/2  M.  Casino  di  Terra;  15  M. 
Pontt  Oinori, 

19  M.  Volterra.  The  station  is  situated  at  the  foot  of  the  lofty 
hill  on  which  the  town  lies.  The  extensive  salt-works  (Le  Saline) 
in  the  vicinity  supply  the  whole  of  Tuscany  with  salt. 

The  following  excarsion,  for  which  a  carriage  may  be  hired  at  Volterra 
Station,  is  interesting  to  geologists.  We  first  drive  to  Pomaranee^  a  pleasant 
town,  famed  in  the  Renaissance  period  for  its  earthenware,  with  a  large 
chateau  of  Count  Larderello,  and  in  about  3  hrs.  reach  Larderello  on  the 
Monte  Cerboliy  the  central  point  of  the  boracic  acid  works  belonging  to 
the  Larderello  family,  which  are  politely  shown  to  visitors.  The  ex- 
cursion may  be  extended  towards  theS.,  by  Baffno  a  Morbo  (with  springs, 
good  for  gout,  used  perhaps  by  the  Romans),  CaitelnuovOy  SassOy  and  Monte- 
rotondOy  to  Hassa  Marittima  (p.  2),  a  drive  of  3  hrs.  more.  Hear  Sasso 
and  Honterotondo  in  particular  the  country  is  covered  with  clouds  of  smoke, 
and  the  hot  surface  of  the  earth  with  incrustations  of  sulphur,  sulphate  of 
iron,  etc.  Near  Honterotondo  is  the  hot  Logo  Zolforeo^  a  small  lake  strongly 
impregnated  with  boracic  acid,  which  is  obtained  from  it  by  evaporation 
by  M.  Duval,  a  Frenchman.  Oount  Larderello's  works  yield  about  1650 
tons,  and  H.  DuvaPs  5(X)  tons  annually,  and  the  whole  quantity  is  sent  by 
contract  to  England,  where  it  is  chiefly  used  in  the  manufacture  of  glass 
and  pottery.  The  lagoni^  or  pools  through  which  the  soffioni  or  jets  of 
boracic  acid  in  the  form  of  steam  bubble  up,  are  all,  with  the  exception 
af  those  of  Travale,  in  the  region  of  the  Gecina  and  Comia,  and  most  prob- 
obly  have  a  common  volcanic  origin. 

The  road  from  the  station  to  (5  M.)  Volterra  ascends  (diligence 
IY2  ^'O-  T^6  country  presents  a  peculiarly  bleak  appearance.  The 
effect  of  the  rain  on  the  soft  and  spongy  soil  is  most  prejudicial  to 
agriculture. 

Volterra.  —  *Albebqo  Nazionale,  R.  IV2-2  fr. ;  Uhionk.  —  Gafi 
EtruscOy  in  the  market-place. 

The  celebrated -4;afta<<ef  Works  of  Volterra  aflford  occupation  to  nearly 
two-thirds  of  the  population ,  but  most  of  the  patterns  are  unfortunately 
in  very  bad  taste.  The  ordinary  kinds  of  alabaster  are  found  in  the  vici- 
nity, the  more  valuable  in  the  mines  of  La  Castellina,  to  the  8.  of  Leg- 
horn. The  traveller  should  visit  the  interesting  work-shops,  where  sou- 
venirs may  be  purchased  far  more  cheaply  than  at  Florence  or  Leghorn. 

Volterra  (1805  ft.),  chief  town  of  an  official  district  and  one  of 
the  most  ancient  Etruscan  cities,  is  an  episcopal  residence  with 
5700  inhab.  (commune  14,000  inhab.),  commanding  in  dear  wea- 
ther charming  prospects  as  far  as  the  heights  of  Pisa,  the  Apennines, 
and  the  sea  withthe  islands  of  Gorgona,  Elba ,  Gapraja,  and  Corsica. 

Volterra  (the  ancient  Volaterrae ,  Etruscan  Velathri)  was  one  of  the 
twelve  ancient  confederate  cities  of  Etruria,  and  was  so  strongly  fortified 
that  during  the  civil  wars  it  withstood  a  siege  by  Sulla's  troops  for  two 
years.  It  afterwards  became  a  Roman  municipium,  but  gradually  fell  to 
decay  and  was  totally  destroyed  in  the  10th  century.  It  was  re-erected  under 
the  Othos ,  but  does  not  now  cover  one-third  of  its  ancient  area.  In  the 
middle  ages  it  was  a  free  town ,  until  it  became  subject  to  Florence  in 
1361.  The  last  revolt  of  the  inhabitants  against  the  Florentines  terminated 
on  17th  June,  1472,  when  the  town  was  captured  and  ruthlessly  pillaged. 


to  VoUerta.  VOLTERRA.  2.  BouU,    9 

Among  the  Antiquities  the  ancient  *Tow3i  W&lli,  once  up- 
wards of  4^2  M.  in  circumference,  and  nearly  three  times  as  ex- 
tensiye  as  those  of  Fiesole  and  Cortona,  are  especially  worthy  of 
notice.  Their  dimensions  (40  ft.  in  height,  13  ft.  in  thickness) 
and  construction  of  horizontal  courses  of  sandstone  blocks  (pan- 
china)  are  best  inspected  outside  the  Porta  Fiorentina  and  in 
the  garden  of  the  monastery  of  Santa  Chiara.  One  of  the  ancient 
gateways,  the  *PoTta  dell'  Areo,  20  ft.  in  height,  is  also  still  in 
existence.  The  corbels  are  adorned  with  almost  obliterated  heads. 
The  Porta  di  Diana  (^ilPorUme^Jj  another  gateway,  outside  the  Porta 
Fiorentina,  has  been  much  altered.  Outside  the  same  gate,  below 
the  burying-ground,  is  situated  the  ancient  Necropolis,  about  halfway 
up  the  hill,  at  the  place  now  called  8,  Marmi.  A  number  of  the 
curiosities  in  the  museum  were  found  here,  but  the  tombs  have  all 
been  closed  up  again. 

The  Piscina^  outside  the  castle,  a  reservoir  resting  on  six  col- 
nmns,  is  only  shown  by  permission  of  the  bishop ,  and  is  reached 
by  a  long  ladder.  The  Thermae ^  near  the  Fonte  S.  Felice,  are  of 
Roman  origin.    Traces  of  an  Amphitheatre  near  the  Porta  Fiorentina. 

The  Palazzo  dbi  Pbiobi  or  Palazzo  Pubblico  (PI.  19)  in  the 
Piazza,  a  handsome  edifice,  begun  in  1208  and  completed  in  1257, 
is  unfortunately  somewhat  modernised;  the  exterior  is  adorned  with 
medisBval  coats-of-arms.  It  contains  a  collection  of  pictures ,  of 
which  the  following  are  the  most  important :  Signorelli,  Madonna 
and  saints,  1491  (much  injured);  Dom.  Ohirlandajo^  Christ  in  glory 
(^ruined  by  restoration  in  1874),  and  a  Madonna,  by  the  same. 

Adjoining,  to  the  right,  is  the  entrance  to  the  *Oathedral 
(PI.  8),  consecrated  in  1120  by  Pope  Calixtus  II.,  and  enlarged  in 
the  13th  cent,  by  Niceolb  Pisano,    The  facade  dates  from  1254. 

Intbrios.  Above  aad  beside  the  entrance  are  reliefs  from  the  life  of 
St.  Octavianus  (14th  cent.)  5  the  pulpit  is  adorned  with  sculptures  of  the  end 
of  the  12th  century.  The  two  angels  on  the  high-altar  are  by  Mino  da  Fie- 
sole. The  sarcophagus  of  St.  Octavianus  is  hy  Raffaele  Cioli  (1527);  the  elabo- 
rate roof  by  Fr.  Cipriani  (1570).  —  In  the  S.  transept  is  a  wooden  group 
(I3th  cent.)  of  the  *De8cent  from  the  Cross.  The  chapel  of  S.  Carlo,  oppo- 
site ,  contains  on  the  left  an  •Annunciation  by  Signorelli  (1491) ,  of  rich 
colouring  and  attractive  grace;  above  the  altar,  Mary  Magdalene  by  Ca- 
milla Incontri  (1634) ;  on  the  right,  Ben.  di  Giovanni,  Nativity,  with  predelle 
by  Ben.  Qozzoli;  and  Rotso  Fiorentmo,  Descent  from  the  Cross  (unfinished). 

Opposite  to  the  cathedral  rises  the  baptistery  of  S.  Giovanni 
(PI.  6),  an  octagonal  church,  supposed  to  date  from  the  7th  cent., 
and  occupying  the  site  of  an  ancient  temple  of  the  sun.  The  por- 
tal dates  from  the  13th  century.  To  the  left  of  the  entrance  is  an 
ancient  sarcophagus,  with  a  relief  of  Narcissus.  The  fine  arch  of  the 
high-altar  is  by  BaUimelli  da  Settignano  (16th  cent.),  the  octagonal 
font  by  Andrea  Sansovino  (1502) ,  and  the  ciborium  by  Mino  da 
Fiesole  (1471). 

S.  Lino  (PI.  13),  a  church  founded  in  1480  by  Raffaele  Maffei, 
contains  the  tomb  of  that  scholar,  with  a  recumbent  statue  by  Silvio 
da  Fiesole. 


10    Route  2.  VOLTERRA.  From  Leghorn 

In  the  Via  BieciarelU  is  the  house  in  which  Daniele  da  VolUrra, 
the  celebrated  pupil  of  Michael  Angelo,  was  born  in  1509  (he  died 
at  Paris  in  1567).  The  house  still  belongs  to  the  family  of  Ricciarelli, 
who  possess  the  artist's  *Elia8. 

S.  Fbancbsoo  (PI.  10),  with  the  Gothic  chapel  of  the  Confra- 
temith  delta  Croce  di  Oiomo  of  1315 ,  contains  frescoes  from  the 
life  of  the  Saviour  and  the  legend  of  the  Cross  by  Cienni  di  Fran- 
cesco di  Ser  Cienni  of  Florence,  1410. 

The  most  interesting  object  in  Volterra  is  the  •Musbo  Nazio- 
nale,  a  valuable  collection  of  inscriptions,  coins,  bronzes,  statues, 
and  vases,  now  contained  in  the  Palazzo  Tagassi  (PI.  20),  Via  Vit- 
torio  Emanuele.    Admission  1  fr..  Sun.  free. 

The  museum,  established  in  1731,  and  greatly  enriched  by  the  collections 
of  the  erudite  Mario  Quarnacci  in  1761,  has  lately  been  admirably  arranged 
by  Cavaliere  N.  Maffei.  Seven  rooms  on  the  lower  floor  and  as  many  on 
the  upper  are  occupied  by  the  collection  of  Cinerary  Urns  (upwards  of 
40O).  These  are  generally  about  3  ft.  in  length,  and  date  from  the  latest 
period  of  Etruscan  art.  i.e.  the  3rd  or  2nd  cent.  B.C.  The  subjects  are 
more  interesting  than  the  execution,  which  is  for  the  most  part  very 
mediocre.  A  few  of  them  are  composed  of  terracotta  and  sandstone ,  but 
most  of  them  are  of  the  alabaster  of  the  environs.  On  the  lid  is  the  greatly 
reduced  recumbent  effigy  of  the  deceased;  the  sides  are  adorned  with 
reliefs ,  and  some  of  them  bear  traces  of  painting  and  gilding.  The  re- 
presentations on  the  urns  are  partly  derived  from  the  peculiar  sphere  of 
Etruscan  life,  partly  from  Greek  mythology.  From  the  former,  parting 
scenes  are  the  most  frequent;  the  deceased,  equipped  as  a  rider,  is  escorted 
by  a  messenger  who  bears  a  long  sack  containing  provisions  for  the  jour- 
ney or  is  accompanied  by  Charon  with  the  hammer.  Sacrifices  and  funeral- 
processions  occur  frequently,  as  well  as  banquets ,  races,  contests  of  skill, 
etc.  Greek  mythology  has  supplied  an  abundant  selection  of  subjects ,  e.g. 
Ulysses  with  the  Sirens  and  with  Circe,  the  abduction  of  Helen,  death  of 
Clytemnestra,  Orestes  and  the  Furies,  the  Seven  before  Thebes  (the  gate  a 
copy  of  the  Porta  deir  Arco,  p.  9),  Polynices  and  Eteocles,  CEdipus  with 
the  Sphinx ,  GSdipus  slaying  Ms  father.  There  is  a  singular  blending  of 
luxuriance  and  melancholy  in  the  subjects  and  treatment  of  these  works, 
and  the  same  peculiarity  is  often  observed  in  the  subsequent  development 
of  Etruscan  art.  —  Five  other  rooms  contain  marble  sculptures  (archaic 
sandstone  relief  of  a  warrior),  vases  (mostly  of  a  later  style),  coins,  bronzes, 
utensils,  gold  ornaments,  and  fine  glass  vessels.  —  In  the  third  story  are 
the  Archive*  and  the  Librai^y^  containing  i3,(XX)  vols.,  and  a  collection  of 
coins  and  seals.  On  the  staircase  are  a  frieze  in  relief  (9th  cent.)  from 
S.  Giusto,  an  inscription  of  Gundibert,  King  of  the  Lombards,  and  other 
mediaeval  sculptures. 

The  Citadel  (Fortesaa)  consists  of  two  parts,  the  Cassero  or 
Rocca  Vecchiay  erected  on  the  ancient  town- walls  in  1343  by  Walter 
de  Brienne,  Duke  of  Athens,  and  the  Rocca  Nuova^  built  by  the 
Florentines  after  the  capture  of  the  town.  At  the  same  time  they 
constructed  the  prison  11  Mastio  for  the  incarceration  of  political 
offenders,  where  the  mathematician  Jjorenzo  Lorenzini  was  confined 
as  a  suspected  person  by  the  Grand-Duke  Gosimo  III.  for  11  years 
(1682-93).  The  citadel,  now  a  house  of  correction,  may  be  visited 
with  permission  of  the  Sotto  Prefetto. 

The  Palazzo  Maffei- Quarnacci,  opposite  the  church  of  S.  Michele, 
ith  its  three  towers,  the  oldest  dating  from  the  13th  cent.,  contains 

^ures  and  a  valuable  collection  of  letters  of  Salv.  Rosa. 


to  Volterra.  VOLTERRA.  3.  Route.     11 

The  Gothic  Palazzo  Inghirami  contains  a  small  collection  of 
pietuies,  comprising  a  ""Portrait  of  the  learned  Fedra  Inghirami, 
an  original  -work  of  Raphael  (replica  in  the  Pitti  Gallery  at  Florence). 

The  Casa  Ducci  bears  the  Roman  epitaph  of  a  hoy,  five  years  of 
age,  probably  a  member  of  the  family  of  the  poet  Persitu,  who 
was  born  at  Yolaterrse  in  A. D.  34. 

Outside  the  Porta  Piaana  is  the  rained  Romanesque  ehurch  of  S,  Sle- 
fauOj  near  which  are  a  fountain  and  a  Roman  marble  portrait-statue, 
known  as  the  ProiomarziOj  from  a  corruption  of  Prato  Harzio,  the  ancient 
name  of  the  place.  —  Farther  from  the  town,  between  the  churches  of 
8.  Ginsta  and  La  Badia,  lies  a  deep  ravine  called  Le  BaUe,  which  was 
comparatively  recently  formed  by  the  action  of  water  and  continues  to 
increase.  Several  buildings  have  already  been  undermined  and  destroyed, 
and  the  celebrated  Camaldulensian  abbey  of  San  Salvatore,  founded  in 
the  11th  cent.,  is  threatened  with  the  same  fate. 

In  the  valley  to  the  B.  is  the  convent  of  B.  Oirolamo,  the  vestibule 
chapels  of  which  contain  terracotta  altar-pieces  from  the  studio  of  the  Delia 
Robbia^t^  one  representing  St.  Francis  with  SS.  Clara  and  Louis,  another 
the  Last  Judgment  (1601).  In  the  church  is  an  Annunciation  by  Benvenuto 
di  Oiovanni.  —  Farther  on  is  the  YxLla  Inghirami  (fine  view),  with  some 
Etruscan  Tombs^  in  which  the  burial-urns  are  still  in  situ  (the  gardener 
supplies  a  light,  '/s  f^-)-  Hence  the  rock-caves  named  Le  Buche  di'  Bara- 
ceni  may  be  visited. 

A  pleasant  Excubsion  may  be  made  to  the  copper  -  mines  of  La  Cava 
di  Caporcianoy  near  Monte  Catini^  10  M.  from  Volterra.  The  road  leads 
across  the  hill  of  La  Bachetona  to  Monte  Catini  on  the  summit  of  the  Se- 
lagite,  a  mountain  of  volcanic  origin.  The  square  tower  of  the  old  castle 
commands  an  extensive  prospect.  The  mines  have  been  worked  since  the 
15th  cent. ,  and  the  operations  were  very  successful  till  within  the  last 
few  years,  but  since  1870  the  yield  has  fallen  oflf.  The  present  possessor 
is  (3ount  Buturlin.  The  mineral  was  found  in  pockets  or  clusters ,  be- 
tween serpentine,  known  here  as  gabbro  verde^  and  a  peculiar  species 
of  red  rock,  gabbro  rosso.  The  whole  vicinity  is  extremely  interesting  for 
geologists.  A  number  of  peaks,  such  as  Monte  delV  Abete^  Poggio  alia  Croce^ 
and  Monte  Maisi^  consist  of  gahbro  rosso,  which  has  been  upheaved  at 
a  comparatively  recent  period  through  the  surrounding  sand  and  limestone. 
The  view  from  ''Monte  Massi  (1910  ft.)  or  from  Poggio  alia  Croce  (1/2  hr, 
from  Monte  Catini)  extends  from  the  heights  near  Massa  and  Carrara  to- 
wards the  N.  to  Monte  Amiata  on  the  S.,  and  embraces  the  sea  with  the 
islands  of  Elba,  Caprtga,  and  Corsica. 

Fbom  Voltbbba  to  Collb,  I5V2  M.  The  high-road  leads  to- 
wards the  E.  through  an  undulating  and  attractive  district.  To  the 
left  is  seen  8.  Qimignano  (p.  14),  to  which  a  good  road  (fine  views) 
diverges  after  71/2  M,  (reaching  it  after  11  M.  more;  pedestrians 
may  take  a  short-cut,  diverging  1  M.  farther  on,  via  Ranza  and  S, 
Donato').    To  the  right  lies  Pomarance  (p.  8).  CoUe,  see  p.  13. 

3.  Elba  and  the  Tuscan  Islands. 

A  visit  to  Elba,  which  is  strongly  recommended  to  the  scientific  traveller 
and  the  lover  of  nature,  is  accomplished  either  from  Leghorn  or  from 
Piombino  (p.  2).  Between  both  these  points  and  Porto  Ferrajo^  the  capital  of 
the  island,  communication  is  kept  up  by  the  SodethRiunite  Florio-Rubattino. 
Fbom  Leghorn  to  Porto  Ferrajo  every  Sun.  forenoon  in  4V2  hrs.,  return- 
ing on  Mon.  forenoon.  —  From  Piombino  to  Porto  Ferrajo  every  afternoon 
in  2  hrs.,  returning  every  forenoon.  — A  steamboat  of  the  same  company 
also  makes  a  trip  once  weekly  to  the  small  neighbouring  islands  (Liner 
Uvomo-  Porto-San-Btefano). 


12    Routed.  ELBA. 

About  4  M.  to  the  W.  of  Leghorn  lises  the  cliff  of  Meloria^  where 
the  Pisans  were  so  signally  defeated  by  the  Genoese  in  1283,  that 
they  never  regained  their  former  supremacy.  Farther  to  the  W. 
(21 V2  M.  from  Leghorn)  is  Qorgona^  inhabited  by  fishermen,  a 
sterile  island,  affording  pasture  to  wild  goats  only.  Between  the 
latter  and  Elba  lies  (40  M.)  Capraja  ('island  of  goats',  so  called  by 
the  ancients  also),  with  2000  inhab.,  where  wine  is  produced. 

Elba,  Lat.  Ilva,  Greek  AUtkalia,  consisting  of  an  imposing 
mountain-group,  lies  51/2  M.  to  the  S,W.  of  Piombino  (p.  2),  be- 
yond the  Islets  of  Palmajola  and  CerbolL  The  Torre  di  Oiove,  sit- 
uated on  the  highest  point,  serves  as  a  landmark  to  sailors.  The 
vessel  rounds  the  Capo  delta  Vita  and  enters  the  beautiful  bay  of 
Porto  Ferrajo  (Albergo  delle  Apt,  fair),  the  capital,  enclosed 
amphitheatrically  by  mountains.  The  island  was  celebrated  in  an- 
cient times  for  its  iron  ore ;  in  the  middle  ages  it  was  subject  to 
the  Pisans,  then  to  Genoa,  to  Lucca,  and  to  the  Appiani  of  Piom- 
bino, and  was  finally  presented  by  the  Emp.  Charles  V.  to  the 
Grand-Duke  Cosimo  I.  of  Florence,  who  fortified  the  harbour  of 
Porto  Ferrajo  in  1548.  As  the  name  of  the  town  indicates,  the 
mining  and  export  of  iron  form  the  principal  occupation  of  the 
inhabitants  (22,000),  others  of  whom  are  supported  by  the  tunny 
and  sardine  fisheries.  Elba  has  acquired  a  modern  celebrity  as  the 
retreat  of  the  dethroned  Napoleon,  from  5th  May,  1814,  to  26th  Feb., 
1815.  The  Villa  S,  Martino^  the  house  occupied  by  the  emperor,  is  still 
shown  at  Porto  Ferrajo,  on  the  height  above  the  harbour,  between 
the  forts  Stella  and  Falcone,  which  were  erected  by  Cosimo  I.,  and 
command  a  view  of  the  bay  in  front,  and  of  the  sea  in  the  di- 
rection of  Piombino  at  the  back.  It  contains  several  Napoleonic 
relics.  Below,  adjoining  the  harbour,  is  the  Bagno,  or  prison,  in 
which  several  hundred  galley-convicts  are  confined.  —  The  island 
is  about  18  M.  long,  61/2M.  broad,  and  90  sq.  M.  in  area;  it  contains 
several  fertile  valleys,  but  lofty  and  precipitous  mountains  predomi- 
nate. Monte  Capanne,  the  highest  point,  near  the  village  of  Mar- 
ciana,  is  3300  ft.  in  height.  The  coast  on  the  side  next  the  main- 
land is  less  abrupt,  and  produces  admirable  wine  and  fruit,  espe- 
cially near  Capoliverij  where  excellent  Aleatico  is  grown.  —  An  ex- 
cursion from  Porto  Ferrajo  to  the  iron-mines  is  best  made  by  tak- 
ing a  boat  to  fheBorgo  dei  Magazzini,  and  walking  or  riding  thence 
(horse  there  and  back  3  fr.)  over  the  hill  to  Rio  Caatello  and  on  to 
Rio  Marina,  where  a  guide  to  the  mines  (scarcely  necessary)  may 
be  obtained.  The  ferriferous  strata  lie  on  the  surface,  and  are  re- 
cognised at  a  distance  by  the  reddish-black  appearance  of  the  hiUs. 
On  the  coast,  to  the  S.  of  Rio  Cas telle,  lies  the  picturesque  strong- 
hold of  Porto  Longone,  founded  by  the  Spaniards. 

About  71/2  M.  to  the  S.  W.  of  Elba  lies  the  island  of  Pianosa, 
the  ancient  Planasia,  which,  as  its  name  indicates,  is  perfectly  flat. 
To  this  island  Agrippa  Postunms,  grandson  of  Augustus,  was  once 


EMPOLI.  4.  RouU.    13 

banished,  and  to  him  are  referred  the  considerable  Roman  remains 
vhich  still  eiist  here.  Farther  to  the  S.  (25  M.  from  Elba)  rises 
MonU  Cristo,  consisting  of  granite-rock,  6  M.  in  circumference.  It 
contains  numerous  springs,  and  the  ruins  of  a  monastery  destroyed 
by  pirates  in  the  16th  century.  The  name  is  familiar  through  the 
well-known  romance  of  the  elder  Dumas.  Opposite  the  Monte  Ar- 
gentarlo  (p.  3)  and  about  6  M.  from  the  mainland  is  Giglio,  Lat. 
Jgilitan,  a  considerable  island  containing  a  village  and  vestiges  of 
Roman  palaces.    The  highest  point  is  1630  ft.  above  the  sea-level. 

4.  From  Florence  to  Siena  and  Chinsi  vid  Empoli. 

114  M.  Railway.  To  Siena,  59V2  M.,  in  S-S'/a  hrs. ;  fares  10  fr.  90,  7  fr. 
65,  4  fr.  95  c.  —  From  Siena  to  Chiusi,  54Va  M.,  in  23/i-Vf2  hrs. ;  fares  9  fr. 
95,  6  fr.  95,  4  fr.  45  c.  —  No  quick  trains. 

Florence^  see  Batdektr'B  Northern  Italy.  —  6  M.  8,  Donnino; 
the  valley  of  the  Arno  expands.  7  M.  Signa^  with  its  grey  pinnacles 
and  towers ,  is  famed  for  its  straw-plaiting.  The  line  crosses  the 
Ombrone ,  which  falls  into  the  Arno,  and  enters  the  defile  of  the 
Oonfolina,  which  separates  the  middle  from  the  lower  valley  of  the 
Arno.  Grossing  the  Arno,  the  train  reaches  (16  M.)  Montelupo. 
Farther  on  we  cross  the  small  river  Pesa, 

20  M.  Empoli  (^Rail,  Restaurant ,  unpretending),  a  small  town 
with  6000  inhab. ,  with  antiquated  buildings  and  narrow  streets, 
situated  in  a  fertile  district.  Halt  of  6-25  min. ;  passengers  to  Siena 
have  often  to  change  carriages.  The  main  line  pursues  a  W.  di- 
rection towards  Pisa  and  Leghorn ;  see  Baedekers  Northern  Italy, 

The  line  to  Siena  traverses  the  fertile  valley  of  the  Elsa,  on  the 
right  bank  of  the  stream.  To  the  right,  on  the  hill,  S.  Miniato  dei 
Tedeschi,  picturesquely  situated,  with  a  lofty  mediaeval  tower.  23  M. 
PonteaElsa;  26  M.  Oranaiolo.  30 V2  M.  Castel  Fiorentino ;  the  town, 
on  the  height  to  the  left,  is  the  principal  place  in  the  Val  d'Elsa. 

351/2  M.  Certaldo ;  the  town,  on  the  hill  to  the  left,  was  the  na- 
tive place  of  Giovanni  Boccaccio,  who  died  here,  21st  Dec,  1375,  at 
the  age  of  62.  His  tomb  in  the  church  of  8.  MicheLe  e  Oiacomo  (La 
Canonica),  erected  in  1503,  was  removed  some  time  after  1783  and 
his  bones  scattered.  The  house  of  Boccaccio,  now  denoted  by  a 
tablet,  was  restored  in  1823  by  the  Countess  Carlotta  Lenzoui-Me- 
dici,  and  fitted  up  in  the  mediaeval  style.  The  remains  of  his  mon- 
ument were  also  brought  hither. 

43^2  M.  Poggibonsi  (Aquila,  opposite  the  station,  tolerably 
comfortable) ;  the  town  (4000  inhab.)  lies  to  the  right.  On  the  hill 
above  it  rise  the  old  casde  and  the  monastery  of  8.  Lucchese.  In  the 
church  of  the  castle  is  an  altar-piece  and  in  the  former  refectory  are 
frescoes  by  Qerino  da  Pistoja. 


Fhom  Poggibonsi  to  Collb,  5  M.,  railway  in  26  min.  (70, 40  c). 
Colle  (A26.  del  Buon  Soggiomo ,    tolerable),  generally  called 


14    Boutei.  S.  GIMIGNANO,  From  Florence 

Colle  di  Val  d'Elaa  to  distinguish  it  from  other  places  of  the  same 
name,  Is  an  old  town  with  1000  inhah.,  frequently  mentioned  in  the 
history  of  the  Renaissance.  It  now  consists  of  two  parts,  Colle  Alto 
and  Colle  Bomo.  The  first  of  these  contains  the  palaces  of  the  old,  but 
now  greatly  impoYerished  aristocracy;  the  house  of  the  celebrated 
architect  Amolfo  diOambio;  and  the  Cathedral,  dating  from  the  13th 
cent.,  with  a  facade  modernised  in  bad  taste,  a  marble  pulpit  (of 
which  the  lower  part  belongs  to  the  13th  cent.,  and  the  upper  part, 
with  reliefs  of  saints,  to  the  16th),  and  handsome  carved  choir- stalls 
and  episcopal  throne  of  the  17th  century.  At  Colle  Basso  there  are 
now  important  iron  and  glass  works. 

The  interesting  little  town  of  8.  Oimignano  may  be  conveniently 
visited  from  Poggibonsl  or  Colle,  from  each  of  which  it  is  about 
6  M.  distant.    Carriages  may  be  hired  at  the  stations  for  4  frs. 

8.  Gimignaao  (1180  ft. ;  Albergo  Leone  Bianco,  Via  S.  Matteo, 
near  the  gate,  well  spoken  of),  an  ancient  and  loftily  situated  town, 
with  8200  inhab.,  was  a  prosperous  and  independent  place  in  the 
13th  and  14th  cent.,  but  in  1353,  after  having,  suffered  terribly  in 
consequence  of  the  dissensions  of  the  leading  families  of  thQ  Salvticci 
(Ghibellines)  and  Ardinghelli  (Guelphs),  it  became  subject  to  Flor- 
ence. Its  walls,  its  towers  (whence  the  name  'S.  Gimignano  dello 
belle  torri')  and  its  streets,  aU  carry  us  back  to  the  middle  ages. 
Perhaps  no  other  town  in  Tuscany  presents  so  faithful  a  picture 
of  Dante's  time.   Architecture  of  the  Gothic  type  prevails. 

In  the  centre  of  the  town  is  the||^AzzA  dblla  Colleoiata,  or 
del  Duomo^  with  several  Important  buildings. 

The  *PaijA2zo  Pubblioo  or  Comunale  was  erected  in  1288-1323. 

The  Sala  dbl  Consiolio  ,  on  the  second  floor,  contains  a  *Madonna 
with  saints  and  angels,  and  the  kneeling  donor  Podestk  Nello  dei  Tolo- 
mei  (1317),  a  fresco  by  Lippo  Memmi  of  Siena*,  also  pictures  from  sup- 
pressed monasteries  in  the  neighbourhood :  8,  9.  Mainardi,  Madonnas;  18. 
Filippino  Lippi,  Annunciation  (two  round  paintings)  \  16.  Fra  Paolino,  Ma- 
donna \  18.  PintuHcchio,  Madonna  with  two  saints.  —  To  the  left  of  the 
exit  into  the  court  is  the  Gappblla  dbl  Psbtosb,  or  delle  Careeri  (now 
divided  by  a  wall  into  two  parts),  containing  a  'Scene  from  the  legend  of 
St.  Yvo,  and  allegorical  figures  of  Truth,  Prudence,  and  Falsehood,  fres- 
coes by  Sodoma.  There  are  also  many  traces  of  frescoes  in  other  parts 
of  the  palace. 

The  Torre  del  Comune  (160  ft.)  is  the  highest  of  the  13  towers 
which  still  exist  out  of  the  original  number  of  50.  The  largest  of 
its  three  bells  dates  from  1328. 

Adjacent  is  the  cathedral,  usually  called  *La  Colleoiata,  of 
the  12th  cent.,  altered  in  the  15th  hyOiuliano  da  Majano,  and  now 
entirely  modernised.    It  contains  frescoes  of  the  14-1 5th  centuries. 

On  the  entrance-wall,  'Martyrdom  of  St.  Sebastian,  a  fresco  of  colos- 
sal proportions  by  Benozxo  Qotzoli^  1465 ;  Annunciation,  two  wooden  figures 
(14th  cent.)  by  Martinus  Bartolamaei  of  Siena.  In  the  N.  aisle,  scenes  from  the 
Old  Testament  (some  in  bad  preservation)  by  Bartolo  di  Fredi  of  Siena,  1356; 
in  the  S.  aisle,  Life  of  Christ  by  Bama  da  Siena^  1380.  In  the  nave,  above 
the  arch,  Paradise  and  the  Inferno,  by  Taddeo  Bartoli.  —  The  visitor  should 
particularly  notice  the  decorations  in  the  last  side-chapel  to  the  right, 
the  ♦Capfblla  8.  Fima,  which  contains  the  bones  of  this  local  saint,  who 


to  sum,  S.  GIMIGNANO.  4.  BouU.     15 

died  at  the  age  of  15  years.  The  chapel  was  designed  by  OiuHamo  da  Ma- 
Jano ;  altar-piece  (recently  restored)  by  Benedetto  da  Majano.  The  two  ♦Fres- 
coes on  the  side-walls,  representing  the  vision  of  the  yonthftil  saint  nnd 
her  burial,  by  Dom,  OhirlandaJOy  are  among  the  finest  works  of  that  master, 
and  combine  a  fresh  and  life-like  style  with  majestic  gravity.  —  In  the 
choir,  centre  of  the  right  wall,  Coronation  of  the  Virgin,  an  altar-picco 
by  Piero  del  PoUaJuolo  of  Florence,  1483;  to  the  right  of  this,  Madonna 
and  fonr  saints,  by  Benozto  QozmcU;  on  the  left  wall,  same  subject  by  Ta- 
magni;  adjacent,  ♦Marquetry  (Mntarsia^)  choir-stalls  of  1490.  —  The  Ora- 
TOBio  S.  Giovanni  contains  an  Annunciation  by  Dom.  QhirlandajOy  1482, 
a  work  of  no  great  importance. 

Opposite  the  cathedral  is  the  Paulzzo  dbl  PobbstI,  with  an 
imposing  loggia  (now  a  theatre).  It  is  surmoiinted  by  the  Torre 
delta  Bognosa  or  ddV  OrologiOj  which  indicates  the  height  beyond 
which  private  Individuals  were  prohibited  from  building. 

The  Via  S.  Matteo  descends  from  the  Piazza ,  passing  the  two 
towers  of  the  Salvucci ,  to  an  ancient  gateway ,  which  marked  the 
limits  of  the  town  until  the  13th  century.  Immediately  to  the  right 
in  this  street  is  the  Biblioteca  Comunale  (librarian,  Prcposto  Ugo 
Nomi),  which  contains  9000  vols,  and  200  codices.  One  of  its 
treasures  is  a  copy  of  AlciatVs  Emblemata  (Lyons,  1564^,  along  with 
which  are  bound  up  several  Interesting  autographs,  including  those 
of  Luther  and  Melanchthon.  Adjacent  is  a  small  Museum,  —  Far- 
ther on  are  8.  Bartolo  (originally  S.  Matteo),  a  church  of  the 
Knights  Templar ,  with  a  12th  cent,  facade ,  and  the  Palazzo  Pea- 
ciolini.  —  In  the  Via  Nuova,  which  diverges  to  the  right ,  are  the 
church  of  8.  Chiara  on  the  left ,  and  farther  on ,  on  the  right ,  the 
Hospitalj  with  numerous  ma|Kca  vases,  and  the  church  of  8.  Oiro- 
lamo  (behijid  the  high-altar,  Madonna  and  saints  by  Vineenzo  Ta- 
magnij  1522,  with  a  glory  by  a  later  painter) ,  and  finally ,  to  the 
left  of  the  gateway,  the  12th  cent,  church  of  8.  Oiacomo ,  another 
church  of  the  Templars ,  with  frescoes  by  a  Sicnese  master  of  the 
13th  century. 

The  Via  delleRomite,  diverging  from  the  Via  Nuova  at  S.  Chiara, 
leads  to  *S.  Agostino,  begun  in  1280  (chief  entrance  usually  closed ; 
sagrestano,  Via  Nuova  17). 

This  church  owes  its  fame  to  the  ♦Frescoes  in  the  Ciioib  by  Benozzo 
OozzoU  (1465),  where  the  master  has  pourtrayed  the  life  of  St.  Augustine 
in  17  scenes,  from  his  school>days  to  his  death.  Though  not  of  uniform 
excellence,  nor  in  equally  good  preservation,  these  pictures  alone  repay 
a  visit  to  S.  Qimignano  (the  finest  are:  St.  Augustine  as  teacher  of  rhe- 
toric in  Rome ;  Death  of  St.  Monica^  ♦St,  Augustine  on  the  bier).  —  The 
Gappblla  8.  GuGLiBLMo,  to  the  right  of  the  choir,  contains  a  Nativity  and 
Death  of  the  Virgin,  by  Bariolo  di  Fredi^  in  which  several  touches  of  real 
Italian  life  are  traceable.  —  To  the  left,  in  the  Cappslla  del  S.  Sagka- 
MKNTO,  are  frescoes  by  Vineenzo  da  8.  Qimignano.  —  On  the  N.  side  of  the 
church,  St.  Geminianus  and  three  worshippers,  a  fresco  by  8eh.  Mainardi^ 
a  pupil  of  Dom.  Ghirlandajo;  farther  on,  St.  Sebastian,  the  deliverer 
from  the  plague,  the  effects  of  which  are  symbolised  by  Hashes  of  light- 
ning, by  Benozzo  OozzoU,  1464,  of  less  importance  than  the  frescoes  in  the. 
choir.  To  the  right  of  the  principal  entrance :  *Altar-piece  (St.  Bartoldus) 
by  Benedetto  da  Majano,  1494;  under  the  organ  are  frescoes  by  8eh.  Mai- 
nardi,  representing  Saints  in  simple  groups. 

From  S.  Agostlno  we  return  to  the  market-place,  which  is  ad- 


16    Routed.  MONTE  OLIVETO.  From  Florence 

joined  by  the  Piazza  dblla  Cistbena  ,  distinguished  by  the  two 
low  towers  of  the  Ardinghelli ,  on  the  right.  The  Via  del  Castello 
leads  to  the  left  to  the  church  of  8.  Lorenzo  in  Ponte^  with  a  portico, 
now  built  up,  of  the  13th  century.  —  The  terracotta  ornamentation 
of  the  windows  of  the  buildings,  many  of  which  are  in  the  form  of 
a  horseshoe,  should  be  obserred. 

From  the  Piazza  della  Clsterna  the  Contiada  dl  San  Giovanni 
descends  to  the  right  to  the  Palazzo  PratelleH,  in  which  the  prin- 
cipal saloon  of  the  upper  floor  contains  a  Madonna  with  saints,  a 
fresco  by  Tamagni,  Farther  on,  to  the  left,  are  8.  Giovanni  Evan- 
gelistaj  a  Johannite  church  of  the  12th  cent.,  and,  in  the  street,  a 
figure  of  the  Madonna,  by  Mainardi. 

A  private  garden  at  the  Fortezza ,  the  highest  part  of  the  old 
fortifications  (ascend  to  the  right  from  La  CoUegiata),  commands  a 
fine  view  of  the  town  and  neighbourhood. 

We  may  drive  in  s/4  ^r.  to  the  venerable  church  of  S,  Maria  Auunta 
di  Callori^  or  Cellole,  situated  outside  the  Porta  Matteo,  and  dating  from 
the  iith,  or  perhaps  from  the  10th  cent.,  containing  remarkable  capitals 
and  carious  ornamentation  in  the  apse.    Fine  view. 


Beyond  Poggibonsi  the  Railway  begins  to  ascend  considerably. 
To  the  right,  Staggia  with  a  mediaeval  chateau ;  farther  on,  to  the 
right,  the  ancient  and  picturesque  chateau  of  Monte  Riggioni,  The 
train  then  passes  through  a  long  tunnel  (3  min.). 

591/2  M.  Siena,  see  p.  20. 

Siena  is  a  terminal  station,  loftily  situated,  from  which  the  train 
backs  out.  On  the  journey  to  Orvieto,  the  train  returns  part  of  the 
way  to  Empoli ,  and  then  diverges  at  an  acute  angle  towards  the 
S.E.  We  traverse  the  hills  which  form  the  watershed  between  the 
Ombrone  and  the  valley  of  the  ChiaiM,.  Several  tunnels.  65  M. 
Arhia.  This  district  is  one  of  the  bleakest  in  Italy,  the  chief  fea- 
tures being  grotesquely  shaped  hills  of  sand,  and  barren  fissured 
mountains,  interesting  to  the  palaeontologist  only. 

79  M.  Asciano;  the  pleasant  little  town  {Alb.  del  Sole^  clean; 
7400  inhab.),  IV2  M»  *o  *^®  right  of  the  railway,  possesses  fortifica- 
tions constructed  by  the  Sienese  in  1351 ,  and  several  handsome 
churches  with  pictures  of  the  early  Sienese  School. 

Asciano  is  the  most  convenient  starting-point  for  a  visit  to  the 
famous,  but  now  suppressed,  Benedictine  convent  of  *Monte  Oliveto 
Maggiore  (6  M.;  a  drive  of  i^/4  hr.  there,  and  172^^*  back;  carri- 
ages at  the  Alb.  del  Sole,  fare  10-12  fr.).  The  road,  leading  by 
Chiusure,  is  rough  and  more  suitable  for  walking. 

Visitors  apply  beforehand  to  the  •Ispettore"'  of  the  Istituto  delle  Belle 
Arti  at  Siena  (p.  32),  from  whom  they  receive  a  'permesso'  to  present 
,to  the  ^Sopraintendente''  at  the  monastery.  Those  who  have  not  time  to 
send  this  two  days  in  advance  should  provide  themselves  with  eatables 
for  one  day.  Ordinary  visitors  are  not  allowed  to  stay  more  than  two  days 
at  the  convent  (*pens\  5  fr.). 

The  convent,  founded  in  1320  by  Bernardo  Tolomei  and  afterwards 
Treatly  enriched  by  donations,   still  affords  an  excellent  idea  of  a  great 


to  Siena.  ASCIANO.  4.  Route     17 

establiahment  of  the  kind.  The  monka  mast  have  been  wonderfiilly 
energetic  to  hare  been  able  to  transform  the  sterile  chalk-soil  here  into 
a  smiling  oasis,  ^neas  Sylvias  Piccolomini  (Pias  II.;  p.  28)  gives  an 
interesting  description  of  the  monastery  in  his  ^Ctommentaria^. 

The  walls  of  the  Monastkbt  Goukt  are  scorned  with  celebrated 
*Frescoe8  by  Luca  Signorelli  (1497)  and  Ani.  Bazzi,  called  8odoma  (15U5), 
representing  scenes  from  the  legend  of  St.  Benedict.  The  order  of  the 
pictares  does  not  correspond  with  the  date  of  their  execation.  The  series 
begins  with  the  first  pictare  on  the  wall  opposite  the  entrance  (adjoining 
the  entrance  to  the  charch),  representing  St.  Benedict's  departure  from 
home,  by  Sodoma.  The  earliest  part  of  the  series  are  the  frescoes  on  the 
entrance-wall,  execated  by  Signorelli^  eight  in  namber:  Totila  kneeling 
to  the  saint ^  Soldier  in  disgaise,  attempting  to  deceive  the  saint;  Temp- 
tation of  the  fasting  monk ;  Punishment  of  two  monks  addicted  to  dainties ; 
Resnscitation  of  a  dead  man  whom  Satan  has  thrown  from  a  wall;  Bxor- 
cism  of  Satan ;  Overthrow  of  the  idol ;  Besascitation  of  a  youth  killed  by 
the  fall  of  a  house.  —  The  ^Sending  forth  of  Missionaries',  on  the  left 
of  the  corner  to  the  right,  is  by  RicdOj  but  all  the  other  pictures  are 
by  SodomOy  whose  sense  of  beauty  is  everywhere  apparent,  though  he  is 
doubtless  far  inferior  to  Signorelli  in  depth  and  excellence  of  conception 
and  execution.  In  the  first  pictures  by  Sodoma  we  can  trace  a  resem- 
blance to  the  frescoes  of  Pinturicchio  in  the  Cathedral  library  at  Siena, 
and,  in  the  others,  features  that  recall  Leonardo  da  Vinci.  —  The  Ghuboh 
(entrance  to  the  left  of  the  monastery  court),  which  was  modernised  last 
century,  contains  little  to  detain  us  beyond  the  handsome  choir-stalls 
and  reading-desk,  in  inlaid  work,  by  Fra  Oiov.  da  Verona  (1502-6).  — 
In  the  Libreria  are  a  door  and  a  cabinet,  also  beautifully  inlaid  by  the 
same  master.  —  The  visitor  should  notice  the  extensive  stables  at  the 
back  of  the  monastery,  the  different  sections  of  which  bear  tablets  with 
the  names  of  the  chief  towns  of  Italy,  in  order  that  guests  might  know 
on  arriving  where  to  put  up  their  horses. 

The  Emperor  Henry  YU.  died,  Aug.  24th,  1313,  at  Buoneonpeuto^  41/2  M. 
to  the  S.W.,  on  the  Arbia,  The  churches  contain  a  few  ancient  pictures 
of  the  Sienese  school. 

Fbou  Asciano  to  Gbossbto,  59 Vi  M.,  branch-line  in  SVa  lirs-  (fares  11  fr., 
7  fr.  70,  4  fr.  95  c.)  —  8  M.  A  Giovanni  d'Asso  (tolerable  inn).  The  Ca- 
nonica  contains  six  small  and  ancient  paintings  of  the  Sienese  school.  Mte. 
Oliveto  is  reached  hence  in  li/a  hr.  (p.  16;  a  car  with  one  horse  may  be 
obtained).  —  14  M.  Torrenieri,  on  the  old  road  from  Siena  and  Buoncon- 
vento  (see  above),  via  8.  Quirico,  Radicofani,  and  Bolsena  (p.  65),  to  Rome. 

—  [About  5Va  M.  to  the  S.W.  of  Torrenieri  (omnibus  2  fr.)  lies  Kont- 
aleino  (_Albergo  del  Oiglio,  tolerable,  bargaining  necessary),  a  town  which 
early  in  the  middle  ages  belonged  to  the  abbey  of  S.  Antimo,  and  after- 
wards to  Siena.  In  the  Palazzo  Municipale  is  the  Cappella  delle  Garceri, 
which  contains  a  small  collection  of  pictures  from  suppressed  mon- 
asteries, including  a  Descent  from  the  Cross  (1382)  and  a  Coronation  of 
the  Virgin  (1388)  by  Bartolo  di  Fredi  of  Siena.  The  Cathedral  was  begun 
in  1818.  The  dissolved  Franciscan  Monaztery  is  now  a  hospital.  Over  the 
chief  entrance  of  the  church  belonging  to  it  is  a  group  of  the  Madonna, 
John  the  Baptist,  SS.  Peter  and  Sebastian,  of  the  school  of  Delia  Bobbia 
(1507).  A  room  adjoining  the  sacristy  is  adorned  with  frescoes  of  the 
latter  part  of  the  15th  cent.,  and  the  monastery  court  contains  others  dating 
from  1438.  Fine  view  from  the  piazza  adjacent  to  the  modern  church'  of 
the  Madonna,  on  the  E.  side  of  the  town.  —  The  railway -station  of 
Monte  Amiata  (p.  18)  lies  about  8  M.  to  the  S.E.  of  Montalcino.  To  the 
1?.  of  Gcutelnuovo  delP Abate,  within  about  21/2  M.  of  Monte  Amiata,  is  <Sf. 
AntimOy  which  was  an  independent  abbey  down  to  the  13th  century.  The 
handsome  church  was  built  of  white  alabaster  and  travertine  in  the  lltb 
cent.,  and  its  rich  portal  dates  from  1292. 

About  4  M.  to  the  S.E.  of  Torrenieri  (omnibus  !»/«  fr.)  Ues  S.  auirico 
iAlbergo  del  Lepre,  tolerable),  which  was  the  residence  of  an  imperial 
governor  during  the  Hohenstaufen  regime  and  was  fortified  by  Siena  in 
1472.    The  handsome  *  Collegiate  Church  in  the  Lombard  style  was  founde- 

Babdkkkb.    Italy  II.    10th  Edition.  2 


18     Routed.  MONTKPULCIANO.  From  Florence 

in  tlie  8th  cent.;  highly  ornate  porch  of  1298;  interior  disfigured  in  the 
17th  cent. ;  choir-stalls  of  the  16th  century.  The  adjacent  Misericordia  church 
contains  a  high- altar-piece  hy  Sodoma.  The  Palazzo  Chiffi,  erected  in 
1686-87,  deserves  a  visit  (keys  at  the  Fattoria  Ghigi).  The  Orti  Leo- 
nini  (keys  at  the  same  place),  a  neglected  park  of  the  16th  cent.,  adjoin- 
ing the  town-wall,  afford  an  admirable  view.  —  The  hot  Bat?u  of  Vig- 
fM>nt,  8V2  M.  to  the  S.  of  Quirico,  were  much  frequented  in  ancient  times, 
and  again  during  the  Renaissance  period,  hut  are  now  neglected.  The 
ante-chamber  of  the  bath-house  contains  an  ancient  votive  stone.  Among 
the  famous  mediaeval  visitors  were  St.  (Catharine  of  Siena  and  Lorenzo  il 
Magnifico.  —  From  8.  Quirico  to  Pienza  (p.  20)  41/2  M.]  — 

21  H.  Monte  Amiata,  the  best  starting-point  for  a  visit  to  the  moun- 
tain of  that  name,  the  highest  in  Tuscany,  lies  2Vs  M.  to  the  S.E.  of 
Gastelnuovo  dell'Abbate  (p.  17)  —  [By  omnibus  in  3  hrs.  to  (kuM  del  Piano 
(2V2  fr. ;  Locanda  Amiatina),  where  a  guide  may  be  obtained  at  the  Huni- 
cipio;  thence  on  horseback  in  3S/4  hrs.,  or  on  foot  in  iVs  hrs.,  to  the 
summit  of  the  *Mo&te  Amiata  (5646  ft.),  which  affords  an  admirable  survey 
of  the  whole  country  between  the  Tyrrhenian  Sea,  the  Apennines,  and  the 
Giminian  Forest  (p.  73).  The  rock-formation  is  volcanic  and  interesting  to 
geologists.  A  pleasant  return-route  leads  through  beautiful  woods  to  VivOy 
a  suppressed  Camaldulensian  monastery,  now  the  property  of  Gount  Ger- 
vini,  where  a  one-horse  carriage  may  be  hired  of  the  miller.  —  From  Vivo 
to  Stat.  Monte  Amiata  11  M.,  or  to  Torrenieri  17  M.  The  latter  road  leads 
by  Ga*iiffKone  d^Orday  not  far  from  the  Baths  of  Vignoni  (see  above),  and 
by  S.  Quirico  (p.  17).J  — 

28  M.  S.  Angelo  and  Cinigiano.  The  train  follows  the  right  bank  of 
the  Oreta^  the  E.  affluent  of  the  Ombrone,  and  crosses  the  latter.  —  32V2  M. 
Monte  Antico.  At  Paganieo  the  train  quits  the  Ombrone  and  begins  to 
thread  its  way  among  the  hills.  42  M.  Bocea  Slrada,  a  vUlage  (1640  ft.) 
on  the  right ;  then  Sticeiano.  At  (53  M.)  MonU  Pescali  the  line  unites  with 
the  Haremme  Railway ,  to  the  N.  of  Grosseto  (p.  3). 

82^2  M.  Rapolcmo.  The  village,  to  the  right,  possesses  baths  which 
are  frequented  iii  summer.     The  country  becomes  more  attractive. 

90Ys  M.  Lucignano ;  the  medisval  village  lies  on  the  hill  to  the 
left.  The  improving  cultivation  of  the  soil  indicates  the  proximity  of 
the  charming  valley  of  the  Chiana.  To  the  left,  in  the  distance,  the 
chain  of  the  Apennines.  — 94  M.  SindLuiiga;  on  the  right  the  village, 
where  Garibaldi  was  captured  on  his  march  to  Rome,  24th  Sept. 
1867.  —  98  M.  Torriia,  Montepulciano  becomes  visible  to  the  right. 

103  M.  Montepulciano;  the  lonely  station  is  6M.  from  the  town 
(omnibus  in  lY2hr.,  meeting  nearly  every  train ;  fare2fr.);  the 
road  passes  through  several  small  villages. 


Montepulciano.  —  Albsrqo  Maszocco  (BnuziciieWz)^  with  trattoria, 
Via  Garibaldi  32,  tolerable,  R.  l-li/s  fr.,  D.  2-3  fr.  —The  Wine  of  Monte- 
pulciano is  justly  celebrated.  The  red  wine  is  strong  and  somewhat  rough. 
'  Vino  santo'  is  a  sweet  white  wine  (2  fr.  per  bottle).  Vermouth  is  a  white 
wine  flavoured  with  fragrant  herbs  and  wormwood. 

Montepulciano ,  a  picturesque  town  with  3000  (or  with  the  ad- 
Joining  suburbs  13,000)  inhab. ,  surrounded  by  mediaeval  walls,  lies 
conspicuously  on  the  slope  of  a  mountain  (2070  ft.).  It  was  the 
birthplace  of  the  scholar  and  poet  Angelo  Ambrogini  (1454-94), 
surnamed  Politianua  after  this  his  native  place  ('Respubllca  Po- 
litiana'),  the  friend  of  Lorenzo  il  Magniflco  and  preceptor  of  his  chil- 
dren. The  beautiful  situation  as  well  as  the  monuments  of  the  place 
repay  a  visit.    The  sights  may  be  inspected  in  4-5  hours. 


to  SiefM,  MONTEPULOIANO.  4.  Route.    19 

We  follow  the  main  street,  generally  running  from  E.  to  W., 
and  ascending  from  the  gate  next  the  railway-station  to  the  plateau 
of  the  hill  on  which  the  town  lies.  It  is  first  named  Via  Oaribaldij 
then  Via  Cavoutj  and  lastly  Via  Politiano.  --  In  the  Via  Garibaldi, 
No.  32,  on  the  left,  is  the  Palazzo  Taruyi  (containing  the  above- 
mentioned  Alb.  Marzocco),  built  by  Vignola.  Opposite,  Nos.  35-37, 
Palazzo  Avignonesij  dating  from  the  latter  half  of  the  16th  century. 
Then,  also  on  the  right,  8.  Agostinoj  of  the  17th  cent.,  with  curious 
touches  of  Gothic.  —  In  the  Via  Cavour,  on  the  left,  Chiesa  del 
Oeaiiy  a  characteristic  example  of  the  Jesuit  style.  On  the  right  the 
*Mercato  (market-halls)  by  Vignola.  — -.  In  the  Via  Poliziano,  on  the 
left,  No.  1,  is  the  house  in  which  Angelo  Poliziano  was  born,  a  brick 
building  of  the  14th  cent.,  with  an  inscription. 

We  next  reach  the  Piazzbtta  di  S.  Mabia,  with  the  small 
church  of  8.  Maria  of  the  13th  cent,  (handsome  portal).  It  com- 
mands an  admirable  view  of  the  lakes  of  Montepulciano,  Chiusi, 
and  Trasimeno;  to  the  left  rises  Monte  Amiata;  farther  up  we  obtain 
a  survey  of  Pienza,  S.  Quirico,  Montalcino,  and  the  valley  of  the 
Ohiana.  —  A  road  hence  descends  to  the  left  In  12  mln.  to  the  — 

*Madonna  di  8.  Biagio ,  In  the  valley,  designed  by  Antonio  da 
SangaUo  and  begun  in  1518.  The  fine  marble  chapel  of  the  high- 
altar,  by  Qiovanozzo  and  Liaandro  Albertiniy  dates  from  1584. 

Returning  to  the  hill,  and  again  following  the  main  street,  we 
next  reach  the  Piazza  Gbande.  The  inteiesting  fountain  in  the 
centre  dates  from  1520.    On  the  left  is  the  — 

Palazzo  Municipahj  of  the  14th  cent.,  resembling  the  Palazzo 
Pitti  at  Florence,  and  containing  a  few  pictures  and  curiosities. 

Ante-chamber  of  first  floor:  Madonna,  John  the  Baptist,  and  saints,  of 
the  school  of  Delia  Bobbia.  —  Piotdbb  Gallery  on  the  second  floor. 
I.  Room:  Maiteo  da  Siena  (?),  Madonna.  II.  Room:  9.  8eb.  del  IHombo^ 
Pope  Paul  III.;  80.  Paechiarotto^  Madonna-,  *86.  Umbrian  School  (ascribed 
to  Raphael) ,  Portrait  of  a  lady.  A  collection  of  dies  once  used  by  the 
engraver  Cerbano  is  preserved  here. 

On  the  W.  of  the  piazza  is  the  Cathedral,  with  a  ruinous  facade. 

In  the  Imt£BIOB,  over  the  principal  entrance,  are  the  Death,  Assumption, 
and  Coronation  of  the  Madonna  by  Taddeo  Bartoli.  The  church  was  once 
adorned  with  an  imposing  monument  to  Bartolommeo  Aragazzi,  secretary 
of  Pope  Martin  V.,  erected  in  1427-29  by  the  famous  architect  Michelozzo 
Michelozzi,  with  the  assistance  of  his  master  Donatello.  It  was  taken 
down ,  however,  during  last  century,  when  several  parts  of  it  were  lost 
and  others  were  placed  in  different  parts  of  the  church :  thus,  to  the  left 
of  the  principal  entrance,  two  reliefs;  by  the  two  first  pillars,  two  alle- 
gorical *Statues;  by  the  high-altar,  marble  group  of  cherubs  with  gar* 
lands,  forming  the  top  of  the  monument. 

To  the  right,  opposite  the  Palazzo  Munlcipale,  is  the  Pala&zo 
Contueci ,  by  A.  da  Sangallo ,  and  adjoining  it  the  Palazzo  Nohile- 
Tarugiy  attributed  to  the  same  master. 

We  next  enter  the  Via  Ricci,  where  on  the  right  rises  the  •Pa- 
lazzo  Bombagli,  a  Gothic  brick  building.  —  Crossing  the  Piazzetta 
della  Misericordia,  with  the  church  of  8.  Francesco  (Gothic  portaP 
and  fine  view,  we  now  descend  the  Via  del  Poggiolo.    Immediate' 

2* 


20    Soute5.  SIENA.  Cabs, 

to  the  left  in  this  stieet  is  the  eDtrance  to  the  Oratorio  della  Mi- 
Btricordia,  which  contains  a  Christ  in  a  glory  and  an  Annunciation 
over  the  high-altar  of  the  school  of  the  Della  Robbia. 

A  visit  to  PiKNZA  is  most  conveniently  made  from  Montepulciano :  abont 
9  M.,  one-horse  carr.  there  and  back  10,  two-horse  20  fr.    Gomp.  p.  18. 

Pienza  {Albergo  Francis  poor),  a  small  town  with  about  2000  inhab., 
was  originally  called  CorsignanOy  but  suhseqnently  named  the  *town  of  Pius^ 
after  Pius  II.  (^neas  Sylvius  Piccolomlni,  p.  28),  who  was  bom  here  on 
18th  Oct.  1405,  and  who  adorned  the  town  with  very  handsome  buildings^ 
chiefly  designed  by  the  Florentine  Bernardo  Rossellino  and  the  Sienese 
Francesco  (Oieeeo)  di  Giorgio  (1439-1602).  As  all  these  buildings  date 
from  about  the  same  period  (1460)  and  are  situated  in  the  same  piazza 
(del  Duomo),  they  afford  a  more  compact  survey  of  early-Renaissance 
architecture  than  is  to  be  obtained  in  most  Italian  towns.  The  chief 
edifices  are  the  Cathedral y  with  its  studiously  simple  facade;  to  the 
right  of  it  is  the  Vescovado  or  episcopal  palace;  opposite  the  cathedral 
the  Palazzo  PubblicOy  with  a  colonnade;  to  the  right  the  finest  of  all, 
the  *Palazzo  Piccolominiy  which  like  the  Palazzo  Rucellai  at  Florence 
exhibits  the  rustica  style  in  combination  with  pilasters  (handsome  court 
and  colonnade) ;  in  front  of  the  palace  is  a  charming  Fountain  of  1462.  — 
The  right  transept  of  the  cathedral  contains  a  Madonna  with  four  saints 
by  Hatteo  da  Siena;  the  choir-stalls,  carved  in  the  Gothic  style,  date  from 
1462;  in  the  chapel  to  the  left  of  the  high-altar  is  an  Assumption  of  the 
Virgin  by  Vecchietta;  in  the  left  transept  a  Madonna  and  four  saints  by 
Sano  di  Pietro.  The  Cathedral  Treasury  (shown  by  the  sagrestano  in  pre- 
sence of  one  of  the  canonici,  sacristan  2  fr.)  contains  some  early  Renais- 
sance works:  crozier  in  gilded  and  embossed  silver,  a  Pnxvobiscum ,  a 
silver  censer  in  the  Gothic  style,  *Mitre  of  Pius  II.  decorated  with  pearls 
and  jewels,  reliquary  of  St.  Andrew  of  Salerno,  crucifix  with  rich  fili- 
gree-work, etc.  —  The  Opera  del  Duomo^  to  the  left  of  the  cathedral,  con- 
tains the  ecclesiastical  vestments,  including  those  of  Pius  II.,  one  of  which 
is  of  Flemish ,   the  other  of  Italian  workmanship. 


Continuation  of  Journey.  To  the  right  we  soon  observe  the 
Monti  di  Cetona,  which  are  connected  with  the  Monte  Amiata 
(p.  18).  To  the  left  stretches  the  long  Lake  of  Montepulciano^ 
beyond  which  is  the  Lake  of  Chiusi ,  connected  with  the  other  by 
a  oanal.    The  lakes  exhale  unhealthy  malaria  in  summer. 

IO8V2  M.  Chianciano.  —  114  M.  Chiusi,  see  p.  60. 

5.  Siena. 

HoteU.  *Gband,H6tbl  Rotal  db  Sibnne  (PL  a;  E,  3),  Via  Cavour,  with 
its  back  to  the  Lizza  (p.  36),  R.  from  2-3,  D.  4,  B.  IV2,  L.  &  A.  1,  omn. 
1  fr.;  *Gband  Hotel  (Continental  (PI.  b;  E,  4),  Via  Cavour  15.  opposite 
the  post-office,  R.  from  2V2,  L  ft  A.  1,  B.  IV4,  luncheon  2Vs,  D.  4»/2,  omn. 
1  fr.}  Aquila  Kera,  Via  di  Citta  (PI.  1),  5),  a  good  house  in  the  Italian 
style,  similar  charges.  —  Soala  (PL  d ;  D,  4),  Piazza  8.  Giovanni,  opposite 
the  Baptistery  (p.  26)  unpretending,  but  with  large  rooms  (l'/?  fr.);  Trb 
Mori  (PL  F,  3) ,  Via  Garibaldi ,  near  the  station ,  for  moderate  require- 
ments, R.  I1/2  fr.;  Il  Sasso,  with  restaurant.  Via  Cavour,  near  the  post- 
office,  well  spoken  of.  —  For  a  prolonged  stay:  Pension  ChiusarelUy 
Via  S.  Domenico,  near  the  Protestant  church ;  J.  Oatti^  Palazzo  Bianchi, 
Via  de*  Servi ;  Masini^  Via  Cavour  12,  well  spoken  of:  Francesco  Tog- 
nazzi^  Via  Sallustio  Bandini  19;  Mme.  Marion^  Via  Ricasoli  37;  iVw- 
quiniy  Via  delle  Belle  Arti  19  (pension  at  each  6-7  fr.  per  day,  even  for  a 
short  stay). 

Trattorie.  Aquila  Nera^  see  above;  <8fa.«o,  see  above,  good;  La  Tos- 
ina  (formerly  J^inerva),  Via  del  Re  4,  with  rooms  (1-2  fr.),  unpretending; 


a^|i^  ^ 


History. 


SIENA. 


5.  RouU.     21 


Scala^  see  above.  —  Wine  and  fine  view  at  TallianVi^  Via  delle  Belle  Arti 
31,  and  at  the  Ficucfietteria  il  Con/oriabile,  Via  del  Castoro,  near  the 
Piazza  del  Duomo  (sometimes  open  in  the  evening  only).  —  Beer  at  Ba^ 
der'Sy  on  the  Lizza  (p.  35). 

Caffi  (Sreeo,  near  the  Casino  de"*  Nobili  (p.  25). 


one-horse 


By  Day 


Ifr. 


80 
50 


50 


two  -  horse  one-  horse 


Ifr.  50 

1       - 

-       60 


50 


At  Night 


Ifr.  50 

1        - 

—       60 


50 


two -horse 


Ifr.  80 
1  30 
-       70 

4        — 

3        — 


Cab  Tariff: 
/»  the  town :  to  or  from  the  sta- 
tion   

—  first  half-honr    .... 

—  each  additional  Vv  hr. 
Beyond  the  town^  as  far  as  2  M., 

for  one  hour  . 

—  each  additional  hour. 
Box  above  22  lbs.  30  e. 
Yetturini.   Turillazzi  and  li'at.  Ceccarelli^  Via  Gavonr  23  and  25;  car- 
riage per  day  25  fr.,  half-day  8-10  fr.    Saddle-horses,  per  day  TVz  fr.,  half- 
day  5  fr. 

Poat  and  Telegraph  Office,  Via  Cavour  16,  in  the  Pal.  Spannocchi 
(PI.  25). 

Baths.  Swimming-bath  near  the  Fontebranda  (poor;  water  cold);  warm 
baths  at  MatzeVe^  Via  I>uprc  45. 

English  Church  Service  at  the  Grand  Hotel  Continental,  from  March 
to  May. 

Good  Photographs  at  Cav.  Paolo  LombardPs,  Alia  Costarella  No.  8,  near 
the  Caffe  Greco.  —  Carved  Wood  (comp.  p.  23):  Cow,  Ouidi^  &  Querci^ 
Via  Belle  Arti  31,  near  S.  Domenico ;  Carlo  Cambi,  Via  del  Capitano  5, 
near  the  cathedral. 

Principal  Attractions.  Piaxza  del  Campo  (Vittorio  Emanucle;  p.  23), 
Duomo  and  Opera  del  Duomo  (pp.  26,  28);  walk  through  the  town.  To 
the  town  and  its  treasures  of  art  the  traveller  should  devote  2V2-3  days  at 
least.  On  2nd  July  and  15th  August,  horse-races,  called  il  Palio.  take  place, 
presenting  a  very  picturesque  scene  (seat  on  grand-stand  2-2V«  fr.). 

Siena  J  the  capital  of  tlie  province  of  that  name,  with  25,000 
inhab.  (incl.  the  suburbs),  the  seat  of  a  university  which  was  in 
high  repute  as  early  as  the  14th  cent.,  and  the  residence  of  an  arch- 
bishop, is  picturesquely  situated  25  M.  due  S.  of  Florence,  and 
1330  ft.  above  the  sea,  on  three  connected  hills  (the  clayey  soil  of 
which  is  called  *Terra  di  Siena').  It  is  now  a  busy  trading  and  man 
ufacturing  place;  it  also  possesses  several  libraries  and  scientific 
societies ,  and  is  one  of  the  pleasantest  towns  in  Tuscany,  suitable 
for  a  stay  of  some  duration.  The  climate  is  healthy,  the  atmos- 
phere in  summer  being  tempered  by  the  lofty  situation ;  the  lan- 
guage and  manners  of  the  inhabitants  are  pleasing  and  prepossessing. 
Most  of  the  streets  are  narrow  and  crooked,  but  they  contain  many 
palaces  and  handsome  churches.  Next  to  Rome,  Florence,  and  Ven- 
iiice,  Siena  is  perhaps  the  most  important  town  in  Italy  for  the 
study  of  the  art  of  the  13- 16th  centuries. 

SiKNA,  the  ancient  Sena  Julia^  or  CoUmia  Julia  Senensis^  is  said  to  have 
been  founded  by  the  Senonian  Gauls  and  converted  into  a  Roman  colony 
by  Augustus,  whence  it  derives  its  arms,  the  she-wolf  and  the  twins. 
The  only  Etruscan  antiquities  here  are  a  few  tombs  which  were  discovered 
in  1864  near  the  Porta  Camollia.  The  town  attained  to  the  height  of  its 
prosperity  in  the  middle  ages.  After  the  death  of  the  Countess  Matilda 
(Ulo)  her  extensive  dominions  were  dismembered,  and  the  citizens  of 
Siena,  as  well  as  those  of  Pisa,  Lucca,  and  Florence,  succeeded  in  estab- 
lishing their  independence.     The  government  then  fell  into  the  hands 


22     BouU  5.  SIENA.  History  of  Art. 

of  the  nobility,  but  was  wrested  from  them  by  the  people  in  1183.  The 
ensuing  conflicts,  however,  terminited  in  favour  of  the  nobles,  and  Siena 
became  the  leader  of  the  Ohibelline  party  in  Central  Italy,  while  Florence 
was  the  stronghold  of  the  Guelph  faction.  Farinata  degli  Uberti  and  the 
Ghibellines  from  Florence  were  welcomed  in  Siena,  and  on '4th  Sept., 
1260,  a  great  victory  over  the  Guelphs,  the  bloodiest  recorded  in  the  an- 
nals of  Tuscany,  was  gained  near  Monte  Aperto,  on  the  Arbia  (6  M.  distant), 
with  the  aid  of  the  German  troops  of  Kins  Manfred  of  If  aples.  Ten  years 
later  Charles  of  Anjou  succeeded  in  gaining  possession  of  Siena  and  in 
making  it  a  member  of  the  Tuscan-Guelph  confederation  of  towns  ^  but 
the  city  kept  a  jealous  watch  over  its  privileges,  and,  notwithstanding 
several  attempts  on  the  part  of  the  nobility  to  re-assert  their  influence^  its 
constitution  remained  unchanged.  In  the  14th  and  15th  centuries  Siena 
numbered  nearly  100,000  inhab. ,  and  vied  with  Florence  in  wealth  and 
love  of  art.  At  length  the  supremacy  was  usurped  by  tyrant«,  such  as 
(about  1487)  Pandol/o  Petruecit  snrnamed  II  Magnifico,  whom  Macchiavelli 
represents  as  a  pattern  of  a  despot.  In  1493,  when  Charles  VIII.  of  France 
arrived  in  Italy,  Siena  concluded  an  alliance  with  him,  and  during  the 
troubles  of  the  first  half  of  the  16th  cent,  the  citizens  for  the  most  part 
sided  with  the  French,  by  whom  the  town  was  usually  garrisoned.  On 
22nd  April,  1555,  the  French  garrison  was  compelled  by  famine  to  capit- 
ulate to  the  Spanish  besiegers,  by  whose  aid  Duke  Cosimo  I.  of  Tuscany 
succeeded  in  gaining  permanent  mastery  of  the  place. 

History  of  Art.  The  bitter  political  fate  which  overtook  Siena,  and 
converted  the  mighty  rival  of  Florence  into  a  quiet  provincial  town,  will 
strike  the  antiquarian  as  a  very  fortunate  circumstance ;  for  here  are  still 
preserved  many  monuments  and  reminiscences  of  mediseval  life  compara- 
tively unaffected  by  the  vicissitudes  and  the  progress  of  subsequent  ages. 
The  conservative  character  of  Siena  has  not,  however,  been  produced,  as 
in  the  case  of  Bruges,  by  the  withdrawal  of  the  stream  of  history ;  for  even 
when  at  the  height  of  its  power,  particularly  as  compared  with  Florence, 
it  manifested  a  preference  for  old  established  rules  and  a  dislike  for  inno- 
vations. In  the  province  of  Art,  despite  the  abundant  supply  of  artists  at 
their  disposal,  the  citizens  never  seem  to  have  taken  the  initiative ,  but 
adhered  with  remarkable  tenacity  to  the  earlier  style.  The  best  period  of 
Sienese  art  still  belongs  to  the  middle  ages,  when  the  towns  of  Italy  had 
begun  to  pride  themselves  on  their  practice  of  art,  but  before  the  pedantic 
element  had  given  way  to  the  pure  sense  of  the  beautiful.  There  is  no  town 
in  Italy  which  presents  such  instructive  examples  of  the  Italian  Gothic 
Architecture  of  the  18th  and  14th  centuries  as  Siena,  where  we  find  magni- 
ficent stone  buildings  vying  with  graceful  structures  in  brick.  If  the  Ca- 
thedral had  been  built  according  to  the  intentions  of  the  citizens,  it  would 
have  been  one  of  the  largest  and  most  imposing  churches  in  existence, 
and  even  in  its  reduced  proportions  it  is  one  of  the  finest  in  Italy.  In 
the  secular  buildings  (of  which  perhaps  the  Palazzo  Buonsignori  is  the 
finest  example)  the  pointed  style  predominates  j  the  windows  are  gene- 
rally divided  by  small  columns,  and  the  whole  edifice  is  crowned  with 
pinnacles.  In  the  15th  cent.,  when  the  motive  of  the  castellated  mansion 
was  clothed  with  Renaissance  forms ,  Siena  was  not  slow  to  imitate  the 
example  of  Florence.  It  is,  however,  uncertain  whether  Rosskllino  and 
FiiANCKSGo  Di  GiOBGio  have  been  correctly  designated  as  the  architects  of 
the  Pieeolonriniy  SpannoccMf  and  Nerved  palaces.  The  most  interesting  of 
the  Renaissance  churches  is  the  small  round  church  degli  Innocenti,  ad- 
joining the  Sped  ale  della  Scala. 

Siena  has  produced  no  independent  school  of  Sculpture,  though  a 
liberal  patron  of  foreign  masters.  As  throughout  the  rest  of  Tuscany, 
the  development  of  art  did  not  progress  rapidly  here  till  the  beginning  of 
the  13th  century.  KiccolA  Pisano,  the  most  famous  sculptor  of  the  13th 
cent.,  and  his  son  Giovanni  were  employed  at  Siena;  and  the  sculptures 
on  the  font  of  S.  Giovanni  and  on  the  Fonte  Gaja  are  admirable  works 
by  Jacopo  dblla  Qubecia  (1374-1438),  the  earliest  representative  of  the 
Renaissance  style.^ 

FdintiBg  was  the  favourite  art  of  the  early  Sienese.    As   early  as  the 


Piaszadel  Campo.  SIENA.  KouU.  5,    23 

13th  cent,  they  could  boast  of  Ducoio  di  Buuninskgna,  a  painter  whose 
works  far  surpass  those  of  Cimahue  in  beautv  and  gracufulnoss.  Oii  bis 
completion  in  1310  of  the  ^Majustas\  or  Triumphant  Madonna,  for  the 
high-altar  of  the  cathedral  of  Siena,  the  picture  was  carried  to  the  church 
in  solemn  procession  (p.  38).  An  equally  important  master  was  Simumk 
Uabtihi  (1283-1344),  who  has  been  immortalised  by  a  sonnet  of  Petrarch, 
and  who,  like  his  contemporary  Giotto,  practised  his  art  and  exercised 
his  influence  far  beyond  the  limits  of  his  native  city.  Works  by  his 
hand  are,  or  were,  to  be  found  at  Naples,  Orvieto,  Assisi,  and  Avignon, 
as  well  as  in  the  Palazzo  Pnbblico  at  Siena.  So  famous  indeed  was  his 
name  that  it  was  usual  to  attribute  to  him  all  the  best  works  of  his 
period.  His  compositions  are  of  a  very  primitive  character,  but  he  certainly 
possessed  great  skill  in  his  rendering  of  tender  sentiment.  Closely  akin  to 
these  two  masters  was  Lippo  Mbmmi,  who  executed  large  frescoes  with 
the  same  elaborate  care  as  miniatures  in  missals.  Several  painters  of  the 
14th  cent,  followed  in  Simone^s  footsteps,  such  as  Babna  or  Bbbma,  Luoa 
Thom K,  and  Lippo  Vanni,  without  however  exhibiting  much  individuality. 
The  easy  narrative  style  and  the  imaginative  allegory  were  cultivated 
by  the  brothers  Piktbo  and  Ambboqio  Lobbnzbtti  (both  of  whom  pro- 
bably died  of  the  plague  in  1348),  and  the  approach  of  the  Sienese 
school  to  that  of  Giotto  was  thus  accomplished.  A  little  later,  however, 
the  works  of  Babtolo  di  Fbedi  (1330-1409)  fell  short  of  those  of  his 
predecessors,  and  this  was  still  more  the  case  with  those  of  Taddko 
Babtuli  (13o2-1422?),  who  was  far  inferior  to  his  Florentine  contem- 
poraries. For  a  time  all  artistic  progress  at  Siena  seemed  to  be  at  an 
end,  and  throughout  the  I5th  cent,  the  city  did  not  give  birth  to  a  single 
master  of  note.  The  painters  Dohbnico  di  Babtolo  ,  Lobbnzo  di  Fietbo 
(nicknamed  Vkcchibtta),  Benvencto  and  Matteo  di  Giovamki,  and  others 
of  this  period  adhered  tenaciously  to  the  limited  methods  of  their  prede- 
cessors, from  whose  influence  they  were  unable  to  emancipate  themselves. 
At  the  close  of  the  century,  owing  to  contact  with  neighbouring  schools, 
whose  representatives  were  frequently  invited  to  Siena,  and  to  the  intro- 
duction of  the  study  of  Florentine,  Umbrian,  and  Lombard  masters,  the 
tide  of  progress  at  length  began  to  set  in.  The  most  distinguished  Sie- 
nese masters  of  this  period,  far  surpassing  their  contemporaries  Fungai- 
Pacehia^  Faechiarotto ^  and  others,  were  Baldassabb  Peruzzi  and  Oio- 
VANANTOMio  Bazzi ,  sumamcd  II  Sodoma.  Peruzzi  (1481-1537),  who  was 
associated  with  Raphael  at  Rome,  was  endowed  with  an  admirable  per- 
ception of  beauty  of  proportion,  and  was  famous  both  as  an  architect  and 
a  decorative  painter,  but  Siena  now  possesses  none  of  his  works.  S(5doma 
(c.  1473-1549),  on  the  other  hand,  may  be  thoroughly  studied  at  Siena.  A 
Lombard  by  birth,  he  brought  to  Siena  some  traces  of  Leonardo's  style, 
but  instead  of  cultivating  this,  he  seems  to  have  trusted  to  his  own  nat- 
ural ability,  and  with  such  success  that  in  one  respect  he  vies  with  Ra- 
phael himself.  In  the  delineation  of  beautiful  and  youthful  figures  he  is 
unsurpassed,  and  his  technical  skill  in  fresco  painting  and  his  fertility 
are  marvellous^  but,  in  spite  of  his  strong  sense  of  the  beautiful,  his 
works  are  apt  to  pall  upon  the  taste  owine  to  the  superficiality  of  their 
composition.  With  Dom.  Beggapumi  (1486-1551),  who  frequently  altered  his 
style,  begins  the  final  period  of  decline  from  which  Siena  never  recovered. 

In  the  art  of  Wood  Carving  Siena  has  always  taken  the  lead  among 
the  towns  of  Italy.  In  the  15th  and  16th  cent,  the  Barili  family  (particu- 
larly Antonio^  d.  1516,  and  Giovanni^  d.  1529)  distinguished  themselves 
in  this  branch,  and  their  modern  representative  is  Qiusti^  whose  pupils 
Gosi,  Guidi,  and  Querci  are  mentioned  at  p.  21. 

Ill  the  centre  of  the  town ,  at  the  union  of  the  three  hills  on 
which  it  stands,  Is  the  picturesque  ^iaua  del  Campo,  now  offi- 
cially called  Viiiorio  EmanutU  (PI.  D,  5),  which  has  been  men- 
tioned by  Dante  (Vm%.  xi.  134).  It  is  semicircular  in  form,  and 
depressed  towards  the  centre,  somewhat  resembling  an  ancieu 
theatre.    The  popular  assemblies  and  festivals  of  the  ancient  re- 


24    Route  5.  SIENA.  Palazzo  Pubblico. 

public  took  place  here ,  and  it  is  here  that  the  Palio  horse-races 
(p.  21)  are  now  held.  —  The  piazza  is  enclosed  by  pinnacled  pal- 
aces.   On  the  diameter  of  the  semicircle  rises  the  — 

*Falauo  Pubblico  fPl.  22;  D,  5),  a  huge  brick  edifice  of  four 
stories ,  erected  iu  1289-1309 ,  with  pointed  windows  divided  by 
small  columns,  and  wings  lower  than  the  central  part  of  the  build- 
ing. (The  wings  of  the  second  floor  are  of  a  later  date;  comp. 
p.  28.)  Adjacent  rises  the  slender  tower  del  Mangia,  begun  in 
1325 ,  and  finished  about  1345,  so  named  after  the  stone  figure  of 
a  man  which  used  to  strike  the  hours  (a  popular  figure  somewhat 
resembling  the  Roman  Pasquino,  p.  201) ;  fine  view  from  the  top. 
At  the  foot  of  the  tower  is  the  Cappella  di  Piazza,  in  the  form  of 
a  loggia,  begun  after  the  cessation  of  the  great  plague  of  1348 
which  carried  off  30,000  persons ,  and  completed  in  1376,  with 
damaged  frescoes  by  Sodoma.  The  upper  part  was  added  in  1460 
by  Federighi.  The  she-wolf  on  the  column  in  front  of  the  right  wing, 
the  arms  of  Siena  (p.  21),  dates  from  1429. 

The  ^Interior  (custodian  i/s-i  &• ;  best  time  10-2)  is  embellished  with 
numerons  frescoes  of  the  Sienese  school.  Among  those  on  the  Obound 
Floor  are  a  Coronation  of  the  Virgin,  by  Bano  di  Pietro^  1445 j  a  Ma- 
donna with  SS.  Ansano  and  Galgano,  and  another  with  St.  Leonard,  both 
by  Sodoma;  Madonna  with  saints,  by  Vecchietia;  a  Risen  Christ,  by  So- 
domay  1535  (?),  in  the  room  of  the  Sindaco. 

On  the  FiBST  Floob,  the  custodian  first  shows  the  Sala  del  Oban 
CoNsiGLio  (or  del  Afappamondo ,  or  delle  Baluire) ,  adorned  with  large 
frescoes :  ^Madonna  and  Child  under  a  canopy  borne  by  saints,  by  Simone. 
Martini^  1315,  a  composition  with  numerous  figures,  somewhat  stiff,  but 
with  beautiful  details  \  opposite,  ♦Equestrian  portrait  of  Guidoriccio  Fo- 
gliani  de  Ricci  by  Bimant  Martini  (1328)  \  beneath ,  Madonna  by  Guido  da 
Siena,  the  date  of  which ,  1221 ,  appears  to  be  spurious  (prob.  1281  \  for- 
merly in  S.  Domenico) ;  then ,  to  the  right  and  left,  *S.  Ansano  and  *S. 
Vittorio,  and,  on  the  other  wall  to  the  right,  S.  Bernardo  Tolomei,  all  by 
Sodoma;  then  8.  Bernardino  by  Sano  di  Pieiro  and  S.  Catarina  by  Vecchietia, 
—  The  vestibule  of  this  hall  is  adorned  with  frescoes  by  Taddeo  Bartoli, 
representing  ancient  heroes,  Judas  Maccabeeus,  and  St.  Christopher  and 
other  saints  (1441).  The  vault  of  the  archway  is  occupied  by  a  curious 
view  of  Rome.  —  A  beautiful  iron  railing  (1435-45),  a^oined  on  the  right 
by  a  font  by  TwHm,  separates  this  vestibule  from  the  Council  Chapel, 
which  is  embellished  (left)  with  frescoes  of  the  Death  and  Assumption 
of  the  Virgin  by  Taddeo  Bartoli^  and  contains  handsome  benches  carved 
by  Domenico  di  Niccolb  (1429).  The  altar-piece  is  a  Holy  Family  by  So- 
doma; on  the  right  is  an  organ  by  A.  PiffeHo  (1519).  —  To  the  right  of  the 
Sala  del  Consiglio  is  the  Sala  dblla  Pace  ,  or  dei  Nove  ,  with  frescoes 
by  Ambrogio  Lorenzetti,  painted  in  1337-43,  representing  ^Good  and  Bad 
Government* ,  three  pictures  which  are  indispensable  to  those  who 
desire  an  insight  into  the  disposition  of  the  proud  citizens  of  Siena 
in  the  middle  ages.  The  allegories  and  allusions  of  a  more  or  less  obs- 
cure character  which  they  contain  are  at  least  interesting  as  being  of  a 
much  more  homely  kind  than  those  customary  in  modern  times.  ()ne  of 
these  mural  paintings  represents  the  ideal  of  a  state,  under  the  guidance 
of  wisdom,  justice,  and  other  virtues,  while  the  two  others  pourtray  in 
a  realistic  style  the  consequences  of  good  and  bad  government.  The 
preservation  is  imperfect,  but  the  spectator  will  not  fail  to  admire  the  heads 
of  Peace,  Justice ,  and  Concord  in  the  first  of  the  series.  —  Adjoining 
is  a  room  with  portraits  of  the  eicht  popes  and  thirty-eight  cardinals  to 
whom  Siena  haa  given  birth.  —  Another  Room  contains  some  frescoea 
xently  transferred  from  other  buildings,  a  Madonna  by  Matteo  da  JSiena^ 


Casino  de'  Nobili.  SIENA.  5.  Route.    25 

1484,  and  S.Bernardino  preaching  in  the  Campo  (p.  23),  by  Hano  di  Pietro^ 
interesting  for  its  representation  of  the  piaeza  at  that  period.  —  TIiu  ad- 
joining Sala  di  Balia,  or  db'  Prbtori,  is  adorned  with  oiitentati(»u»  *Frc«coc« 
from  the  history  of  Pope  Alexander  III.  by  SjHnello  ArHino  (1406}  includ- 
ing a  naral  victory  of  the  Venetians,  and  the  Kmp.  Frederick  Rarharo.ssa 
and  the  Doge  leading  the  Popovs  horse).  In  the  centre  of  the  room  are  two 
fine  coffers,  one  carved  by  Barili^  the  other  adorned  with  paintings  said  to 
be  by  Fra  Angelico.  —  The  last  room  is  the  Sala  dbl  Ct)Nci8T0Ro,  with 
ceiling  -  paintings  by  Beeea/wmiy  a  fine  marble  doorway  by  Jaeopo  delta 
Qutreia  (above  which  is  the  Judgment  of  Solomon  by  Lnea  Oiordano), 
Florentine  'Arazzi*  or  tapestry  (partly  of  the  16th  cent.)  on  the  walls,  and 
modem  busts  of  statesmen  and  other  illustrious  citiicns  of  Siena. 

The  rear  of  the  palace,  abutting  on  the  Piatta  <f«|  Mercato  (PI.  D, 
5,  6),  or  vegetable  market,  is  also  very  picturesque.  The  piassa  com- 
mands a  good  ricw  of  the  environs. 

At  the  E.  end  of  the  Piazza  del  Oampo  is  the  Palazzo  del  Go- 
vemo  (p.  30 ;  facade  towards  the  Via  Ricasoli).  —  In  the  centre  of 
the  piazza,  opposite  the  Palazzo  Pubblico,  rises  the  marble  *Fonie 
Gajay  a  modern  reproduction  (1868)  by  Tito  Sarrocchi  of  the  original 
fountain  of  1343.  The  beautiful  bas-reliefs  of  the  Christian  vir- 
tues and  of  the  Creation  of  Adam  (left)  and  the  Expulsion  from 
Eden  (right)  were  executed  by  Jaeopo  delta  Quercia  in  1409-19 
(originals,  in  a  very  damaged  condition,  now  preserved  in  the  Opera 
del  Duomo,  p.  28).  A  subterranean  conduit,  18  M.  in  length, 
supplies  the  fountain  with  delicious  water. 

Ascending  by  steps  through  one  of  the  passages  beyond  the 
Fonte  Gaja ,  we  reach  the  beginning  of  the  Via  di  CittI,  which 
presents  a  busy  scene,  especially  in  the  evening. 

To  the  right,  the  *Loggia  of  the  Casino  de'  Nobili  (PI.  2 ;  D,  5), 
once  the  seat  of  the  commercial  tribunal.  It  was  built  in  imitation  of 
the  Loggia  de'  Lanzl  of  Florence  in  1417,  but  the  upper  story  is 
later.  The  sculptures  are  by  Slenese  masters  of  the  15th  cent., 
such  as  Ant.  Federighi  (who  executed  the  figures  of  S.  Ansano,  S. 
Savino,  and  S.  Vittorc,  and  the  stone  bench  on  the  right),  Lorenzo 
di  Mariano  (stone  bench  on  the  left) ,  and  Vecchietta  (figures  of 
SS.  Paul  and  Peter).  —  The  N.  prolongation  of  this  street  towards 
the  Porta  Camellia  is  the  Via  Cavour  (p.  85).  —  A  little  to  the 
N.  of  the  Loggia  is  the  Piazza  dell'  Indipcndenza,  with  a  Statue  of 
Italia  by  Sarrocchi ,  in  memory  of  Slenese  patriots  who  fell  In  the 
struggle  for  the  union  of  Italy  (near  PI.  27;  D,  5). 

Proceeding  to  the  left,  past  theCaflfe  Greco,  and  then  ascending 
the  Via  i>bi  Prllegbini,  a  side-street  to  the  right,  we  reach  the 
small  Piazza  S.  Giovanni.  Here,  in  the  corner  to  the  left,  is 
situated  the  Palazzo  del  Magnifico  (PI.  18;  D,  5),  erected  in  1508 
for  the  tyrant  Pandolfo  Petrucci  (p.  22),  from  designs  by  Giacomo 
Cozzarelli.  The  bronze  ornaments  and  flag-brackets  on  the  outside 
are  in  admirable  keeping  with  the  style.  One  room  is  embellished 
with  frescoes  by  Finturicchio^  discovered  in  1882. 

In  a  straight  direction  we  obtain  a  fine  survey  of  the  choir  of 
the  loftily  situated  cathedral,   under  which  is  the  old  baptistery, 


26     Routed.  SIENA.  Cathedral. 

forniiiip;  a  kind  of  crypt,  now  the  church  of  *B.  GiOTanni  (PI.  5), 
with  a  fine,  hut  uufloished  Gothic  facade  (after  1317). 

The  marble  *Foht  is  an  admirable  early-Renaissance  work,  designed 
by  Jaeopo  della  Quercia  (1416) ,  who  also  executed  the  statuettes  of  John 
the  Baptist  and  the  four  prophets,  and  one  of  the  six  bronze-gilt  ^Beliefs 
from  the  history  of  John  the  Baptist  (Zacharias  led  out  of  the  Temple,  1430). 
The  others  are  by  Lorenzo  Qkiberti  (Baptism  of  Christ  and  John  the  Baptist 
brought  before  Herod,  1427),  Donaiello  (Head  of  John  the  Baptist  brought 
before  Uerod  and  his  guests,  1427) ,  and  Turino  di  8ano  and  his  son  Qiovanni 
di  Turino.  The  last  also  executed  the  figures  of  Charity,  Justice,  and 
Prudence )  those  of  Faith  and  Hope  are  by  Donaiello.  —  The  frescoes 
by  Sienese  painters  of  the  16th  cent,  are  of  inferior  value.  —  Over  the 
high-altar  is  a  Baptism  of  Christ  by  And.  and  Raf.  PuccinelU  of  Brescia. 

From  the  Piazza  S.  Giovanni  we  may  either  follow  the  street  to 
the  right,  past  the  Palazzo  Arcivescovile  (PI.  13),  or  we  may  ascend 
the  steps  to  the  left.  By  either  way  we  reach  the  Piazza  del  Duomo- 

The  **Cathedral,  or  Chiesa  Metropolitana  (PI.  C,  4,  5),  occupy* 
ing  the  highest  ground  in  the  town,  is  said  to  stand  on  the  site  of  a 
temple  of  Minerva,  which  was  succeeded  by  a  church  of  S.  Maria 
Assunta.  The  present  building  was  hegun  early  in  the  13th  cent. ; 
the  dome  was  completed  In  1264;  and  about  1317  the  choir  was 
prolonged  to  the  E.  over  the  church  of  S.  Giovanni  (see  above). 
Owing  to  certain  structural  defects,  to  which  the  present  irregu- 
larity of  the  ediflce  is  still  perhaps  partly  due,  it  was  resolved  in 
1339  to  erect  a  huge  nave,  of  which  the  present  cathedral  was  to 
form  the  transept  only,  according  to  a  plan  preserved  in  the 
Opera  del  Duomo  (p.  28).  Parts  of  this  building ,  designed  in  a 
beautiful  style,  still  exist  on  the  S.  side  of  the  cathedral  in  the 
form  of  a  ruin.  After  the  plague  of  1348  this  ambitious  plan  was 
abandoned,  and  the  original  structure  was  then  completed.  (Length 
97  yds.,  width  261/2  yds.,  length  of  transept  55  yds.)  The  ♦Fa- 
cade, constructed  in  1284-1380  from  a  design  by  Giovanni  PisanOy 
showing  a  combination  of  the  pointed  and  circular  styles ,  is  com- 
posed of  red,  black,  and  white  marble,  and  richly  decorated  with 
sculptures  representing  prophets  and  angels  by  different  masters ; 
the  mosaics  were  added  in  1878  by  Mussini  and  Franchi.  The  cam- 
panile ,  consisting  of  six  stories ,  does  not  taper  towards  the  top. 
On  each  side  of  the  entrance  is  a  column  bearing  the  wolf  of  Siena. 

The  ^'Interior  consists  of  a  nave  and  aisles  extending  to  the  choir 
and  intersected  by  a  double  transept,  with  an  irregular  hexagonal  dome 
over  the  centre.  The  horizontal  bands  of  colour,  the  continuous  rows  of 
busts  of  popes  (in  terracotta ^  about  141)0)  over  the  arches,  and  the  pilLirs 
with  the  half-columns  will  at  first  produce  an  unfavourable  impression  on 
northern  travellers,  but  they  will  lind  that  the  pleasing  ornamentation  in 
marble  compensates  to  a  great  extent  for  organic  defects. 

The  stained  glass  in  the  large  circular  window  in  the  wall  of  the  en- 
trance was  designed  by  Perino  del  Vaga,  1549.  Over  the  entrance  is  a 
graceful  tnbune  of  1483,  borne  by  two  columns.  The  •Basins  for  holy 
water  are  hjAnt.Federighi,  a  pupil  of  Jac.  della  Quercia,  1462^63. 

The  marble  **Pavemknt  is  quite  unique,  being  covered  with  'Graffito' 
representations  from  designs  by  eminent  artists:  scenes  from  Old  Testament 
Si'i?r7di^^!Iz6MA9T\  Maccabttus,  Solomon,  and  Joshua  by  Do- 

S^n^I^pi  Tvfiiri^^ll^?;*^*"^  *  sacrifice,  Adam  and  Eve,  Moses  on  Mt. 
Sinai,  etc.,  hyBecca/um;  the  symbols  of  Siena  and  the  towns  aUied  with 


Cathedral.  SIENA.  5.  Route.    27 

it,  Hermea  Triamegistus,  Socrates  and  Crates,  the  Sibyls,  and  other  tigures 
by  masters  of  less  note.  The  execution  varies.  The  oldest  scenes  aie 
simple  outlines  engraved  on  the  white  marble  and  filled  with  black  stucco. 
Shading  was  then  introduced  by  the  use  of  grey  and  also  of  coloured 
marble,  so  that  the  graffito  gradually  developed  into  an  elaborate  mosaic. 
The  pavement  is  generally  covered  by  a  wooden  flooring,  which  is,  however, 
removed  on  Aug.  15th  (Feast  of  the  Assumption).  Some  of  the  original 
works  are  now  in  the  Opera  del  Duomo  (p.  28). 

Lbft  Aislb  :    At  the  entrance-wall ,  statue  of  Pope  Marcellus  II.,  by 

D.  Cafagqi.  —  4th  Altar  (of  the  Piccolomini),  with  sculptures  by  Andrea 
Bregno  (1485)  and  statues  of  SS.  Peter,  Pius,  Gregory,  and  James,  by 
Michael  Angelo^  and  St.  Francis,  begun  by  Torrigiani  and  completed  by 
Michael  Angela.  —  The  entrance-wall  of  the  Libreria  is  embellished  with 
fine  sculptures  in  marble,  by  Lorenzo  Marrina  (i49T).  Over  the  door: 
Coronation  of  Pius  III.  (Piccolomini*,  1508),  who  reigned  27  days  only, 
by  Ber.  PinturicckiOt  who  also  painted  the  frescoes  in  the  library  (p.  28).  — 
Farther  on  is  the  Monument  of  Bandino  Bandini,  with  the  Risen  Christ 
and  angels,  attributed  to  Michael  Angela. 

The  *PnLPiT,  octagonal  in  form  and  constructed  of  white  marble, 
borne  by  ten  columns,  some  of  which  rest  on  lions,  and  adorned  with 
admirable  reliefs  from  the  New  Testament,  is  by  Hiccolb  Pisano.  his  son 
Giovanni  y  and  his  pupils  Ai'nol/o  and  Lapo  (1266-68).  The  flight  of  steps 
was  designed  by  Bernardino  di  Oiaeomo  (1543). 

The  Lbpt  Tbansept  contains  the  Cappblla  S.  Giovanni,  with  a  portal 
by  Marinna.  In  the  interior  are  a  ^'Statue  of  John  the  Baptist  by  Dona- 
tello^  1457;  statues  of  SS.  Catharine  and  Ansanus,  by  Neroccio  (1487)  and 
Qiov.  di  Ste/anOj  respectively;  a  font,  perhaps  by  Jacopo  delta  Quercia; 
stucco  enrichments  on  the  walls  by  Peruzzi;  and  five  small  frescoes  by 
Piniurieehio  ^  three  being  scenes  from  the  life  of  Alberto  Arringhicri,  the 
donor.  —  Farther  on  in  the  same  transept  are  statues  of  Popes  Pius  III. 
and  Pius  II.  by  P.  Balestra  and  &.  Mazzuoli  respectively.  —  The  chapel 
to  the  left  of  the  choir  contains  a  relief  of  the  11th  cent.,  representing 
the  Annunciation ,  the  Nativity,  and  the  Adoration  of  the  Hagi,  removed 
hither  from  the  old  church  of  Ponte  alio  Spino ,  about  SVa  M.  from  the 
town  (p.  37).  The  bronse  relief  in  the  pavement  in  front  of  this  work 
is  by  Donatella  J  and  marks  the  tomb  of  Bishop  Giovanni  Pecci  (d.  1426). 

The  Choib  contains  a  high-altar  executed  from  a  model  by  Baldassare 
Peruzzi  (1532);  and  behind  it  richly  carved  *Choir-stalls,  reading-desk,  etc., 
by  Bartolo  Iferani,  surnamed  Rtcdo  (1567),  and  inlaid  work  (intarsia)  by 
Fra  Giovanni  da  Verona  (1472).  The  bronze  *Canopy  is  by  Lorenzo  di  Pietro, 
surnamed  Vecehtetta  (1472);  the  angels,  acting  as  candelabra,  are  by  Gio- 
vanni di  Stefano  and  Francesco  di  Giorgio  (14^89) ,  the  front  row  of  stalls 
and  the  reading-desk  by  Raffaele  da  Bresda  (1520).  The  frescoes,  by 
Becca/umi  (1544),  were  entirely  renewed  and  altered  at  the  beginning  of 
the  present  century.  —  By  the  pillars  of  the  dome  are  two  flagstaff's  from 
the  standard- waggon  of  the  Florentines  (il  caroccio)^  captured  at  Monte 
Aperto  in  1260,  or,  according  to  some  authorities,  those  of  the  victorious 
waggon  of  the  Sienese.  Over  a  neighbouring  altar  is  the  crucifix  which 
the  Sienese  carried  with  them  on  that  occasion.  —  To  the  left  of  the 
Ugh-altar  is  an  organ-loft  by  Barili  (1511),  above  the  entrance  to  the 
sacristy,  which  contains  (to  the  left)  a  font  by  Turini. 

In  the  chapel  to  the  right  of  the  choir  are  reliefs  of  the  Evangelists 
and  St.  Paul,  by  Franceeco  da  Imola  and  Giav.  Tnrini. 

The  Bight  Tbansept  contains  statues   of  Popes  Alexander  VII.  (by 

E.  Ferrata)  and  Alexander  III.  (by  A.  Raggi).  —  The  tomb  of  Bishop 
Tommaso  Piccolomini  (d.  1483)  is  by  Neroccio.  —  The  Cappella  del  Voto, 
belonging  to  the  Chigi,  built  by  Alexander  VII.  (Fabio  Chigi  of  Siena, 
papal  nuncio  at  the  Peace  of  Westphalia  in  1648,  pope  in  1665-67)  in  1661, 
is  richly  adorned  with  lapis  lazuli,  marble,  and  gilding,  and  contains 
statues  of  St.  Jerome  and  Mary  Magdalene  (said  originally  to  have  been 
an  Andromeda)  by  Bemini.  At  the  end  of  the  right  aisle  is  a  statue  ol 
Pope  Paul  v.,  by  F.  Signorini, 


28    Routed.  SIENA.  Opera  del  Duomo. 

In  tho  left  aisle,  as  already  mcBtioned,  in  the  entrance  to  the  cele- 
brated **Libnury  of  the  Cathedral  {lAbreria;  fee  V«  fr.),  formerly  the  Bala 
Piccolominea.  erected  by  order  of  Cardinal  Francesco  Piccolomini,  afterwards 
Pope  Pius  III.,  in  1495,  and  adorned  in  1506-07  with  ten  frescoes  by  Pin- 
turieehio^  representing  scenes  from  the  life  of  jSneas  Sylvius  Piccolomini  of 
Pienza  (p.  20),  afterwards  Pope  Fius  II.  (1458-64) :  (1)  Departure  of  iEneas 
Sylvias  for  the  Council  of  Basle ;  (2)  ^neas  Sylvias  in  presence  of  King 
James  of  Scotland,  to  whom  he  had  been  sent  by  the  Council *,  (3)  His 
coronation  as  a  poet  by  Emperor  Frederick  III.  at  Frankfort  in  1445;  (4) 
^neas  Sylvius  doing  homage  to  Pope  Eugene  IV.  in  the  name  of  the 
Emperor;  (5)  Betrothal  of  Emperor  Frederick  III.  with  Eleonora  of  Portugal 
at  Siena  by  ^neas  Sylvius;  (6)  ^neas  Sylvius  created  a  cardinal  by  Pope 
Calixtus  III. ;  (7)  ^neas  Sylvius  elected  Pope  Pius  II. ;  (8)  Pius  U.  at  the 
diet  of  princes  in  Hantua;  (9)  Canonisation  of  Catharine  of  Siena;  (10) 
Death  of  Pius  II.  at  Ancona,  while  preaching  a  crusade  against  the  Turks. 
Some  of  these  pictures,  which  are  connected  by  beautiful  figures  of  nude 
or  half-nude  children,  are  admirably  preserved.  Vasari  assorts  that  Ra- 
phael assisted  in  their  execution.  It  is  tolerably  certain  that  Raphael 
was  at  Siena  at  the  same  time  as  Pinturicchio,  and  it  is  not  improbable 
that  he  furnished  the  older  and  less  imaginative  master  with  designs  of 
which  the  latter  availed  himself  more  or  less  freely.  Designs  for  these 
frescoes  attributed  to  Raphael  are  now  preserved  in  the  Uffizi  (that  of 
No.  1),  in  the  Brera  at  Milan  (No.  3),  by  the  Duke  of  Devonshire  at 
Chatsworth  (No.  4),  and  by  Sign.  Baldeschi  at  Perugia  (No.  5 ;  p.  49).  —  The. 
^Missals ,  embellished  with  beautiful  miniatures ,  also  deserve  attention 
(No.  5  and  No.  9  by  Liberate  da  Verona,  No.  12  by  Oirolamo  da  Cremona^ 
No.  11  by  8ano  di  Pietro).  —  The  S.  side-entrance  of  the  cathedral  is 
surmounted  by  a  relief  of  the  Madonna  by  Michelotto. 

Opposite  the  S.  side  of  the  cathedral ,  in  the  corner  where  the 
steps  ascending  from  S.  Giovanni  terminate  under  the  arches  of  the 
uncompleted  nave  (p.  26),  is  the  *Opera  del  Dnomo  {deUa  Metro- 
politana ;  PI. 12;  C,o),  which  contains  several  interesting  works  of  art. 

In  the  entrance-passage  is  the  custodian's  bell  (i/z  fr.). 

The  hall  on  the  Ground  Flook  contains  a  famous  antique  ^Group  of 
the  Graces  J  found  at  Rome  in  the  reign  of  Pius  II.  and  presented  by 
him  to  the  cathedral  library,  but  removed  thence  in  1857  by  desire 
of  Pius  IX.  From  this  work  Raphael  made  his  first  studies  from  the 
antique  (drawing  at  Venice).  The  superb  Renaissance  pedestal  is  also 
interesting.  The  ^Sculptures  from  the  Fonte  G(^Ja  (p.  26)  by  Jacopo  delta 
Quereia,  representing  a  Madonna,  the  Virtues,  the  Creation  of  Man,  and 
the  Expulsion  from  P&radise,  which  are  among  the  master's  finest  works, 
are  unfortunately  much  damaged.  Sculptures  from  the  Cappella  di  Piazza 
(p.  24),  and  others  from  the  facade  of  the  cathedral  before  its  restoration.  — 
Antique  sarcophagus  with  sea-gods ;  ornamentation  of  an  organ-screen, 
representing  the  Transfiguration,  by  Sodoma.  On  the  Fibst  Floob  :  Drawings 
and  copies  of  the  *  Graffiti  of  the  Cathedral  Pavement,  destined  to  replace 
the  originals;  also  some  of  the  originals  themselves  (comp.  p.  27)  and 
four  copper-plates  with  the  four  chief  designs.  —  On  the  Second  Floob 
several  interesting  plans  and  architectural  designs;  handsome  embroi- 
deries; crosiers;  ring  of  Pius  II.  Also  several  early  Sienese  paintings, 
the  chief  of  which  is  the  large  *Picture  by  Duccio  di  Buoninsegna :  on  the 
left  the  Triumphant  Madonna  with  the  Child  and  saints,  the  once  highly 
revered  'Majestas',  which  was  placed  over  the  high-altar  in  1310  (p.  23), 
with  the  inscription:  Mater  Sancta  Dei^  sis  caussa  Senis  requiei^  sis  Ducio 
vitay  te  quia  pinxit  ita.  On  the  right  is  the  Life  of  Christ,  in  25  sections, 
originally  forming  a  background  to  the  Majestas.  Also  four  saints  by  Ambr. 
Lorenzetti;  a  Byzantine  Madonna  of  the  12th  cent.;  a  Credo  by  Taddeo 
Bartoli;  a 'Nativity  of  the  Virgin  by  Pietro  Lorenzetti  (1342),  in  a  lifelike 
genre  style;  and  a  picture  of  the  15th  cent,  (perhaps  by  Sam  di  Pietro)^ 
showing  the  original  form  of  the  Palazzo  Pubblico  (p.  24). 

Adjoining  the  Opera  is  the  Palazzo  Beale  (PI.  23),  erected  by 


S.  Maria  delta  Scala,  SIENA.  5.  Route    29 

Bern.  Buontalenti  in  the  16th  cent.,  now  the  seat  of  the  prefeetuTe. 
—  Farther  on,  in  the  Via  del  Capitano  (see  below)  which  diverges 
here,  is  the  Palazzo  Pecci  (PI.  20),  a  Gothic  brick  building  of  the 
13th  century.  About  1360  It  was  appointed  the  official  residence 
of  the  Capitano  diGiustizla,  or  chief  judicial  functionary  of  Siena; 
in  1457  it  was  acquired  by  the  jurist  Tom.  Pecci ;  and  it  is  now  the 
property  of  Sign.  E.  Grotanelli  di  Santi ,  who  has  had  it  restored 
without  and  within  by  Sienese  artists. 

Opposite  the  facade  of  the  cathedral  are  the  church  and  hospital 
of  S.  Maria  della  Scala  (PL  C,  5),  of  the  13th  century.  Over  the 
high-altar  of  the  church  is  a  Risen  Christ ,  a  statue  in  bronze  by 
Vecchietta.  The  choir-stalls  are  by  Ventura,  the  organ  by  B, 
PeruzzL  Adjoining  the  handsome  entrance-hall  of  the  hospital  is 
a  large  sick-room  called  'II  Pellegrinajo',  adorned  with  frescoes  from 
the  history  of  the  monastery  by  Domenico  di  Bartolo  (1440-43) 
and  other  masters.  Pleasing  view  from  the  windows  (fee  ^2  ^^0-  — 
Descending  to  the  left  at  the  N.  angle  of  the  Piazza  del  Duomo  by 
steps  and  under  several  arches,  we  reach  the  church  Degli  Innocenti 
(PI.  C,  4),  externally  a  very  rude  edifice,  but  *wlth  a  charming 
interior  in  the  form  of  a  Greek  cross'  (Burckhardt). 

The  above-mentioned  Via  del  Capitano  leads  to  the  quarters 
of  the  town  situated  on  the  S.  and  S.W.  hills.  It  soon  crosses  the 
small  Piazza  Postierla,  with  the  Palazzo  Chigij  now  Piecolomini 
(PI.  16;  C,  5),  on  the  right,  which  contains  two  saloons  adorned 
with  frescoes  by  Bernhard  vanOrley,  a  Fleming  who  joined  Raphael's 
school.  The  column  with  the  wolf  in  the  piazza  dates  from  14iB7.  — 
Not  far  off,  in  the  Via  di  Cittli,  which  diverges  here  to  the  left,  is  the 
Palazzo  Piecolomini  J  now  Nerucci  (PI.  19;  C,  D,  5),  erected  by 
Bernardo  Rossellino  in  1463  for  Catharine,  the  sister  of  Pius  II. 
Beyond  it  is  the  Palazzo  Saraciniy  the  vaulting  in  the  court  of  which 
is  tastefully  painted.  —  In  the  Via  di  Stalloreggi,  diverging  from 
the  Piazza  Postierla  to  the  right,  is  the  Casa  Bambagini  -  Qalletti^ 
on  the  facade  of  which  is  a  fresco  by  Sodoma  ('Madonna  del  Corvo'). 

On  the  left,  in  the  Via  S.  Pibtbo,  the  continuation  of  the  Via 
del  Capitano,  is  the  *  Palazzo  Buonsignori  (PI.  15;  C,  5),  a  hand- 
some Gothic  edifice  of  the  14th  cent.,  in  brick,  with  a  rich  fa^de, 
restored  in  1848.  The  vestibule,  court,  and  staircase  are  in  a  heavy 
rococo  style.  —  At  the  church  of  8.  Pietro  alle  Scale  (PL  9  ;  C,  6), 
which  contains  paintings  by  Salimbeni  and  Rutilio  Manetti  (16th 
cent.),  the  street  bends  to  the  right.  —  Following  the  main  street 
and  passing  under  an  archway ,  we  enter  the  Piazza  S,  Agostino 
(PL  C)  6),  with  the  B.  Collegio  Tolomeif  formerly  a  monastery  and 
now  a  much  frequented  grammar-school  (Liceo),  and  the  church  of  — 

S.  Agostino  (PI.  C,  6),  remodelled  by  Vanvitelli  in  1755,  the 
entrance  to  which  is  in  the  Liceo,  to  the  left. 

Over  tlie  2nd  altar  on  the  right,  a  CruciQxion  by  Pietro  Perugino. 
Massacre  of  the  Innocents  by  Matteo  da  Siena  (14^),  in  a  chapel  on  the 
right.  Statue  of  Pius  II.  by  Dtfpi*^.  Altar-piece,  an  Adoration  of  the  Magi  »^" 


30     Route  5.  SIENA.  Palazito  del  Oovemo, 

Sodoma.  At  the  back  of  the  choir,  on  the  left,  the  *Legend  of  S.  Agostino 
Novello  in  three  sections,  by  Lippo  Memmi^  probably  his  best  work.  Also 
pictures  by  Salimbeni^  Rutilio  Manetti,  and  others. 

About  250  paces  beyond  the  Porta  Tuft  (PI.  B,  7)  is  the  Cimi- 
tero  delta  Misericordia ,  containing  among  its  monuments  a  good 
Pieti  by  Dupr^  and  several  statues  by  Sarrocchi  (fee  30-50  c).  — 
Following  the  Via  della  Cerchia  (where  the  small  Palazzo  Finetti 
should  be  noticed)  to  the  W.  of  S.  Agostino ,  and  bending  to  the 
right,  we  enter  the  Via  Baldassare  Peruzzi,  on  the  left  side  of  which 
are  the  suppressed  monastery  (now  a  barrack)  and  the  church  of  — 

S.  Uaria  del  Carmine  (PL  B,  5),  a  handsome  brick  edifice,  with 
campanile  and  cloisters,  hy  Baldassare  Peruzzi  (open  7-9  a.m.  only). 
On  the  right  is  the  Cappella  del  Sagramento  with  a  Nativity  of  Mary 
by  Sodoma;  5th  altar  on  the  left,  St.  Michael  by  Beccafumi. 

Opposite  is  the  Palazzo  Pollini ,  formerly  Celsi  (PI.  21 ;  B,  5), 
attributed  to  Peruzzi.  —  "We  may  now  proceed  straight  on  through 
the  Via  delle  Fosse  di  S.  Ansano  (with  the  JB.  Istituto  Toscano  dei 
8ordo~Muti ,  or  Deaf  and  Dumb  Asylum)  either  to  the  Piazza  del 
Duomo,  or,  by  turning  a  little  to  the  left  towards  the  end  of  the 
way,  we  may  reach  the  Porta  Fontebranda  (see  p.  34). 

Outside  the  Porta  S.  Marco  (PI.  A,  5)  there  is  a  fine  view. 


The  E.  angle  of  the  Piazza  del  Campo  is  occupied  by  the  ♦Pa- 
lazzo del  Governo  (PI.  17;  D,  E,  5),  one  of  the  most  imposing  pri- 
vate edifices  at  Siena,  erected  for  Giacomo  Piccolomini  in  1469-1500, 
probably  from  a  design  by  Bernardo  Rosseltirw,  The  principal  facade 
with  its  tasteful  decorations  in  wrought  iron  (horses'  heads,  etc.) 
looks  towards  the  Via  Ricasoli  and  the  small  Piazza  Piccolomini.  The 
palace  now  contains  the  extensive  *  Archives  (director.  Sign.  Lisini), 
one  of  the  most  important  collections  of  the  kind  in  Italy. 

Parchment  Charters y  52,000  in  number,  the  oldest  dating  from  736. 
Under  glass  are  a  number  of  interesting  specimens  of  these  documents, 
Autographs  of  celebrated  men  (Pius  II.,  Leo  X.),  Miniatures^  etc.  There 
is  also  a  valuable  collection  of  the  Covers  of  the  old  Treasury  Register* 
(BiccheiTie),  in  chronological  order,  painted  with  scenes  from  sacred  and 
profane  history,  and  affording  an  admirable  survey  of  the  development  of 
Sienese  art.    They  include  works  by  Dietisalvi^  Dueeio^  and  the  Lorenzetti. 

In  the  vicinity  is  the  Vrhiversity  (see  p.  31).  —  The  ^Loggia  del 
Papa  (PI.  11 ;  E,  5),  in  the  Piazza  Piccolomini,  opposite  the  Pal. 
del  Governo,  was  erected  in  1460  by  the  Sienese  Antonio  Federighi 
by  order  of  Pius  II.  (^neas  Sylvius  Piccolomini),  and  dedicated  by 
the  pope  'gentilibus  suis\ 

Adjacent  is  the  church  of  S.  Hartino  (PI.  8;  E,  5,  6). 
Over  the  2nd  altar  on  the  right,  a  Circumcision  of  Christ  by  Outdo 
Rent.  On  each  side  of  the  3rd  altar  are  ornamental  sculptures  in  marble 
by  Lorenzo  di  Mariano,  surnamed  II  Marrina;  on  the  left:  Nativity  of 
Christ  by  Beccafumi.  The  choir  contains  gilded  wooden  statues,  attributed 
to  Jacopo  della  Quercia. 

The  Via  Rioaboli,  which  passes  the  Loggia  del  Papa,  tra* 
verses  the  crest  of  the  S.E.  hill  and  leads  to  Porta  Pispini  and 


S.  Spirito,  SIENA.  5.  RouU.    31 

Porta  Romana,  the  two  S.E.  gates.  —  Immediately  to  the  right  in 
this  street  is  the  Fonte  di  PantanetOy  dating  from  1352,  recently 
restored.  To  the  left,  a  little  farther  on,  the  Via  di  FoUonlca 
descends  to  the  Fonte  di  FoUonica,  constructed  iu  1239  and  situated 
in  a  garden  far  below.  —  After  5  min.  more,  a  few  paces  beyond 
the  church  of  8.  Qiorgio  (PL  E,  6),  the  Via  db'  Pisfini  diverges  to 
the  left,  in  which  we  first  reach  the  church  of  — 

S.  Spirito  (PI.  E,  6, 7),  with  a  dome  dating  from  1508,  and  a 
portal  from  1519,  the  latter  designed  by  Baldassare  Feruz%i. 

The  Ist  chapel  on  the  right  (Gappella  degli  Spagnuoli)  contains,  above 
a  St.  Rosa  by  Viterbo,  the  following  "^Paintings  by  Sodoma:  Madonna  pre- 
senting the  gown  of  the  Order  of  the  Dominicans  to  St.  Alfonso,  in 
the  presence  of  SS.  Octavia  and  Lucia  ^  to  the  right  and  left  SS.  Sebastian 
and  Anthony  the  Abbot;  in  the  lunette,  St.  James  on  horseback  (fresco). 
To  the  right  is  a  Nativity  of  Christ  in  terracotta  by  Ambrogio  della  RobUa 
(1504).  —  Over  the  door  leading  to  the  sacristy,  Crucifixion,  by  Sano  di 
Pietro.  —  Over  the  3rd  altar  to  the  left,  Coronation  of  the  Virgin  by 
Pacchia.  —  In  the  Cix)I8tbb8  (sagrestano  6-6  soldi):  Crucifixion  by  Fra 
Paolino  (1516). 

The  Fonte  d^  Pispini  dates  from  1534.  The  neighbouring  Porta 
Pispini  is  adorned  with  a  damaged  fresco  (Nativity)  by  Sodoma. 

Opposite  S.  Spirito  we  enter  the  Vicolo  del  Sasso,  follow  to 
the  right  the  broad  Via  S.  Girolamo,  and  passing  the  column  with 
the  wolf,  reach  8.  Oirolamo  (PL  D,  7),  belonging  to  a  nunnery  (3rd 
altar  to  the  left :  Madonna  by  Matteo  da  Siena,  framed  in  marble 
by  Lor.  di  Mariano).    On  the  left  we  next  reach  the  church  of  — 

88,  Concezione,  or  Servi  di  Maria  (PL  D,  8) ,  erected  in  1471, 
with  a  beautiful  interior  (1511-33)  attributed  to  Bald.  PeruzzU 

First  altar  to  the  right:  Madonna,  by  Coppo  di  Marcovaldo^  1261. 
Fourth  altar  to  the  right :  Massacre  of  the  Innocents,  by  Matteo  da  Siena^ 
1491;  above.  Adoration  of  the  Shepherds,  by  Taddeo  Bartcli,  —  In  the 
right  transept,  above  the  first  door  leading  to  the  sacristy:  *La  Vergine 
del  Popolo\  by  Lippo  Memmiy  an  able  work.  —  At  the  back  of  the  high- 
altar,  *Madonna  del  Manto',  ascribed  to  Qiovanni  di  Pietro^  1436.  The 
Coronation  of  the  Virgin,  by  Fungai  (1500?) ,  is  one  of  his  earlier  works. 

The  Porta  Romana  (PL  D,  8)  is  adorned  with  a  fresco  (Cor- 
onation of  the  Virgin)  begun  by  Taddeo  Bartoli  and  finished  by 
Sano  di  Pietro.  —  About  1/3  M.  beyond  the  gate  is  the  church  of 
Madonna  degli  Angeli^  the  choir  of  which  contains  a  Madonna  with 
saints,  by  Baffaele  da  Firenze,  1502. 


Opposite  the  N.  side  of  the  Palazzo  del  Govemo  (p.  30)  the  Via 
S.  Vioiiiio  leads  to  the  E.  to  the  church  of  the  same  name  and  to 
the  University  (PI.  28;  E,  5).  The  entrance  to  the  latter  is  in  the 
corner  to  the  right ;  in  the  corridor  is  the  monument  of  the  cele- 
brated jurist  Niceolb  Aringhieri  (d.  1374),  with  a  bas-relief  re- 
presenting the  professor  in  the  midst  of  his  audience. 

The  neighbouring  church  of  8.  Maria  di  Provenzano  (PL  7 ; 
E,  5)  dates  from  1594.  —  Traversing  several  streets  to  the  E.  we 
rea«h  the  Piazza  i>i  S.  Fbanoesco  (PL  F,  5) ,  in  which  rise  the 
church  of  S.  Francesco  and  the  Oratorio  di  S.  Bernardino. 


32    Route  5  SIENA.    Oratorio  di  8.  BemardirhO. 

The  churoli  of  8.  Ihranoesoo ,  now  andergoing  restoration ,  has 
fine  cloisters  of  1518,  in  which,  adjoining  the  side-en trance  to  the 
church ,  are  architectural  sculptures  from  tombs  of  nobles  dating 
from  the  14th  century.  To  the  left  of  the  entrance  to  the  seminary 
is  a  relief  of  the  Madonna  by  CozzartUi,  The  chapel  contains  a 
*Madonna  nourishing  the  Child,  by  Lorenzetti  (wall  facing  the 
windows),  and  a  Madonna  and  saints  by  Bama  (left  wall).  Farther 
on  in  the  cloisters  are  some  relics  of  a  fresco  of  the  Madonna  by  Am- 
hrogio  Lorenzetti, 

The  ^Oratorio  di  S.  Bernardino  (PI.  F,  5)  possesses  admirable 
pictures,  especially  by -Sodoma.  Afternoon  light  best.  The  *custode' 
lives  at  No.  6,  adjoining  (fee  1/2  fr.)- 

LowsR  OsATOBio :  Scenes  from  the  life  of  St.  Bernardino,  of  the  close 
of  the  16th  century.  —  *Uppbb  OratoBio  :  Presentation  in  the  Temple, 
Salutation,  Assumption,  and  Coronation  of  the  Virgin ;  SS.  Anthony,  Bern- 
ardino, Louis,  and  *Francis,  by  jSodoma,  1518-32,  the  single  figures  being 
of  great  beauty.  Betrothal  and  Death  of  the  Virgin,  by  Beccafumi^  1518. 
Katiyity  of  theVirgin,  and  Annunciation,  by  Oirol.  del  PaceMa^  1185.  The 
visitor  should  observe  the  admirable  enrichments  of  the  ceiling,  the  frieze, 
etc.,  which  are  among  the  most  tasteful  of  early  -  Renaissance  works, 
executed  by  Oiuliano  Turapilli  after  1496.  Altar-piece  by  Beccafumi^  1537. 

The  Via  del  Rossi  leads  straight  to  the  Via  Cavoue,  which 
with  its  prolongation,  the  Via  Gamollia ,  extends  from  the  Casino 
de'  Nobili  (p.  25)  to  the  Porta  CamoUia,  a  distance  of  nearly  1  M. 
Approaching  from  the  Casino  de'  Nobili,  we  first  reach  a  small 
piazza,  named  after  the  Palazzo  Tolomei  (PI.  26;  E,  4),  a  Gothic 
edifice  of  1205,  on  the  left,  and  also  adorned  with  a  wolf.  Farther 
on  are  the  Palazzi  Paimicri  (1540),  Bichi  (1520),  with  a  fine  loggia 
with  modern  paintings,  Oori  (1677),  and  *Spannocchi  (PI.  25 ;  E,  4), 
built  in  1470  by  a  Florentine  master,  with  a  bold  colonnaded  court, 
and  recently  thoroughly  restored.  The  last  now  contains  the  Post 
and  Telegraph  Office.  —  In  the  vicinity  is  the  Piazza  Salirabeni, 
with  a  statue  of  Sallustio  Bandini  (1677-1766),  the  drainer  of  the 
Sienese  Maremme,  by  Tito  Sarrocohi,  erected  in  1880. 

To  the  left  diverges  the  Via  dblle  Belle  Arti,  which  contains 
the  Art  Institution  and  the  Library  and  leads  straight  to  the  church 
of  S.  Domenico  (p.  35). 

The  *l8titnto  delle  Belle  Arti  (PI.  10 ;  D,  E,  4)  contains  a  valu- 
able collection  of  pictures,  principally  of  the  older  Sienese  school, 
formed  at  the  beginning  of  the  present  century  of  works  procured 
from  suppressed  monasteries  and  from  the  Palazzo  Pubblico,  and 
gradually  extended  since  that  period.  Adm.  9-3  daily  (1  fr.),  ex- 
cept on  Sundays  and  holidays  (bell  below,  to  the  right). 

The  numbering  of  the  pictures  is  as  nearly  as  possible  chronological, 
though  a  few  of  the  most  important  canvases  have  been  transferred  out 
of  order  to  the  better  light  of  the  cabinets.  There  is  no  catalogue,  but 
the  names  of  the  artists,  so  far  as  known,  are  attached  to  the  frames. 

At  the  entrance.  Reliefs  of  little  value.  —  I.  Corbidob,  to  which  the 
attendant  directs  us:  1-15.  Pictures  of  the  13th  cent.,  still  in  the  Byzantine 
style  J  16.  Margaritone  d'Arezzo^  St.  Francis;  17.  Guido  da  Siena^  Madonna; 
22-24.  Dticeio  di  Buoninsegna^  Madonnas;  39.  Ambrogio  Lorenzettiy  Annun- 


IttUuto  deUe  Belle  ArtL     SIENA. 


5.  Rouie,    33 


ciation  (1344);  56,58.  Works  by  Pietro  LcretuMi;  59.  Uppo  Mmnmi;  62. 
KieeUb  di  Begna^  Crucifixion :  604.  P.  LorenttUi,  Madonna  and  saints ;  *86. 
Lippo  Memmiy  Madonna  and  four  saints.  —  II.  Corridor:  404410.  Becea- 
fumif  Cartoons  for  the  pavement  of  the  cathedral  \  394.  Ascribed  to  AU>.  DUrtr^ 
Portrait  of  an  old  man ;  380.  MoroM^  Portrait  \  495.  Stetnwytky  St.  Jerome. 
—  III.  Corridor  :  Pictures  by  Taddeo  BarMi^  Oiovaimi  di  Paolo ,  Bono 
di  Piotro  (the  ^Sienese  Fra  Angelico'),  Noroccio  di  Bart.  (Landi)y  etc.  188. 
Pietro  di  CHovanni^  St.  Bernardino.  —  IV.  Cabinet  :  265.  Bono  di  Pietro^  Ma- 
donna and  St.  Calixtus;  *874.  Sodoma,  Scourging  of  Christ  (fresco);  875,  876. 
Oirolamo  Oomga^  Flight  of  JEneas,  Ransoming  prisoners.  *Wooden  pilaster 
by  A.  Barili.  —  V.  Cabinet:  269-280.  Paintings  by  Sano  di  Pietro;  152- 
166.  Andrea  di  Vanni^  Triumphs. 

We  next  traverse  Room  vI.  and  enter  Room  VII.,  which  contains  prise- 
works  by  pupils  of  the  Academy.  In  the  middle  is  a  Madonna  and  saints 
bj  Pietro  Lorenxetii  (1329),  transferred  from  panel  to  canvas.  —  VIII.  Cabinet  : 
122.  Taddeo  Gaddi^  Madonna;  123,  124.  BpineUo  Aretino^  Death  and  Coro- 
nation of  the  Virgin.  346.  Antique  sarcophagus  with  Nereids.  —  IX.  Cab- 
inet: 132.  Lippo  Memmi,  SS.  Michael,  Jerome,  and  John  the  Baptist;  162. 
Sano  di  Pietro,  Coronation  of  the  Virgin.  —  X.  Cabinet:  176,  178.  Two 
large  altar-pieces  by  Sano  di  Pietro^  Madonnas  and  saints ;  *366.  PaceMarotto, 


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Annunciation;  170.  Taddeo  di  Bartolo^  Annunciation ;  138.  Lnea  di  Tommi^ 
Madonna  (1387).  —  We  now  return  to  the  door  and  enter  the  — 

XI.  Large  Hall.  To  the  right  and  left  of  the  entrance,  •362,  363. 
Sodoma,  Christ  on  the  Mt.  of  Olives,  Christ  in  Purgatory ,  two  frescoes 
brought  from  8.  Croee.  To  the  left:  307.  Franeeseo  di  Oiorgio,  Nativity; 
361.  Fungaiy  Madonna  and  saints;  371.  PinturiecMOy  Holy  Family;  *3§6.  8o- 
donuiy  Judith;  •347.  PaeekiarottOy  Madonna  and  88.  Onuphrius  and  Eras- 
mus ;  346.  BeeeafunU,  Fall  of  the  angels ;  310.  Franeeeco  di  QiorgiOy  Coron- 
ation of  the  Virgin;  344.  Gir.  del  Paeehia,  Annunciation  and  Visitation  (af- 
ter the  picture  by  Albertinelli  in  the  Ufflzi);  •343.  SodomOy  Descent  from 
the  Cross ;  342.  Beecafumiy  Christ  in  Purgatory ;  326.  Fungaiy  Madonna  and 
saints;  831.  Pinturicchio,  Holy  Family;  329.  Pacehiarotto,  Ascension;  314. 
Francesco  di  Giorgio,  Crucifixion.  —  XII.  Room  :  *459.  Domenichino,  Land- 
scape; 454.  Jan  Bmeghely  Sesrpiece;  412.  Pahna  Giovane,  Brazen  Serpent; 
414.  Old  copy  of  Raphael's  Madonna  della  Perl  a  (in  Madrid);  478.  Caravaggio, 
Morra-players ;  419.  Palma  VecehiOy  Madonna ;  422.  PinturieehiOy  Holy  Family; 
426.  Lueas  (VanaeA,  Lucretia;  427.  Copy  of  AnAerger,  Charles  V. ;  429.  Mo- 
rone,  Portrait  (1458) ;  430.  Beeeafumiy  St.  Catharine ;  436.  Altdorfer,  Martyr^ 
dom  of  St.  Christina  of  Bolsena ;  437.  Bart,  de  Bruyn ,  Portrait ;  Sodoma, 
444.  Holy  Family,  440.  Body  of  Christ  and  two  angels,  441,  442.  Madonnas, 
439.  St.  Catharine,  443.  Two  guild-brothers  worshipping  the  Cross;  447. 
Paris  BordonOy  Annunciation ;  445,  451.  Fra  Bartolommeo,  Two  saints. 

Two  rooms  on  the  first  floor  accommodate  the  Gallbbia  dsllb  Stahpb, 
the  bulk  of  which  consists  of  old  Italian  engravings,  though  there  Is  also 

Baedeker.    Italy  IT.    10th  Edition.  3 


34    Routed.  SIENA.  BihlioUca  ComunaU, 

a  number  of  Diirer**  wood-ehgravii^s.  The  second  room  contains  the 
bust  of  Ck)unt  Gori  Tannilini  (1880),  the  donor  of  the  c«rflectlon ;  to  the 
left  is  an  engraved  Pietk  from  a  drawing  by  Michael  Angelo  (1647). 

Trayellers  who  desire  to  visit  the  Monte  Oliveto  Mag^ore  (p.  16) 
must  obtain  a  ^permesso^  from  the  *Ispettore*  of  the  Istituto  delle  Belle 
Arte,  which  they  should  forward  to  the  'Sopraintendente*  at  the  convent. 

The  BibUoteoa  Comimale  (PI.  1 ;  D,  4),  containing  60,000  vols, 
and  5000  MSS.,  was  founded  in  1663  (open  dally,  10-2,  and  5  or 
6  to  8).  In  the  17th  cent.  Siena  possessed  sixteen  librarieis,  and  in 
1654  even  one  for  women. 

The  chief  objects  of  interest  are :  the  'Greek  Gospels,  formerly  in  the 
chapel  of  the  imperial  palace  at  Constantinople,  of  the  11th  cent.,  originally 
bound  in  silk,  with  pictures  in  enamel  mounted  at  a  later  period  in 
silver^ilt;  'Treatise  on  architecture  "bj  Francesco  di  Giorgio^  with  sketches 
and  drawings  by  the  author^  'Sketch-books  of  Baldasiare  Pentzxi  and 
OiuUano  da  8angallo\  letters  of  St.  Catharine. 

Beyond  the  library,  to  the  left,  we  descend  the  Via  Costa  S.  An- 
tonio, and  enter  the  first  side-street  to  the  right,  which  leads 
straight  to  the  upper  entrance  of  the  Honse  of  St.  Catharine  (PI.  3; 
D  4) :  'Sponsas  Christi  Eatherine  domus*.  Visitors  knock  at  the  door 
to  the  left  (1/2  frO<  St.  Catharine  of  Siena,  the  daughter  of  a  dyer 
named  Benincasa,  was  bom  in  1347,  took  the  veil  at  the  age  of 
eight ,  and  having  become  celebrated  for  visions,  she  prevailed  on 
Pope  Gregory  VI.  to  retransfer  the  papal  throne  from  Avignon  to 
Rome  (1377).  She  died  in  the  year  1380,  and  was  canonised  in  1461. 
The  best-known  vision  is  that  of  her  betrothal  with  the  Infant  Christ, 
a  favourite  theme  with  painters.   Her  festival  is  on  30th  April. 

The  different  rooms  in  the  building  have  been  converted  into  small 
chapels  or  Obatobibs,  which  belong  to  the  ConfraUmitit  di  8.  Oaterina. 
Above  the  altar  in  one  of  the  Uppsb  Obatobibb  ,  once  a  kitchen ,  is  a 
portrait  of  the  saint,  by  Fungai-^  the  other  pictures  are  by  Salitnbeni  and 
Fr.  Vanni;  attention  should  also  be  paid  to  the  beautiful  ceiling,  the  pil- 
asters, and  the  ^Pavement  of  glazed  tiles  in  the  Renaissance  style  of  the 
15th  century.  —  The  pretty  little  court  is  attributed  to  Bald.  Perutti.  — 
The  Obatobio  del  Cbooipisso  contains  the  wonder-working  Crucifixion,  a 
painting  by  Oiunta  Pitano  (?),  from  which  St.  Catharine,  according  to  the 
legend,  received  the  stigmata.  —  Below  is  the  Chubch  (key  kept  by  another 
custode),  containing  the  following  paintings :  Oirol.  del  Pacehia,  St.  Catha- 
rine healing  Matteo  di  Cenni  from  the  plague;  St.  Catharine  rescuing 
Dominicans  from  murderers ;  The  dead  body  of  St.  Agnes  of  Montepulciano 
stretching  out  her  foot  to  be  kissed  by  St.  Catharine.  The  fourth  picture, 
representing  the  saint  being  attacked  by  Florentine  soldiers,  is  by  Sa- 
limbeniy  I6OI;  over  the  altar,  ^Statue  of  St.  Catharine  by  Neroceio;  above, 
*Angels  by  Bodoma. 

On  leaving  the  church  we  come  to  the  Via  Bbninoasa  (formerly 
dei  Tiniori;  PI.  D,  4),  which  is  still  inhabited,  as  in  ancient  days, 
by  dyers  and  fullers.  Over  the  door  of  the  house  on  the  left  is  a 
bust  of  St.  Catharine  by  CozzarellL  Not  far  off  is  the  celebrated  foun- 
tain of  Fontebranda  (PI.  C,  D,  4),  picturesquely  situated  at  the  base 
of  the  hill  of  S.  Domenioo,  mentioned  as  early  as  1081,  renovated  in 
1198,  and  praised  by  Dante  (Inf.  30, 78 :  *Per  Fontebranda  non  darei 
la  vista').  Close  by  is  a  bathing  establishment.  —  The  Via  di  Fon- 
tebranda ascends  to  the  Campo  (left)  ,  and  to  the  cathedral  (right). 
—  Passing  the  fountain,  and  ascending  to  the  right,  we  reach  — 


8,  Doftunieo,  SIENA.  5.  Route.    35 

B.  Domenieo  (PL  D,  3,  4),  a  lofty  l)rick  edifice  in  the  GotUc 
style  (1220-1465),  the  maBsive  substructions  of  which  rest  on  the 
slope  of  the  hill,  with  a  oampanlle  dating  from  1340. 

The  Imtsriok  ia  destitute  of  aisles,  and  liaa  a  transept  and  open  roof. 
At  the  entrance,  to  the  right,  is  the  Gappblla  dbllb  Voltb  (closed),  con- 
taining an  altar-piece  of  St.  Catharine  by  Andrea  Vannl.  —  Farther  on,  to 
the  right:  Monoment  of  the  mathematician  Giiu.  Pianigioni  (d.  1800),  by 
Becheroni.  —  Third  altar:  St.  Peter  the  Martyr,  by  SaUmbeni.  1679.  —  The 
*Ghapbl  or  St.  Gathaumb  ,  in  which  the  head  of  the  saint  is  preserved 
in  a  silrer  reliqnary  enclosed  in  a  shrine  dating  from  1466,  is  adorned 
with  admirable  frescoes  by  Sodoma  (best  light  about  midday).  On  the 
wall  near  the  altar,  St.  Catharine  in  ecstasy,  supported  by  two  sisters  (the 
so-called  *STenimento%  or  faint),  and  an  angel  bringing  her  the  host;  on 
the  wall  to  the  lefk ,  The  prayer  of  the  saint  saving  the  soul  of  a  decap- 
itated culprit;  to  the  right,  Healing  of  the  possessed,  by  Franee*eo  Vanni, 
1663.  The  two  saints  on  the  right  and  left  of  the  entrance  are  by  the  same 
master;  the  ceiling  was  executed  by  Sodoma.  —  The  pavement  of  the  chapel 
is  richly  decorated  with  graffito  representations  on  marble.  —  Last  altar 
to  the  right:  Nativity  of  Christ  by  Frane.  di  Giorgio^  executed  under  the 
influence  of  Luca  Signorelli,  to  whom  the  work  was  formerly  attributed ; 
the  upper  part  is  probably  by  Matieo  da  Siena,  the  foreground  by  Fungai. 

Choix.  The  beautiful  *Harble  Ciborium  at  the  high-altar,  hitherto 
ascribed  by  the  Sienese  to  Michael  Angelo ,  is  more  probably  the  work 
of  Benedetto  da  Majano.  ^  A  beautiful  *View  of  the  lofty  and  imposing 
Cathedral  may  be  obtained  from  the  door  at  the  back  of  the  high-altar. 
—  The  2md  Ghatbl  to  the  left  of  the  high-altar  contains  to  the  right: 
SS.  Barbara,  Mary  Magdalene,  and  Catharine  by  Matfo  da  Siena,  1479; 
in  the  lunette  ahove,  a  Pietk  by  Oirol.  Benvenuto;  the  Madonna  with  saints 
to  the  left  is  by  the  same  master,  1606;  the  lunette  representing  the 
Adoration  of  the  Magi  is  by  Matteo  da  Siena.  —  The  Snd  Chapbl  to  the 
right  of  the  high -altar  contains  numerous  old  tombstones  with  coats- 
of-arms,  many  of  which  belong  to  Germans  who  studied  at  the  university 
in  the  l&th  and  16th  centuries. 

We  now  return  by  the  Via  del  Paradise  and  the  small  Piazza 
Giuseppe  Pianiglani,  in  which  stands  the  little  church  of  S,  Maria 
deUe  Nevi  (PI.  6 ;  £,  4),  with  a  charming  Renaissance  facade  (to- 
wards the  Via  Oavour),  and  a  good  picture  by  Matteo  da  Siena  (Ma- 
donna with  numerous  saints,  1477),  to  the  Via  Cavoub  (p.  25), 
which  farther  on  contains  the  Pcd.  Moeenni,  Pal.  Ciaia,  and  others. 

We  next  come  to  the  small  Piazza  S.  Petronllla  (PI.  £,  F,  3), 
on  the  right,  whence  the  Via  Oaribaldi  leads  to  the  Porta  S.  Lorenzo 
and  the  railway-station.  —  The  streets  to  the  left  of  Via  Gavour 
open  into  the  Idua  (PI.  E,  2,  3),  a  small  promenade  which  was  laid 
out  in  1779  on  the  site  of  a  former  fortress  erected  by  Charles  V. , 
commanding  good  'views  of  S.  Domenico  and  the  Cathedral.  These 
walks  extend  as  far  as  tbe  entrance  to  Fort  8t.  Barbera,  built  by 
Cosimo  I.  in  1560,  open  to  the  public  and  commanding  a  fine  view. 

Farther  on,  the  Via  Cavour  takes  the  name  of  Via  di  Cahollia 
(PI.  F,  1, 2).  We  diverge  to  the  right  to  the  old  monastery  di  Cam- 
pansij  now  the  poor-house  (PI.  F,  2 ;  ring);  the  cloisters  are  adorned 
with  a  fresco  by  Matteo  Baldueei,    Handsome  rococo  church. 

We  foUow  the  Via  Camollia  for  some  minutes  more ;  opposite  a 
small  piazza  we  turn  to  the  left  under  an  archway,  and  descending 
the  Via  Fontegiusta,  arrive  at  the  little  cburch  of  — 

Fonteginfta  (PI.  F,  2),  belonging  to  a  brotherhood  (if  closed, 

3* 


36    HouteS.  SIENA.  ^eursions, 

ring  the  bell  to  the  right),  and  built  by  Francesco  di  Cristofano  Ft- 
ddi  and  Oiacomo  di  Giovanni  In  1479.  The  vaulting,  borne  by 
four  marble  columns,  dates  from  1482;  the  N,  Portal  from  1489. 
Beautiful  •High-altar  by  Lorenzo  di  Mariano  (1517),  one  of  the 
finest  existing  sculptures  of  Raphaers  time.  The  simple  but  fine 
bronze  holy-water  basin  is  by  Oiov,  delle  Bomharde  (1480).  The 
2nd  altar  to  the  right  is  adorned  with  a  Madonna  by  L,  Vanni^ 
with  a  view  of  Siena  and  its  towers  (1590) ;  the  3rd  altar  on  the 
same  side  has  a  Coronation  of  the  Madonna  by  Fungai ;  the  2nd  to 
the  left  a  ♦Fresco  by  B.  Peruzzi^  the  Sibyl  announcing  to  Augustus 
the  Nativity  of  Christ.  Over  the  entrance  are  a  'sword ,  helmet, 
shield,  and  some  bones  of  a  whale,  presented  by  Columbus.  Above 
the  side-entrance  (outside)  is  a  relief  of  the  Madonna  by  Neroccio, 

Farther  on  in  the  Via  Camollia,  to  the  right,  No.  48,  opposite 
the  small  Templar  church  of  8,  Pietro  delta  Maggione,  Is  the  house 
of  Baldassare  Peruzzi  (p.  23),  indicated  by  an  inscription. 

A  pleasant  Walk  may  be  taken  by  a  road  skirting  the  town- 
walls  to  the  right,  outside  the  Porta  CamoUia  (PI.  F,  1),  with  fine 
views  of  the  Tuscan  hills.  On  a  height  opposite,  beyond  the  railway- 
station,  lies  the  monastery  of  Oaaervanza  (see  below) ;  in  the  valley 
below ,  outside  the  Porta  Ovile  (PI.  F,  4),  Is  the  picturesque  Fonte 
Ovile.  In  about  V2^r.  we  reach  the  Porta  Piapini  (PI.  F,  8;  p.  31). 
—  About  V2  M.  beyond  the  Porta  Camollia,  on  the  road  to  CoUe, 
stands  the  Palazzo  dei  Turchi^  generally  known  as  the  Pal.  dei 
Diavoli,  a  fine  brick  building  of  the  close  of  the  15th  century. 

Exonraions  (most  of  them  best  made  by  carriage).  —  About  3Vs  ^' 
to  the  N.E.  of  Siena,  beyond  the  railway-station,  is  situated  the  suppress- 
ed Franciscan  monastery  of  rOsservansa,  erected  in  1428  and  enlarged 
in  1436  by  Cotzarelli.  The  N.  aisle  of  the  church  contains  a  ^Coronation 
of  the  Virgin,  by  Andrea  delta  Mobbta;  at  the  back  of  the  high-altar,  in 
which  is  preserved  the  silver  reliquary  of  S.  Bernardino,  by  Ant.  Fed- 
erighi.  are  two  *Statues,  Hary  and  the  Archangel  Gabriel,  of  the  same 
school.  Pandolfo  Petrucci  is  interred  in  this  church  (d.  1612;  p.  22).  In 
the  sacristy  is  a  Pieti  in  terracotta,  by  CozxarelU. 

S.  Oolomba,  Oelsa,  and  Xarmoraja  are  most  conveniently  visited  on 
horseback;  there  and  back,  with  stay,  in  6Vshrs. ;  horse  6fr.;  one-horse 
carriage  (carozzino)  6  fr.  For  larger  carriages  the  road  is  only  good  as 
far  as  S.  Colomba.  —  Leaving  the  Porta  Camollia,  we  follow  the  high-road 
for  2Vs  M.  and  then  diverge  to  the  left  by  the  road  descending  between 
two  cypresses  into  the  valley.  This  road  leads  us  to  the  villa  8.  Colomba 
(i^/2  M.),  designed  by  Bald.  Perutei^  now  the  property  of  the  Collegio  To- 
lomei  (p.  29),  with  handsome  staircase,  and  fine  view  from  the  balcony.  — 
After  descending  from  S.  Colomba  we  continue  to  follow  the  road  by 
which  we  arrived,  which  leads  through  beautiful  woods  to  Celsa  (3"/4  M. 
from  Colomba),  a  castellated  villa,  also  designed  by  Bald.  Perutziy  where 
Mino  Celsi,  a  defender  of  the  doctrines  of  Luther,  lived  at  the  begin- 
ning of  the  16th  century.  View  from  the  highest  story  (refreshments  sold 
by  the  fattore  of  the  villa).  —  About  2V4  M.  beyond  Celsa  is  Marmoraja^ 
where  on  7th  Sept.,  1187,  peace  was  concluded  between  the  Republic  of 
Siena  and  Bishop  Hugo  of  Volterra.  The  piazza  in  front  of  the  church 
affords  a  fine  view  of  Volterra,  CoUe  d'Elsa,  S.  Gimignano,  etc. 

The  Oertosa  di  Pontignano,  6  H.  from  the  Porta  Ovile,  was  founded 
in  1343,  fortified  in  1383,  and  suppressed  in  1810.  The  church  was  mod- 
ernised in  the  17th  century.    *View  from  the  Parocchia. 


SIEOI.  6,  RouU.     37 

B.  Ahmuio  in  XtoHuutt  9  M.  from  Porta  Pispini,  is  reaehed  by  a  good 
road  diverging  from  the  high-road  to  the  left  aboat  IV4  M.  beyond  the 
Tavema  cTArbia,  near  the  bridge  over  the  Arbia.  The  parish  -  church 
eontaiBB  a  Madonna  by  Bald.  PenuH.  Visitors  should  apply  at  the  par- 
sonage for  a  gnide  with  the  keys  of  the  (8  min.)  MarHrio  di  S,  Aruano, 
a  handsome  brick  edifice  by  Bald.  Pentsxi. 

The  Abbasia  di  B.  Bugenio,  IV4  M.  to  the  8.  of  the  Porta  S.  Marco, 
commonly  known  as  II  Monattero^  is  an  ancient  Benedictine  monastery 
said  to  have  been  founded  by  Wamfried,  a  Lombard,  in  750,  fortified  in 
1553  by  Pietro  Strozzi,  and  secularised  last  century.  The  buildings  are  tho- 
roughly modernised.  The  church  contains  several  early  Sienese  pictures, 
some  of  which  have  been  mined  by  restoration.    *View  from  the  garden. 

The  high-road  next  leads  to  the  Otteria  d$lla  Volt$j  about  5  M.  beyond 
the  Porta  S.  Marco,  whence  a  road  diverges  to  the  right  to  (4  M.)  Oetinale, 
a  villa  erected  by  Flavio  Chigi ,  a  nephew  of  Pope  Alexander  VII.,  from 
designs  by  Carlo  Fontana  in  1680.  With  the  villa  is  connected  the 
*Thebais'  park,  profusely  embellished  with  sculptures  and  containing  fine 
old  timber.  'View  from  the  hill  (*Bomitorio')  above  the  villa.  Permessi 
in  the  Palazzo  Chigi  at  Siena,  Via  di  Cittit. 

About  IVs  M.  beyond  the  Osteria  della  Volte  lies  the  venerable 
church  of  3.  Qiwanni  di  Ponte  alio  /Bpinoj  dating  from  the  beginning  of 
the  lith  century.  About  3  M.  further  is  Rotia^  the  church  of  which  con- 
tains a  holy-water  basin  of  1332.  We  may  then  proceed  to  (2  M.)  Torri 
or  S.  MutHola  a  Torri  in  Val-di-Mene^  an  old  monastery  belonging  to  the 
Vallombrosians,  possessing  a  church,  consecrated  in  1189,  and.^  a  fine 
Romanesque  monastery-court,  now  used  as  farm-buildings. 

About  9  M.  to  the  8.  of  Bosia  (along  the  road  to  Massa  Marittima, 
and  then  to  the  left)  lie  the  ruins  of  the  Cistercian  monastery  of  *B*  Oal- 
gaao,  founded  in  1201  by  Ildebrando  Pannocchieschi,  Bishop  of  Volterra. 
The  abbey-church,  a  building  of  travertine  and  brick,  erected  in  1240-68, 
is  imposing  even  in  its  ruins.  The  only  relics  of  the  original  archi- 
tecture in  the  secular  buildings ,  now  used  as  a  farm ,  consist  of  a  few 
windows.  The  monks  were  distributed  among  other  monasteries  in  1652, 
and  in  1781  the  church,  which  had  been  injured  by  lightning,  was  closed. 

The  ohftteau  of  *Belearo,  to  the  W.  of  Porta  Fontebranda,  reached 
by  carriage  in  V/t  hr.,  commands  a  splendid  view  of  Siena  and  its  envi- 
rons. On  the  ground-floor  is  a  ceiling- painting  by  Bald.  Penuti:  Judg- 
ment of  Paris.  The  frescoes  in  the  chapel,  by  the  same  master,  have 
been  sadly  injured  by  recent  restorations. 

6.   From  Florence  to  Perugia  vi&  Arezzo  and  Teron- 
tola  (Chiusi,  Rome). 

103  M.  Bailwat.  Bxpress  in  41/4  hrs.,  fares  20  fr.  10,  14  fr.  5  c; 
ordinary  trains  in  6-8  hrs.,  fares  18  fr.  70,  13  fr.  25,  8  fr.  40  c.  ->  To 
Arezzo^  54Va  M.,  in  2-4  hrs.,  fares  10  fr.  85  c,  7  fr.  65  c,  or  9  fr.  85,  6  fr.  85, 
4  fr.  45  c.  s  thence  to  Cortona,  Yl^lz  M^  in  Vs-^A  hr-  i  fares  3  fr.  45,  2  fr. 
45  c,  or  3  fr.  15,  2  fr.  25,  1  fr.  40  c.  —  Those  who  wish  to  see  Arezzo  and 
Cortona  and  arrive  at  Perugia  in  one  day,  had  better  leave  Florence  in 
the  afternoon  or  evening  and  sleep  at  Arezzo. 

The  ExpBBss  to  Bomb  quits  the  Perugia  line  at  Terontola  (see  B.  9), 
where  passengers  for  Perugia  generally  change  carriages. 

Flotenee^  see  Baedeker's  Northern  Italy.  The  train  describes  a 
curve  round  the  town  and  runs  along  the  N.  bank  of  the  Arno.  By 
degrees  the  valley  contracts ;  Fiesole  on  the  height  to  the  left  long 
remains  visible.  71/2  M.  Comj3to66i.  To  the  left  rises  the  mounUin- 
chain  of  the  Pratomagno.  10  M.  Sieei.  I2V2  M.  Pontassieve,  at  the 
influx  of  the  Sieve  into  the  Arno ;  to  the  left  a  beautiful  glimpse  of 
the  valley  of  the  Sieve.    The  train  passes  through  a  short  tunnel. 


AR  E  ZZ  0 


to  Perugia,  AREZZO.  6.  Route,     39 

be  mentioned:  C.  Oilniui  Matemat  (d.  9  A.D.)t  the  friend  of  Ansiutiu 
and  patron  of  Vir^  and  Horace  \  the  Benedictine  monk  Outdo  Aretino 
or  Ouido  Mfmaeo  (1000-1060),  the  inventor  of  our  present  system  of  musical 
notation;  Franetaeo  Petrarca,  the  greatest  lyric  poet  of  Italy,  bom  of 
Florentine  parents  in  1304  (d.  1374);  Pieiro  Aretino j  the  satirist  (1492-1607) , 
several  members  of  the  noble  family  of  the  Accolii^  jurists  and  historians; 
in  the  15-17th  cent.;  A.  Cesalpini,  the  botanist  and  phvsieian  (1619-1603), 
Franc.  Redi^  the  physician  and  humourist  (d.  1698).  —  Areszo  has  also  pro- 
duced several  artists:  Margaritone  (about  1236).  a  painter  and  sculptor  of 
no  great  importance ;  Bpinello  Ar$Uno  (1318-1410),  an  able  pupil  of  Giotto, 
whose  style  he  steadily  followed  and  rendered  popular  (his  best  worlcs 
are  in  S.  Miniato  near  Florence,  in  the  Campo  Santo  at  Pisa,  and  in  the 
PaiazKO  Gomunale  in  Siena);  at  a  later  period  Oiorgio  Vatari  (1512-74); 
the  painter,  architect,  and  biographer  of  artists.  The  town,  however, 
never  possessed  a  school  of  its  own.  Its  requirements  in  the  province 
of  art,  which  were  at  their  height  in  the  13-l4th  cent,  were  fulfilled  by 
Florentine  and  Sienese  masters,  and  Qiotto,  Lippo  Memmi,  Lorensetti, 
and  others  were  employed  here. 

Leaving  the  station,  we  follow  the  Via  Guide  Monaco,  which 
leads  straight  into  the  heait  of  the  town.  In  the  Piazza  Quido  Mo- 
naco is  a  statue  of  Ouido  Monaco  (see  above),  by  Salvini,  erected 
in  1882.  In  the  Piazza  del  Popolo,  to  the  left,  is  a  column,  erected 
in  1880  to  commemorate  the  Italian  struggles  for  Independence. 

A  little  farther  on  the  Via  Guide  Monaco  ends  in  the  Via 
Cavoui.  Here,  in  the  small  Piazza  Umbbbto,  Is  a  Monument  to  Count 
Fo88omhroni  (b.  at  Arezzo  1754,  d.  1844;   PI.  1;  p.  43). 

The  church  of  8.  Eranoeaoo  (PI.  2),  founded  in  1322,  at  the 
corner  of  the  piazza,  contains  fine  frescoes  of  the  15th  century. 

On  the  entrance-wall  is  a  fresco  representing  Christ  at  table  with  Mary 
Magdalene,  by  Spinello  AreOfM  (see  above),  perhaps  the  greatest  of  the 
followers  of  Qiotto.  The  wheel-window,  by  Ougliekao  da  MarsUia  (c.  1600) 
represents  St.  Francis  receiving  the  rules  for  his  order.  —  The  Left  Aisle, 
recently  freed  from  whitewash,  contains  frescoes  by  Spinello  AretinOy  sadly 
injured ;  the  best  in  the  restored  chapel  of  St.  Anthony  of  Padua.  At  the 
end  is  the  tomb  of  Antonio  BoseUl  (d.  1467).  —  At  the  end  of  the  wall 
on  the  right  is  an  Annunciation  by  Spinello  Aretino  (c.  1885). 

In  the  Choik  :  'Frescoes  by  Piero  delta  Firmcesea^  the  master  of  Luca 
Signorelli  (best  light  in  the  evening).  They  narrate  the  legend  of  the 
Holy  Gross,  according  to  which  a  seed  of  the  tree  of  knowledge,  planted 
upon  Adam^s  grave,  grew  up  to  be  a  tree.  Solomon  caused  the  tree  to  be 
felled  and  a  bridge  to  be  constructed  of  the  wood ,  of  which  the  Queen  of 
Sheba  afterwards  discovered  the  origin.  At  a  later  period  it  was  used 
for  making  the  Holy  Cross.  The  Emp.  Heraclius  rescued  the  cross  In  a 
battle  with  the  Persians ,  and  it  was  afterwards  re-discovered  by  St.  He- 
lena. All  these  scenes,  from  the  death  of  Adam  down  to  the  finding  of  the 
Cross,  are  pourtrayed  by  Piero  with  great  technical  skill,  in  which  respect, 
as  well  as  in  his  appreciation  of  the  nude,  he  surpassed  all  his  contem- 
doraries.  His  pictures ,  however,  are  stiff  and  destitute  of  gracefulness. 
—  The  Evangelists  on  the  ceiling  have  been  attributed  to  JBicei  di  Lo- 
renzo. —  The  chamber  at  the  bottom  of  the  Campanilk,  entered  from  the 
choir,  also  contains  frescoes  by  Spinello  Aretino:  Madonna  enthroned, 
St.  Michael  overcoming  the  dragon,  and  St.  Michael  appearing  to  Gregory 
the  Oreat  above  the  tomb  of  Hadrian  (castle  of  S.  Angelo)  during  the 
plague  at  Rome ;  opposite,  Gregory  distributing  alms,  St.  iEgidius  hunting, 
the  Mass  of  St.  Gregory. 

The  Via  Oavour  forms  a  right  angle  with  the  Oobso  Vittorio 
Emanuble,  the  principal  street  of  the  town.  Ascending  this  street, 
to  the  left,  we  observe  on  the  right  the  interesting  church  of  — 


40    RouU  6  AREZZO.  From  Florence 

8.  Maria  della  Pieve  (PI.  3),  i^onded  at  the  1)eginning  of  the 
11th  cent.,  which  retains  the  original  choir,  Been  from  the  Piazza 
Yasarl ;  the  tower  and  faQade  were  added  by  Marchlone  in  1216,  but 
the  latter  was  left  unfinished  till  1330.  Above  the  main  portal  are 
a  Madonna  between  angels ,  and  figures  of  the  months ;  and  at  the 
door  to  the  right  is  a  Baptism  of  Christ,  of  1221.  The  interior  consists 
of  a  nave  and  aisles  with  a  broad  apse,  a  crypt,  and  an  open  wooden 
roof  above  the  crossing,  all  restored  in  the  ancient  style.  On  the 
entrance- wall  is  an  alto-relief  of  the  Adoration  of  the  Child  (11th 
cent.);  and  behind  the  high-altar  are  a  *Madonna  and  saints. 
Annunciation,  and  other  works  by  Pletro  Lorentetti  of  Siena  (1320). 
The  font  in  front  is  perhaps  of  the  same  date. 

At  the  back  of  the  church  is  the  picturesque  Piazza  Yasabi, 
with  a  fountain  and  a  Monument  of  Ferdinand  III.  (PI.  4),  erected 
in  1822.  On  the  N.  side  are  the  Loggie  (PI.  5)  built  by  Vasari  in 
1573.  —  Adjoining  the  choir  of  S.  Maria  della  Pieve  is  the  building 
of  the  Fratemith  della  Misericordia  (PI.  6) ,  now  occupied  by  the 
law  courts,  with  a  handsome  Gothic  facade,  begun  by  Florentine  artists 
in  1375,  and  adorned  with  figures  in  1434  by  Bernardo  di  Matteo 
of  Settignano. 

Passing  under  Vasari's  Loggie  we  now  return  to  the  Coaso, 
which  we  reach  just  opposite  the  Palazzo  Puhhlico  (PI.  7).  This 
edifice,  built  in  1322,  and  adorned  with  numerous  armorial  bearings 
of  the  ancient  Podestk,  is  now  used  as  a  prison. 

A  little  farther  on  the  Via  delP  Orto  diverges  to  the  left,  near  the 
entrance  to  which,  No.  22,  a  long  inscription  indicates  the  house 
(PI.  8)  in  which  Francesco  Petrarca  was  born  (p.  39).  Adjacent 
rises  the  — 

*Catliedral,  a  fine  specimen  of  Italian  Gothic,  begun  in  1177, 
with  later  additions;  facade  unfinished. 

The  Imtesios,  which  has  no  transept  and  is  of  handsome  and  spacious 
proportions,  contains  stained-glass  windows,  dating  from  the  beginning 
of  the  16th  cent.,  by  Omllaume  de  Marseille \  the  middle  window  in  the 
choir  is  modern.  O.  de  Marseille  also  painted  the  first  three  arches  of 
the  nave,  the  others  being  by  Salvi  Castelucd  (1668).  In  the  Bight  Aisus 
is  the  Tomb  of  Gregory  X.,  by  Margaritone  (?  Pisan  school).  This  inde- 
fatigable prelate  expired  at  Arezzo,  10th  Jan.,  1276,  on  his  return  from 
France  to  Rome,  after  having  proclaimed  a  new  crusade.  Adjacent,  an 
ancient  sarcophagna  (lid  modem),  with  the  bones  of  several  martyrs  of 
Arezzo.  Above  are  a  Gothic  tabernacle  and  a  fresco  of  the  Crucifixion  by 
Bema  (c.  1380).  —  On  the  High  Altab,  marble  ^Sculptures  by  Giovanni  di 
Francesco  of  Arezzo  and  Betto  di  Francesco  of  Florence,  executed  in  1869- 
1375:  Madonna  with  8S.  Donatua  and  Gregory,  and  bas-reliefs  from  their 
lives.  —  In  the  Left  Aislb,  at  the  E.  end,  is  the  'Tomb  of  Guido  Tarlati 
di  Pietramala,  the  warlike  bishop  of  Arezzo,  the  work  of  Agostino  and 
Agnolo  da  Siena^  about  1330,  from  the  design  of  Oiotto^  as  Vasari  conjec- 
tures, in  16  sections,  representing  the  life  of  this  ambitious  and  energetic 
prelate,  who,  having  been  elected  governor  of  the  town  in  1321,  soon  dis- 
tinguished himself  as  a  conqueror,  and  afterwards  crowned  the  Emperor 
Louis  the  Bavarian  in  the  church  of  8.  Ambrogio  at  Milan  (d.  1827).  — 
Close  to  the  door  of  the  sacristy  is  a  St.  Magdalene,  al  fresco  by  Piero 
della  Francesca.  The  large  Chapel  of  the  Madonna^  erected  in  1796 ,  con- 
tains five  ♦Terracottas  by  Andrea  della  Robbia. 


to  Perugia.  AREZZO.  6.  Route,     41 

The  Marble  Statue  of  Ferdinand  de'  Mediei  in  front  of  the  cathe- 
dral was  erected  by  Giovanni  da  Bologna  in  1595.  In  the  piazza 
(No.  1)  is  the  Palaxzo  ComunaU  (PI.  9),  with  old  armorial  bearings. 

We  now  follow  the  Via  Ricasoli,  and  turn  to  the  right  into 
the  Via  SassoYerde,  at  No.  12  in  which,  the  PalasM  Capel  di 
Ferroy  is  the  small  municipal  Pinaooteoa  Bartolini  (open  10-3; 
V2  ^'^1  containing  ancient  frescoes,  old  and  modem  oil-paintings, 
and  engravings,  but  little  that  is  particularly  striking.  In  the  first 
large  room  (No.  lY.) :  *No.  8.  Luca  Signorelli ,  a  large  altarpiece 
with  the  Madonna,  David,  and  St.  Jerome,  and  the  kneeling  donor, 
the  jurist  Niccolo  Gamurrinl  (painted  about  1520).  There  are  also 
some  good  portraits,  a  St.  Rochns,  and  drawings  by  Vasari. 

Above  the  door  of  the  church  of  8.  Domenico  fPl.  10)  is  a  Ma- 
donna *al  fresco'  by  Angelo  di  Lorentino  (c.  1480).  The  interior 
contains  a  Crucifixion  byParri  Spinello,  and,  on  the  right,  a  painted 
Gothic  *Tabernacle,  with  coats-of-arms,  by  Giovanni  di  Francesco 
of  Florence. 

In  the  Borgo  di  S.  Yito,  on  the  right,  is  the  House  of  Giorgio 
Vatari  (No.  27;  PI.  11),  containing  works  by  the  master.  The 
street  leads  back  to  the  W.  end  of  the  Via  Cavour  (p.  39). 

The  municipal  *l[iueiim  stands  at  the  corner  of  the  Yia  Gari- 
baldi and  the  Yia  S.  Lorentino  (adm.  daily  9-4 ;  fee  V2  fr.). 

Boom  I.  Black  Etruscan  vases,  with  reliefs ;  glass  \  stone-weapons  \  in 
the  middle,  Greek  vases,  with  representations  of  the  battles  of  the  Ama- 
zons and  the  Abduction  of  Hippodamia.  —  B.  II.:  Bronze  statuettes, 
coins,  etc.  —  B.  HI.  Cinerary  urns ,  fragments  of  vases  of  red  glazed  clay 


(  Vasa  Arretinay  p.  38),  and  numerous  moulds.  —  B.  IV.  Mediaeval  articles 
and  migolicas  with  designs  after  Baphael ;  37.  Carved  ivory  casket  of  the 
7th  cent.;  bronzes;  in  the  middle,  seals;  above,  Benaissance  figure  from 


a  fountain.  —  B.  V.  Weapons,  various  utensils;  in  the  middle,  a  bronze 
reliquary  by  Forzore  (148$).  —  B.  VI.  Antique  urns  and  reliefs  (62.  Lady 
at  her  toilet).  —  BB.  VH-XI. :  IJatural  History  collections.  B.  VH.  and  VIU. 
contain  a  paleeontological  collection,  chiefly  from  the  Val  di  Chiana. 

The  same  building  also  contains  the  Town  Libbaby,  which  comprises 
a  few  MBS.  (open  9-12  and  2-5). 

In  a  small  piazza  adjoining  the  Yia  Cavour  stands  the  church  of 
88.  Annnnziata  (PI.  12),  a  handsome  Renaissance  structure  chiefly 
by  Antonio  da  Sangallo;  the  *Interior,  with  its  barrel  and  dome 
vaulting,  is  very  picturesque;  at  the  last  altar  on  the  right.  Ma- 
donna in  clouds  with  St.  Francis ,  by  Pietro  da  Cortona ;  stained 
glass  by  Guillaume  de  Marseille  (1525). 

Farther  on  in  the  Yia  Cavour  is  the  Badia  di  8.  Fiore  (PI.  13), 
also  situated  in  a  small  piazza,  which  is  now  the  seat  of  the  Acca^ 
demia  Aretina  di  Scienzej  Lettere  ed  Arti.  The  Libeaby,  formerly 
the  refectory,  contains  the  Feast  of  Ahasuerus  by  Vasari,  1548. 

At  the  lower  end  of  the  Corso,  near  the  Porta  S.  Spirito,  the 
Via  dell'  Anflteatro  (to  the  left)  leads  to  the  church  of  8.  Bernardo 
(PI.  14) ;  the  frescoes  in  the  anterior  quadrangle  (God  the  Father 
and  the  four  Evangelists)  were  painted  by  Vasari  at  the  age  of 
seventeen  (1529);  below  is  the  Madonna  appearing  to  St.  Bernar- 


42     Route  6.  FOJANO.  From  Florence 

dino,  attributed  to  Bartolommeo  della  Oatta.  —  The  cloisters  to 
the  left  contain  some  indifferent  frescoes  in  chiaroscuro  (life  of 
Guide  Monaco  and  St.  Bernardino)  and  a  view  of  medi»yal  Rome. 
In  the  garden  are  the  insignificant  remains  of  a  Roman  amphitheatre. 

About  V4  M.  from  the  Porta  S.  Spirito  (oatside  which  we  take  the 
avenae  to  the  left,  and  then  at  the  corner,  after  3  min.,  the  road  to  the 
right)  18  situated  the  church  of  B.  Karia  delle  Oraaia ,  with  an  elegant 
early-Renaissance  porch  borne  by  columns ,  by  Benedetto  da  Majano  (t)^ 
and  a  handsome  marble  altar  by  Andrea  della  Robbia. 

Railway  from  Arezto  to  Foseato,  see  B.  8. 

From  A&bzzo  to  Stia  and  Pbatovboghio,  28  M.,  railway  in  2  hrs. 
(fares  6  fr.  10,  3  fr.  60,  2  fr.  80  c).  —  At  (6  M.)  Oioviy  the  first  station,  the 
line  enters  the  valley  of  the  Amo^  which  it  thenceforwards  ascends.  — 
9  M.  aubbiano*^  12Vi  M.  Sanla  Mama;  16  M.  Raesima. 

iSVs  M.  Bibbiena  (Albergo  Amorosi^  carriage  from  the  station  to  the 
town  1/2  fr.),  pleasantly  situated  on  a  hill  above  the  Arno,  was  the  birth- 
place of  Cardinal  Bernardo  Dovizio,  sumamed  Bibbiena  (1470-1620),  the 
patron  of  Raphael.  A  little  to  the  N.  of  the  town  is  the  former  monastery- 
church  of  Madonna  del  Sttuo^  a  domed  structure  in  which  the  axis  of  the 
choir  forms  a  slight  angle  with  that  of  the  nave.  It  contains  some  interest- 
ing terracotta  work  and  a  good  altar-piece.  —  Bibbiena  is  the  starting- 
point  for  a  visit  to  the  convent  of  Xa  Vema  (about  7Vs  M. ;  carriage  8  fr.) } 
comp.  Baedeker*s  Jforthem  Italy. 

221/s  M.  Poppi,  on  a  hill  (1425  ft.)  on  the  left  bank  of  the  Arno.  23i/2  M. 
Porrena, 

28  M.  PratoveedUo-Stia.  The  station  lies  between  Pratoveeehio  (1410  ft. ; 
Alb.  Baetieri)  and  Btia  (1460  ft.  j  Alb.  dOla  Stasione  Alpinaj  well  spoken 
of),  two  pleasant  little  towns,  with  about  8000  inhab.,  well-adapted  as 
starting-points  for  expeditions  to  Camaldoli  (guide  3-4  fr.  per  day  and  food) 
and  other  points  in  the  Casentino  or  upper  valley  of  the  Arno.  Stia  has 
an  old  ana  partly  Romanesque  church.  —  About  V/t  M.  to  the  S.W.  of 
PratOTecchio  is  the  large  ruined  castle  of  i2om«»a,  mentioned  by  Dante  in 
the  Inferno  (xzx).    For  farther  details  see  Baedeker^t  Northern  Italy. 

From  Abezzo  to  Monte  Sansavino,  I2V2  M.,  diligence  daily,  in  2  hrs. 
The  small  town  of  — 

Konte  Bansavino  iAlb.  del  Sole,  by  the  Porta  Fiorentina,  tolerable) 
was  the  birthplace  of  the  famous  sculptor  Andrea  (Contucci  da)  Sanso- 
vino  (b.  1460,  d.  1529).  —  The  church  of  8.  Chiaba,  in  the  principal  piazza, 
contains  (left)  groups  of  St.  Anthony  and  the  ^'Madonna  and  Christ  with 
four  saints,  designed  by  Bansovino  and  executed  by  the  Rolhia^e.  On  the 
right  SS.  Sebastian,  Lawrence,  and  Rochus,  by  8an»ovino ;  ^Adoration  of 
the  Shepherds  by  the  Robbid'e;  on  the  central  pillars  Sienese  paintings  of 
the  15tii  cent.  \  to  the  right  and  left  of  the  nigh-altar  are  prophets  by 
Vasari.  In  the  *^Rtiga  Afaestra\  or  principal  street,  on  the  right,  is  the 
Pal.  Mvnicipaley  erected  about  1517-,  the  Sala  del  Consiglio  contains  a 
carved  *Door  of  the  16th  century.  Opposite  the  town-hiul  is  a  *Loggia 
by  Ant.  da  Sangallo  the  Elder.  On  the  right,  farther  on,  is  the  church 
of  the  Misericordittj  containing  a  monument  of  1496.  On  the  right  we 
next  observe  8.  Agosiino,  with  a  fa9ade  of  the  14th  cent. ;  it  contains  an 
Assumption  by  Vasari ;  the  monastery-court  is  by  Ant.  da  Sangallo  the 
Younger.  The  Pal.  Filippi,  on  the  left,  No.  17,  has  fine  balcony-railings 
and  lantern-holders  in  wrought  iron,  of  the  18th  century. 

From  Monte  Sansavino  to  Sinalunga  (p.  18),  9Vs  M.;  or  a  pleaaant 
round  may  be  made  by  Fojano  and  Betolle  to  TorrUa^  another  railway- 
Station  (p.  18;  one-horse  carr.  8-10  fr.).  —  Fojano  {Alb.  della  Vitioria, 
tolerable)  is  8  M.  from  Monte  Sansavino.  On  the  right,  near  the  entrance 
to  the  town,  is  8.  Franeeeco^  with  a  fine  loggia,  dating  from  the  end  of 
the  16th  cent.;  in  the  interior  are  sereral  Delia  Robbia's.  8.  Domenieo 
and  the  Collegiata  in  the  town  also  contain  Robbia's ;  the  latter  possesses 
a  Coronation  of  Mary  by  Luca  Signorelli  (?).  —  At  Betolle  is  the  Villa  of 
Mnt  Paaerini^  containing  a  valuable  collection  of  Etruscan  antiquities 


to  Perugia.  CORTONA.  6.  Route,   43 

(golden  bracelet  with  rams*  heads,  huge  dish  with  contests  of  the  gianti 
and  Bacchic  scenes,  etc.)>    One-horse  carr.  to  Torrita  (V4  hr.)  2i/r8  fr. 


On  leaving  Aiezzo  we  obtain  a  beautiful  retrospect  of  the  town. 
To  the  left  is  the  chain  of  hills  which  separates  the  valleys  of  the 
Arno  and  Chiana  firom  the  upper  valley  of  the  Tiber.  Beyond  a  tun- 
nel the  train  runs  str&ight  across  the  plain  to  (62  M.)  Fraisinetto 
and  (66  M.)  Castiglione  Fiorentino,  the  latter  on  a  mountain  spur. 
Farther  on,  to  the  left,  the  dilapidated  fortress  of  Montecchio,  The 
high-lying  Cortona  next  becomes  visible  to  the  left  in  the  distance. 

The  luxuriant  Valley  of  the  Chiana,  which  was  anciently  a  lake, 
was  a  noisome  swamp  down  to  the  middle  of  last  century.  The  level 
was  raised  and  carefully  drained,  the  brooks  being  so  directed  as  to 
deposit  their  alluvial  soil  in  the  bottom  of  the  valley.  This  judi- 
cious system  was  originated  by  Torricelli  and  Viviani ,  celebrated 
mathematicians  of  the  school  of  Galileo,  and  carried  out  by  the 
worthy  Count  Fossombroni,  who  combined  the  pursuits  of  a  scholar 
and  a  statesman  (p.  39).  The  Chiana,  Lat.  Clania,  which  once 
flowed  into  the  Tiber,  now  discharges  most  of  its  waters  into  the 
Arno  by  means  of  a  canal,  and  only  one  arm,  which  joins  the 
Paglia  at  Orvieto  (p.  61),  reaches  the  Tiber. 

72  M.  Cortona.  The  station  lies  at  the  foot  of  the  hill  on 
which  the  town  itself  is  situated,  near  the  village  of  Camuscia. 

A  carriage-road  (3/4  hr. ;  omnibus  1  fr.)  ascends  to  Cortona, 
passing  S.  Spirito  on  the  right,  and  reaching  the  town  on  the  S. 
side.  Pedestrians  cut  off  the  windings  by  following  the  old  road, 
which  passes  the  Madonna  del  Calcinajo  (a  small  early-Renaissance 
building  by  Francesco  di  Giorgio,  1485-lol4,  with  a  handsome  altar 
of  1519)  and  leads  to  the  low-lying  S.W.  gate  of  the  town  (p.  44). 

Cortona.  —  Albbsoo  della  Stslla,  at  the  W.  entrance  of  the  town^ 
Alb.  Kazionale,  farther  up  in  the  Via  Xaxionale,  both  clean  and  good. 
(Enquiry  as  to  charges  had  better  be  made  beforehand.)  Gomp.  the  small 
Plan  at  p.  88. 

Cortona  (2170  ft.),  a  small,  loftily-situated  town  with  9000  in- 
hab.  (whole  parish  26,000) ,  lying  above  the  valley  of  the  Chiana, 
and  not  far  from  the  Trasimene  Lake ,  is  one  of  the  most  ancient 
cities  in  Italy.  Its  situation  and  views ,  its  Etruscan  antiquities, 
and  several  good  pictures  it  possesses,  render  it  well  worthy  of  a  visit. 

It  appears  that  the  Etmscans,  immigrating  from  the  plain  of  the  Po, 
wrested  the  place  from  the  Umbrians ,  and  constituted  it  their  principal 
stronghold  when  they  proceeded  to  extend  their  conquests  in  Etruria. 
Cortona  was  one  of  the  twelve  confederate  cities  of  Etruria ,  and  with 
them  shared  the  fate  of  being  converted  into  a  Roman  colony.  After  various 
vicissitudes  and  struggles  it  came  under  the  dominion  of  Florence  in  1410. 

LucA  SiGNOKELLi ,  One  of  the  most  distinguished  painters  of  the  i5th 
cent.,  was  bom  at  Cortona  in  1441.  He  has  justly  been  called  a  precursor 
of  Michael  Angelo.  Like  his  master  Piero  della  Francesca  (pp.  39,  58),  he 
was  a  zealous  student  of  anatomy  *,  in  the  embodiment  of  the  nude,  in  the 
conception  of  movement  and  foreshortening  he  surpasses  all  his  contem- 
poraries. On  the  other  hand,  his  deficiency  of  refined  pictorial  sentiment 
forbids  the  full  development  of  plastic  vigour  in  his  pictures.  .He  there- 
fore prefers  extensive  fresco-paintings  to  easel-pictures  as  a  suitaDie  neia 


44  iJotrfe  6,  COBTONA.  From  Florence 

for  hU  abilities.  FrMcoes  of  this  kind  he  hu  executed  in  the  Sixtine 
Chapel  at  Rome  (1506;  p.  288),  at  Monte  Oliveto  (1497;  p.  17),  and  at  Orvieto 
(1499;  his  principal  work,  p.  63).  His  native  town,  where  he  held  several 
municipal  appointments  and  lived  almost  constantly  for  the  laat  twenty  years 
of  his  life  (d.  15!^,  still  contains  a  number  of  his  works,  none  of  which, 
however,  are  of  much  importance.  —  Cortona  was  also  the  birthplace  of 
Pietro  Berettini,  surnamed  Pietro  da  Cortona  (1596-1669),  the  painter  and 
decorator,  who  was  chiefly  employed  at  Bome  and  Florence. 

From  the  S.  entrance  of  the  town,  which  we  have  reached  "by  the 
road,  the  Via  Nazionalb  leads  in  3  mln.  to  a  semicircular  terrace 
on  the  left,  commanding  an  unimpeded  view  of  part  of  theTrasimene 
Lake  and  the  surrounding  heights.  On  the  right  is  the  church  of  — 

S.  DoMENico,  dating  from  the  beginning  of  the  13th  cent. ;  on 
the  high-altar  an  *Assumptlon  by  Bart,  dtlla  Qatta  (?);  on  the 
right ,  *Hadonna  with  St.  Peter  Martyr  and  a  Dominican  monk ,  by 
L.  Signorelli  (1515) ;  on  the  left,  Coronation  of  the  Virgin,  by  Lor, 
di  Niccolh  (1440),  presented  by  Cosimo  and  Lorenzo  de*  Medici ;  on 
the  right,  *Madonna  with  saints  and  angels,  an  early  work  of  Fra 
Angelico, 

The  Yia  S.  Margherita,  which  ascends  steeply  to  the  right,  see 
below.  The  Via  Nazlonale  leads  straight  to  the  Piazza  Vittorio 
Emanublb,  where  the  Municipio  (PI.  1)  is  situated.  Here,  to  the 
left,  diverges  the  Via  Guelfl,  in  which  are  situated,  to  the  right,  a 
beautiful  palazzo  of  the  16th  cent.,  and  lower  down  the  church  of 
8.  Agostino,  with  a  Madonna  and  saints  by  Pietro  da  Cortona  fbe- 
yond  this  the  street  leads  to  the  S.W.  gate.  Porta  S.  Agostino,  p.  43). 

Turning  to  the  right  from  the  Piazza Vltt.  Em.,  we  immediately 
reach  the  small  Piazza  Sionobelli,  where  we  observe,  opposite  to 
us,  the  Palazzo  Pretorio,  and  on  the  left  an  ancient  Marzocco  (lion). 

The  Palazzo  Pretorio  (PI.  2),  with  numerous  armorial  bearings  of 
old  magistrates.  Is  now  occupied  hy  various  public  offices,  and  con- 
tains the  Accademia  Etrusca ,  founded  in  1726 ,  which  possesses  a 
*MusEUM  OP  Etbusoan  Antiquitibs,  well  worth  visiting.  (Fee 
Y2-I  fr.  to  the  custodian,  who  lives  close  by.) 

The  gem  of  the  collection  is  a  circular  Etruscan  *Candelaibnim  (lam- 
padario)^  made  to  hold  16  lights  \  on  the  lower  side  in  the  centre  a  Gorgon's 
head,  surrounded  with  a  combat  of  wild  beasts;  then  wave-like  orna- 
mentation; and  finally  eight  ithyphallic  satyrs,  with  dolphins  below  them, 
alternately  with  eight  sirens;  between  each  pair  of  lamps  a  head  of 
Bacchus.  —  An  encaustic  painting  on  slate,  representing  ^Polyhymnia',  is 
said  to  be  ancient.  —  Remarkable  Etruscan  Bronzes,  a  Votive  Hand  with 
numerous  symbols.  Vases,  Urns,  Inscriptions,  etc. 

The  PoNBUMi  LiBBART,in  the  same  building,  possesses  a  fineHS.  of  Dante. 

The  Via  Casali  descends  from  the  Palazzo  Pretorio  to  the  — 

*Cathbdbal,  a  handsome  basilica,  ascribed  to  AntorUo  da  San- 
gallo ,  altered  in  the  18th  cent,  by  the  Florentine  Aless,  Oalilei. 

The  Ghoia  contains  a  Descent  from  the  Gross,  and  ^Institution  of  the 
Last  Supper,  with  predella,  by  Lvca  JSignorelli,  very  quaint  compositions 
(1512).  Also  a  Pieta,  a  Conception  of  Christ,  and  a  Nativity,  by  the  same 
master.  —  In  the  Sagbistt,  a  Madonna  by  the  same.  To  the  left  of  the 
choir,  an  ancient  sarcophagus,  representing  the  contest  of  Dionysus 
against  the  Amazons,  erroneously  supposed  to  be  the  tomb  of  the  Consul 

-uinius  (p.  46). 


to  Perugia.  TERONTOLA.  6.  Route.     45 

Opposite  the  cathedral  is  the* BaptUtery^  formerly  a  Jesuit  church, 
containing  three  pictures  hy  Fra  Angelieo  da  Fiesole ;  the  Annun- 
ciation and  two  *Predelle,  representing  scenes  from  the  life  of  the 
Yirgin  and  S.  Domenico. 

Passing  the  colonnades  of  the  theatre  in  the  Piazza  Signorelli, 
yre  follow  the  Via  Dardano  straight  to  the  Porta  Oolonla,  where  we 
obtain  the  host  survey  of  the  ^Anoibitt  Etruscan  Town  Walls, 
constructed  of  huge  blocks,  and  for  the  most  part  well  preserved, 
which  surround  the  town  in  a  circumference  of  about  2860  yds. , 
and  along  the  outside  of  which  we  may  descend.  Even  the  gateways 
are  still  recognisable. 

Ascending  the  Via  S.  Margherita  from  S.  Domenico,  we  reach 
(20  min.)  the  hill  commanding  the  town,  on  which  are  situated  the 
church  of  S.  Margherita,  and  a  dilapidated  fortress  (see  below).  — 
About  halfway  up,  the  Via  delle  Santucce  diverges  to  the  left,  and 
leads  in  a  few  minutes  to  the  church  of  8,  Niecolh^  with  a  small 
entrance-court  planted  with  cypresses. 

The  iMTBBioB  (i/i  fr.)  contains  a  freely-restored  fresco  and  an  'Altar- 
piece,  painted  on  both  sides  (in  front  the  Body  of  Christ  borne  by  angels 
and  snrroanded  by  saints ;  at  the  back,  Madonna  della  Seggiola  with  SS. 
Peter  and  Paul),  by  Luea  JSiffnorelU.  —  The  sacristan  will  point  out  a 
direct  route,  ascending  hence  by  steps  to  S.  Margherita. 

The  church  of  S.  Mabghbrita,  a  Gothic  building  by  Niceolh 
and  Giovanni  Piaano,  possesses  a  handsome  rose-window,  which 
has  of  late  been  partly  renewed  and  enlarged.  In  the  high-altar 
is  the  tomb  of  the  saint  (14th  cent.) ;  the  silver  front  with  the 
golden  crown  was  presented  by  Pietro  da  Cortona.  The  platform  of 
the  Campanile  commands  a  splendid  view.  —  The  visitor  should 
not  omit  to  ascend  somewhat  higher  to  the  old  ♦Fortbzza,  2165  ft. 
in  height  (trifling  fee ;  custodian  sometimes  difficult  to  find),  from 
the  walls  of  which  the  noble  prospect  is  entirely  uninterrupted,  ex- 
cept at  the  back,  where  it  is  bounded  by  the  mountain-chain  (Alto 
di  S.  Egidio,  3430  ft.). 

Besides  the  town-walls ,  there  are  several  less  interesting  anti- 
quities: an  ancient  vault  beneath  the  Palazzo  Ceeehetti;  near  S. 
Margherita,  remains  of  Roman  Baths,  erroneously  called  a  ^TempU 
of  Bacchus^i  outside  the  gate  of  S.  Agostlno,  an  Etruscan  tomb, 
the  'OfoUa  di  Pitagora\ 

The  visitor  may  (by  presenting  a  visiting-card)  possibly  obtain  access 
to  the  private  collection  of  Sig.  Colonnese  in  the  Palazzo  Madama,  Via 
NazionaJe  6:  beautiful  half-length  picture  of  St.  Stephen  and  a  Nativity 
by  Lvea  Signareili. 

76  M.  Terontola,  an  unimportant  place  near  the  N.W.  angle  of 
the  Trasimene  Lake,  is  the  junction  of  the  lines  to  Chiusi,  Orte, 
and  Rome  (see  R.  9),  and  to  Perugia  and  Foligno.  Passengers  in 
the  latter  direction  change  carriages  here. 

The  Logo  Trasimene,  the  ancient  Lacus  Trasimenus  (845  ft.), 
is  30  M.  in  circumference,  and  8-14  M.  across,  and  is  surrounded 
by  wooded  and  olive-clad  slopes,  which  as  they  recede  rise  to  a 


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46    Route?,  PERUGIA. 

considerable  height.  The  lake  contains  three  small  islands ,  the 
Isola  Maggiore  with  a  monasteiy,  the  laola  Minore  near  Passignano^ 
and  the  Isola  Polvese  towards  the  S. ;  on  the  W.  side  an  eminence 
abuts  on  the  lake,  bearing  the  small  town  Gastiglione  del  Lago 
(p.  59).  Its  shores  abound  with  wild-fowl,  and  its  waters  with 
eels ,  carp,  and  other  flsh.  The  brooks  which  discharge  themselves 
into  the  lake  gradually  raise  its  bed.  The  greatest  depth,  formerly 
30-40  ft.,  is  now  20  ft.  only.  In  the  15th  cent,  a  drain  (emissa- 
rium)  conducted  the  water  into  a  tributary  of  the  Tiber.  In  an- 
cient times  the  area  of  the  lake  appears  to  have  been  smaller.  A 
project  for  draining  it  entirely,  formed  by  Napoleon  I.,  is  still  fre- 
quently canvassed. 

The  reminiscence  of  the  sanguinary  victory  which  Hannibal  gained 
here  over  the  Roman  consul  C.  Flaminius  in  May,  B.C.  217,  imparts  a 
tinge  of  sadness  to  this  lovely  landscape.  It  is  not  difficult  to  reconcile 
the  descriptions  of  Livy  (22 ,  4  et  seq.)  and  Polybius  (3,  83  et  seq.)  with 
the  present  appearance  of  the  lake.  In  the  spring  of  217  Hannibal  quitted 
his  winter-quarters  in  Gallia  Cisalpina,  crossed  the  Apennines,  marched 
across  the  plains  of  the  Amo,  notwithstanding  an  inundation,  devastating 
the  country  far  and  wide  in  his  progress,  and  directed  his  course  towards 
the  S. ,  passing  the  Roman  army  stationed  at  Areaszo.  The  brave  and  able 
consul  followed  incautiously.  Hannibal  then  occupied  the  heights  which 
surround  the  defile  extending  on  the  "S.  side  of  the  lake  from  Borghetto  to 
Passignano,  upwards  of  6  H.  in  length.  The  entrance  at  Borghetto,  as  well 
as  the  issue  at  Passignano,  were  easily  secured.  Upon  a  hill  in  the  centre 
(site  of  the  present  Torre)  his  principal  force  was  posted.  A  dense  fog 
covered  the  lake  and  plain ,  when  in  the  early  morning  the  consul ,  igno- 
rant of  the  plan  of  his  enemy,  whom  he  believed  to  be  marching  against 
Rome,  entered  the  fatal  defiJe.  When  he  discovered  his  error,  it  was  too 
late:  his  entire  left  flank  was  exposed,  whilst  his  rear  was  attacked  by 
the  hostile  cavalry  from  Borghetto.  No  course  remained  to  him  but  to  force 
a  passage  by  Passignano,  and  the  vanguard  of  6(XX)  men  succeeded  in 
effecting  their  egress  (but  on  the  following  day  were  compelled  to  sur- 
render). The  death  of  the  consul  rendered  the  defeat  still  more  disastrous. 
The  Romans  lost  ibfiOO  men,  while  the  remaining  half  of  the  army  was 
effectually  dispersed ;  and  the  Roman  supremacy  in  Italy  began  to  totter. 
The  slaughter  continued  for  three  hours.  From  the  Gualandro  two  small 
brooks  fiJl  into  the  lake.  One  of  these,  crossed  by  the  road,  has  been 
named  Sanguinetto  in  reminiscence  of  the  streams  of  blood  with  which  it 
was  once  discoloured. 

The  line  skirts  the  lake  and  passes  through  k  tunnel.  80  M. 
Tuoro;  83  M.  Passignano,  Two  tunnels.  89  M.  Magione,  with  an 
old  watch-tower  of  the  time  of  Fortebraccio  and  Sforza  j  97  M.  EUera, 

103  M.  Perugia^  picturesquely  situated  on  the  hill  to  the  left. 

7.  Perugia. 

Arrival.  Omnibus  to  the  town  (1  fr.,  in  i/s  hr.;  down  20  min.)  In 
great  request,  so  that  no  time  should  be  lost  in  taking  a  seat  (rarely  cabs). 
(Before  the  first  bend  of  the  road  to  the  left,  a  good  path  to  the  right  as- 
cends to  the  town  in  20  min.) 

Hotels.  *Gbamd  H^tbl  db  Pbbousb,  well  situated  at  the  entrance  to  the 
town  near  the  Prefettura,  first  class,  with  corresponding  charges  (D.  5  fr.) ; 
English  landlady;  rooms  not  always  obtainable  unless  previously  ordered. 
—  Gbandb  Bbbtaonb  or  Posta,  at  the  beginning  of  the  Corso  Vannucci, 
R.  from  2,  D.  4,  B.  Vh,  L.  &  A.  1,  omn.  1  fir.  —  Second  class:  Albbbqo 
A  *R£8T.  Bbllb  Abti,  Via  Danzetta,  a  side-street  of  the  Corso,  R.,  L.,  A 


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History  of  AH,  PERUGIA.  7.  Route.     47 

A.  IVafr..  unpretending  bat  clean)  Alb.  A  Rbst.  Bblyedbrb,  VU  Sette, 
another  side-street  of  the  Oorso. 

Bestaurants.  Progreuo^  Via  Mazsini  81  (PI.  B,  C,  4),  near  the  Piazza 
Sopramuro;  see  also  above.  —  Beer  at  Via  Baglioni  39  a. 

Cafifl.  *Baduelj  Tratimeno^  both  in  the  Gorso  \  MelinelU^  in  the  Piazza 
S.  Lorenzo,  opposite  the  cathedral-fountain. 

Post  OfAoe  (PI.  B,  4,  6),  Via  Baglioni  33.  —  Telegraph  0/Jiee  at  the 
Prefettura,  in  the  Piazza  Vittorio  Emanuele.  —  JHligmtce  Office^  Corso  38; 
to  UmUrUde  (p.  67),  daily  at  7  a.m.  and  4  p.m.,  3  fr. ;  to  Todi  (p.  55), 
daily  at  5.30  a.m.,  5  fr. 

English  Churoh  Service  at  the  Grand  Hotel.  —  Italian  JYotestant 
Churchy  Piazza  Vittorio  Emanuele. 

Perugia  is  well  adapted  for  a  summer-resort ,  and  apartments  are  not 
expensive.  —  At  least  a  day  or  a  day  and  a  half  should  be  devoted  to 
the  town.  Guides  are  not  indispensable,  and  dilettanti  are  cautioned 
against  purchasing  their  ^antiquities'. 

Ftrugia,  the  capital  of  the  province  of  Umbria,  with  17,000  in- 
hab.  (including  the  villages  51,400),  residence  of  the  prefect,  of  a 
military  commandant ,  and  a  bishop ,  and  the  seat  of  a  university, 
lies  on  a  group  of  hills  about  1300  ft.  above  the  valley  of  the  Tiber 
(1705  ft.  above  the  sea).  The  town  is  built  in  an  antiquated  style, 
partly  on  the  top  of  the  hill ,  and  partly  on  its  slope.  Numerous 
buildings  of  the  14-1 5th  cent,  (when  the  town  was  at  its  zenith), 
the  paintings  of  the  Umbrian  school,  and  the  fine  views  of  the  pecu- 
liar scenery,  make  Perugia  one  of  the  most  interesting  places  in  Italy. 

Perusia  was  one  of  the  twelve  Etruscan  confederate  cities,  and  not  less 
ancient  than  Cortona,  with  which  and  Arretium  it  fell  into  the  hands  of  the 
Romans,  B.  C.  310.  It  subsequently  became  a  municipium.  In  the  war 
between  Octavianus  and  Antony ,  who  in  the  summer  of  41  occupied  Pe- 
rusia, and  after  an  obstinate  straggle  was  compelled  by  the  former  to  sur- 
render (bellum  Perusinum),  the  town  sujQTered  severely ,  and  was  finally  re- 
duced to  ashes.  It  was  afterwards  rebuilt  and  became  a  Roman  colony 
under  the  name  of  Augtuta  Pemsia.  In  the  6th  cent,  it  was  destroyed  by 
the  Goth  Totila  after  a  siege  of  seven  years.  In  the  wars  of  the  Lombards, 
Guelphs,  and  Ghibellines  it  also  suffered  greatly;  in  the  14th  cent,  it  acquired 
the  supremacy  over  nearly  the  whole  of  Umbria,  but  in  1370  was  compelled 
to  surrender  to  the  pope.  Renewed  struggles  followed,  owing  to  the  con- 
flicts between  the  powerful  families  of  Oddi  and  Baglioni.  In  1416  the 
shrewd  and  courageous  Braccio  Fortebraccio  of  Montone  usurped  the  su- 
preme power,  whence  new  contests  arose,  until  at  length  Giovanni  Paolo 
Baglioni  surrendered  to  Pope  Julius  U.  Leo  X.  caused  him  to  be  executed 
at  Rome  in  1520.  In  1540  Paul  III.  erected  the  citadel,  *ad  coereendam 
Perusinorum  audaeiam\  as  the  inscription,  destroyed  during  the  last  revo- 
lution, recorded.  In  1708  the  town  was  captured  by  the  Duke  of  Savoy,  on 
31st  Hay  1849  by  the  Austrians,  and  in  1860  by  the  Piedmontese. 

Umbrian  School  of  Painting.  As  early  as  the  time  of  Dante  an  Um- 
brian artist ,  the  miniature  painter  Odbrisi  of  Oiibbio ,  was  celebrated, 
and  art  was  practised  in  Gubbio,  Fdbriano^  Perugia^  etc.  The  neigh- 
bouring Siena  doubtless  exercised  an  influence  on  the  prevailing  style 
of  art,  which  was  confirmed  by  the  situation  of  the  towns,  the  character 
of  their  inhabitants,  and  the  religious  atmosphere  diffused  by  Assisi  and 
Loreto.  Neither  dramatic  power,  nor  wealth  of  imagination  is  to  be 
found  in  the  Umbrian  style,  its  characteristic  features  being  reverie, 
tranquillity,  and  gentleness  of  sentiment.  The  men  pourtrayed  often  ap- 
pear destitute  of  individuality  and  vigour,  the  female  figures,  on  the  other 
hand,  excite  our  admiration  owing  to  their  winning  and  devout  expres- 
sions. Technical  improvements  seem  to  have  been  introduced  but  slowly, 
but  the  old  style  was  thoroughly  cultivated  and  rendered  more  attractive 
by  frequent  use  of  decorative  ad[juncts. 


48    Router.  PERUGIA.  History  of  Art. 

Setting  aside  the  painters  of  the  14th  cent.,  who  were  dispersed  among 
various  small  towns,  we  find  that  Ottaviano  Nelli  of  €M)bio  (16th  cent.) 
was  the  first  able  representative  of  this  school.  Works  by  this  master 
are  preserved  both  at  his  native  town  and  at  Foligno.  Nelli  was,  how- 
ever, eclipsed  by  Oentile  da  Fabriano  (b.  abont  1360),  who  probably 
had  studied  the  Sienese  masters  in  his  youth,  and  who  afterwards  un- 
dertook long  journeys  («.  g.  to  Venice  and  Rome) ,  thus  establishing  his 
reputation  throughout  Italy.  His  style  not  unfrequently  resembles  the 
Flemish.  Besides  Gubbio  and  Fabriano,  other  Umbrian  towns  possessed 
local  schools  of  painting,  such  as  Camerino  and  Foligno.  The  latter, 
about  the  middle  of  the  loth  cent.,  gave  birth  to  Niecolb  AltmiM^  a  man 
of  limited  ability,  which,  however,  he  cultivated  to  the  utmost.  His 
prevailing  theme  is  the  Madonna,  to  whose  features  he  imparts  beauty  in 
happy  combination  with  reverie ;  and  in  this  department  he  may  be  re- 
garded as  the  precursor  of  Perugino  and  Raphael. 

Meanwhile  Pkeuqia,  the  largest  city  in  this. district,  by  no  means 
remained  idle.  In  this  wider  and  more  enterprising  field  the  old  con- 
ventional styles  were  soon  abandoned  as  unsatisfactory,  and  the  necessity 
of  adopting  the  Florentine  style  was  urgently  felt.  In  the  latter  half  of 
the  15th  cent.  Benedetto  Buonfigli  was  the  first  who  strove  to  throw  aside 
the  local  style  of  painting ,  and  the  same  effort  was  made  by  Fioreruo  di 
Lorenzo^  a  younger  master  and  perhaps  a  pupil  of  Benedetto. 

This  improved  style  was  brought  to  maturity  by  Pibtbo  Vahnucci  of 
CittJi  della  Pieve  (1446-16Q4) ,  sumamed  Pkbuoiho  ,  after  the  chief  scene 
of  his  labours,  a  master  to  whom  the  Umbrian  school  is  chiefly  indebted 
for  its  fame.  Perugia  was,  however,  by  no  means  the  only  sphere  of  his 
activity.  He  repeatedly  spent  years  together  in  Florence,  and  was  em- 
ployed for  a  considerable  time  in  Rome.  His  endeavours  to  overcome 
the  defects  of  his  native  school  were  crowned  with  success.  In  Ver- 
rocchio's  studio  in  Florence  he  was  initiated  into  the  secrets  of  perspec- 
tive and  the  new  mode  of  colouring,  and  in  both  respects  attained  con- 
summate skill.  Down  to  the  beginning  of  the  16th  cent,  his  excellence 
continued  unimpaired ,  as  his  frescoes  in  the  Cambio,  and  several  works 
in  the  Gallery  at  Perugia  sufficiently  prove.  During  the  last  twenty  years 
of  his  life,  however,  his  works  show  a  falling  off,  occasioned,  doubtlessly, 
by  his  accepting  more  orders  than  he  could  conscientiously  execute, 
whereby  his  art  was  degraded  to  a  mere  handicraft.  He  seems ,  indeed, 
to  have  had  more  studios  than  one  at  the  same  time,  as  for  example  in 
1602-5  both  at  Florence  and  Perugia ,  in  the  latter  of  which  the  young 
Raphael  was  employed. 

Another  great  master  of  the  Umbrian  school .  vying  with  Perugino, 
is  Bbbnabdiho  Bbtti,  sumamed  Pintubigghio  (1454-161B).  Although  he 
exercised  no  considerable  influence  on  the  progress  of  Italian  art,  and  in- 
troduced no  striking  improvements  like  Leonardo,  and  others,  yet  he 
thoroughly  understood  how  to  utilise  the  traditional  style  and  the  cur- 
rent forms ,  and  was  marvellously  prolific  as  a  fresco  painter.  The  Va- 
tican and  Roman  churches,  the  Cathedral  Library  at  Siena,  and  the  Col- 
legiate Church  at  Spello,  are  the  chief  scenes  of  his  activity.  —  Amongst 
the  younger  contemporaries  of  Perugino  we  must  next  mention  Oiovanni 
di  Pietro.  sumamed  Lo  Spagna  after  his  native  country,  whose  paintings 
are  hardly  inferior  to  the  early  works  of  Raphael ,  and  who ,  in  common 
with  all  the  Umbrian  masters,  exhibits  great  ease  of  execution. 

Other  assistants  of  Perugino ,  but  of  inferior  merit ,  were  Oiannieola 
di  Paolo  Manni  (d.  1644)  and  Eusebio  di  S.  Giorgio.  The  latter  was  so 
successful  in  imitating  Raphael  in  superficial  respects ,  that  several  of 
his  pictures,  amongst  others  the  Adoration  of  the  Magi  in  the  picture-gal- 
lery at  Pemgia  (Sala  del  Pinturicchio,  No.  23,  p.  50),  have  been  attri- 
buted to  Raphael  himself.  Of  Sinibaldo  Ibi  and  Tiberio  d^ Assist  ^  who 
flourished  during  the  first  twenty  years  of  the  16th  cent.,  little  is  known, 
and  their  works  are  rare.  Oerino  of  Pistoja  seems  to  have  been  a  good 
painter  of  the  average  class ,  and  the  works  of  Domenieo  di  Paris  Alfanif 
a  friend  of  Raphael ,  possess  considerable  attraction.  These  last  masters, 
however,  show  little  individuality,  and  before  the  middle  of  the  16th  cen- 


ColUgio  del  Cambio.        PERUGIA.  7.  RouU.    49 

tury  tbe  Umbrian  school  was  completely  merged  in  those  of  Borne  and 
Florence. 

At  the  entrance  to  the  upper  part  of  the  town,  on  the  site  of  the 
citadel,  which  was  removed  in  1860,  extends  tte  Piazza  Vittorio 
Emanuelb  (PI.  B,  5) ,  in  which  rises  the  Prefetturaf  a  simple  and 
handsome  modern  building ,  adorned  with  arcades  on  the  ground- 
floor.  The  garden-terrace  affords  a  superb  'View  of  the  Umbrian 
valley  with  Assisi,  Spello,  Foligno,  Trevi,  and  numerous  other  vil- 
lages ,  enclosed  by  the  principal  chain  of  the  Apennines  extending 
from  Gubblo  onwards ;  the  Tiber  and  part  of  the  lower  quarters  of 
Perugia  are  also  visible.  (A  band  plays  here  two  evenings  a  week.) 

Northwards  from  the  Piazza  Yittorio  Emanuele  runs  the  Gorso 
Vannucci  to  the  left,  leading  to  the  cathedral-square ;  and  the  Via 
Baglloni  to  the  right ,  leading  to  the  Piazza  del  Sopramuro  (p.  53). 

We  follow  the  CobsoYannucci,  the  busiest  and  handsomest  street 
in  the  town.  On  the  right  (No.  8)  is  the  Palazzo  Baldeachi  (PI.  21 ; 
B,  4) ;  on  the  2nd  floor  is  preserved  a  'Drawing  by  Raphael  (Pintu- 
riochio?)  for  the  5th  fresco  in  the  library  of  Siena  Cathedral  (p.  28 ; 
fee  V2  ^'0- 

On  the  left,  farther  on,  is  the  *Collegio  del  Cambio  (PL  31; 
B4  4),  the  old  chamber  of  commerce,  with  the  *UDrBNZA  dbl  Camsio, 
containing  celebrated  frescoes  by  Perugino ,  dating  from  his  best 
period,  1500.  (Adm.  from  9  a.m.;  custodian  1/2  ^r.;  best  light  in 
the  morning.) 

On  the  wall  to  the  left  of  the  door.  Isi  Arch:  to  the  left,  Fabius  Haxi- 
mus,  Socrates,  and  Kuma  Pompilius^  with  Prudence  above;  to  the  right, 
Farias  Camillas,  Pittacas,  and  Trajan,  with  Justice  above.  2nd  Arch: 
to  the  left,  Lucius  Sicinius,  Leonidas,  and  Horatius  Codes,  with  Valour; 
to  the  right,  Scipio,  Peridea,  and  Cincinnatus,  with  Temperance.  On  the 
pillar  between  the  arches  is  a  portrait  of  Perugino.  —  Opposite  the  en- 
trance:  to  the  left,  the  Transfiguration  as  the  fulfilment  of  faith;  to  the 
right ,  'Adoration  of  the  Magi ,  aa  a  revelation  of  love.  —  Right  wall. 
1st  Arch:  to  the  left,  Prophets,  to  the  right  Sibyls,  aa  the  heralds  of 
hope;  above,  Jehovah.  Tbe  2nd  Arch  is  occupied  by  the  finely-carved 
judicial  throne  and  the  money-changers'  bench.  —  On  the  ceiling  are  me- 
dallions of  the  seven  planets ,  surrounded  by  admirable  arabesques.  Ra- 
phael is  said  to  have  been  one  Of  Perugino  s  assistants  in  the  execution 
of  these  frescoes ;  his  style  is  traceable  in  the  Madonna  of  the  Nativity. 
Perugino  received  360  ducats  for  his  work  from  the  guild  of  merchants. 
The  exquisite  carved  and  inlaid  work  ('tarsia')  of.  the  ludicial  benches, 
doors,  etc.,  by  Antonio  MereatellOy  which  are  amongst  the  finest  Renaissance 
works  of  the  kind,  also  deserve  notice.  —  The  adjacent  Chapxi.  contains 
an  altarpiece  and  frescoes  by  Oiannieola  Nauni. 

Immediately  adjoining  the  GoUegio  is  the  *Palazso  Pubblico 
(or  ComumUj  PI.  22;  B,  4),  a  huge  edifice  of  1281  and  1333,  re- 
cently skilfully  restored,  with  its  principal  facade  towards  the 
Corso  and  a  second  towards  the  Piazza  del  Duomo.  It  is  adorned 
with  fine  windows ,  a  handsome  portal ,  and  Gothic  sculptures  (the 
armorial  bearings  of  the  allied  towns,  saints,  etc.).  Over  the  portal 
in  the  Piazza  del  Dnomo  are  a  griffln  and  a  lion  in  bronze  (14th 
cent.);  below  are  chains  and  bars  of  gates,  commemorating  the 
victory  gained  by  the  Perugians  in  1358  over  the  Sienese.   The  chief 

Baxdsksb.    Italy  II.    iOth  Edition.  4 


50     Route?.  PERUGIA.  Palazzo  Pubhlieo. 

entrance  is  in  the  Ck>rso.  On  the  2nd  floor  is  the  Sala  dblla  Statis- 
TioA,  -with  a  fine  Renaissance  door,  in  a  lunette  above  which  is  a  Ma- 
donna by  Fior.  di  Lorenzo,  On  the  same  floor  is  the  Sala  dbl  Oapi- 
TANO  DEL  PoFOLO,  an  apartment  of  noble  dimensions.  On  the  3rd  floor 
is  the  municipal  •Piotubb  Gallbby  (Pinaeoteca  Vannucci)^  formed 
since  1863  of  works  collected  from  suppressed  churches  and  monaster- 
ies ,  and  of  great  yalne  to  the  student  of  Umbrian  art.  (Adm.  from 
9  a.m. ;  tickets  1  fr.,  in  the  Sala  della  Statistica.)  Catalogues  provided. 
The  Vestibule  contains  a  few  nnimportant  pictures  and  also  works 
of  art  for  sale.  Adjoining  it  is  the  Sala  dbi  Gihblii  (A):  i.  Meo  da  /Siena, 
Madonna  and  saints,  a  drawing.  TSo.  2.  Two  saints,  and  No.  3.  The  Apos- 
tles (the  latter  as  predelle)  evidently  belong  to  the  same  work.  15.  Am- 
hrogio  Lorenzetti,  Madonna  and  four  saints  \  •26.  Margaritone  d^Arezeo  (1272X 
Large  cracifixion ;  22-24,  perhaps  by  the  same  master.  —  Sala  B  (formerly 
the  Cappella  dei  Decemviri) ,  with  frescoes  by  Benedetto  Bonfigli.  To  the 
right  of  the  windows  and  on  the  entrance-wall  are  scenes  from  the  life  of 
St.  Louis  of  Toulouse.  Opposite  the  windows  are  the  Burial  of  that  saint 
atid  the  Martyrdom  of  St.  Herculanus  on  the  occasion  of  the  capture  of 
Perugia  by  Totila.  On  the  adjacent  wall  is  the  Burial  of  St.  Herculanus. 
—  From  the  corridor  (C)  we  enter  the  Sala  dei  Stagghi  (D)  :  Frescoes  of  the 
Umbrian  School  (14th  and  15th  cent.),  transferred  to  canvas.  The  glass-cases 
contain  codices  and  choir-books  with  miniatures.  —  Sala  di  Taddeo  Babtoli 
(£):  Sienese  pictures  of  the  15th  cent.,  most  of  them  valuable.  Taddeo  Bar- 
oili  (14C6):  9.  Madonna  with  angels  and  saints;  10.  Descent  of  the  Holy  Ghost. 
Tom.  d'Areangelo  of  Cortona:  Exploits  of  the  condottiere  Braccio  Forle- 
braccio  (frieze).  —  Sala  del  Anqelioo  (F):  •1-20.  Fra  AngeUeo  da  Fiesole, 
Fragments  of  a  large  altar-piece  (Madonna  with  angels,  Annunciation, 
Saints,  Miracles  of  St.  Nicholas  of  Bari);  ^21.  Piero  della  Francesca,  Madonna 
and  four  saints,  with  the  Annunciation  above.  —  Sala  del  Bonfigli  (Q). 
Bonfigli:  7.  Annunciation,  with  St.  Mark ;  10.  Adoration  of  the  Magi;  13.  Ma- 
donna with  angels  playing  on  instruments.  Giovanni  Boceati  da  Camerino: 
16, 19.  Madonna  and  angels.  —  Sala  di  Bebnabdino  di  Mabiotto  (H).  Ber- 
nardino: 1.  Marriage  of  St.  Catharine;  2.  Madonna  and  saints.  10.  Bonfigli, 
^Gonfalone"  (sacred  banner)  of  the  Fraternity  of  S.  Bernardino  di  Siena 
(Christ  blessing  the  saints  ^  below  which  are  believers  burning  objects  of 
luxury).  12.  (ktporali ,  Chnst  and  the  Madonna  in  glory  (fresco).  •14.  Mc- 
cold  Alunno ,  Gonfalone  of  the  Brotherhood  of  the  Annunziata  (1466).  — 
Sala  di  Fiobbnzo  di  Lobbitzo  (J):  •4.  Fiorenzo,  Adoration  of  the  Magi 
(among  whose  followers  is  the  young  Perugino  to  the  left);  24.  Pei'uginoj 
Coronation  of  the  Madonna.  —  Gabinetto  di  Fiobbnzo  di  Lobbnzo  (L): 
•2-9.  Ftorenzo,  Miracles  of  S.  Bernardino  (2-6,  masterpieces;  7-9,  in  the 
same  style,  but  inferior);  16.  Fiorenzo  (?),  Bust  of  the  Madonna  in  a 
garland,  with  angels'  heads  below.  —  Sala  del  Pbbugimo  (M).  Ca 
rcUtoli,  Marble  bust  of  Perugino.  Pentgino:  11.  Baptism  of  Christ;  20. 
Nativity;  21,  16,  12,  7.  Predelle;  8,  9,  13,  14,  17,  18,  22,  23.  Saints;  all 
being  fragments  of  a  large  altar-piece.  Below  No.  4.  (St.  James,  by 
Perugino)  is  an  autograph  letter  of  the  master  to  the  Prior  of  S.  Agos- 
tino.  —  Sala  del  Pintubiochio  (N).  Perugino:  2.  Transfiguration; 
"3-5.  Predelle ;  6.  Madonna  and  saints.  ^7.  Spagna,  Madonna  and  saints. 
'^PintwiccMo:  Large  altar-piece  in  its  original  frame,  the  Madonna  with 
the  infant  Child  and  St.  John;  on  the  left,  SS.  Augustine  and  Jerome; 
above,  the  Annunciation;  in  the  pediment,  a  Pietik;  in  the  predelle,  scenes 
from  the  lives  Qf  SS.  Augustine  and  Jerome;  12.  Gonfalone  with  St. 
Augustine  (on  silk).  Perugino:  14.  Madonna,  worshippers,  SS.  Francis 
and  Bernardino ;  15.  Madonna  and  saints ;  16.  John  the  Baptist  with  saints. 
Raphael:  •17.  Strip  of  decorative  painting;  24.  God  the  Father  with  angels 
(both  belonging  to  the  Entombment  in  the  Galeria  Borghese  at  Borne). 
Eusehio  di  San  Giorgio:  18.  Madonna  with  saints;  •23.  Adoration  of  the 
Magi.  20.  Pupil  of  Raphael  (?),  Madonna,  resembling  the  Conestabile  Ma- 
donna, formerly  in  Perugia.  —  Sala  di  Giamnicolo  Manni  b  di  Bebto 


Cathedral.  PERUGIA.  7.  Route.     51 

(O).  —  8al4.  dslla  Souola  di  PBBuaiNO  CP):  36.  A{fani^  Holy  Fiunily, 
designed  by  Raphael.  -^  The  following  rooms  are  the  Sala  Doxbhioo  Al< 
FANi,  Sala  della  Torbb,  and  Sala  Obazio  Alfani. 

The  Bihlioteoa  Puhhlioa,  which  has  recently  been  transferred  to  this 
PalaExo,  contains  about  90,000  vols.,  and  some  fine  MBS.  of  the  ll-15tk 
cent.,  with  miniatures. 

In  the  Piazza  dbl  Munioifio  rises  the  *Fonie  Maggiore ,  dat- 
ing firom  1277,  and  one  of  the  finest  fountains  of  that  period  in 
Italy.  It  consists  of  three  admirably-constructed  basins,  adorned 
with  numerous  biblical  and  allegorical  figures  in  relief,  executed  by 
NUeolh  and  Qiovanni  PUano  and  Amolfo  del  Camhio  (1280;  two 
of  the  statuettes  are  modem  substitutes).  —  The  W.  side  of  the 
piazza  is  occupied  by  the  Episcopal  Palace  (PI.  30),  behind  which 
is  the  so-called  Maetiit  deUe  Volte  (PI.  32),  a  relic  of  the  Palazzo 
del  Podestll,  which  was  burned  down  in  13!29  and  again  in  1534. 

The  Cathedral  of  8.  Lorenzo  (PI.  11 ;  B,  4),'  dating  from  the  15th 
cent.,  is  externally  unfinished.  Adjoining  the  entrance  from  the 
Piazza  del  Municipio  is  a  pulpit. 

The  ^Interior,  consisting  of  nave  and  aisles  with  a  short  transept,  is  of 
spacious  but  heayy  dimensions.  —  On  the  right  of  the  entrance  is  the 
tomb  of  Bishop  Baglioni  by  AgosUno  di  Ducdo  (1461) ,  beyond  which  is 
the  Gappklla  S.  Bbsnahpino,  with  a  Descent  from  the  Cross,  the  master- 
piece of  Baroedo  (1569)  \  the  painted  window  representing  the  Preaching 
of  St.  Bernardino  of  Siena  is  by  Consiantino  di  Bosato  and  Arrigo  Fiam- 
tningo  of  HaUnes  (1566*,  restored  in  1863).  ~  Opposite,  in  the  left  aisle, 
is  the  Gatpblla  dbll^  Anello,  which  down  to  1797  contained  the  cele- 
brated SposaUzio  by  Perugino,  now  at  Gaen  in  Kormandy.  The  beanti^ 
fally  carved  stalls  were  began  by  Oiulio  da  Majano  and  finished  by  Do- 
menico  del  Tassc  in  1491 ;  the  elegant  tabernacnlam  was  ezecated  by  the 
goldsmith  Cesarino  del  Boscetto,  in  1519.  —  Farther  on  in  the  nave  is  a 
Pietit  in  relief,  by  Agoetino  di  DuecioO),  —  In  the  Bioht  Tkansbpt,  a 
marble  sarcophagus  containing  the  remains  of  Popes  Innocent  III.  (d.  1216), 
Urban  IV.  (d.  1264),  and  Martin  IV.  (d.  1286).  —  The  adjoining  Wiittxbp 
Ghoib  contains  an  *Altar-pieee  by  Luea  SignoreUi:  Madonna  with  SS.  John 
the  Baptist,  Onuphriua  the  Hermit,  Stephen,  and  a  bishop  as  donor.  Be- 
low the  2nd  window  to  the  left:  Christ  imparting  his  blessing,  and  saints, 
by  Lod&vieo  di  Angela. 

In  the  LiBBABT  are  preserved  precious  MSB.,  such  as  the  Codex  of  St. 
Luke  of  the  6th  cent.,  in  gold  letters  on  parchment. 

On  the  "W.  and  N.  side  of  the  Cathedral  is  situated  the  Piazza 
Danti  (PI.  B,  0,  3,  4),  with  a  bronze  statue  of  Pope  Julius  III.  by 
Vine.  Danti  (1556).  —  From  the  N.  angle  of  the  Piazza  Danti  the 
Via  Vecchia  descends  to  the  "^Arco  di  Augueto  (PI.  2;  0,  3),  an  an- 
cient town-gate  with  the  inscription  Augusta  Perusia.  The  founda- 
tions date  from  the  Etruscan  period,  and  the  upper  part  perhaps  from 
the  Augustan  epoch  after  the  conflagration.  From  this  point  the 
partly  preserved  walls  of  the  ancient  city,  which  occupied  the  height 
where  the  old  part  of  the  present  town  stands,  maybe  distinctly  traced. 

The  small  space  in  front  of  the  Arco  di  Augusto  is  called  the 
Piazza  Fobtbbbaccio  (PL  0,  3);  to  the  left  is  the  Palazzo  Qaler^a, 
formerly  Antinori,  by  Alessi.  —  A  little  to  the  N.  lies  the  church 
of  8.  Agostino  (PI.  5 ;  0,  2),  to  the  right  of  which  is  an  oratory  con- 
taining seveoral  pictures  by  Alfani,  Scaramucci,  etc, 

4* 


52    Router,  PERUGIA.  Vniver0ity. 

From  the  Palazzo  Qalenga  the  Via  dell'  Uniyersitli  leads  in  a  few 
minutes  to  the  University  (PI.  B,  2^,  established  in  1320  in  a  mon- 
astery of  Olivetans,  which  was  suppressed  by  Napoleon.  It  possesses 
a  small  Botanic  Oarden^  Natural  History  and  Art  History  ColUctions,. 
and  a  Museum  of  Etbusoan  and  Roman  Antiquities  (curator, 
8ig.  Angelo  Lupatelli'). 

The  Museum  of  Antiquities  is  on  the  first  floor.  On  the  Staircase  are 
Etruscan  and  Latin  inscriptions  and  unimportant  Roman  sculptures.  The 
Corridor  chiefly  contains  Etruscan  urns  and  a  few  casts  from  antique 
and  Renaissance  sculptures.  *No.  279.  Terracotta  urn  in  the  form  of  a 
recumbent  man,  who  is  being  seized  by  a  goddess  of  death  with  the 
features  of  a  flend;  the  hollow  interior  once  contained  the  ashes  of  the 
deceased.  The  OaJbinetto  di  Antiqttaria  contains  stone  weapons,  urns,  and 
Etruscan  and  Roman  anticaglias.  In  the  3rd  Room,  Mountings  of  a  chariot 
with  figures  and  ornamentation  resembling  the  most  ancient  i^iatic  style  (in 
a  cabinet  opposite  the  windows)  -,  large  gold  Earring  with  a  female  head  (in  a 
the  cabinet  in  the  middle  of  the  room) ;  two  Mirrors  with  scenes  from  the 
myths  of  Meleager  and  Helen.  In  the  4th  Room,  Vase  of  admirable  Attic 
workmanship,  with  red  figures  of  Dionysus  and  Ariadne  (cabinet  opposite 
the  windows).  —  The  Ouardabassi  Collection,  at  the  end  of  the  second 
corridor,  contains  various  interesting  objects  from  Etruscan  graves.  In 
the  1st  Boom,  Collection  of  cut  stones.  In  the  2nd  Room ,  fine  *Mirror- 
case,  with  a  representation  of  Dionysus  on  the  panther,  toilette  articles, 
and  amber  and  coral  ornaments  (catalogue  1  fr.).  —  Oabinetto  CiHsHano: 
Central  Room,  Coffin  of  Bishop  Baglioni,  with  a  sumptuous  velvet  covering 
(i5th  cent.)  •,  episcopal  vestments  of  the  16th  cent. ;  richly  carved  slabs 
from  the  confessionals  of  S.  Agostino,  perhaps  by  Bctrili;  voting-urn  used 
in  municipal  elections,  with  the  arms  of  the  Ouilds  (l6th  cent.).  2nd 
Boom  (to  the  right),  Reliquary  containing  the  remains  of  the  condottiere 
Braccio  Fortebraceio ,  who  fell  at  the  siege  of  Aquila  on  5th  June ,  1424 
(formerly  in  S.  Francesco  dei  Conventual!) ;  Seal  of  Card.  Bembo  by  Lan- 
tirio  di  Perugia;  Madonna  by  Agostino  di  Duceio^  and  other  terracottas', 
fine  marble  •Belief  of  St.  Francis,  by  Luca  della  Rohbia;  bust  of  one  of 
the  Baldeschi  family  (15th  cent.);  weapons;  majolica.  In  the  3rd  Boom, 
(to  the  left)  three  masterpieces  of  enamel-work  (^champs  lev^'):  a  goblet 
which  once  belonged  to  Pope  Benedict  XI.  (d.  13041,  and  a  cup  and  plate 
or  saucer  executed  by  Catalortio  di  Pietro  of  Todi  (14th  cent.);  to  the  right, 
ivory  carvings,  including  a  circular  piece  with  chessmen,  and  a  represen- 
tation of  French  knights  starting  for  the  chase  (14th  cent.).  —  The  0>r^ 
ridor  contains  medieeval  sculptures;  statues  from  the  Maest^  delle  Volte 
by  Agostino  di  Duecio;  and  a  model  of  the  Fonte  Maggiore  (p.  51). 

The  NaturcU  History  Collections  are  unimportant. 

The  University  Church,  the  key  of  which  is  kept  by  the  curator  of  the 
Museum,  contains  mediaeval  works  of  art  and  plaster  casts,  including 
those  of  an  8th  cent,  tabernaculum  and  an  early-Christian  sarcophagus. 

Near  the  Gate  of  S.  Angelo  (PI.  A,  1),  to  which  the  Via  Longara 
leads  from  the  Piazza  Fortebraceio ,  is  situated  the  architecturally 
interesting  church  of  8.  Angelo^  a  circular  structure  with  16  antique 
columns  in  the  interior,  in  the  style  of  S.  Stefano  Rotondo  in  Rome, 
probably  dating  from  the  6th  cent.,  with  additions  of  a  later  period. 
—  On  the  other  (S.)  side  of  the  Longara  is  8.  AgnesCj  adorned  with 
frescoes  from  the  later  period  of  Perugino  and  his  pupils. 

Ascending  from  the  Piazza  Fortebraceio  (see  above)  by  the  Via 
Pinturicchio  to  the  S.E.  (or  from  the  Piazza  Danti,  p.  51,  by  the 
Via  Bontempi  to  the  E.)i  crossing  the  Piazza  de'  Gigli,  and  then 
taking  the  first  side-street  (Via  Raffaello)  to  the  left ,  we  reach  *8, 
Severo  (PI.  14;  0,  3),  formerly  a  convent  of  the  order  cf  CamaldoU,. 


S.  Severo.  PERUGIA.  7.  Route.     53 

now  a  college,  in  the  chapel  of  which  i2aj>Aa«2  painted  his  first  fresco, 
probably  in  1505,  having  left  Perugino's  school  the  year  before,  and 
gone  to  Florence.  Entrance  adjoining  the  chapel  (custodian  1/2  ^O* 
The  fresco,  which  wad  seriously  damaged,  and  of  late  has  been  restored 
by  Consoni ,  resembles  the  upper  part  of  Raphaers  Disputa  in  the  Ya^ 
tican;  above,  Ood  the  Father  (obliterated)  with  three  angels  and  the 
Holy  Ghost ;  below,  the  Redeemer  and  the  saints  M aurus,  Placidus,  Bene- 
diet,  Bomuald,  Benedict  the  Martyr,  and  John  the  Martyr.  The  inscription 
(added  at  a  later  period)  runs  thus :  Raphael  de  Urbino  dom.  Oetaviano  Ste- 
phano  Volaterrano  Prior e  Sanctam  Trinitatem  angelos  astantes  sanetosque 
pinriLA.D.  MDV.  At  the  sides,  lower  down,  St.  Scholastica,  St.  Jerome, 
St.  John  Ev.,  St.  Gregory  the  Great,  Boniface,  and  St.  Martha,  by  Pietro 
Perugino.  Inscription:  Peirus  de  Castro  Plebis  Perusinus^  tempore  domini 
SUvestri  Stephani  Volaterrani  a  dextris  et  tinistris  div.  Chriitipherae  sanctos 
ianetoique  pinxit  A,  D.  MDXXI. 


A  vaulted  passage  under  the  clock  of  the  Palazzo  Pubblico  (p.  49) 
leads  from  the  Corso  Vannucci  to  the  Via  db'  Priori,  the  best  route 
to  the  sights  of  the  W.  quarter.  The  Via  Deliziosa,  diverging  to  the 
left  near  the  small  piazza  in  front  of  the  Chiesa  Nuova  (PL  10 ;  B,  4), 
contains  (PI.  18)  the  Hou$e  of  Perugino  (? ;  denoted  by  a  tablet). 

We  continue  to  descend  the  Via  de'  Priori,  passing  the  mediae- 
val Torre  degli  Sciri,  or  degli  Scalzi  (PI.  34 ;  A,  4),  and  the  Madonna 
della  Luce  (PI.  4),  a  pleasing  little  Renaissance  church  of  1518,  and 
reach  an  open  space  on  the  right.    Opposite  us  here  rises  the  — 

*Oratorio  di  S.  Bemardino  {CorCfraiemitd.  della  Oiustisia;  PI. 
A,  3).  The  facade ,  executed  by  Agostino  di  Duecio ,  a  Florentine 
sculptor,  in  1459-61 ,  is  a  magnificent  polychrome  work,  in  which 
both  coloured  marble  and  terracotta  are  employed,  while  the  ground 
of  the  numerous  and  very  elaborate  sculptures  is  also  coloured.  A 
picture  in  the  interior,  representing  the  festival  of  the  church,  con- 
tains an  admirable  view  of  the  fa^de. 

Immediately  adjacent  is  the  church  of  S.  Franoeico  doL  Con- 
Yentnali,  or  del  Praio  (PI.  9 ;  A,  3),  for  which  Raphael  painted  the 
Entombment  now  in  the  Borghese  Gallery  at  Rome  (p.  185).  Sev- 
eral frescoes  of  the  13th  cent,  have  recently  been  discovered  in 
the  crypt  (Betrothal  and  Death  of  the  Virgin).  The  church  is  in  a 
very  precarious  state. 

To  the  E.  of  the  Oorso,  and  parallel  with  it,  stretches  the 
Piazza  del  Sopramuro(P1.  C,4),  resting  on  extensive  substructions, 
part  of  which  belong  to  the  ancient  Etruscan  town-walls.  On  the 
E.  side  of  the  Piazza  rises  the  Palazzo  delCapitano  delPopolOj  after- 
wards the  Palazzo  delPodestcL  (PL  29),  dating  from  1472;  adjoining 
it  is  the  Old  University,  built  in  1483 ;  both  edifices  are  now  occu- 
pied by  courts  of  justice  (PI.  35). 

The  Via  Baglioni  leads  hence  towards  the  S,  to  the  Piazza  Vittorio 
Emanuele  (p.  49).  We  descend  here  immediately  to  the  left,  passing 
the  substructions  of  the  old  citadel ,  where  an  ancient  gate ,  called 
Porta  Marzia  (PI.  33 ;  C,  5),  with  interesting  sculptures ,  and  the 


54    Route  7.  PERUGIA.    S,  Pietro  de'  Casinmai 

Insoriptions  Augusta  Perusia  and  Colonia  Vibia,  whicli  was  removed 
from  its  old  site  to  make  way  for  the  fortress,  has  been  re-erected.  — 
We  turn  to  the  left  here,  and  follow  the  broad  main  street  with  an 
avenue  of  acaoias,  at  the  end  of  which,  to  the  left,  rises  the  small 
Gothic  church  of  8.  Ercolano  (PI.  6 ;  0, 5),  with  an  altar  consisting 
of  an  ancient  sarcophagus. 

Following  the  Cobso  Catouk  ,  the  continuation  of  the  Via  S. 
Ercolano ,  to  the  left ,  we  reach  a  small  square  in  which  stands  the 
church  of  — 

S.Domenieo  (PI.  7;  C,  6),  originally  a  Gothic  edifice  of  the  13th 
and  14th  cent.,  built  by  Oiov.  Pisano  in  1304,  and  almost  entirely 
re-erected  by  Carlo  Maderna  in  1614,  with  a  lofty  campanile,  part 
of  which  has  been  taken  down. 

In  the  Left  Tbanskpt  ia  the  ^Honument  to  Pope  Benedict  XI.,  who 
fell  a  victim  to  the  intrigues  of  Philip  IV.  of  France  ^  and  died  in  i304f 
from  eating  poisoned  figs.  It  was  executed  by  Oiovannt  Pitano^  and  is  one 
of  the  most  famous  monuments  of  its  kind  •,  above  the  recumbent  figure 
Qf  the  pope  rises  a  lofty  canopy,  borne  by  spiral  columns  and  adorned 
with  mosaics  (above  is  a  Madonna  between  St.  Dominicus  and  the  kneeling 
pope  on  one  side  and  St.  Herculanus  on  the  other).  On  the  adjacent 
wall  is  the  monument  of  Bishop  Benedetto  Guidolotti  (1439).  —  The 
Choijb,  with  a  rectangular  termination,  contains  a  huge  Gothic  window 
filled  with  rich  stained  glass,  the  largest  of  its  kind  in  Italy  C218  sq.  yds.), 
executed  in  1441  by  Fra  Bartolommeo  of  Perugia,  and  recently  restored. 
This  window  belonged  to  the  original  church  of  Giov.  Pisano.  —  The  in- 
laid Choir  Stalls  (tarsia)  date  from  1476. 

After  a  few  minutes  more  we  pass  through  the  Porta  S,  Pietro^ 
richly  decorated  by  Agostino  di  Duccio  (1473),  and  reach  the  old 
monastery  and  church  of  — 

*8.  Pietro  de'  Casinensi  (PL  13 ;  D,  7,  8 ;  entrance  in  the  first 
court  in  the  corner  diagonaUy  opposite,  to  the  left).  The  church, 
founded  about  the  year  1000  by  S.  Pietro  Vincioli  of  Perugia,  is  a 
basilica,  consisting  of  nave,  aisles,  and  a  transept,  with  a  richly 
gilded  flat  ceiling,  borne  by  18  antique  columns  of  granite  and 
marble  and  two  pillars,  and  contains  numerous  pictures. 

In  the  Navx,  above,  are  eleven  large  pictures  by  Ant.  Vasillacchi,  sur- 
named  VAliense^  of  Perugia,  a  pupil  of  Tintoretto  and  Paolo  Veronese,  exe- 
cuted in  J  592-94.  —  The  Right  Aisle  contains  several  Umhrian  pictures. 
The  chapel  of  St.  Joseph,  adorned  with  modern  frescoes,  contains,  on 
the  left ,  the  monumental  ^Relief  of  a  Countess  Baldeschi ,  in  terracotta, 
from  a  drawing  by  Fr.  Overbeck ;  on  the  right,  Holy  Family,  a  copy  from 
Andrea  del  Sarto,  by  Pontormo.  —  Then,  above  the  door  leading  to  the 
monastery.  Two  saints  by  Saisoferraio,  after  Perugino,  and  a  Holy  Family 
after  Bonifacio  of  Venice.  Above  the  door  leading  to  the  Sacristy,  Three 
saints,  also  after  Perugino  by  Sastoferrato.  —  In  the  Sacmstt  (shown  by 
the  custodian ,  5  soldi)  are  five  small  half-figures  of  *Salnts,  by  Perugino 
(which  formerly  surrounded  the  Ascension  by  the  same  master,  removed 
by  the  French,  now  in  Lyons) ;  Holy  Family,  by  Parmeggianino ;  *Infant 
Jesus  and  St.  John,  after  Perugino,  by  Raphael  (?)•,  S.  Francesca  Ro- 
mana,  by  Caravaggio.  —  The  Choir-books  are  embellished  with  good  min- 
iatures of  the  16th  century. 

The  ♦Choie  Stalm,  in  walnut,  are  admirably  carved  and  inlaid  (tarsia) 
by  Stefano  da  Bergamo,  1535 j  the  doors  at  the  back  are  by  his  brother 
Bamiano.  —  Under  the  arch  of  the  Choir,  on  each  side,  are  ambones  (pul- 
pits) in  stone,  with  reliefs  on  a  golden  ground,  by  Frane.  di  GvidOy  1617-21. 


EXCURSIONS  FROM  PERUGIA.  7,Ro%de.    55 

The  Lsrr  Aislb,  beginning  at  the  upper  end  by  the  choir,  contains  a  pictare 
by  Buonfigli  (?),  Mary  with  the  body  of  Christ  and  two  saints,  1469.  In  the 
adjoining  chapel  is  a  marble  altar  with  reliefs,  partly  gilded,  by  Mino  da 
FUsoU ,  1473.  In  the  next  two  chapels :  pictures  by  O.  Reni^  Oiorgio  Vth 
$ariy  and  others.  Between  these,  on  the  wall  of  the  aisle:  Jndith,  by  Satto- 
ferraio.  Then,  Adoration  of  the  Hagi,  by  Eusehio  di  8.  Oiorgio;  Annan- 
oiation,  after  Raphael,  by  Sauo/errato;  Pieti,  a  late  work  of  PerttginOy 
part  of  a  large  dismembered  altar-piece  from  the  church  of  8.  Agostino. 

Close  to  S.  Pietro ,  on  the  opposite  side  of  the  street,  are  the 
gardens  of  the  Passeggiata  Pubbliea  (PI.  D,  8^,  extending  to  the 
Porta  S.  Costanzo,  and  commanding  a  magnificent  ^Prospect  of  the 
valley  of  Foligno  and  the  Apennines. 

The  visitor  may  also  inspect  the  folloTTing  private  collections : 
the  collection  of  Aw.  Romualdiy  Via  del  Bufalo,  No.  5  (near  the  Alb- 
ergo  Gran  Bretagna),  comprising  bronzes,  coins,  cameos ,  drawings 
and  paintings  by  An.  Carraceij  Perugino('f)j  eto.  (for  sale).  —  The 
Qalleria  Monaldi  (PI.  26 ;  B,  5),  in  the  palazzo  of  that  name,  at  the 
corner  of  the  Via  Bagllonl  and  the  Piazza  Vittorio  Emanuele ,  and 
the  OaUeria  Menieoni  (PI.  25;  0,  6),  Via  di  Porta  Romana,  both 
chiefly  contain  works  of  later  masters  (end  of  16th  and  17th  cent.). 

Outside  the  Porta  del  Carmine  lies  the  Cemetery  ^1-  E,  3),  con- 
taining a  monument  to  the  champions  of  liberty  in  1859. 

Outside  the  Porta  8.  Gostanzo,  on  the  road  to  Assisi,  lies  the  church 
(restored)  of  S.  Costanzo  CPl.  D,  B,  8),  dating  from  the  ilth  cent.,  with  an 
ancient  portal.  —  About  8  M.  to  the  E.  of  Perugia,  »/4  M.  on  this  side  of  Ponte 
S.  Qiovtmni  (p.  72),  the  first  station  on  the  route  to  Foligno  and  Rome,  the 
Ahgibvt  Etkuboam  Nsobopolib  of  Perueia  was  discovered  in  1840.  Carriage 
there  and  back,  a  drive  of  V/2-2  hrs.,  12  fr.  —  The  most  interesting  of  the 
tombs,  and  one  of  the  handsomest,  though  not  oldest  in  1^.  Etruria,  is 
the  *Sepolcro  de*  Volnmnii  (the  tomb  of  the  Volumnii,  3rd  cent.  B.  G.), 
close  to  the  road,  where  it  is  intersected  by  the  railway.  It  consists  of 
ten  chambers,  hewn  in  the  coarse-grained  tufa.  A  number  of  cinerary 
urns,  with  portraits  of  men  and  women,  and  various  kinds  of  decoration, 
were  found  here.  Some  of  the  objects  found  in  the  tomb  have  been  left 
in  their  original  positions,  but  most  of  them  are  now  preserved  in  a 
chamber  built  above  it.  The  custodian  is  to  be  found  at  the  neighbouring 
Villa  Baglioni  (fee  >/«  fr.,  for  a  party  1  fr.). 

The  convent  of  MonUfiormtino.  between  Perugia  and  Assisi,  contains 
a  Madonna  by  Giov.  BanH  (1489). 

Fbom  PERnoiA  TO  ToDi,  about  28  K.  (diligence,  see  p.  47).  This  road, 
once  greatly  frequented,  but  now  of  merely  local  importance,  descends 
rapidly  into  the  valley  of  the  Tiber ,  which  it  crosses ,  and  then  remains 
on  its  left  bank.  The  scenery  presents  no  great  attractions.  About  half- 
way between  Perugia  and  Narni,  and  19  M.  to  the  E.  of  Orvieto,  lies  — 

Todi  iPotta.  at  the  gate),  the  ancient  TJmbrian  Tuder^  a  high-lying  town 
(1495  ft.)  with  4-5000  inhab.  (commune  16,500) ;  the  hill  is  so  abrupt  that  the 
upper  part  of  the  town  is  not  accessible  to  carriages.  Its  ancient  importance 
is  indicated  by  the  fragments  of  walls  and  the  extensive  ruin  of  a  Temple, 
or  BMiUca,  usually  styled  a  temple  of  Mars.  Although  poor  in  treasures  of 
art,  the  town  boasts  of  several  interesting  edifices,  among  which  are  the  Ca- 
thedral and  the  Toum  Ball  in  the  Piaaza.  The  church  of  S.  Fortunato  pos- 
sesses a  handsome  portal.  The  finest  building  of  all,  however,  is  the 
pilgrimage-church  of  *3.  Maria  delta  Consolazione,  in  the  form  of  a  Greek 
cross  and  covered  with  a  dome.  The  arms  of  the  cross  are  also  sur- 
mounted with  domes,  and  are  polygonal  in  shape  with  the  exception 
of  the  choir,  which  is  semicircular.  The  exterior  is  remarkable  for  lU 
simple  and  massive  style,  and  the  interior  for  its  symmetrical  proportions 
and  the  delicately  graduated   ornamentation  of  its  pillars.    Being  one  of 


56    RouU  8,  CITTA  DI  CASTELLO.  From  Arezsio 

the  noblest  creations  of  the  Renaissance  period,  this  edifice  was  naturally 
attributed  to  Bramante.  Documents,  however,  name  Cola  di  Matteuceic 
da  Caprarola  (1606)  as  the  architect,  and  JMldauare  PeruzH  as  his  ad** 
viser.  The  progr£S8  of  the  building  was  remarkably  slow ,  and  it  was 
not  completed  till  1604.  —  Todi  was  the  birthplace  of  Jacopone  da  Todi 
(d.  1906),  author  of  the  *Stabat  mater  dolorosa*. 

Fbom  Todi  to  IYabnz,  28  H.,  by  the  villages  of  lUuaro^  Cattel  Todino, 
and  Ban  Oemine.  About  IVs  H.  from  the  last,  on  the  ancient,  now  abandonee! 
Via  Flaminia,  are  the  interesting  ruins  of  the  once  prosperous  Carsulae. 
Prom  San  Gemlne  (7'/2  M.  from  Nami)  two  roads  descend  gradually  to 
the  beautiful  valley  of  the  I^era,  one  leading  S.B.  to  Temi  (see  p.  84),  and 
the  other  S.  to  JTarni  (p.  87). 

8.  From  Arezzo  to  Fossato. 

84  H.  Kail  WAT  (Ferrovia  delt  Appennino  Cmtrale) :  one  through-train 
daily  in  about  5  hrs.  (fares  12  flr.  25,  7  fr.  65  c.). 

Arezso,  see  p.  38.  —  For  a  short  ^stance  the  train  follows  the 
line  to  Rome  (p.  20),  bnt  it  soon  diverges  and  begins  to  ascend  more 
rapidly  towards  the  hills  to  the  E.  of  Arezzo,  affording  a  picturesque 
retrospect  of  the  town  and  plain.  It  mounts  as  far  as  the  Scopettone, 
the  W.  parallel  chain  of  the  Umbrian  Apennines,  separating  the 
valleys  of  the  Amo  and  Tiber.  This  part  of  the  line,  the  most  in- 
teresting from  an  engineering  point  of  view,  traverses  20  tunnels 
and  several  viaducts.  —  Beyond  (11 M.)  Palazzo  del  Pero  we  descend 
to  the  N,  E.  through  the  wooded  valley  of*  the  Cerfone,  a  tributary 
of  the  Tiber,  —  19^2  M.  Ville  Monterchi,  situated  in  a  hollow,  from 
which  a  steeper  ascent  leads  to  (201/2  M.)  Citerna.  —  24 V2  M.  An- 
ghiariy  a  small  town  picturesquely  situated  on  a  hill,  commands  an 
extensive  view  of  the  upper  valley  of  the  Tiber,  here  about  7  M.  wide. 

The  train  traverses  the  highly  cultivated  plain,  crosses  the  Tiber, 
and  reaches  (28*72  M.)  Borgo  S.  Sepolcro  (Alb.  Venezia),  a  little 
town  at  the  foot  of  the  MonU  Maggiore  (4430  ft.).  The  churches 
and  the  Palazzo  del  Oomune  contain  several  pictures  by  Piero  della 
Francetca  (b.  1423 ;  teacher  of  Luca  Signorelli ;  comp.  p.  39)  and 
Raffaello  dal  ColU  (16th  cent. ;  a  pupil  of  Raphael),  both  of  whom 
were  born  here.  In  8.  Antonio  Abbate,  a  fine  Crucifixion  by  Sig** 
norelli,  originally  a  church-banner. 

From  Borgo  8.  Sepolcro  a  road  crosses  the  Central  Apennines  to 
Urbania  (31  M.),  formerly  Castel  Durante,  the  probable  birthplace  of  Bra- 
mante, and  Urbino  (p.  88).  —  The  Source  of  the  Tiber,  neir  the  village  of 
/ve  Balze^  about  16  M,  to  the  N.,  may  be  visited  from  Borgo  8.  Sepolcro. 

The  railway  proceeds  to  the  S.E.  along  the  left  bank  of  the 
river.  31  M.  6f.  OiusUno;  331/2  M.  8dci  L€ma,  a  little  to  the  right 
of  the  village  of  that  name. 

38  M.  Citt^  di  CasteUo  (Locanda  la  Cannoniera),  with  7000 
inhab.  (commune  24,000),  occupying  the  site  of  Tifemum  Tiberi- 
num,  which  was  destroyed  by  Totila.  In  the  15th  cent,  it  belonged 
to  the  Vitelli  family,  and  afterwards  to  the  Church.  The  town, 
built  in  the  form  of  a  rectangle,  and  still  surrounded  by  the  walls 
erected  in  1518,  contains  many  interesting  small  buildings  of  the 
early-Renaissance  period,  but  few  mediaeval  monuments. 


io  Fatsaio.  GUBBIO.  5.  Route.    57 

Of  the  numerous  chuiclies  8,  Domenico  alone  has  preseryed  a 
Gothic  character.  All  that  remains  of  the  old  Gathbdbal  of  S. 
Flobido,  founded  in  1012,  is  the  campanile  and  the  N.  portal ;  the 
present  building,  an  admirable  specimen  of  the  Renaissance  style, 
was  began  in  1480  and  completed  in  1540.  Bramante  has  been 
frequently  named  as  the  builder,  but  Elia  di  Bartolommeo  Lorn- 
bar  do  is  mentioned  in  the  records  as  the  architect. 

Among  the  secular  buildings,  the  Palazzo  Comunale^  built  in 
the  14th  cent,  by  a  certain  Angelas  of  Oryieto,  in  the  style  of  the 
Florentine  palaces,  retains  most  closely  its  original  form.  The 
Vitelli,  the  lords  and  masters  of  the  town,  like  most  of  the  mag- 
nates of  the  Renaissance  period,  were  passionately  addicted  to  build- 
ing. The  oldest  of  the  four  palaces  of  the  15th  and  16th  cent, 
bearing  their  name  is  the  Palazzo  di  Alessandro  Vitelli;  the  hand- 
somest is  the  Palazzo  Vitelli  a  8,  Oiacomo ,  and  the  largest  the 
Palazzo  Vitelli  a  Porta  S,  Egidio,  The  small  summer-house  (Pa- 
lazzino)  of  the  latter  deseryes  special  notice. 

The  PiNACOTECA,  newly  opened,  now  contains  the  more  impor- 
tant paintings  and  works  of  art  formerly  in  the  churches. 

Siapbael,  it  is  well  known,  painted  hit  first  independent  works  for 
churches  in  Ciiik  di  Gastello,  but  they  haye  since  disappeared,  or  (like  the 
Sposalizio  now  in  the  Brera  at  Milan)  have  been  carried  elsewhere.  The 
only  work  of  his  now  here  is  a  church-banner,  with  (So.  32)  the  Trinity 
and  (170. 16)  the  Creation,  painted  on  linen.  An  Adoration  of  the  Shepherds 
by  Luea  Signortlli^  a  Coronation  of  the  Virgin  of  Signorelli's  school 
(iTo.  8),  and  several  terracottas  by  Luea  delta  Rol^bia  and  his  school,  are 
tdao  noteworthy. 

The  church  of  iSf.  Cecilia  contains  a  Madonna  by  Luea  Signorelli, 
and  the  Palazzo  Maneini  a  *Natiyity  by  the  same  master,  as  well  as 
seyeral  other  yalaable  pictures. 

Beyond  Citt?t  di  Castello  the  train  follows  the  right  bank  of  the 
Tiber.  43  M.  8.  Secondo ,  at  the  mouth  of  a  lateral  Yalley.  On  a 
height  to  the  right,  1^/4  M.  from  this  station  and  as  far  from  C45y2  M.) 
Treatina,  the  next,  lies  CanosciOy  a  frequented  pilgrim-resort.  Be- 
yond (50  M.)  Montone  Monte  CasteUi  we  cross  the  Tiber  and  reach 
(53  M.)  Umbertide  (Alb.  Guardabassi),  a  small  town  on  the  left 
bank  of  the  Tiber,  the  yalley  of  which  is  here  somewhat  narrow.  In 
the  church  of  S.  Croce  is  a  Descent  from  the  Cross  by  Luea  Signo- 
relli.   Diligence  to  Perugia,  see  p.  47. 

Beyond  (55  M.)  Monte  Corona  the  railway  quits  the  Tiber  and 
ascends  to  the  N.  through  the  narrow  yalley  of  the  Assino,  crossing 
the  stream  six  times.  —  57  M.  8erra  Partueci;  59i/2  M.  Campo 
Reggiano.  At  (64  M.)  Pietralunga  we  reach  the  fertile  tableland  of 
Gubbio.  To  the  left  rise  the  Monte  Calvo  (2965  ft.)  and  the  MorUe 
d'Ansciano. 

70  M.  Otibbio  (^Albergo  del  Giardino ,  formerly  the  Leon  d'Oro ; 
Rosetta  or  Colomba,  both  in  the  Piazza  Vittorio  Emanuele  and 
well  spoken  of),  with  5000  inhab.,  lies  at  the  foot  and  on  the  slopes 
of  Monte  Calvo,  at  the  entrance  to  a  gorge  flanked  by  steep  cliflEs. 


58    HouU  8,  QtJBBlO.  From  Arezto 

The  town  presents  quite  a  mediaeval  appearance ,  and  the  proximity 
of  the  Apennines  also  gives  it  a  different  character  from  most  other 
Italian  towns.  Oonspicnous  among  the  honses  is  the  huge  Palazzo 
dei  Gonsoli,  and  a'bove  them  towers  the  church  of  S.  Ubaldo. 

Gubhio  is  the  ancient  Iguvium  or  EuffuJHumy  mentioned  hv  Cicero  and 
CflBsar.  It  wMi  dentroyed  by  tbe  Gotlu,  wa«  besieged  in  1166  by  the  Emp. 
Frederick  I.,  then  became  an  independent  state,  afterwards  belonged  to  the 
duchy  of  Urbino,  and  with  it  finally  accrued  to  the  States  of  the  Church. 

Gnbbio  was  the  native  place  of  Oderiii,  a  famous  miniature  painter 
(d.  about  1300),  who  is  called  by  Dante  in  his  Purgatorio  (xi,80)  n^Onor 
d'Agobbio'* ;  but  no  authentic  work  by  his  hand  now  exists.  In  the  14th 
and  15th  cent,  a  branch  of  the  TJmbrian  school  flourished  here,  and  among 
its  masters,  whose  renown  extended  even  beyond  their  native  place,  were 
Guido  JtOmerucei  (1280-1345?)  and  several  members  of  the  ITelli  famUy, 
particularly  Oitatiano  Nelli  (d.  1444).  —  Gubbio  occupies  a  still  more 
important  page  in  the  history  of  Artistic  HANDiCBArrs.  Like  Urbino, 
Pesaro,  and  Faenea,  it  was  noted  for  the  manufacture  ot  Majolica^  or  earthen- 
ware vases  and  tiles  which  were  covered  with  a  white  coating  of  colour 
before  being  baked.  One  of  the  most  distinguished  majolica  painters  was 
^Maettro  Qiorgio"  of  Gubbio ,  who  is  said  to  have  invented,  or  rather  re- 
discovered and  perfected,  the  metallic,  ruby-coloured  glazing  for  which  the 
Italian  majolicas  are  remarkable. 

At  the  bottom  of  the  spacious  Piazza  Yittorio  Emanuele  is  the 
church  of  8.  Francesco.  We  ascend  hence  by  old-fashioned  streets 
to  the  Piazza  della  Signobia,  on  the  slope  of  the  hill,  supported 
by  massive  vaults,  where  the  most  conspicuous  building  is  the  — 

♦Palazzo  dbi  Consoli,  a  huge  pinnacled  edifice  with  a  tower, 
erected  in  1332-46  by  Oiovanello  Maffei  of  Gubbio,  surnamed 
QattaponCj  and  at  present  disused.  The  ground-floor  contains  a 
slab  with  an  inscription  of  the  Augustan  period.  The  Loggia  affords 
a  beautiful  view,  embracing  the  ruins  of  the  Roman  theatre  in  the 
plain  (p.  59),  and  on  the  other  side,  the  old  facade  of  the  Palazzo 
Ducale  (fee  Va  fr). 

The  Palazzo  Pretorio,  now  'Residenza  Municipale\  contains 
several  collections  recently  united  here  (fee  y^i  fr.). 

On  the  first  floor  are  the  so-called  Eugubian  Tablets  y  which  were  dis- 
covered in  1440  near  the  ancient  theatre.  They  are  of  bronze,  and  bear 
inscriptions,  four  in  Umbrian,  and  three  in  Latin  characters,  which  long 
baffled  the  investigation  of  the  learned.  They  contain  in  the  Umbrian 
language,  an  old  Italian  dialect  akin  to  Latin ,  liturgical  regulations  and 
formula  of  nearly  uniform  import,  dating  from  different  periods.  The 
older,  in  the  Umbrian  character,  are  read  from  right  to  left.  The  later,  in 
Latin  letters,  date  from  about  the  2nd  cent.  B.C. 

The  upper  saloon  (handsome  door)  contains  a  number  of  pictures, 
including  several  fine  works ,  chiefly  of  the  Umbrian  school  •,  admirable 
*Wood-carving  of  the  15th  and  16th  cent.}  cabinets,  chairs,  and  a  num- 
ber of  ancient  and  modem  *Hajolicas. 

The  third  side  of  the  piazza  is  occupied  by  the  modern  Palaxsso 
Ranghiasei'Bmncaleone.  —  Cor^te  Fabiani-Beni,  Piazza  S.  Martino, 
possesses  several  good  pictures. 

Ascending  the  Via  dei  Duchi  to  the  left,  and  then  following  the 
Via  di  S.  Ubaldo,  we  reach  the  ♦Palazzo  dbi  Duom,  an  old  Go- 
thic edifice,  which  was  remodelled  by  Luciano  LauranfMj  the  archi- 

'  of  the  palace  of  Urbino.    The  colonnaded  court  is  almost  an 


to  Possnto.  GUBBIO.  S,  Route,    59 

exact  reprodnction  of  that  of  Urbino.  The  interior  is  quite  a  ruin 
and  accessible  only  with  difflcnlty. 

Opposite  the  entrance  to  the  conrt  of  the  Pal.  del  Duchi  rises 
the  CATHBD&A.Z.  OP  SS.  Mabiano  b  Jacopo  Mabtub  ,  a  structure 
of  the  13th  cent.,  destitute  of  aisles  and  so  built  against  the  slope 
of  the  hill  that  its  back  is  embedded  in  the  ground.  The  facade  is 
adorned  with  sculptures  of  the  Evangelists  (13th  cent.). 

Among  the  pieiures  In  the  interior  (flrit  altar  on  the  left)  is  a  Ma- 
donna with  SS.  XJbaldo  and  Sebastian ,  by  Smibaldo  /N  of  Gubbio.  By 
the  2nd  altar  a  ^Coronation  of  Mary  Magdalene  by  Timoteo  delta  Vite.  The 
sacristy  contains  a  Flemish  vestment,  presented  by  Pope  Marcellns  II. 

,  The  church  of  S.  Maria  Nuoya,  situated  near  the  E.  end  of  the 
Via  delle  Fonti,  running  above  and  parallel  with  the  Gorso ,  at  the 
comer  of  the  Via  Nelli,  contains  an  admirably-preserved  Madonna 
by  Ottaviano  NtUij  1403  (apply  to  the  sacristan),  a  Madonna  in 
fresco  by  Bernardino  di  Nanni ,  frescoes  by  Quido  on  the  entrance- 
wall,  and  a  St.  Anthony  by  Guido^  on  the  wall  to  the  left  of  the  door. 

The  Via  Paoli  leads  from  the  end  of  the  Corso  Garibaldi  to  the 
fine  Gothic  church  ot8.  Giovanni  (13th  cent.).  —  At  the  other  end 
of  the  Corso  is  the  church  of  8.  Pietro,  with  a  12th  cent,  facade 
(decayed).  —  8.  Domenico,  8.  Agostino  (frescoes  in  the  choir  ascribed 
to  Ottaviano  Nelli),  and  8.  Maria  delta  Piaggiola  (outside  the  Porta 
Vittoria ;  over  the  high-altar ,  *Madonna  by  Qentile  da  Fabriano) 
also  contain  pictures  of  the  same  period. 

The  ancient  town  extended  farther  into  the  plain  than  the  mod- 
ern. Among  the  ruins  still  existing  is  a  Theatre  y  discovered  in 
1863,  apparently  of  the  republican  era.  It  is  not  entirely  excavated, 
but  part  of  the  external  row  of  arches  is  preserved,  and  the  stage, 
facing  the  town,  is  distinctly  traceable.  (We  quit  the  Piazza  Vitto- 
rio  Emanuele  by  the  Porta  Trasimeno,  turn  to  the  right,  and  lastly 
pass  through  a  modem  gateway  on  the  left,  towards  a  farm.) 

73  M.  Padule.  Beyond  (781/2  M.)  Branca  we  cross  the  Chiascio 
and  traverse  the  valley  of  that  stream  to  — 

84  M.  FosmtOj  see  p.  109. 

9.    From  Florence  to  Kome  vi&  (Arezzo)  Terontola 
and  Chiufli. 

195  M.  Railway.  This  is  the  shortest  route  from  Florence  to  Rome. 
Express  in  V/f7^/4  hrs.  (fares  39  fr.  5,  27  £r.  SO  e.);  ordinary  train  in 
12V4  hrs.  (fares  36  fr.  60,  24  fr.  80,  16  fr.})  no  change  of  carriages. 

From  Floreneeio  Terontola,  76  M.,  see  pp.  37-46.  The  main 
line  to  Rome  diverges  to  the  right  (S.)  from  the  branch-line  to  Pe- 
rugia, Assisi ,  and  Foligno,  and  at  first  skirts  the  W.  bank  of  the 
Trasimene  Lake  (oomp.-  p.  45). 

82  M.  Castiglione  del  Lago,  lying  to  the  left  on  a  promontory 
extending  into  the  lake,  possesses  an  old  palazzo  of  the  Duchi  della 
Comia,  built  by  Alessi. 


60    RouU  9.  OHIUSI.  From  Florence 

86^2^*  P^nicolCj  a  small  place  with  nnimportatit  frescoes  in  its 
churches  by  Perugino  and  his  school.  The  line  takes  a  W.  direction 
and  joins  the  line  from  Siena  in  the  valley  of  the  Chiana  (R.  4). 

93V2  M.  ChiluL  —  The  Razlwat  STAnoN  CRettauraiU)  is  about 
li/s  H.  from  the  town,  on  the  hill  to  the  right.  ^Posto^  (seat  in  a  carriage) 
to  the  town  i  fr.,  two  'posti'  lijj  fr. 

Aquila  d'Oro,  well  spoken  of;  Corona,  Via  Porsenna  1,  unpretend- 
ing and  moderate;  Etrdria,  at  the  station. 

Travfellers  who  wish  to  inspect  the  Etruscan  Anxiquixibs  should  en- 
quire for  the  custodian ,  who  sella  ticketa  for  the  museum  (Vz  ft.)  where ' 
he  is  generally  to  be  found,  and  accompanies  visitors  to  the  tombs  (2  fr. ; 
or,  for  the  whole  day,  8-4  fr.).  The  road  to  the  tombs  is  very  muddy  in 
wet  weather.  —  Travellers  are  cautioned  against  making  purchases  of 
Etruscan  antiquities  at  Chiusi,  as  ^antiquities^  from  Etruscan  tombs  are 
largely  manufactured  here. 

ChitMi  (5000  inhab.),  the  ancient  Cluaium^  one  of  the  twelve 
Etruscan  capitals,  frequently  mentioned  in  the  wars  against  Rome, 
and  as  the  headquarters  of  Porsenna,  was  fearfully  devastated  by 
malaria  in  the  middle  ages ;  but  under  the  grand-dukes  of  the  House 
of  Lorraine  the  Val  di  Chiana  was  gradually  drained,  and  the  town- 
recovered  from  these  disasters.  The  walls  are  mediaval;  a  few  re- 
lics of  those  of  the  Etruscan  period  are  traceable  near  the  cathedral, 
outside  the  Porta  deUe  Torri,  A  walk  thence  round  the  town  to 
the  Porta  Bomana^  also  called  Porta  di  S.  PUtrOy  affords  pleasing 
views  of  the  S.  portion  of  the  Chiana  Valley,  Citti  della  Pieve,  the 
mountains  of  Cetona,  to  the  N.  the  lakes  of  Chiusi  and  Montepul- 
ciano,  and  the  latter  town  itself.  Under  the  town  extends  a  laby- 
rinth of  subterranean  passages,  the  precise  object  of  which  is  un- 
known (inaccessible) ;  but  they  probably  belonged  to  an  elaborate 
system  of  drainage,  as  the  ancient  Etruscans  excelled  in  works  of 
this  kind,  and  were  even  in  advance  of  many  modern  nations. 

The  interesting  Mubeo  Etbusoo,  founded  a  few  years  ago,  con- 
tains a  valuable  colleotion  of  objects  found  in  the  Etruscan  tombs 
around  Chiysi,  such  as  vases  (including  several  curious  polychrome 
urns),  dishes,  bronzes,  mirrors,  sarcophagi,  and  especially  cinerary 
urns,  chiefly  of  terracotta,  with  a  few. of  alabaster  and  travertine. 

The  Cathedral  of  8.  Mustiola  consists  almost  entirely  of  frag- 
ments of  ancient  buildings;  the  eighteen  columns  of  unequal 
thickness  in  the  interior,  and  the  tomb  of  S.  Mustiola  are  derived 
from  a  similar  source.  The  sacristy  contains  a  mass-book  illumin- 
ated with  admirable  miniatures  of  the  15th  cent.,  chiefly  by  ar- 
tists of  the  Sienese  school.  The  walls  of  the  arcades  in  the  cathedral 
square  bear  numerous  Etruscan  and  Roman  inscriptions. 

The  great  attraction  of  Chiusi  are  the  Etbubcak  Toicbs  (tickets 
of  admission  and  guide,  see  above),  situated  in  isolated  hills  at 
some  distance  from  the  town.  The  most  important  are  the  following  : 
to  the  N.E.  the  Deposito  del  Oranducay  3  M. ;  near  it,  the  ^Deposito 
della  Scimiaj  with  mural  paintings  representing  gladiatorial  com- 
bats. The  Deposito  del  Poggio  Gajelli,  which  is  supposed,  but  without 
authority,  to  be  the  Mausoleum  of  Porsenna  mentioned  by  Pliny  and 


to  Rime.  CITTA  DBLLA  PIEVE.  9.  Route.     61 

Vurro,  is  3  M.  distant  and  much  dilapidated.  To  the  N.W.,  the 
Depotito  deUe  Monachef  2  M. ;  then,  to  the  S.E.,  the  Lepotito  dd 
ColUf  with  muial  paintings,  1  M.  from  the  town. 

Near  8.  Calerma,  on  the  way  to  the  station,  are  small  cata^ 
comhs  of  the  early-Christian  period,  and  near  them  a  Roman  tomh. 

Aboat  31/3  M.  to  the  S.W.  of  Ghiusi  lies  the  little  town  of  Barteano 
(about  1970  ft),  abore  which  riaes  an  aneient  ca«tle.  The  VUia  Bargagli 
contains  a  collection  of  sarcophagi,  vases,  small  bronzes,  and  other  anti- 
quities found  in  the  neighbourhood,  to  which  admission  is  courteously  granted. 

A  diligence  runs  from  the  Ghiusi  station  in  1  hr.  to  the  (5  M.)  loftily 
situated  town  of  OiUi  della  Pieve  (1010  ft.)>  with  6000  inhab.,  the  birth- 
place of  IHttro  Vannucei  (1446-1524),  surnamed  P«r«j^»o  after  Perugia,  which 
was  the  chief  scene  of  his  labours  (comp.  p.  48).  The  town  possesses  sev- 
eral of  his  pictures,  but  they  are  workB  of  his  later  period,  hastily 
painted  and  chiefly  done  by  his  pupils,  as  the  master  apparently  deemed 
his  native  place  not  capable  of  appreciating  works  of  a  more  elaborate 
kind.  —  The  oratory  dei  DUeiplinaii^  or  8.  Maria  dei  Bianehi^  contains 
an  Adoration  of  the  Magi,  one  of  the  largest  pictures  by  Perugino;  two 
letters  of  the  artist  from  Perugia  (1504)  are  shown  with  regard  to  the 
price  of  this  fresco,  reducing  it  from  200  to  76  ducats.  —  In  the  Caihtdral 
(interior  modernised)  is  the  Baptism  of  Christ  (first  chapel  to  the  left), 
and  in  the  choir  a  Madonna  with  SS.  Peter,  Paul,  Gervasius,  and  Prota- 
sius,  1513.  The  picture  of  St.  Antony  with  St.  Paulus  Eremita  and  St. 
Marcellus,  now  (since  1860)  in  8.  Agostino^  belonged  originally  to  the  church 
of  8.  Antonio.  All  these  pictures  are  by  Perugino.  —  Outside  the  Orvieto 
gate  is  the  church  of  ^Sf.  Maria  dei  Bervi^  containing  remains  of  a  Cruci- 
fixion by  Perugino,  dating  from  1517. 

The  road  leading  from  Citta  della  Pieve  in  an  B.  direction  to  Perugia 
(31  M.)  was  formerly  much  frequented. 

About  7Va  M.  to  the  S.W.  of  Chiusi  (carriage  in  IV4  hr.),  and  at  the 
same  distance  to  the  W.  from  Cittk  della  Pieve,  lies  the  small  town  of 
Oetona,  commanded  by  a  medieeval  castle.  The  Palatzo  Terroti  contains 
a  small  collection  of  antiquities  found  in  the  neighbourhood  (visitors  gen- 
erally admitted  on  presenting  their  cards),  such  as  handsome  poly- 
chrome and  richly  gilded  urns*,  an  'Elephant's  tusk  with  archaic  reliefs 
from  the  Odyssey,  etc.  —  Picturesque  grounds  at  the  back  of  the  palace. 

The  Railway  descends  the  Ghiana  valley.  IO4Y2  M.  FiculU ; 
the  village,  2^2  M.  distant,  lies  on  a  hill  to  the  right.  Ill  M. 
AUerona,  Near  Orvieto  the  Ghiana  falls  into  the  Paglia,  a  turbul- 
ent tributary  of  the  Tiber,  which  causes  great  damage  in  rainy 
seasons.  The  rock  here  is  tertiary  sandstone,  while  at  Orvieto  the 
volcanic  district  begins ,  of  which  the  central  point  is  the  lake  of 
Bolsena  (p.  65). 

II8V2  M.  St9it..Orvieto  (440  ft.),  at  the  base  of  the  hill  oc- 
cupied by  the  town,  to  which  a  cable-tramway  (^Funieolare\  5min. : 
30  c.),  520  yds.  in  length ,  ascends  at  a  gradient  of  27 :  100,  pass- 
ing through  a  tunnel  under  the  Fortezza. 


Orvieto.  —  Qband  Hotel  dbllb  Bblle  Abti  (Palazzo  Bisenzi),  Corso 
Cavour,  well  spoken  of-,  B.  from  3,  D.  5,  d^j.  3,  B.  11/2%  L*  ^  A.  IVs)  omn* 
ly*  fr.  —  Alb.  dItalla,  near  the  Piazza  del  Popolo,  fair;  Aqdila  Bianga, 
Via  Garibaldi,  behind  the  Palazzo  Comunale ,  unpretending ,  E.  2  fr.  — 
*Locanda  VaUntini^  Via  8.  Andrea  17,  unpretending.  —  Caffi  Benedetti, 
Piazza  Vittorio  Emanuele. 

The  Wine  of  Orvieto  is  esteemed  both  here  and  at  Rome. 

Photograph*  of  SignoreUi's  frescoes  sold  by  Armoni,  near  the  Cathedrr 


62  Bouie9. 


ORVIETO. 


From  Florence 


Omcto  (1165  ft.;  SOOOinliab.;  whole  parish  16,000),  a  smaU 
town  and  episcopal  residence ,  on  an  isolated  tufa  rock,  the  Urbi- 
bentum  of  Procopius ,  was  oalled  Urba  Vetut  in  the  8th  cent. ,  and 
thence  derives  its  modern  name.  In  the  middle  ages  it  was  a  great 
stronghold  of  the  Gaelphs,  and  often  afforded  refuge  to  the  popes. 


From  the  E.  entrance  to  the  town ,  where  the  terminus  of  the 
cable-tramway  is  situated,  near  the  old  castle  mentioned  helow, 
runs  the  Corao,  the  principal  street  of  Orvieto.  Two  mediaval  towers 
rise  in  this  street ;  opposite  the  first  of  these  is  the  Via  del  Duomo, 
which  leads  us  straight  to  the  Piazza  S.  Maria  with  the  far-famed  — 

**Cathedral  (PI.  1),  a  magnificent  example  of  the  Italian  Gothic 
style,  and  one  of  the  most  interesting  buildings  in  Italy,  founded  in 
consequence  of  the  *Miracle  of  Bolsena'  (comp.  p,  66).  The  first  stone 
was  solemnly  laid  by  Pope  Nicholas  IV.  on  13th  Nov.  1290,  and  the 
edifice  begun  under  the  supervision  and  according  to  the  plans  of 
Lorenzo  Maitani  of  Siena.  The  work  progressed  so  rapidly  that 
in  1309  Bishop  Guido  di  Farnese  was  able  to  read  the  first  mass  in 
the  church.  It  consists  of  a  nave  and  aisles,  with  transept  and 
rectangular  choir.  It  is  114^2  yds.  long  and  36  yds.  wide,  and  like 
the  cathedrals  of  Florence  and  Siena  is  constructed  of  alternate 
courses  of  black  and  white  marble.  This  cathedral ,  like  those  in 
other  towns,  once  constituted  a  great  arena  for  the  display  of  artistic 
^kill.  The  guardians  of  the  building  were  unwearied  in  providing 
'  its  ornamentation ,  and  like  the  curators  of  modem  museums 


to  Rome.  ORVIETO.  9,  Route.  63 

who  are  zealous  in  their  endeavours  to  secure  works  by  the  best 
artists,  they  did  all  in  their  power  to  obtain  the  services  of  the  first 
masters  of  the  day  for  the  embellishment  of  their  church. 

The  ♦*Fa9Adb  (1310-30) ,  with  its  three  gables,  44  yds.  wide 
and  160  ft.  high ,  is  gorgeously  enriched  with  sculptures  and  mo- 
saics, and  is  probably  the  largest  and  most  gorgeous  'polychrome* 
monument  in  existence. 

The  excellent  *Ba8-Bslikfb  on  the  lower  parts  of  the  pillars,  which  in 
many  respects  are  characteristic  of  the  transitional  style  preceding  the 
Renaissance,  represent  scenes  from  the  Old  and  Kew  Testvnent:  Ist  pillar 
to  the  left,  from  the  Creation  down  to  Tubal  Gain*,  2nd,  Ahraham,  ge- 
nealogy of  the  Virgin  \  3rd.  History  of  Christ  and  Mary ;  4th,  Last  Judgment 
with  Paradise  and  Hell ;  aoove  are  the  bronze  emblems  of  the  Evangelists , 
by  Lor.  Maitani.  Above  the  principal  portal,  a  Madonna  under  a  canopy, 
in  marble,  by  Andrea  Pisano.  On  the  margin  of  the  large  square  panel, 
in  the  centre  of  which  is  a  rose-window,  are  small  marble  statues  ot 
prophets,  and  above,  of  the  Apostles,  executed  by  Sienese  sculptors. 

Above  the  doors  and  in  the  three  pointed  gables  are  *Mosaig8  on 
a  golden  groxmd,  of  various  periods  (14-19th  cent.):  Annunciation,  Nup- 
tials of  the  Virgin,  Baptism  of  Christ,  Coronation  of  the  Madonna;  the 
latter,  the  principal  picture,  is  the  highest. 

Tne  *Interior  is  at  present  undergoing  restoration,  and,  except  to  the 
Cappella  Nuova  (see  below) ,  admission  is  oiily  granted  by  leave  of  the 
superintending  engineer  (Pal.  de'  Papi,  to  the  S.  of  the  Cathedral;  p.  64). 
It  is  constructed ,  like  that  of  the  Siena  cathedral,  of  alternate  layers  of 
dark  and  light  stone  (black  basalt  and  greyish  -  yellow  limestone  from  the 
vicinity).  On  each  side  four  columns  and  two  pillars  separate  the  nave, 
which  is  131  ft.  in  height,  from  the  lower  aisles.  Above  the  round- 
arched  arcades  is  a  gallery  adorned  with  rich  carving.  The  windows  are 
pointed,  and  the  upper  parts  filled  with  stained  glass.  The  visible  frame- 
work 01  the  roof  was  formerly  richly  ornamented. 

At  the  sides  of  the  principal  entrance,  .to  the  right,  St.  Sebastian  by 
Scalza^  to  the  left,  St.  Bocco.  In  the  Left  Aisle,  Madonna  and  St.  Ca- 
tharine, a  fresco  by  Oentile  da  Fahriano.  Before  this  stands  a  marble  "^Font, 
the  lower  part  by  Luca  di  Giovanni  (1390),  the  upper  by  Sano  di  MatUo 
ii^ffl}.  —  In  the  Navb,  to  the  right,  a  fine  marble  holy  water  basin  in 
the  Benaissance  style;  in  front  of  the  columns,  statues  of  the  Apostles,  by 
MoMCOy  Scalzay  Totij  Oiov.  da  Bologna^  and  other  masters.  —  In  the  Chois, 
frescoes  from  the  life  of  the  Virgin  by  Ugolino  d'llario  and  Fietro  di 
Puedo.  By  the  high-altar  the  Annunziata  and  Archangel,  by  Mocehi^  one 
on  each  side.  The  beautifully  inlaid  stalls  in  the  choir  are  by  artists 
of  Siena,  of  the  14-15th  cent.;  on  each  side  is  an  altar  with  reliefs  in 
marble:  on  the  left,  Visitation  of  Mary,  executed  by  Jfosehino  when  15  years 
of  age,  from  designs  by  8ammieheli\  to  the  right.  Adoration  of  the  Magi, 
by  Motea. 

Right  Transept.  The  "^^Cappella  Kuova,  containing  a  miraculous  image 
of  the  Virgin  (Madonna  di  S.  Brizio)^  may  be  entered  from  the  back  at 
any  time  by  passing  round  the  cathedral  to  the  left.  This  chapel  occupies 
an  important  page  in  the  annals  of  Italian  art.  Don  Francesco  di  Barone, 
the  superintendent  of  the  cathedral-mosaics,  having  heard  tiiat  the  ^famous 
painter  and  monk'  I^a  Angelico  da  Fiesole  was  not  engaged  during  the  summer 
in  Bome  (p.  299),  invited  him  to  Orvieto,  and  secured  his  services  for  the 
decoration  of  the  chapel.  In  1447  Fra  Angelico  accordingly  worked  here, 
but  for  three  months  only,  during  which  time  he  executed  two  panels  of 
the  vaulting  above  the  altar,  representing  Christ  in  the  glory  as  Judge,  and 
saints  and  prophets  to  the  right.  Nothing  more  was  done  till  1499,  when 
the  work  was  continued  and  completed  by  Luca  Bignorelli,  These  **Mural 
Paintings  are  the  chief  attraction  here.  The  first  fresco  to  the  left  of 
the  entrance  shows  the  overthrow  of  Antichrist,  who  is  represented  in 
the  foreground,  preaching ;  the  two  devout  figures,  in  the  comer  to  tUQ 


64   RouU  9.  ORVIETO.  From  Florence 

left,  are  said  to  be  portraits  of  Signorelli  and  Fra  Angelico.  The  wall  on 
the  side  by  which  we  enter  has  been  skilfully  covered  with  represen- 
iations  of  (left)  the  Last  Judgment,  and  (right)  the  Fall  of  the  Condemned. 
—  Next  in  order  are  the  Besurrection  of  the  Dead  and  the  Punishment 
of  the  €k>ndemned}  then,  on  the  wall  of  the  altar,  (right)  Descent  into 
Hell,  and  (iefi)  Ascent  into  Heaven,  and  lastly,  adjoining  the  first  picture, 
Paradise.  —  Below  these  pictures  runs  a  series  of  scenes  from  Dante^s  Divine 
Comedy,  and  mythological  subjects.  On  the  ceiling:  Apostles,  ^signa  judi- 
cium  indicantia',  patriarchs  and  doctors,  virgins  and  martyrs.  —  These 
paintings  are  the  most  important  work  produced  during  the  15th  century.  In 
the  mastery  of  form,  in  the  boldness  of  motion  and  of  foreshortening,  and 
in  the  acquaintance  with  the  nude,  Signorelli  is  by  no  means  unworthy 
of  comparison  -wiih  Michael  Angelo,  who,  according  to  Vasari,  borrowed 
several  motives  from  these  works  for  his  Last  Judgment  in  the  Sixtine 
Chapel.  —  Siffnorelli  also  completed  the  decoration  of  the  vaulting,  and 
painted  the  ^Entombment  in  the  niche  behind  the  Pieta  of  Scalza  (1572). 

Opposite,  in  the  Le/t  Transept,  is  the  Cappklla  dbl  Cospqiialjb,  where, 
behind  the  principal  altar ,  is  a  canopy  of  marble  mosaic,  containing  a 
silver  reliquary,  in  which  is  preserved  the  blood-stained  chalice-cloth 
(corporale)  connected  with  the  Miracle  of  Bolsena  (p.  66).  The  reliquary, 
executed  by  Ugolino  di  Vieri  of  Siena  in  1338,  and  resembling  in  form  the 
facade  of  the  cathedral,  is  about  41/2  ft.  broad,  2  ft.  high,  and  440  lbs.  in 
weight.  The  Passion  and  the  'Miracle'  are  represented  on  it  in  brilliant 
enamel;  it  is  exhibited  to  the  public  on  Corpus  Christi  and  on  Easter 
Day ,  but  at  other  times  it  is  shown  only  by  permission  of  the  Sindaco. 
Modernised  frescoes  of  the  ^Miracle  of  Bolsena'  by  Ugolino.  Over  the  altar 
on  the  left,  a  Madonna  by  lAppo  Memtni. 

Opposite  the  cathedral  are  Corbie  Faina'a  private  collection  of 
Etrascaii  antiquities,  and,  to  the  right ,  the  *Opb&a  del  Duomo 
(PI.  2) ,  containing  the  Museo  Municipale.  Tickets  are  obtained 
at  Aimoni's  photograph -shop  (p.  61),  at  the  corner  of  the  Piazza 
S.  Maria  and  the  Via  del  Duomo. 

Gboumd  Floob.  Room  I,  Weapons,  bronzes,  pottery,  etc.,  from  the 
Etruscan  Necropolis  (p.  65).  Plan  of  the  excavations.  (The  formation  of 
an  Etruscan  Museum  in  the  Palazzo  del  Capitano,  in  the  Piazza  del  Popolo, 
is  contemplated.)  —  Room  II,  Architectural  ornaments  in  terracotta,  from 
a  Roman  temple,  the  remains  of  which  were  discovered  in  a  new  street 
near  the  Oiardino  Pubblico.    Reconstruction  of  an  Etruscan  tomb. 

The  F1B8T  Floob  contains  mediseval  works  of  art  belonging  to  the 
Opera  del  Duomo.  Designs  on  parchment  for  the  facade  of  the  cathedral, 
and  for  a  pulpit,  which  was  never  completed-,  a  beautifully  carved  and 
inlaid  reading-desk;  a  precious  *  Reliquary  by  Ugolino  di  Vieri  and  Viva 
da  Siena ;  vestments  •,  two  statues  representing  the  Annunciation,  by  Fried-- 
rich  of  Freiburg  (14th  cent.);  two  snecimen  frescoes  by  Signorelli,  represent- 
ing himself  and  a  certain  Niccolo  Franceschi;  a  *Madonna,  a  statue  by 
Oiov.  Pisano,  partly  coloured,  etc. 

Adjoining  the  cathedral  on  the  right,  behind,  are  the  Palazzo 
Vescovile  (12- 13th  cent.),  and  more  in  front  the  Palazzo  dei  Papiy 
or  Palazzo  Soliano,  founded  by  Pope  Boniface  VIII.  in  1294,  with 
a  large  meeting-hall.  —  In  the  street  behind  the  latter  is  the  Pa- 
lazzo  Marsciano  ('degli  Uffizi  goyemativi')*  hy  Ant  da  SangaUo. 

The  Via  del  Duomo  leads  to  the  N.W.  from  the  cathedral  to 
(8  min.)  the  Piazza  del  Mercato,  with  the  Pal.  del  Popolo  or  del  Ca- 
pitano,  the  rear  of  which  is  interesting  (12-13th  cent.).  —  S,  Oio- 
venaU(P],  5),  at  the  N.W.  angle  of  the  town,  is  an  11th  cent,  church, 
with  early-Gothic  choir,  altar  of  1170,  and  fragments  of  old  ftescoes 
(1312,  1399). 


to  Rome,  ORVIETO.  9.  Route.   65 

The  Oorso  leads  to  tlie  Piazza  Maggiore,  nowVittonoEmanuele, 
witli  the  Palazto  del  Comune  (PI.  4),  dating  from  the  12th  cent. ,  the 
still  nnflnished  facade  of  which  was  renewed  by  SeaUa  in  1585.  — 
Adjacent  is  the  church  of  8.  Andrea  (PI.  3),  with  a  twelve-sided 
towei  of  the  11th  cent  and  a  restored  facade.  In  the  interior  are 
paintings  of  the  14th  and  15th  cent.,  and  a  late-Gothic  pnlpit,  the 
ornamentation  on  the  back  of  which  dates  ftom  the  9th  century. 

In  the  S.  transept  of  8.  Domenieo  (PI.  6J  is  the  monument  of 
Cardinal  de  Braye,  by  Amolfo  di  Cambio  (1282) ;  the  crypt  was 
built  by  8ammicheli, 

The  Fortress,  constructed  by  Cardinal  Albornoz  in  1364,  and  sit- 
uated at  the  N.E.  entrance  of  the  town  (p.  62),  has  been  conyerted 
into  a  garden  with  an  amphitheatre  for  public  performances.  Fine 
view  of  the  valley  of  the  Tiber  and  the  Umbrian  mountains.  —  The 
custodian  of  the  garden  keeps  the  key  of  the  famous  adjacent 
well,  II  Pozzo  di  8.  Patrizio,  which  was  begun  by  8angallo  in  1527, 
and  completed  by  Mosca  in  1540.  It  is  partly  hewn  in  the  tufa  rock, 
partly  built  of  masonry,  and  is  203  ft.  deep,  and  43  ft.  wide.  Two 
separate  spiral  staircases  wind  round  the  shaft ;  the  traveller  may 
descend  by  one,  and  ascend  by  the  other  (fee  V2-I  fr-D* 

On  the  N.W.  slope  of  the  hill  on  which  the  town  stands,  below 
the  ancient  town-wall,  an  extensive  *Etni8can  Hecropolis  has  re- 
cently been  discovered  (most  conveniently  visited  on  the  way  back 
to  the  station,  about  halfway,  a  digression  of  less  than  200  paces; 
comp.  Plan,  p.  63).  The  tombs,  which  are  arranged  in  groups  and 
rows,  date  chiefly  from  the  5th  cent.  B.  C,  and  some  of  them  were 
found  intact.  Their  fa^des,  as  elsewhere,  are  constructed  of  three 
large  stones,  two  of  which,  placed  nearly  upright,  are  roofed  by  the 
third.  Adjoining  the  entrance  is  Inscribed  the  name  of  the  deceas- 
ed in  the  ancient  Etruscan  character.  The  inner  chamber  is  square 
in  form,  and  covered  with  the  primitive  kind  of  vaulting  in  which 
the  stones  are  laid  horizontally,  each  overlapping  the  one  below  it. 
The  tombs  contained  many  painted  vases,  of  Greek,  and  particu- 
larly of  Corinthian  and  Attic  workmanship,  and  articles  of  native 
manufacture,  the  most  important  being  black  terracotta  vases  with 
patterns  Impressed  on  them  (now  in  the  Opera  del  Duomo,  p.  64). 
—  Since  1863  a  number  of  similar  tombs  have  been  discovered 
2V2  M.  to  the  S.W.  of  Orvieto ,  near  a  suppressed  Capuchin  mon- 
astery (comp.  Plan).  Two  of  these  contain  paintings.  The  route 
to  them  is  rough.  The  custodian  must  be  enquired  for  in  the 
town.  —  About  11/2  M.  beyond  the  Porta  Romana  is  La  Badia,  the 
ruined  abbey-church  of  San  Severe,  dating  from  the  11th  century. 

On  the  lake  of  Bolsena,  12  M.  to  the  W.  of  Orvieto,  is  the  little 
town  of  Bolsena  {Hotel  in  the  Piazza),  with  3000  inhab.,  situated 
below  the  site  of  the  Roman  Volsiniij  the  birthplace  of  Sejanus,  the 
favourite  of  Tiberius.  It  was  one  of  the  twelve  capitals  of  the  Etruscan 
League,  and  after  various  vicissitudes  was  at  length  conquered  an* 

Baedeker.    Italy  II.    10th  Edition.  5 


66    BouU9.  LAKE  OF  BOLSENA.        From  Florence 

destroyed  by  the  Romans.  The  spoil  is  said  to  have  included  2000 
statues.  Its  wealth  has  been  proved  by  the  discovery,  in  the  vicinity, 
of  numerous  vases,  trinkets,  and  statues.  The  present  town  contains 
Inscriptions,  columns,  and  sculptures  of  the  Roman  municipium 
which  replaced  the  Etruscan  city.  The  ancient  site  is  reached  in 
a  few  minutes  by  an  antique  causeway  of  basalt.  Among  the  ruins 
is  an  amphitheatre,  worthy  of  special  attention,  now  converted  into 
a  vegetable-garden.    Beautiful  views  of  the  lake. 

The  church  of  8.  Cristina  was  founded  in  the  11th  cent,  and 
embellished  with  its  fine  Renaissance  facade  by  Cardinal  Glov. 
Medici,  afterwards  Pope  Leo  X.,  in  1503.  Above  the  doors  are  two 
terracotta  reliefs  by  Andrea  deUa  Bobbia, 

Interior.  To  the  right  of  the  choir  is  a  hast  of  S.  Lncia,  of  the 
school  of  the  Robbia^  heneath  a  wooden  cmciflz  of  the  14th  century.  A 
portal  in  the  left  aisle  dates  from  the  11th  cent.;  the  reliet  represents 
the  Five  Wise  Virgins  and  the  Adoration  of  the  MagL  Beneath  the 
church,  in  the  space  before  the  entrance  to  the  Oataeomib*^  stands  a  terra- 
cotta altar,  of  the  school  of  the  Bobbia-y  to  the  right,  above  the  stone 
with  which  St.  Christina  was  drowned,  is  the  Aitar  del  Miracolo  (see  be- 
low), beneath  a  canopy  of  the  8th  century.  Adjacent  is  the  Tirnib  of  the 
Sainty  below  a  modern  canopy.  The  church  also  contains  a  small  Mtueum, 
with  inscriptions  and  glass  vessels  from  the  catacombs,  Lombard  anti- 
quities ,  and  a  terracotta  *Statue  of  St.  Christina,  dating  fi-om  the  be- 
ginning of  the  16th  century. 

The  ^Miracle  of  BoUena\  the  subject  of  a  celebrated  picture  by  i2apfta«I 
in  the  Vatican,  occurred  in  1263.  A  Bohemian  priest ,  who  was  somewhat 
sceptical  as  to  the  doctrine  of  transubstantiation ,  was  convinced  of  its 
truth  by  the  miraculous  appearance  of  drops  of  blood  on  the  host  which  he 
had  just  consecrated.  In  commemoration  of  this.  Pope  Urban  IV.  in- 
stituted the  festival  of  Corpus  Domini  in  1264  and  ordered  the  erection 
of  the  superb  cathedral  of  Orvieto  (p.  62). 

The  Mustum  Comunale,  in  the  Piazza,  contains  a  Roman  sarco- 
phagus, with  the  triumph  of  Bacchus. 

The  LakeofBolsena,  the  ancient  Locus  VultinimsiSy  995  ft.  above  the 
sea-level,  a  circular  sheet  of  water,  28  M.  in  circumference,  is  the  vast 
crater  of  an  extinct  volcano,  which  formed  the  central  point  of  a  wide 
sphere  of  volcanic  agency,  extending  m  far  as  Orvieto.  The  lake 
abounds  in  fish  (its  eels  are  mentioned  by  Dante,  Purg.  xxiv,  24) ;  but  the 
banks,  especially  on  the  W.  side,  are  bleak  and  deserted,  owing  to  the 
malaria  confined  in  the  basin  of  the  lake,  which  is  not  easily  dispelled 
by  the  wind.  The  monotony  of  the  surface  is  relieved  by  the  two  pic- 
turesque islands  of  Biseniina  and  the  rocky  Afartana.  On  the  latter 
Amalasuntha,  Queen  of  the  Goths,  the  only  daughter  of  Theodoric  the 
Great,  was  imprisoned  in  534,  and  afterwards  strangled  whilst  bathing, 
by  order  of  her  cousin  Theodatus.  whom  she  had  elevated  to  the  rank 
of  co-regent.  The  church  in  the  island  of  Bisentina  wa«  erected  by  the 
Farnese  family  and  embellished  by  the  Carracci.  It  contains  the  relics 
of  St.  Cniristina,  a  native  of  Bolsena. 

From  Bolsena  the  road  ascends  towards  the  8.  on  the  bank  of  the 
lake,  through  woods,  to  (7  M.^  MonUi/iMeone  (p.  69). 

The  Railway  fbom  Obyieto  to  Obtb  and  Rome  now  traverses 
the  wooded  valley  of  the  Tiber,  the  broad,  stony  bed  of  which  bears 
traces  of  numerous  inundations.  To  the  left  lies  BaschL  125i/2  M. 
Castiglione  Teverinoi  the  river  is  crossed.  135  M.  Attigliano  (junction 
for  Viterbo,  p.  69);  138 V2  M.  Bassano  Teverino,  on  a  hill  to  the  right. 


to  Rome.  ORTE.  9.  BouU.     67 

The  small  Lake  of  Battano,  formerly  Laeut  YadimMiSj  now  maeh  di- 
minished in  extent,  is  famoos  in  ancient  history  as  the  scene  of  the  great 
victories  of  the  Romans  over  the  Etruscans,  B.C.  909  and  283.  Pliny  the 
Younger  r£p.  viii.  20)  has  described  the  lake  with  its  'floaUng  islands'. 
—  About  3  H .  farther  to  the  W.  is  Bomarto ,  picturesquely  situated  on  a 
precipitous  rock,  near  the  ancient  PcUmartium^  where  extensive  exca- 
vations have  been  made. 

The  train  passes  through  seyeral  toniiels  ,  and  afterwards  skirts 
the  right  bank  of  the  Tiber,  till  it  approaches  Orte,  which  becomes 
visible  on  the  height  to  the  left.  It  then  traverses  a  longer  tunnel 
and  reaches  the  station  of  Orte ,  where  the  railway  from  Foligno 
(Perugia  and  Ancona ;  R.  11)  unites  with  the  main  line. 

144  M.  Orte  r*£att.  i^estourant;,  loftily  situated  about  2  M.  to 
the  N.,  the  ancient  Horta^  presents  no  object  of  interest  beyond  its 
situation.  —  The  train  descends  the  valley  of  the  Tiber  on  the  right 
bank,  affording  pleasant  glimpses  of  both  banks.  The  lofty  and  indent- 
ed  ridge  ot Mount  Soracte  (p.  68)  becomes  visible,  at  first  to  the  left, 
then  to  the  right.  To  the  left,  on  the  other  side  of  the  river,  lie  8. 
Vito  and  OtricoUj  the  latter  a  small  place  6  M.  distant  from  Orte, 
near  the  site  of  the  ancient  Otriculum ,  where  numerous  antiqui- 
ties, including  the  celebrated  Bust  of  Jupiter  in  the  Vatican  (p.  306), 
have  been  excavated.  —  149^/2  M.  QaUese,  Farther  on,  high  above 
the  left  bank,  is  the  small  town  of  Magliano, 

152  M.  BorghettOy  with  a  ruined  castle  on  the  height  to  the 
right.  The  Tiber  is  crossed  by  the  handsome  Ponte  FelicCj  construct- 
ed by  Augustus,  and  restored  in  1589  by  SixtusV.,  over  which  most 
of  the  traffic  between  Rome  and  the  N.E.  provinces  formerly  passed. 

About  5  M.  to  the  S.W.  of  Borghetto  (carriages  at  the  station)  lies 
CiTitik  Castellana  (Alb.  Natalucci,  good  table),  picturesquely  situ- 
ated 600  ft.  above  the  sea,  near  the  site  of  Faleriij  the  town  of  the 
Falisciy  which  was  captured  by  Camillus  in  B.C.  396.  A  lofty  bridge, 
erected  in  1712,  and  recently  restored  after  having  been  damaged 
by  an  earthquake,  carries  the  road  into  the  town  across  a  ravine, 
120  ft.  in  depth.  The  Cathedral  of  8,  Maria,  rebuilt  in  the  16th 
cent,  retains  a  handsome  portico  erected  in  1210  by  Jacobus  So- 
manu8  and  his  son  Cosrrma ;  the  bust  in  mosaic  of  Christ  over  the 
door  to  the  right  is  by  Jacobus.  The  choir-screens  also  date  from 
the  13th  century.  A  flight  of  steps  leads  from  the  high-altar  to  a 
chapel  on  the  left  with  two  tablets  of  rich  Cosmato  work.  Some  of 
the  columns  in  the  crypt  are  ancient.  —  The  Citadel^  erected  by 
Alexander  VI.  in  1500  from  a  design  by  8angaUo,  was  enlarged 
by  Julius  II.  and  Leo  X.  The  deep  ravines  by  which  the  town  is 
enclosed  testify  to  vast  volcanic  convulsions.  They  contain  a  few 
fragments  of  ancient  walls  and  numerous  Etruscan  tombs  hewn  in 
the  rock,  especially  near  the  citadel. 

Interesting  excursion  to  the  ruins  of  Palerii  (pronounced  FAUeri),  3  M. 
distant.  Near  the  citadel  ihePontedel  Terreno  is  crossed  to  the  left,  where  tombs 
honeycomb  the  rocks  on  all  sides ,  this  being  the  more  direct  route  to  Fa- 
leHum  Novum  or  Cokmia  Junonia,  founded  by  the  Romans  about  2«),  •it«»*e* 
in  the  plain,  3  M.  to  the  N.  of  Civlti  CasteUana.   Etruscan  and  Boman  tomw 

5* 


68    Route  9,  SORAOTE. 

are  here  seen  side  by  side.  The  town  was  nearly  in  the  form  of  a  triangle, 
li/s  M.  in  circnmference )  the  well-preserved  walls  are  protected  by  strong 
square  towers  and  penetrated  by  gates ,  one  of  which  on  the  W.  (Porta  di 
Oiove)  U  still  in  good  condition.  Another  gate  towards  the  S.  E.,  the  Porta  del 
Bove,  is  also  worthy  of  a  visit  •,  near  it  are  the  theatre  (of  Roman  construction), 
the  piscina,  and  what  is  regarded  as  the  forum,  at  the  back  of  the  theatre. 
—  At  the  Porta  di  Giove,  within  the  walls,  is  the  *Ahbadia  di  S.  Maria, 
of  the  12th  century.  In  the  nave,  antique  columns*,  in  1829  the  roof  fell 
in,  but  the  damage  has  been  repaired.  The  adjoining  building  contains 
inscriptions,  statues ,  etc. ,  the  result  of  excavations  made  here.  An  am- 
phitheatre has  also  been  recently  discovered. 

Givitii  Castellana  is  the  best  starting-point  for  .the  Soracte;  there  and 
back  about  7  hrs.  A  good  road  (one-horse  carriage  6-8  fr. ;  about  2  hrs.) 
leads  to  J3.  Orestes  formerly  called  8.  Reit(i)o  and  in  the  10th  cent.  S,  EdistiOy 
a  village  about  V2  ^i"-  from  the  summit. 

*Soraote,  mentioned  by  Horace  (Oarm.  i.  9:  Vides  ut  alta  stet  niffe 
candidum  Soracte)  and  Virgil  (^n.  xi,  785:  Summe  deum  sancti  custos  <9o- 
ractis  Apollo),  is  a  limestone-ridge,  descending  precipitously  on  both  sides, 
extending  3-4  M.  from  N.W.  to  S.  B.,  and  culminating  in  several  peaks 
of  different  heights.  On  the  central  and  highest  summit  (2260  ft.)  stands 
the  church  of  8.  Bilvestro.  On  the  slope  which  gradually  descends  towards 
the  S.  E.  is  situated  the  village  of  8.  Oreste.  Leaving  the  miserable 
village  to  the  right,  the  path  ascends  gradually  to  the  left,  and  in  i/t  hr. 
reaches  the  monastery  of  8.  8ilvestro  (2120  ft.),  founded  in  746  by  Carlo- 
man,  son  of  Charles  Martel  and  brother  of  Pepin.  The  summit,  with  the 
church  and  a  small  disused  monastery,  may  now  be  reached  in  a  few 
minutes.  In  ancient  times  a  celebrated  Temple  of  Apollo  occupied  this 
site.  The  view,  uninterrupted  in  every  direction,  embraces  several  snow- 
clad  peaks  of  the  Central  Apennines,  the  Volscian  and  Alban  Mts.,  the  sea 
(to  the  W.),  and  the  Ciminian  Forest  (to  the  N.).  —  We  may  descend  from 
S.  Oreste  to  8iitnigliano  (see  below)  in  about  2>/2  hrs.  (mule  6  fr.) 

The  Borghetto  and  Civit^  Castellana  road  next  leads  to  (7V8  M.)  Nepi 
(p.  74).    Halfway  a  track  diverges  on  the  right  to  Caprarola  (p.  73). 

Beyond  Borghetto,  to  the  right,  CivltJii  Castellana  (p.  67)  be- 
comes visible  for  a  short  time.  The  train  crosses  to  the  left  bank  of 
the  Tiber.  160^2  M.  8Umigliano,&nAiQ6'M..  Poggio  Mirteto,  both  sit- 
uated in  the  mountainous  district  of  the  Sabina,  where  olive-trees 
abound.  172  M.  Passo  di  Correse,  The  name  is  a  corruption  of  CureSj 
the  ancient  Sabine  town,  where  Numa  Pompilius  was  born,  the  ruins 
of  which  are  in  the  vicinity. 

The  line  follows  the  left  bank  of  the  Tiber  to  (180  M.)  Monte 
Rotondo.  The  village,  to  the  left,  2  M.  higher  (fine  view  of  the 
Sabine  Mts.),  has  an  old  castle  of  the  Orsini,  now  belonging  to  the 
Piombino  family.  It  was  stormed  by  Garibaldi  on  26th  Oct.,  1867. 
About  1  M.  to  the  S.E.  is  Mentana  (p.  343),  where  he  was  defeated 
on  3rd  Nov.  by  the  Papal  and  French  troops,  and  forced  to  retreat. 

From  Monte  Rotondo  to  Rome,  a  journey  of  3/^  hr.,  the  line 
follows  the  direction  of  the  ancient  ViaSalara.  At(186i/2M.)  Castel 
OiubiUo  (p.  341)  we  catch  our  first  glimpse  of  the  dome  of  St. 
Peter^s  at  Rome,  which  vanishes  again  as  we  approach  the  Anio 
(p.  341).  To  the  left  are  the  Sabine  and  Alban  mountains;  then 
Rome  again,  with  the  dome  of  St.  Peter,  becomes  visible  to  the  right. 
A  wide  circuit  round  the  city  is  described,  and  near  the  Porta  Magglore 
fv.  180)  the  so-called  temple  of  Minerva  Medica  (p.  180)  is  passed. 

195  M.  Romcy  see  p.  111. 


69 

10.  From  Attigliano  to  Vlterbo. 

The  Etrngcan  Towns  in  the  neighbonrliood  of  Viterbo. 

Fbom  AmaLiANO  to  Vitbbbo,  25  H.,  railway  in  IVi-^Vs  l^r*  (fares  4  fr. 
55,  3  fr.  20,  2  fr.  5  c). 

Attigliano  J  see  p.  66.  —  The  train  crosses  the  Tiber,  passes 
(31/2  M.)  Sipiniano  and  (IOV2  M.)  Qrotte  S.  StefanOj  and  reaches  — 

I672  M.  MontefiMcone.  The  station,  at  which  omnibuses  and 
carriages  meet  the  trains,  lies  on  the  Viterbo  road,  nearly  3M.  from 
the  high-lying  town.  Shortly  before  we  reach  the  latter,  we  pass 
*8.  FlavianOy  a  church  of  1030,  restored  by  Urban  IV.  in  1262, 
in  the  Gothic  and  circnlar  styles  combined.  The  subterranean  chapel 
contains  the  tomb  of  the  Canon  Johannes  Fugger  of  Augsburg,  with 
the  inscription  — 

E$ty  Est,  Est.    Propter  mmium  est^ 
Johannes  de  Fkte.,  D.  meuSy  mortuus  est. 

It  is  recorded  of  this  ecclesiastic,  that,  when  travelling,  he  directed  his 
valet  to  precede  him  and  to  inscribe  the  word  ^Est"  On  the  doors  of  the 
hostelries  where  the  best  wine  was  to  be  had.  On  the  door  of  the  inn  at 
Monteflascone  ('bottle  mountain')  the  'Est'  was  written  three  times,  and 
the  good  canon  relished  the  wine  here  so  highly  that  he  never  got  any 
farther.  The  best  muscatel  of  the  district  is  still  known  as  Est  Est  (1  fr. 
per  'flaschetto''). 

The  little  town  (2010  ft. ;  Albergo  Oaribaldiy  new),  with  7500 
inhab. ,  commands  a  magnificent  view :  N.  the  lake  of  Bolsena  as  far 
as  the  chain  of  M.  Amiata,  E.  the  Umbrian  Apennines,  S.  as  far 
as  the  Glminian  Forest,  W.  as  far  as  the  sea.  The  extensive 
plain  of  ancient  Etruria  with  its  numerous  villages  may  be  sur- 
veyed from  this  point ;  and  it  has  therefore  been  reasonably  con* 
jectured  that  the  celebrated  Fanum  Voltumnaej  the  most  sacred 
shrine  of  the  Etruscans,  once  stood  here.  The  uncompleted  Cathe- 
dral of  8.  Margareta,  with  an  octagonal  dome,  was  one  of  the  earliest 
works  of  Sammicheli. 

To  (71/s  H.)  BolseiMy  see  pp.  66,  66.  The  direct  road  to  Orvieto  does 
not  touch  Bolsena,  but  remains  on  the  height  to  the  E.  A  branch  to  the 
right  leads  to  (3  H.)  Bagnorea  (the  ancient  Balneum  Regis),  picturesquely 
situated  on  a  hill  surrounded  by  ravines,  and  interesting  to  geologists. 

The  railway  to  Viterbo  runs  to  the  S.  through  a  bleak  and  un- 
attractive plain.  Midway  between  Monteflascone  and  Viterbo,  8/4 M. 
to  the  £.  of  the  high-road,  near  the  Casale  del  FontanUe,  are 
the  ruins  of  Ferento,  the  Etruscan  FererUinuniy  birthplace  of  the 
Emperor  Otho.  In  the  11th  cent,  it  was  destroyed  by  the  inhabi- 
tants of  Viterbo  on  account  of  Its  heretical  tendencies,  for  the  Feren- 
tines  represented  the  Saviour  on  the  cross  with  open  eyes ,  Instead 
of  closed,  as  was  thought  more  orthodox.  Such  at  least  is  the  account 
of  the  chroniclers.  Among  the  extensive  mediaeval ,  Roman ,  and 
Etruscan  remains,  a  Theatre  of  peculiar  and  primitive  construction, 
with  later  additions ,  deserves  notice.  To  the  W.  of  the  high-road 
lies  part  of  the  ancient  Via  Cassia. 

25  M.  Viterbo.  —  Station  to  the  N.  of  the  town,  outside  the  Porta 
Fiorentina.  „    .        ^w  #■. 

Hotels.    Albbboo  Grahdoet,  at  the  Porta  Fiorentina,  R.  from  1V«  f" 


70    Route  10.  VITERBO.  From  Attigliano 

alao  reatanrant  and  ea£6\  Anoblo  (tolerable,  B.  IVs  tr.),  Tbb  Be,  both  in 
ikd  Piazsa;  a^acent.  Albbbgo  &  Tbattobia  Sohbmabdi;  Albbboo  Piccolo 
Pabigi,  near  the  station.  —  JSchenardft  is  tbe  best  caft^. 

Poat  Office,  Piazza  del  Plebiscite.  —  PnoToaBAPHS  at  Ltonardo  PrknCty 
S.  Giovanni  in  Zoccoli  7,  and  PolozzVs,  Vicolo  della  Ficanaccia. 

ViterbOj  an  episcopal  residence  with  16,000  inhab.  (commune 
19,000),  surronnded  by  ancient  Lombard  walls  and  towers,  is  sit- 
uated in  a  plain  on  the  N.  side  of  the  Giminlan  Forest,  1210  ft. 
above  the  sea-level.  It  was  the  central  point  of  the  extensive  grant 
called  the  'patrimony  of  St.  Peter',  made  by  the  Countess  Matilda 
of  Tuscia  (d.  1115)  to  the  papal  see,  and  is  frequently  mentioned  in 
history  as  a  residence  of  the  popes ,  and  as  the  scene  of  the  papal 
elections  in  the  13th  century.  Yiterbo,  called  by  old  Italian  authors 
the  'city  of  handsome  fountains  and  beautiful  women',  still  presents 
an  abundance  of  fine  architectural  details  and  picturesque  points. 

The  centre  of  the  town  is  occupied  by  the  Piazza  del  PlebiscitOj 
in  which  rises  the  ^Palazzo  Pubblico,  with  a  beautiful  portico  of 
the  15th  century.  The  court  contains  an  elegant  fountain  and  six 
large  Etruscan  sarcophagus-lids  with  figures  and  inscriptions.  To 
the  right  is  the  entrance  to  the  Museo  Municipale, 

This  contains  Etruscan  and  Boman  antiquities:  also  the  ^Decree  of 
Desiderius,  king  of  the  Lombards',  and  the  Tabula  Cibellaria,  forgeries  of 
the  notorious  Annius  of  Viterbo,  a  Dominican  monk  who  died  at  Borne  in 
1502 ;  medieeval  sculptures ,  including  a  ^Sphinx  from  S.  Maria  in  Grado 
(1285)-,  portrait-bust  in  terracotta  (1510);  an  Aquamanile  of  the  12th  cent. ; 
and  a  few  paintings  (*Pieta  from  the  church  of  8.  Francesco,  painted  by 
iSeb.  del  Piombo  under  the  influence  of  Hichael  Angelo;  an  ancient  but 
ruined  replica  of  the  Scourging  of  Christ ,  by  the  same ;  and  a  Madonna, 
by  Lorenzo  da  Viterbo). 

Opposite  the  Palazzo  Pubblico ,  to  the  left ,  is  the  small  church 
of  8.  Angelo,  on  the  facade  of  which  is  a  Roman  sarcophagus,  with  the 
Hunt  of  Meleager;  above  is  a  16th  cent,  inscription  in  honour  of  the 
beautiful  Galiana  (1138),  on  whose  account ,  like  Helen  of  old,  a 
war  was  once  kindled  between  Rome  and  Viterbo,  in  which  the 
latter  was  victorious. 

Opposite,  at  the  corner  of  the  Via  dell'  Independenza,  are  a  lion 
and  a  palm-tree,  corresponding  to  a  similar  group  at  the  other  cor* 
ner  of  the  Piazza,  whence  the  Via  8.  Lorenzo  leads  to  the  cathedral. 
Before  reaching  the  latter  we  cross  a  square,  with  a  medieval  foun- 
tain, and  a  large  bridge. 

In  the  piazza  in  front  of  the  cathedral  is  the  spot  where  in  July, 
1155,  Pope  Hadrian  IV.  (Nicholas  Breakspeare,  an  Englishman) 
compelled  the  Emp.  Frederick  I.,  as  his  vassal,  to  hold  his  stirrup. 
Among  the  medieval  buildings  to  the  left  is  the  dilapidated  Episcopal 
Palace  of  the  13th  cent.,  in  which,  by  order  of  Charles  of  Anjou, 
the  Conclave  elected  Gregory  X.  pope  in  1271,  John  XXI.  in  1276, 
and  Martin  IV.  in  1281. 

The  Cathbd&al  of  S.  Lobemzo,  a  handsome  basilica  of  the 
12th  cent.,  was  restored  in  the  16th  century. 

Imtebiob.  The  fantastic  capitals  of  the  columns  should  be  noticed. 
^  t  the  end  of  the  right  aisle  is  the  new  tomb  of  Pope  John  XXI. ;  the 


to  Viterho,  VITERBO.  10.  Route.    71 

ancient  tomb  of  12T7  is  oppoaite,  in  the  left  aisle,  behind  the  door.  In  the 
sacristy  is  a  fresco.  Christ  with  four  saints,  ascribed  to  Lormso  da  Vitetito 
HITS).  —  At  the  high-altar  of  this  church,  in  1279,  Count  Quido  de  Mont- 
fort,  the  partisan  of  Charles  of  Aigou ,  assassinated  Henry ,  son  of  Count 
Richard  of  Cornwall,  King  of  the  Germans  and  brother  of  Henry  III.,  in 
order  thereby  to  avenge  the  death  of  his  father,  who  had  fallen  at  the 
battle  of  Evesham  in  1265  when  fighting  against  Henry  III.  Dante  men- 
tions this  deed  and  places  the  assassin  in  the  seventh  region  of  hell  (Inf. 
XII,  120).  Other  yersions  of  the  story  mention  the  church  of  8.  Silvestro 
(now  del  Gesti)  as  the  scena  of  the  crime. 

Passing  tliiougli  the  aicbway  to  the  right  of  the  Palazzo  Pub- 
blico  (p.  70),  we  reach  in  a  few  yards  the  elegant  portal  of  the 
church  of  the  Madonna  della  Salute  (13th  cent.).  —  Some  of  the 
oldest  houses  in  the  town  are  to  be  found  in  the  Yicolo  del  Pelle- 
grino,  between  the  Piazza  del  Plebiscito  and  the  gate  leading  to 
Vetralla. 

In  the  market-place  rises  the  Fontana  Qrande,  begun  in  1206. 
The  Via  Vittorio  EmanutU  and  the  Via  Margherita  lead  hence  to 
the  Porta  Fiorentina,  in  the  direction  of  the  railway-station.  At 
the  end  of  the  former  we  ascend  to  the  right  to  the  church  of  8. 
Rosa,  which  contains  the  blackened  mummy  of  that  saint ,  who  was 
born  here  in  the  13th  century.  She  urged  the  people  to  rise  against 
the  Emp.  Frederick  II.,  and  was  expelled  by  the  Ghibellines.  Her 
festival  is  Sept.  3rd.  —  The  Vicolo  della  Ficunaccia  and  the  fol- 
lowing street  lead  to  the  little  Romanesque  church  of  8.  Oiovanni 
in  Zoceoli  (11th  cent.)  and  thence  through  the  Porta  S.  Matteo 
to  — 

8,  Maria  della  Verit^r,  in  which  the  chapel  to  the  right  is  adorned 
with  ♦Frescoes  by  Lorenzo  da  Viterbo  (1469),  representing  the 
Marriage  of  the  Virgin,  the  Annunciation,  the  Nativity,  the  Ascen- 
sion, saints,  and  prophets,  with  numerous  portraits.  The  tiled  floor 
in  front  of  the  altar  dates  fifom  the  15th  century.  Fine  monastery- 
court.  The  foundations  of  a  palace  built  by  Frederick  II.  have  been 
excavated  between  S.  Maria  della  Yeritk  and  the  station. 

Near  the  Porta  Fiorentina,  in  the  Piazza  della  Rocca,  stands  a 
fountain  of  1566,  ascribed  to  Vignola,  adjacent  to  which  is  the 
Gothic  church  of  8.  Francesco,  In  the  right  transept  of  the  latter 
are  the  tombs  of  Pope  Clement  IV.  (d.  1268),  to  the  right,  and 
Hadrian  V.  (d.  1276),  to  the  left;  to  the  left  of  the  high-altar  is  a 
cardinal's  tomb  of  1536,  and  in  the  left  transept  another  of  1445. 

Outside  the  Porta  Fiorentina  lies  the  Oiardino  Pubblico,  with 
its  gay  flower-beds ,  and  busts  of  Victor  Emmanuel ,  Cavour,  and 
Garibaldi. 

EXCT7B8IOM8.  About  11/4  M.  to  the  K.E.  of  Viterbo,  towards  Orte  (one- 
horse  cab  Vs^'O)  is  the  handsome  pilgrimage-church  of  S.  If  aria  delta 
QueretOi  the  fa$ade  of  which  is  said  to  have  been  designed  by  BramanU,  One 
of  the  two  courts  of  the  a^oining  Dominican  monastery  has  a  Renaissance 
loggia  supported  on  Gothic  foundations;  both  courts  have  interesting 
fountains.  —  About  1V4  M.  farther  on  is  the  small  town  of  Bagnaia^  with 
the  charming  *  Vma  Lante,  built  in  the  15-16th  cent.,  the  aummer-residence 


of  the  ducal  famUy  of  that  name  (visitors  admitted!  carr.  to  the  Querci 
»  and  back,  with  stay  at  both  places,  2  fir.). 


and  Bagnaia  i 


72    Route  10.  CASTEL  D'ASSO.  Excuraions 

About  3  H.  to  the  W.  of  Viterbo  ifl  Bvlicame ,  a  warm  salpharoas 
spring,  mentioned  by  Dante  (Inf.  xiv,  79)  and  still  used  for  baths.  The 
attractive  road  thither  (>/4  hr. ;  turn  to  the  right  behind  the  Palaazo  Pub- 
blico)  commands  a  fine  view  of  Viterbo. 


Several  expeditions  InterestiDg  both  to  antiqnarianB  and  to  lovers 
of  the  picturesque  may  be  made  from  Yiterho  to  the  surrounding 
ruins  of  ancient  Et&usoan  Cities.  The  volcanic  nature  of  the  dis- 
trict, indicated  by  the  profound  ravines  and  fissures  of  the  surface, 
and  the  dreary  desolation  which  prevails,  combined  with  the  proxi- 
mity of  graves  of  2000  years' antiquity,  impart  an  impressive  sadness 
to  the  scene.  —  The  inns  are  generally  very  unpretending. 

AVettura-Oorriera,  which  takes  passengers,  leaves  Viterbo  daily 
for  Toscanella,  I21/2  M.  to  the  W.,  on  the  road  to  Oorneto  (p.  4), 
and  a  diligence  also  plies  thither  thrice  a  week  in  3  hrs. 

ToBcanelIa(625ft. ;  Mancinellt)y  the  ancient  Toscania^  is  a  small 
and  mediaeval-looking  town  of  4000  inhab.,  with  walls  and  towers. 
Outside  the  Viterbo  gate  is  a  picturesque  ravine,  with  several 
Etruscan  tombs.  Amidst  the  ruins  of  the  ancient  Arx,  on  the  height 
to  the  right,  is  the  Romanesque  church  of  *8.  Pietro,  dating  from 
the  9th  cent.,  and  restored  in  1039,  though  part  of  the  florid  facade 
is  later.  In  the  interior  are  a  tabernacle  of  1093,  choir-screens 
from  the  original  church,  and  (to  the  right  of  the  choir)  fres- 
coes of  the  11th  century.  The  crypt  is  ancient.  The  custodian 
lives  adjacent,  in  the  dilapidated  bishop's  palace.  —  The  somewhat 
later  church  of  *S,  Marian  in  the  valley,  is  essentially  an  edifice 
of  the  close  of  the  11th  cent.,  but  the  picturesque  facade  dates  from 
the  following  century.  The  pulpit  has  been  put  together  out  of 
ancient  and  modem  fragments.  Custodian  at  the  Palazzo  Comu- 
nale.  Both  churches  are  now  disused.  —  The  small  Garden  of  the 
Countess  Campanari^  in  the  lower  part  of  the  town,  containing 
several  sarcophagi  with  lifesize  portraits  of  the  deceased  on  the 
lids  and  an  imitation  of  an  Etruscan  tomb,  is  interesting.  Signor 
Carlo  Campanari,  late  husband  of  the  proprietrix,  and  his  father 
conducted  many  of  those  extensive  excavations  which  have  filled 
the  museums  of  Europe  with  Etmscan  vases,   goblets,  mirrors,  etc. 

Oastel  d'AsBO,  popularly  known  as  Castellaccio ,  6  M.  to  the  W.  of 
Viterbo,  may  be  visited  on  horseback  or  on  foot  (guide  necessary;  lighta 
should  not  be  forgotten  by  those  who  Intend  to  explore  the  tombs).  Pass- 
ing the  Bulicame(see  above),  the  road  traverses  a  moor  and  leads  to  the  valley, 
which  contains  a  succession  of  Etruscan  TombSy  hewn  in  the  rock.  The 
fronts  of  these  are  architecturally  designed ,  and  bear  some  resemblance  to 
the  rock-tombs  of  Egypt;  numerous  inscriptions.  On  the  opposite  hiU  are 
the  picturesque  ruins  of  a  medieeval  castle  and  the  scanty  remains  of 
an  ancient  village,  probably  the  CcuteUum  Axia  of  Cicero. 

About  9  M.  to  the  S.W.  of  Viterbo,  with  which  it  is  connected 
by  diligence,  lies  Vetralla,  near  the  Roman  Forum  Cassii,  At  the 
entrance  to  the  little  town,  near  the  Osteria  (bargaining  advisable), 
is  S.  FrarhceseOy  a  basilica  of  the  12th  cent.,  with  a  tomb  of  the 
14th.    From  Vetralla  a  visit  may  be  paid  (with  guide)  to  the  ♦iVc- 


from  YiitTho.  SUTRI.  10,  B(Me.     73 

cfopUis  of  Norehia.  We  follow  the  road  to  Corneto  for  about  21/4  M. , 
and  then  a  rough  track  OTer  a  hleak  moor  for  3  M.  more.  The  valley 
of  graves  here  is  similar  to  that  of  Gastel  d'Asso,  but  more  imposing. 
Two  of  the  tombs  are  Greek  in  style.  On  the  other  side  of  the 
valley  a  town  named  OreU  stood  in  the  9th  cent. ,  of  which  only  the 
ruins  of  the  castle  and  church  now  remain.  — >  BiedOj  the  ancient 
BUrOj  now  a  poor  village^  4^/2  M.  to  the  S.  of  Yetralla,  possesses 
similar  rock-tombs  and  two  ancient  bridges.  The  scenery  is  striking. 

The  high-road  from  Viterbo  forks  at  Vetralla :  the  W.  branch 
proceeds  vi&  Monte  Romano  to  Oorneto  (diligence  on  fixed  days ; 
see  p.  4),  the  S,E.  to  (11  M.)  Sutri  (see  below). 

The  high-road  from  Viterbo  to  Rome  (47  M.)  is  now  rarely 
travarsed  by  tourists.  It  gradually  ascends  the  wooded  height  of 
Mona  Ciminius,  once  considered  the  impregnable  bulwark  of  central 
Etruria,  until  the  Consul  Q.  Fablus,  B.C.  308,  successfully  tra- 
versed it  and  signally  defeated  the  Etruscans.  The  culminating 
point  of  the  pass  (2850  ft.  above  the  sea),  on  which  lies  an  old  post- 
station,  commands  an  admirable  view.  To  the  right,  below,  lies  the 
small ,  round  Lago  di  Vico,  the  Lacua  Ciminius  (1700  ft.),  an  ex- 
tinct crater  surrounded  by  woods. 

About  9  M.  from  Viterbo  a  road  diverges  to  the  left  from  the 
road  to  Rome ,  and  leads  in  72  l^^-  through  wood  to  the  little  hill- 
town  of  Caprarola  (about  6000  inhab.).  The  lofty  *PaLazzo  Farnese 
here,  built  about  lc47-49  by  Vignola  for  Cardinal  Alexander  Far- 
nese, nephew  of  Paul  III.,  is  one  of  the  most  magnificent  chateaux 
of  the  Renaissance. 

The  chateau  is  the  property  of  the  ex-king  Francis  of  Naples ,  whose 
steward,  Dr,  K.  Ohlsen^  has  carefully  maintained  the  building  and  filled  the 
rooms  with  works  of  art.  The  ground-plan  is  pentagonal ,  with  a  central 
rotunda  1  the  round  central  court,  with  its  arcades,  is  adjoined  by  five  wings 
of  equal  size.  The  chief  facade  looks  towards  the  town  (N.E.).  The 
saloons  and  other  apartments  are  adorned  with  frescoes  of  scenes  from  the 
history  of  the  Farnese  family,  allegories,  etc.,  hj  Federigo^  Oiovanni,  and 
Taddeo  Zueearo  and  Antonio  Tempesta.  The  fine  view  ranges  across  the 
hilly  country  with  the  ancient  Etruscan  cities  of  Nepi,  Sufri,  and  Falerii, 
to  the  Soracte ;  in  the  distance  rise  the  dome  of  St.  Peter's  and  the  Vols- 
cian  hills,  to  the  £.  the  Apennines,  and  to  the  S.S.  the  Abruzzi.  The 
beautiful  gardens  are  embellished  with  fountains  and  statues,  and  with  the 
charming  Palazzina,  also  designed  by  Vignola.  —  The  fruit  trees  cultivated 
by  Dr.  Ohlsen  enjoy  a  wide  reputation. 

Farther  on,  on  the  road  to  Rome,  about  I2V2M.  from  Viterbo,  is 
Bonciglionej  a  beautifully  situated  little  town,  commanded  by  a  ruined 
castle. 

About  272  M.  to  the  S.  of  RoncigUone,  on  the  road  from  Ve- 
tralla (p.  72),  picturesquely  situated  on  the  crest  of  an  isolated 
volcanic  hill,  is  Sntri,  the  ancient  Etruscan  Sutrium,  frequently 
mentioned  in  history  as  the  ally  of  Rome  in  the  wars  against  the 
Etruscans,  from  whom  it  was  wrested  by  Camillus  in  B.C.  389 
(Claustra  Etruriae).  In  383  it  became  a  Roman  colony.  The  deep 
ravine  contains  numerous  Etruscan  tombs,  and,  on  the  S.  side. 


74    RouU  10.  NEPI. 

fragments  of  the  ancient  walls.  Three  of  the  five  gates  are  ancient, 
two  towards  the  S. ,  and  the  Porta  Furia  on  the  N.  side  (said  to  be 
so  named  because  once  entered  by  M.  Furius  Camillus),  now  bmlt 
up.  Outside  the  Porta  Romana,  at  the  foot  of  an  eminence  near  the 
Villa  Savorelli,  is  situated  an  admirably  preserved  ^Amphitheatre, 
hewn  in  the  rock,  dating  from  Augustus,  erroneously  regarded  by 
some  as  Etruscan  (axes  55  and  44  yds.  respectively).  The  rocks 
above  contain  numerous  tomb-chambers,  one  of  which  has  been 
converted  into  a  *Church,  where,  according  to  various  local  tra- 
ditions, the  early  Christians  used  to  celebrate  divine  service.  A 
legend  attaching  to  the  Orotta  d^  Orlando,  near  the  town,  describes 
it  as  the  birthplace  of  the  celebrated  paladin  of  Charlemagne. 

A  bridle-path  leads  in  2  hrs.  from  Sutri  to  the  Lake  of  Bracciano  and 
Trevignano  (p.  391). 

The  road  from  Vetralla  intersects  the  road  to  Rome ,  5^2  M.  to 
the  E.  of  Sutri  and  121/2 M.  to  the  S.E.  ofRonciglione,  and  reaches, 
3  M.  farther  to  the  E.,  the  little  town  of  — 

Vepi,  the  Etruscan  Nepete  or  Nepet,  afterwards  Colonia  Nepenais, 
now  an  episcopal  seat  and  surrounded  by  mediaeval  walls  and  towers. 
The  elegant  Renaissance  Pala%zo  MunicipaUj  in  the  market-place, 
contains  a  few  Roman  sculptures  and  inscriptions.  The  Cattedrale 
dates  from  the  11th  cent.,  but  its  crypt  is  older.  The  picturesque 
ruined  CasteZto,  to  the  E.  of  the  town,  occupies  the  site  of  an 
ancient  castle  rebuilt  by  Pope  Alexander  VI. ,  and  restored  by 
Paul  III.  Lucretia  Borgia  resided  here  in  1600  after  the  death  of 
her  first  husband.  Below  the  castle,  near  the  Porta  Romana  ,  are 
some  squared  blocks  of  tufa  belonging  to  Etruscan  Walla, 

A  road,  beginning  beside  the  imposing  aqueduct  which  crosses  the 
Rio  Faliseo  at  the  entrance  to  the  town,  leads  to  the  right  to  (*/i  M.)  Oastel 
S.  Elia.  The  ancient  church  of  *S,  Blia,  built  about  1000,  containing  nu- 
merous frescoes  of  the  lith  cent.,  an  old  pulpit,  and  crypts,  is  now  preserved 
as  a  'monumento  nazionale^  (key  at  the  sindaco's).  The  view  from  the 
Campo  Santo  is  strikingly  beautiful. 

From  Nepi  a  high-road  runs  to  (7i/2  M.)  Civit^-Castellana (p.  67). 

11.  From  Perngia  to  Foligno  and  Orte  (Borne), 

77  M.  Railway  in  dy^-i^A  hrs.  (fares  14  fr.  5,  9  fr.  75,  6  fr.  90  c. ;  ex- 
press 14  fr.  96,  10  fr.  56  c).  —  The  most  interesting  points  are  Assist, 
Spoleto,  and  Terni.  It  is  sometimes  advisable  to  exchange  the  railway  for 
the  road ;  in  this  way  the  Tomb  of  the  Volumnii  may  be  visited  by  driv- 
ing from  Perugia  to  Assisi,  and  the  temple  of  Glitumnus  between  Fo- 
ligno  and  Spoleto  (pp.  80,  81).  —  Fbom  Pbrugia  to  Bomb,  128  M.,  in 
53/4-7V4  hrs. 

Perugia,  see  p.  46.  The  train  descends,  passing  through 
several  tunnels.  To  the  left  we  obtain  a  glimpse  of  the  tomb  of  the 
Volumnii  (p.  55).  7  M.  Ponte  8.  Qiovanni.  The  train  crosses  the 
Tiber,  the  ancient  frontier  between  Etruria  and  Umbria,  and  the 
Chiaseio.    13  M.  Baatia. 

15  M.  Assiai.   The  town  lies  on  a  hill  to  the  left  (omn.  V2fr-)* 


ASSISL  11.  BouU.    75 

Before  ascending  to  Assisi  the  trayellez  should  visit  the  magnifi- 
cent church  of  *S.  Maria  dboli  Anobli,  about  Vi  M.  to  the  W.  of 
the  station,  on  the  site  of  the  original  oratory  of  St.  Francis.  It  was 
begun  in  1569  by  Vignola,  after  whose  death  in  1573  It  was  con- 
tinued by  QaUazzo  Al€99\  and  completed  by  Qiulio  DantU  The 
nave  and  choir  were  re-erected  after  the  earthquake  of  1832 ,  but 
the  dome  had  escaped  injury. 

The  Intbbios  contains,  below  the  dome,  the  Oratory  of  the  saint  (called 
Forliuncula),  the  cradle  or  the  Franciscan  order,  on  the  fasade  of  which 
is  the  '*Miracle  of  Roses',  a  vision  of  St.  Francis,  a  fresco  by  Fr.  Over- 
beck  (1889);  built  in  on  the  other  side,  to  the  left,  is  part  of  an  altar  of 
the  9th  century.  —  In  the  Cappella  di  S.  Oiut^ppe  in  the  left  transept  is 
an  altar  with  terracotta  reliefs  by  Andrea  della  Robbia  (Coronation  of  the 
Virgin,  St.  Francis  receiving  the  stigmata,  St.  Jerome).  —  To  the  E.  of 
the  sacristy  is  a  Ifttle  garden  in  which  the  sainVs  thoniless  roses  bloom. 
Adjacent  are  the  Cappella  delle  Rosey  containing  frescoes  from  the  life  of 
the  saint  by  Tiberio  d'Assui  (1518),  and  the  hut  of  St.  Francis,  over  which 
an  oratory  was  erected  by  Bonaventura  and  adorned  with  frescoes  by  Lo 
Spagna. 

A  beautiful  path  leads  from  S.  Maria  degli  Angeli  to  Assisi  in 
3/4  hr.  The  .services  of  the  guides  who  importune  travellers  at 
S.  Maria  degli  Angeli  and  at  Assisi  are  quite  superfluous. 

Asaisi.  —  Hotels.  *Albbboo  dki.  Subasio  (PI.  a ;  C,  3),  with  a  fine 
view,  adjoining  the  monastery  of  S.  Francesco,  B.,  L.,  &  A.  2y8i  B.  1, 
luncheon  2Vai  J>.%]ltit,\  "^Leons  (PI.  bj  D,  3),  near  the  Piazza;  Minkeva, 
near  the  Porta  8.  Pietro  (PI.  C,  3),  unpretending. 

Photographs  from  Giotto's  frescoes  sold  by  P.  LungM^  in  the  Piazza 
near  S.  Francesco ,  and  by  0.  Carloforti,  Via  Portica  8. 

Asaisi  (1050  ft.),  a  small  town  and  episcopal  see  (pop.  3200),  the 
ancient  Umbrian  Assishan,  where  In  B.C.  46  the  elegiac  poet  Pro- 
pertius,  and  in  1698  the  opera-writer  Pietro  Metastasio  (properly 
Trapassij  d.  at  Vienna  in  1782)  were  born,  stands  in  a  singularly 
picturesque  situation. 

It  is  indebted  for  its  reputation  to  St.  J^anct«,  one  of  the  most 
remarkable  characters  of  the  middle  ages,  who  was  bom  here  in 
1182.  He  was  the  son  of  the  merchant  Pietro  di  Bemardone,  and  spent  his 
youth  in  frivolity.  At  length,  whilst  engaged  in  a  campaign  against  Perugia, 
he  was  taken  prisoner  and  attacked  by  a  dangerous  illness.  Sobered  by 
adversity,  he  soon  afterwards  (1208)  founded  the  monastic  order  of /^anci«- 
ccms  y  which  speedily  found  adherents  in  all  the  countries  of  Europe,  and 
was  sanctioned  in  1210  by  Innocent  III.,  and  in  1223  by  Honorius  III.  Pov- 
erty and  self-abnegation  formed  the  essential  characteristics  of  the  order, 
which  under  different  designations  (Seraphic  Brethren,  Minorites,  Observan- 
tes,  and  Capuchins,  who  arose  in  1626)  was  soon  widely  diffused.  St.  Francis 
is  said  to  have  been  favoured  with  visions,  tike  most  important  of  which 
was  that  of  1224,  when  Christ  impressed  on  him  the  marks  of  his  wounds 
(stigmata).  From  the  'apparition  of  the  crucified  seraph*  the  saint  is  also 
known  as  Pater  Seraphieiu.  St.  Francis  died  on  4th  Oct.,  1226,  and  in  1228 
was  canonised  by  Gregory  IX.  He  wrote  several  works.  Dante  (Paradiso 
11,  5())  says  of  him  that  he  rose  like  a  sun  and  illumined  everything  with 
his  rays.  In  the  iSth  cent,  the  Franciscan  Order  possessed  9000  convents 
with  150,000  monks. 

Having  reached  the  town,  we  proceed  to  the  left  to  the  conspicu- 
ous old  ♦MoNASTBBY  OP  THE  FsANCisoANS  ou  the  brow  of  the  hill, 
which  was  finished  soon  after  1228  upon  massive  substructures. 
It  was  suppressed  in  1866,  but  a  few  monks  have  been  allowed  tc 


76     Route  11.  ASSISI.  From  Perugia 

remain  here  till  their  death.  Part  of  the  building  has  been  con- 
verted by  government  into  a  school  for  the  sons  of  teachers.  Visi- 
tors are  admitted  by  the  iron  gate  to  the  left  of  the  entrance  to  the 
lower  chnrch.  An  official  acts  as  gnide.  Besides  several  frescoes 
of  the  16th  and  17th  cent,  in  the  refectories,  the  *Ghoir-Stalls  by 
Domemco  da  8,  Severirio,  brought  from  the  upper  church,  dating  from 
1500,  and  adorned  with  admirable  carving  and  inlaid  figures  of 
saints,  are  particularly  worthy  of  attention.  From  the  external 
passage  a  magnificent  *yiew  of  the  luxuriant  valley  is  enjoyed. 

The  two  "'Ghu&ches,  erected  one  above  the  other,  are  objects 
of  great  interest.  The  Cryptj  with  the  tomb  of  the  saint,  was 
added  in  1818,  when  his  remains  were  re-discovered. 

The  "'LowEB  Chu&ch,  still  used  for  divine  service,  is  always  acces- 
sible ;  entrance  by  a  side-door  on  the  terrace  (best  light  in  the  fore- 
noon). It  was  begun  in  1228,  according  to  Vasari,  by  Jacopo  Tedeaeo ; 
but  after  1232  FUippo  da  Campello  appears  as  the  architect  in 
charge.  Originally  the  church  consisted  of  a  nave  of  four  bays 
with  groined  vaulting  supported  by  wide  circular  arches,  a  W. 
transept,  and  a  semicircular  apse.  About  1300  the  Gothic  chapels 
and  the  E.  transept  were  added,  while  the  S.  portal  dates  from  about 
the  same  period ,  though  the  vestibule  in  front  of  it ,  with  its  rich 
Renaissance  decoration,  was  not  erected  till  the  15th  century. 

To  the  right  of  the  entrance  is  a  tomb  of  the  14th  cent.,  with  an  urn 
of  porphyry,  beside  which  is  the  magnificent  *Tomb  of  the  Queen  of  Cyprus', 
of  the  dose  of  the  l3th  cent.,  the  recumbent  figure  on  which  probably 
represents  Jean  de  Brienne,  king  of  Jerusalem  and  Byzantine  emperor 
(d.  1237).  —  The  adjoining  Gappblla  di  S.  Antonio  Abbatk  contains  the 
tombs  of  a  count  of  Spoleto  and  his  son  (i4th  cent.).  —  Opposite  the 
entrance  is  the  Gappblla  oxl  Gsocefisso  ,  with  some  unimportant  fres- 
coes*, by  the  pillar  to  the  left,  consecration  as  cardinal  of  EgidiusAlbornoz 
(d.  1367),  founder  of  the  chapel ,  who  is  buried  here.  Fine  stained-glass 
windows  of  the  14th  century. 

The  Nayk  was  painted  by  predecessors  of  Gimabue.  The  hexagonal 
Gappblla  di  S.  Mabtino,  the  first  on  the  left,  is  adorned  with  frescoes 
of  scenes  from  the  life  of  the  saint,  by  Sinume  MarUno  of  Siena.  —  Above 
the  pulpit :  Coronation  of  the  Virgin ,  by  QioUi$M,  —  To  the  right  of  the 
nave  are  (1)  the  Gappblla  di  S.  Stbfano  ,  with  frescoes  from  the  life  of 
the  saint,  by  Dono  dei  Doni  (1560)^  (2)  Gappblla  di  S.  Antonio  da  Padova, 
the  frescoes  in  which  have  been  repainted;  and  (3)  the  Gappblla  di  S. 
Maodalena,  adorned  with  frescoes,  representing  scenes  from  the  life  of 
the  saint  and  of  Maria  .£gyptiaca,  by  a  Pupil  of  CHotto,  who  did  not 
scruple  to  paint  copies  here  of  his  master's  pictures  at  Padua. 

The  BioHT  Tbansbpt  contains  on  its  right  wall  ^Scenes  from  the  life 
of  Jesus,  by  Oiotto,  assisted  by  his  pupils.  Adjacent,  *Hadonna  with 
angels  and  St.  Francis,  by  Oimabue.  —  On  the  left  wall  the  series  of  fres- 
coes from  the  life  of  Jesus  is  continued :  Flight  into  Egypt ,  Massacre  of 
the  Innocents,  Jesus  in  the  Temple;  St.  Francis,  and  Death  as  Conqueror. 
—  On  the  K.  transverse -wall:  Miracles  of  St.  Francis  and  the  Annun- 
ciation, by  Giotto  f  Saints  and  Madonna,  by  Simone  Martino,  —  At  the  end 
of  the  S.  transept  is  the  Gappblla  dbl  Sacramento,  with  frescoes  from  the 
life  of  St.  Nicholas,  by  a  Pupil  of  Giotto,  and  the  tomb  of  Cardinal  Gian 
Gaetano  Orsini  (d.  1339),  who  is  represented  in  the  stained-glass  windows. 

The  High  Altab  occupies  the  spot  where  the  remains  of  St.  Fran- 
cis once  reposed.  Above  it  are  four  triangular  spaces  on  the  groined 
aulting,  containing  the  famous  *Fbkscob8  of  Giotto,  illustrative 
the    vows  of    the   Franciscan   order  :    poverty ,     chastity ,    and    obed- 


toFbligno.  ASSISI.  11.  Route.   77 

ience;  the  foarth  painting  is  an  apotheosis  of  St.  Francis.  The  first  pic- 
tare  represents  the  nuptials  of  St.  Francis  with  Poverty  in  rags ;  Hope, 
next  to  whom  is  Love,  has  handed  the  ring  to  the  bride.  In  the  next 
picture  Chastity  appears  in  a  tower,  while  in  the  foreground  a  monk  is 
being  baptised  by  angels.  Parity  and  Bravery  are  bestowing  on  him  a 
banner  atid  shield,  while  on  the  right  angels,  with  penances  as  their 
weapons,  are  combatting  the  demons  of  lost.  Obedience,  enthroned  between 
Prndence  and  Humility,  is  further  symbolised  by  the  laying  of  a  yoke  on  a 
monk.  Each  scene,  moreover,  Is  replete  with  allegorical  allusions  (chiefly 
from  Dante),  most  of  which  will  be  readily  understood  by  those  who  are 
versed  in  the  fanciful  combinations  of  the  period. 

The  LsFT  Tbansbpt  contains  Scenes  from  the  Passion,  on  the  right 
wall,  and  in  front,  on  the  left  wall,  a  'Madonna  between  8S.  Franeis  and 
John,  by  Pietro  Loreiuetti.  —  In  the  Gapfklla  di  S.  Giovanni,  to  the 
left,  is  a  Madonna  with  saints,  by  Lo  Spagna  (1516). 

In  the  Saobistt,  over  the  door  of  the  second  apartment,  is  a  portrait 
of  St.  Francis,  dating  from  the  close  of  the  13th  century. 

The  Crypt  (p.  76)  is  approached  by  a  double  staircase,  and  is  lighted 
with  candles  when  visited  by  strangers.  —  Behind  the  tomb  stand  colossal 
statues  of  Popes  Pius  VII.  and  IX. 

The  ♦Uppee  Ghuboh  (completed  in  1253),  the  frescoes  of 
which  are  undergoing  restoration ,  is  entered  either  by  the  prin- 
cipal portal,  or  (by  applying  to  the  sacristan)  from  the  lower  church. 
The  church  is  in  the  form  of  a  Latin  cross,  with  fine  Gothic 
windows.  The  E.  side  possesses  a  Gothic  portal.  The  pulpit  in  the 
nave  dates  from  the  14th  century. 

The  W.  end  of  the  church  is  adorned  with  much-damaged  frescoes 
by  Cimabue  (or  according  to  some,  by  Giunta  Pisano).  In  the  8.  Tbansett, 
as  we  enter  from  the  lower  church ,  are  a  Crucifixion ,  Scenes  from  the 
Apocalypse,  angels,  and  saints^  in  the  Choib,  Assumption  and  Death  of 
the  Virgin,  and  a  bishop's  throne  of  1260$  in  the  X.  Tbansbpt,  a  Cruci- 
fixion ,  and  History  of  St.  Peter.  In  the  vaulting  of  the  choir  and  nave 
are  Evangelists  and  Church  Fathers.  —  Navb.  In  the  upper  section  of 
the  S.  wall  are  sixteen  scenes  from  Old  Testament  history,  from  the 
Creation  of  the  world  to  the  Recognition  of  Joseph  by  his  brethren  ^  on 
the  N.  side,  sixteen  scenes  from  the  New  Testament,  from  the  Annun- 
ciation to  the  Descent  of  the  Holy  Ghost,  by  Pupils  o/  Cimabue,  show- 
ing gradual  improvement  in  execution.  The  lower  section  contains 
twenty-eight  scenes  from  the  life  of  St.  Francis,  probably  by  OioUo  and 
his  contemporaries:  1.  (at  the  right  transept)  St.  Francis  receives  honour 
while  a  youth;  2.  He  clothes  the  poor*,  3.  His  vision  of  a  palace  and 
weapons;  4.  Warned  by  the  crucifix  in  S.  Damiano;  6-  Restores  his 
apparel  to  his  father,  and  is  enveloped  in  a  bishop's  cloak;  6.  Appears 
to  Pope  Innocent  III.,  supporting  the  Lateran;  7.  Receives  licence  to 
preach;  8.  Appears  to  his  brethren  in  a  fiery  chariot;  9.  Vision  of  his 
appointed  seat  in  heaven;  10.  Expels  evil  spirits  from  Arezzo;  11.  Offers 
the  ordeal  of  fire  to  the  Sultan ;  12.  Hovers  in  the  air  while  praying ;  13. 
The  infant  Christ  awakes  in  the  saint's  arms,  as  the  latter  is  constructing 
a  manger  for  the  Christmas  festival;  14.  Miraculous  production  of  a 
spring  of  water;  16.  Sermon  to  the  birds;  16.  PredictJB  the  death  of  a 
nobleman;  17.  Preaches  before  Honorius  III.;  18.  Appears  at  the  Council 
of  Aries ;  19-  Receives  the  stigmata;  20.  His  death;  21.  Appears  to  a 
dying  man;  22.  A  doubter  convinced  by  the  stigmata;  33.  Parting  from 
St.  Clara;  24.  Canonisation;  25.  Appears  to  Pope  Gregory  IX.;  26.  Cures 
a  wounded  man  in  Spain ;  27.  Confesses  a  dead  woman ;  28.  Frees  a  re- 
pentant heretic. 

Quitting  the  upper  church  and  emerging  on  the  space  in  front 
of  it,  we  may  descend  the  steps  to  the  right  and  follow  the  street 
ascending  thence  to  the  Via  Principe  dl  Napoli,  which  leads  us 
the  Civile  Nosooomio  (a  hospital.on  the  right,  No.  11),  the  cha 


78   Route  11,  ASSISI.  From  Perugia 

of  which  is  adorned  with  frescoes  by  Mezzastria  (p.  80)  and  Matteo 
da  Qualdo  (1468) ,  representing  the  miracles  of  SS.  Anthony  and 
James  the  Great.  Farther  on,  to  the  right  of  the  fountain ,  is  an 
arcade  of  the  13th  cent.,  formerly  the  MonAe  Frumentario. 

In  the  Piazza  Yitto&io  Emantjelb  rises  the  beantiful  portico 
of  a  Temple  op  Minbbya  (PI.  9;  D,  3),  with  six  columns  of  traver- 
tine, converted  into  a  ^Church  of  8.  Maria  della  Minerva.  Ancient 
inscriptions  immnred  in  the  vestibule.  Adjacent  to  the  church  is 
the  entrance  to  the  ancient  Forum ,  which  corresponded  to  the  pre- 
sent Piazza,  but  lay  considerably  lower.  In  the  forum  a  Basement 
for  a  statue,  with  a  long  inscription  (fee  ^2  fr-)* 

The  Chiesa  iVuova  (PI.  D,  3),  a  small  but  tasteful  edifice  of 
1615,  reached  by  descending  to  the  right,  near  the  S.E.  angle  of 
the  Piazza,  occupies  the  site  of  the  house  in  which  St.  Francis  was  bom. 

The  Piazza  S.  Rupino,  in  the  upper  town,  is  embellished  with 
a  Statue  of  8t.  Francis,  by  Giov.  Dupr^,  erected  in  1882. 

The  Cathed&al  op  S.  Rupino  fPl.  E,  3),  named  after  the  first 
bishop  (240),  was  completed  in  1140,  and  the  crypt  in  1228.  The 
ancient  facade  is  adorned  with  three  fine  rose-windows.  The  in- 
terior was  modernised  in  1572.  In  the  nave,  to  the  right,  is  a  Ma- 
donna with  four  saints  by  Niccolb  Alunno,  ♦Choir-stalls  by  Oio^ 
vanni  da  Sanseverino  (1520). 

From  the  cathedral  an  unpaved  road  descends  to  the  left  to  the 
Gothic  church  of  S.  Chiara  (PI.  E,  4),  near  the  gate,  probably 
erected  by  Fra  Filippo  da  Campello  in  1257.  The  massive  buttresses 
have  been  recently  restored.  Beneath  the  high-altar  are  the  remains 
of  S.  Clara,  who,  inspired  with  enthusiasm  for  St.  Francis,  abandoned 
her  parents  and  wealth,  founded  the  order  of  Clarissines,  and  died 
as  first  abbess.  A  handsome  crypt  of  different  coloured  marbles  has 
recently  been  constructed  about  her  tomb.  On  the  arch  above  the 
high-altar,  frescoes  by  Oiottino;  those  in  the  Cappella  di  S.  Agnese 
(right  transept)  are  attributed  to  Oiotto, 

The  Oiardino  Pubblico  (PI.  F,  4),  between  the  Porta  Nuova  and 
the  Porta  Cappuccinl,  was  laid  out  in  1882;  it  contains  some  fine 
oaks  and  commands  a  good  view  of  the  town  and  its  fertile  valley, 
A  little  way  beyond  the  Porta  Cappuccinl ,  at  the  E.  end  of  the 
town,  are  the  ruins  of  a  Roman  Amphitheatre  (PI.  F,  3). 

A  magnificent  *yiB"w  of  the  town  and  environs  is  obtained  from 
the  Castello  or  Bocca  Maggiore  (PI.  D,  E,  2),  above  the  town, 
reached  from  the  piazza  in  about  ^2  ^'*  ^^^  tower  should  not  be 
ascended  without  the  assistance  of  a  guide ,  who  is  to  be  obtained, 
with  ladders  and  lights,  at  the  hotel. 

In  a  ravine  of  the  lofty  Umte  Subasio  (3610  ft.),  at  the  back  of  Assisi, 
is  sitnated  the  hermitage  delle  Carceri,  to  which  St.  Francis  was  wont  to 
retire  for  devotional  exercises.  Near  the  little  chapel  are  a  few  apart- 
ments built  in  the  i4th  cent.,  and  the  rock-bed  of  the  saint  (on  foot  IV2, 
with  donkey  1  hr.).  ^ 


to  Foliffno.  SPELLO.  11.  RouU.   79 

From  Assisi  to  Spello  a  Tery  beautiful  driye  of  6  M.  (one- 
horse  carr.  4-5  fr.).  By  train  it  is  reached  in  13  minntes.  To  the 
right  of  the  road  as  the  town  is  approached  are  the  mins  of  an  amphi- 
theatre of  the  Imperial  period,  but  they  are  not  visible  from  the  railway. 

22  M.  Bpello,  with  5000  inhab.,  picturesquely  situated  on  a 
mountain-slope,  is  the  Ancient  Hiapellum  (^CoUmia  Jidia  Hispelhim), 
The  gate  by  which  the  town  is  entered,  with  its  three  portrait-sta- 
tues, as  well  as  the  Porta  Urbana,  the  Porta  Veneris ,  and  portions 
of  the  wall,  are  ancient. 

The  *  Cathedral  of  8.  Maria  Maggiore ,  built  in  the  16th  cent, 
by  Booca  da  Vicenza  (facade  later),  contains  good  paintings. 

The  b^nltier  to  the  right  of  the  entrance  is  formed  of  an  ancient 
cippus.  To  the  left  the  Cappella  del  Sacramento  with  *Fre8coe8  by 
Finturieehio  (1601) :  on  the  left ,  the  Annnnciation  (with  the  name  and 
portrait  of  the  painter);  opposite  to  q0  the  Adoration ;  to  the  right,  Christ 
in  the  Temple;  on  the  ceiling,  four  Sibyls.  —  The  Ghoib  contains  a  magni- 
ficent canopy  in  the  early-Benaissance  style.  On  the  left  a  Pieti,  on  the 
right  a  Madonna  by  Perugino ,  1521.  —  In  the  Sacbibtt,  a  *Madonna  by 
Pinturicchio. 

8.  Francesco  (or  Andrea)^  consecrated  in  1228  by  Gregory  IX., 
contains  in  the  right  transept  an  altar-piece,  Madonna  and  saints, 
by  Pinturicchio  (1508),  with  a  copy  of  a  letter  by  O.  Bagliorhc  to 
the  painter  painted  upon  it. 

Among  other  antiquities  the  ^House  of  Propertius'  is  shown, 
although  it  is  certain  that  the  poet  was  not  born  here  (p.  75). 
In  the  Pal.  Comunale  and  on  the  church-wall  of  8.  Lorenfso  are  Ro- 
man inscriptions.  The  church  of  8.  Qirolamo,  outside  the  town, 
contains  an  interesting  Betrothal  of  the  Virgin  by  Pinturicchio. 
The  upper  part  of  the  town  commands  an  extensive  view  of  the 
plain,  with  FoUgno  and  Assisi.  Ruins  occasioned  by  the  earth- 
quake of  1832  are  still  observed. 

The  train  crosses  the  Topino  and  reaches  — 

25  M.  Foligno,  the  junction  of  the  Ancona  line  (R.  14). 

Halt  of  20  min.;  mediocre  Refreshment  Room.  —  One-horse  Carriage  to  the 
town  0/*  M.)  40  c.  —  Inns.  *Po8TA,  by  the  gate,  R.  from  2,  D.  4,  L.  &  A. 
1  fr. ,  with  restaurant  and  cafd;  Tkattobia  Falgohb,  both  in  the  main 
street,  the  Via  della  Fiera. 

FolignOj  near  the  ancient  Fulginium,  a  town  with  10,000  (incl. 
suburbs  23,000)  inhab.,  and  an  episcopal  residence,  lies  in  a  fertile 
district.  In  1281  it  was  destroyed  by  Perugia,  from  1305  to  1439  it 
was  governed  by  the  celebrated  family  of  the  Trinci ,  and  in  1439 
annexed  to  the  States  of  the  Church.  The  earthquake  of  1832 
occasioned  serious  damage. 

At  the  entrance  to  the  town  a  marble  statue  was  erected  in 
1872  to  the  painter  Niceolb  di  Liberatore^  surnamed  VAlunno^  the 
head  of  the  school  of  Foligno  (p.  48).   Public  grounds  behind  it. 

The  Corso  Cavour  leads  straight  to  the  Piazza  Vittorio  Ema- 
nuele. 

The  first  side-street  on  the  right  conducts  us  to  the  Pinaco- 
TBCA,  in  the  old  Ospixio  di  Mendicity  ^  which  contains  a  few  Ro- 


80    Route  11.  FOLIGNO.  From  Perugia 

mftn  scalptares  (relief  with  circng  games)  and  some  paintings  by 
Umbrian  masters:  Pier  Antonio  Mezzattrit  of  Foligno,  1.  Madonna 
and  angels,  3.  Madonna  with  SS.  John  and  Dominic,  4.  Crnci- 
flxion,  5.  Madonna  with  SS.  Francis  and  John ;  in  the  middle, 
67.  Dona  deiDoni,  St.  Catharine.  —  Hence  we  follow  the  Via 
Umberto  I. ,  pass  through  the  gate  on  the  right ,  and  tarn  once 
more  to  the  left  to  the  chnrch  of  S,  Annunziata  (beginning  of  the 
16th  cent.),  which  contains  a  Baptism  of  Christ,  by  Perugino'^  in 
the  sacristy  is  an  *Entombment  by  Moniagna  (oi  Lorenzo  Lotto  ?). 

In  the  Piazza  Yittorio  Emanuele  is  the  side-facade  of  the 
Cattbdbalb  S.  Fblioiano,  with  a  Bomanesqne  portal  (1201). 
The  interior  was  modernised  in  the  16th  and  17th  centuries.  To 
the  left  of  the  choir  is  an  octagonal  chapel,  by  AntorUo  da  Sangallo 
(1627);  some  of  the  columns  in  the  crypt  date  from  the  9th  cen- 
tury. —  Opposite  the  side-portal  is  the  Palazzo  Orfini ,  with  a  Re- 
naissance facade,  unfortunately  much  injured.  On  the  E.  side  of 
the  piazza  rises  the  Palazzo  del  Oovemo ,  the  seat  of  the  Trinci  in 
1398-1439.  The  chapel  on  the  upper  floor  (custode  in  the  Munl- 
cipio,  at  the  other  end  of  the  market-place)  contains  frescoes  by 
Ottaviano  Nelli  (1424 ;  history  of  the  Virgin,  Joachim,  and  Anna ; 
in  the  vestibule,  Romulus  and  Remus). 

The  Via  Salara,  No.  64  in  which,  on  the  right,  is  the  handsome 
Palazzo  Deli  (1510),  leads  to  the  Piazza  S.  Domenico.  The  old 
church  of  8.  Maria  infra  Portas ,  in  this  piazza ,  with  a  portico  of 
the  8th  cent.,  contains  numerous  but  mostly  faded  frescoes  of  the 
Umbrian  school.  The  Gothic  church  of  5.  Domenico ,  opposite ,  is 
now  a  riding-school. 

The  Seuola  d^Arii  e  MesUeri,  in  the  street  of  that  name  diverging 
from  the  Via  Salara ,  contains  casts  of  many  almost  inaccessible 
monuments  of  Umbrian  art ,  including  the  'Temple  of  Clitumnus'. 
—  In  the  Piazza  S.  Niccol5  is  the  church  of  S.  Nicool6,  the  second 
chapel  to  the  right  in  which  contains  a  large  ♦Altar-piece  (Nativity) 
by  Niccolb  Alunno  (1492) ;  the  chapel  to  the  right  of  the  high-altar 
is  adorned  with  a  Coronation  of  the  Virgin,  by  the  same  master. 

About  4  M.  to  the  E.  of  Foligno,  on  the  slope  of  the  hills,  is  situated 
the  Abbadia  di  Scutovivo^  with  cloisters  built  in  1229,  resembling  those  of 
S.  Paolo  Fuori  at  Rome  (p.  352). 

About  5  H.  to  the  W.  of  Foligno  Is  Bevagna,  on  the  Clitumnus ,  the 
ancient  Mevania  of  the  Umbri ,  celebrated  for  its  admirable  pastures,  with 
remains  of  an  amphitheatre  and  other  antiquities.  The  little  churches  of 
S.  Bilvestro  and  8.  Michele^  dating  from  the  12th  cent.,  have  facades  by 
Binellut  (1195)  and  Bodulfut  (1201)  respectively.  The  former  is  undergoing 
restoration  as  a  ^national  monument. 

From  Bevagna  (or  from  Foligno  direct,  6  M.)  we  may  visit  the  lofty 
Montefaloo  (Alb,  delV  Orto^  poor*,  PostOf  near  the  gate),  probably  on  the 
site  of  the  Umbrian  Urvinum  Hortense^  one  of  the  best  places  for  the 
study  of  Umbrian  painting.  The  church  of  8.  Leonakdo,  by  the  Porta 
di  Spoleto,  contains  a  Madonna  and  saints  by  Franceico  Melamio  of  Montefalco 
(1516).  In  S.  AaoBTiNO  are  a  Madonna,  St.  James,  and  St.  John  of  the  Umbrian 
School  (1522;  left  wall),  and  Gl^od  the  Father,  Madonna,  Apostles,  and  Saints 
•  BenoMxo  OozeoU  (?right  wall).  —  The  church  of  *S.  Fbancbsoo,  built  in 


to  Orte.  TREVl.  11.  Route,    81 

the  14th  cent.,  with  a  portal  of  1685,  containB  numerous  iateresting  paint- 
ings. On  the  entrance-wall.  Annunciation  and  Nativity,  hy  Ptrtmiino;  wall 
of  left  aisle,  Madonna  and  saints  by  Tiberio  d^Astiti  (1610)^  Crucifixion, 
Miracles  of  St.  Anthony,  School  of  Btnozzo  Qoztoli;  Madonna,  an  arch- 
angel, four  saints,  VmbriiM  School  (1506);  last  chapel  in  the  left  aisle, 
Crucinxion  and  Christ  appearing  to  Mary  Magdalene.  School  of  Oiotto,  The 
choir  is  adorned  with  'Frescoes  by  Benotto  QogzoU  (1462),  representing  the 
legNid  of  St.  Francis,  with  portraits  of  popes,  cardinals,  and  church-fathers ; 
below  tiie  window,  portraits  of  Dante,  Petrarch,  and  Qiotto.  The  frescoes 
on  the  wall  of  the  right  aisle  are  still  partly  concealed  by  the  whitewash; 
the  most  important  are  those  by  Bcnozto  OozzoH  (1452 ;  Crucifixion,  Christ 
blessing,  four  chureh-fatherSj  Madonna  and  four  saints).  —  The  Pinagot£ca, 
in  the  principal  piazza,  adjoining  the  Municipio,  contains  three  saints 
by  Lo  Spagna  (?),  a  Madonna  by  Benozzo  OozzoH  (?),  and  numerous  other 
unimportant  works.  —  The  church  of  S.  Fortunato,  1  M.  beyond  the 
Porta  di  Spoleto,  also  possesses  several  interesting  paintings.  In  the 
Cappella  di  3.  Francesco  (to  the  left  in  the  court),  Legend  of  St.  Francis, 
by  liberio  d^Aszisi  (1512);  in  the  nave,  seven  angels  by  Bcnozzo  OozzoH; 
in  the  choir,  Madonna  and  saints,  by  Franc,  Jfela»zio  (1528);  right  aisle, 
*Madonna  adoring  the  Holy  Child,  Angel  with  a  musical  instrument,  by 
Ben,  OozzoH  (1460).  —  A  walk  round  the  walls  of  the  town  afifords  magni- 
ficent *VisW8  of  the  Umbrian  plain. 

The  Railway  traverses  the  luxuriant,  well-watered  valley  of 
the  ClitumnuSj  whose  herds  of  cattle  are  extolled  by  Virgil,  to  — 

30  M.  Trevi  (^Locanda,  near  the  Porta  del  Lago,  poor).  The 
small  town,  the  ancient  ISrebia,  lies  picturesquely  on  the  steep  slope 
to  the  left.  The  Pinacoteca  in  the  Municipio  contains  three  works 
by  Lo  Spagna  (1.  Coronation  of  the  Virgin,  61.  St.  Cecilia,  65.  St. 
Catharine).  The  church  ofS.  Emiliano,  of  the  12th  cent.,  possesses 
an  interesting  portal  (St.  iEmilian  between  two  lions)  and  three 
richly-ornamented  ♦Altars  by  Rocco  da  Vicenza  (1521). 

About  Vs  ^*  beyond  the  Porta  del  Lago  lies  the  church  of  S.  Mas- 
ting (key  at  the  Cafd  Cecchini).  In  the  outer  chapel  is  a  *Madonna  in 
glory,  surrounded  with  four  saints,  by  Lo  Speigna  (1512);  above  the 
entrance,  Madopna  and  two  angels,  by  Tibcrio  d^Azziti;  in  the  interior, 
St.  Martin  by  Lo  Spagna  (?  to  the  left),  and  Madonna,  St.  Francis,  and  St. 
Anthony,  of  the  School  of  Foligno  (to  the  right).  —  The  church  of  S. 
Mabia  dsllb  Laobixb,  >/4  M.  from  the  Porta  del  Cieco,  on  the  way  to 
the  railway-station,  was  built  in  1487  by  Antonio  da  Firenze  and  poss- 
esses a  fine  portal  by  Oiovcmni  di  Oian  Piciro  da  Venezia,  added  in  1511. 
In  the  1st  chapel  to  the  left  is  a  Resurrection,  by  an  umbrian  Painter; 
in  the  transept,  to  the  left,  ^Entombment  by  Lo  Spagna;  2nd  chapel  to 
the  right,  Adoration  of  the  Magi,  by  Pcmginos  1st  chapel  to  the  right, 
Annunciation,  UrnXniain  School. 

The  small  village  of  Le  Vene,  on  the  Clitumnus,  is  next  passed. 
Near  it,  to  the  left,  we  obtain  a  glimpse  of  a  small  ancient  *Temple, 
usually  regarded  as  that  of  Clitumnus  mentioned  by  Pliny  (Epist. 
8,  8),  but  probably  not  earlier  than  the  fifth  cent. ,  as  the  Christian 
emblems,  the  vine  and  the  cross,  on  the  facade  testify.  The  temple, 
now  a  church  of  8,  Sdhatore ,  lies  with  its  back  towards  the  road, 
about  2y2  M.  from  Trevi.  Near  Le  Vene  the  abundant  and  clear 
Source  of  the  Clitumnus,  beautifully  described  by  Pliny,  wells  forth 
from  the  limestone-rock,  close  to  the  road.  On  the  height  to  the 
left  Is  the  village  of  Campello.  On  the  way  to  Spoleto,  to  the  left, 
In  the  village  of  8.  QiacomOy  is  a  church  the  choir  of  which  is 
adorned  with  frescoes  by  Lo  Spagna  (Coronation  of  the  Virgin, 
Babdkkjck.    Italy  II.    10th  Edition.  6 


S2   BouU  11,  SPOLETO.  From  Ptmgia 

Legend  of  St.  James  of  ComposteUa ;  1526).  Beantifnl  road  through 
richly  cultivated  land. 

40^2  M.  SpoletO.    The  town  is  >/«  ^>  distant ;  one-horse  carr.  V2  fr. 

*Albbroo  &  RxsTOXAZioHB  OX  FiLiPPo  LcoiMi ,  in  the  upper  town, 
near  the  theatre,  R.,  L.,  A  A.  2>/s,  luncheon  2Vti  !>•  3fr. ;  Posta,  in  the 
lower  part  of  the  town,  near  the  railway-gate.  —  Trattoria  della  FerroviOf 
to  the  right  of  the  gate.  ~  *C<;^f4  dtlla  Aaziane  and  Birreria^  Corso  Vitt. 
Emanuele.  —  £athSy  Piazza  S.  Laca. 

SpoletO,  the  ancient  Spoleiiumj  the  seat  of  a  hishop  as  early  as 
A.D.  50,  now  an  archiepiscopal  see,  is  a  busy  town,  beautifully  situ- 
ated, and  containing  some  interesting  objects  of  art.  The  chief 
occupations  of  its  11,000  inhab.  (commune  21,600)  are  the  gather- 
ing of  truffles  in  the  surrounding  woods  and  the  preparation  of  pre- 
served meats,  vegetables,  and  fruits.    Mining  is  also  carried  on. 

In  B.  C.  242  a  Roman  colony  was  established  in  the  ancient  Umbrian 
town ,  and  in  217  it  vigorously  repelled  the  attack  of  Hannibal,  as  Livy 
relates  (22,  9).  It  subsequently  became  a  Roman  munieipium,  suffered 
severely  during  the  civil  wars  of  Sulla  and  Marius,  and  agun  at  the  hands 
of  Totila  and  his  Goths,  after  the  fall  of  the  W.  Empire,  though  Theo- 
doric  the  Oreat  favoured  it.  The  Lombards  founded  a  duchy  here  (as  in 
Benevento)  in  569,  the  first  holders  of  which  were  Faroald  and  Jriul/. 
After  the  fall  of  the  Carlovingians,  Outdo  of  Spoleto  even  attained  the  dig- 
nity of  Emperor,  as  well  as  his  son  Lambert ,  who  was  murdered  in  898 . 
In  1156  the  then  prosperous  town  was  destroyed  by  Frederick  Barbarossa; 
and  in  the  beginning  of  the  13th  cent,  it  was  incorporated  with  Uie  States 
of  the  Church.  The  Cattle  of  Spoleto,  known  as  La  Rocca,  originally 
founded  in  pre-Roman  times,  was  rebuilt  in  1364  by  Oardinal  Albomoz, 
and  completed  by  Pope  Nicholas  V.  In  1499  it  was  inhabited  by  Lucretia 
Borgia.  It  fell  into  the  hands  of  the  Piedmontese  on  18th  Sept.,  1860,  after 
a  gallant  defence  by  Major  O'Reilly,  an  Irishman. 

Entering  by  the  town-gate  and  following  the  main  street  which 
traverses  the  lower  part  of  the  town,  we  reach  (5  min.)  a  gateway 
of  the  Roman  period,  called  the  Porta  d^AnmbaUj  or  Porta  deUa 
Fuga,  in  allusion  to  the  above-mentioned  occurrence. 

We  may  continue  to  follow  the  Strada  Umberto,  ascending  the 
hill  in  a  wide  curve,  or  take  one  of  the  direct  but  steep  side-streets. 
Inclining  towards  the  left,  near  the  top,  we  come  to  the  — 

^Cathedral  of  S.  Mabia  Assunta,  raised  to  its  present  dignity 
in  1067  and  restored  in  the  12th  century.  On  each  side  of  the  por- 
tico, added  in  1491,  is  a  stone  pulpit.  Above,  Christ  v^ith  Mary  and 
John,  a  large  mosaic  by  SoUtmm  (1207).  The  richly  ornamented 
portal,  of  the  11th  cent.,  bears  on  the  left  the  name  of  Orcgorius 
Meliorantius,  The  lower  part  of  the  tower  contains  many  ancient 
fragments. 

To  the  right  of  the  vestibule  is  a  Baptistbbt  (CappeUa  Eroli),  con- 
taining frescoes  in  the  style  of  Qiulio  Romano;  the  travertine  font,  with 
sculptures  from  the  life  of  Christ,  is  of  the  16th  centurv. 

The  Int£SIob  of  the  cathedral  was  restored  in  1644.  In  the  chapel 
immediately  to  the  right  of  the  entrance  are  some  fragments  of  frescoes 
by  Ptninricehio  and  a  Oruciaxion  (1187),  from  88.  Giovanni  e  Paolo.  —  The 
Guois  contains  ^Frescoes  by  Fra  Filippo  L^i.  completed  after  his  death 
by  Fra  Diamante  in  1470,  Annunciation,  Birth  of  Christ,  and  *Death  of 
Mary^  in  the  semicircle  her  Coronation  and  Assumption  (unfortunately 
damaged).  At  the  entrance  to  the  chapel  on  the  left  of  the  choir,  to 
the  left,  is  the   Tomb  of  Fra   Fit,  Lippi  (d.  1469).     The  monument  was 


toOrte.  SPOLETO.  IL  Route.   83 

erected  by  Lor.  de^  Medici^  the  epitaph  is  by  Poliziano.  Opposite  is  the 
monament  of  an  Orsini,  by  Ainbrogio  da  Milano  (1489).  —  The  Wintbr- 
Ghois,  in  the  left  aisle,  contains  good  carving  of  the  16th  cent.,  and  a 
Madonna  by  Lo  Spagna. 

In  the  Piazza  del  Duomo ,  in  front  of  the  cathedral ,  probably 
stood  the  palace  of  the  Lombard  dukes.  Adjacent  is  the  tasteful 
ChUna  della  Manna  (VOro,  founded  in  1527.  —  On  leaving  the  ca- 
thedral we  proceed  in  a  straight  direction ,  slightly  ascending,  to 
the  Palasio  Arroni  (on  the  left)  with  a  fine  portal  and  Graffiti  of 
mythological  scenes  (16th  cent.j  and  to  the  Palazzo  Pubblico, 
containing  several  inscriptions  and  the  small  Pinaeoieca, 

On  the  entrance-wall,  early  medieeval  sculptures.  —  Rook  II.  En- 
trance-wall, Handsome  chimney-piece  of  the  beginning  of  the  16th  cent. ; 
centre.  Archaic  inscription  regulating  the  felling  of  timber  in  a  sacred 
grove.  —  B.  III.  Entrance-wall,  "Madonna  with  saints,  by  Lo  Spagna; 
right  wall.  Virtues  and  Putti,  by  Lo  Spagna,  —  R.  IV.  Bight  wall.  Ma- 
donna, by  Bern.  CampelloiiSOQ) ;  Adoration  of  the  Holy  Child,  by  Lo  Spagna  (V). 

On  the  other  side  of  the  Palazzo  Pubblico,  and  in  some  of  the 
neighbouring  houses,  Koman  foundations  have  been  brought  to  light. 

The  half-sunken  *  Triumphal  Arch  of  Drusus  and  Germanicus 
stands  in  the  narrow  street  which  leads  to  the  S.  from  the  Piazza 
DBL  Mebcato,  the  ancient  Forum.  The  small  staircase  adjoining 
it  leads  to  a  picturesque  monastery  court.  —  From  this  point  we 
may  enter  the  lower  church  of  8.  AnaanOj  with  its  damaged  frescoes 
of  the  11th  cent.,  formerly  dedicated  to  St.  Isaac,  who  founded  the 
hermitages  on  the  Monte  Luco.  —  Farther  on  traces  of  Roman 
construction  have  been  discovered  in  8.  Agata,  now  a  prison,  and 
its  little  piazza. — The  small  church  of  88,  Oiovanni  t  Paolo,  gener- 
ally difficult  of  access,  has  a  subterranean  oratory,  with  11th  cent, 
frescoes.  —  Outside  the  Porta  S.  Luca,  to  the  right,  are  the  church 
and  convent  of  8.  Paolo  (13th  cent),  now  a  poorhouse ;  adjacent  is 
8.  Madonna  di  Loreto,  founded  in  1572,  with  a  later  facade. 

The  broad  street  in  front  of  the  Porta  S.  Luca  leads  to  the  left 
to  the  church  of  8.  Pietro,  the  cathedral  until  1067,  restored  after 
its  destruction  in  1329.  The  reliefs  on  the  facade  are  of  different 
dates :  the  representations  from  the  bestiaries  (the  wolf  preaching ; 
the  fox  feigning  death)  at  the  central  portal  are  the  oldest,  and 
may  date  from  the  11th  or  12th  cent. ;  those  above  (deaths  of  the 
righteous  and  of  the  sinner)  are  later.  —  At  the  top  of  Monte  Luco 
is  the  small  church  of  iSf.  Oiuliano,  where  St.  Isaac,  a  Syrian  monk, 
founded  a  monastery  about  500. 

A  road  issuing  from  the  Porta  S.  Gregorio  on  the  other  side  of 
the  town  and  skirting  the  river  to  the  right,  then  turning  to  the 
left  to  the  new  Campo  Santo,  with  its  conspicuous  arcades,  brings 
us  to  the  church  of  *8.  Agostino  del  Crociftsso,  formerly  8.  8alvatore. 
This  church  was  erected  in  the  5th  or  6th  cent,  on  the  site  of  a 
Roman  temple,  and  was  destroyed  at  an  early  date.  The  fine  ancient 
Roman  doors  have  been  preserved,  but  the  ivy  wreaths  and  consoles 
with  which  they  are  adorned  and  also  the  three  magnificent  windows 

G* 


SiBouUll.  TERNI.  From  Perugia 

wMch  pierce  the  facade  are  the  work  of  the  Christian  architects.  In 
the  interior  the  nave  was  separated  by  twenty  Doric  columns  from 
the  aisles,  which  were  built  up  on  the  conyersion  of  the  church  into 
a  monastery.  Six  antique  columns  with  a  Doric  entablature  are  still 
preserved  in  the  choir ;  and  the  octagonal  dome  rests  upon  eight 
gigantic  columns,  with  curious  imposts.  —  In  the  neighbourhood 
is  the  small  13th  cent,  church  of  8,  Ponziano, 

The  Conte  Francesco  Toni'a  valuable  Collection  of  Petrefactions, 
in  the  Palazzo  Toni,  Piazza  S.  Luca,  is  of  great  interest  to  geologists 
(visitors  readily  admitted). 

Travellers  should  not  omit  to  extend  their  walk  beyond  the  ca- 
thedral and  the  Palazzo  Pubblico  as  follows.  Continuing  to  ascend, 
after  a  few  minutes  we  cross  the  Piazza  Brignone  in  a  diagonal 
direction,  where  a  memorial  slab  commemorates  the  capture  of  the 
fortress  in  1860.  Passing  the  fountain,  we  leave  the  upper  part  of 
the  Piazza  by  a  street  to  the  right,  which  passes  immediately  below 
the  lower  entrance  of  the  fortress  of  La  Rocca^  now  a  prison.  A 
little  farther  on,  near  a  gate  which  here  forms  the  entrance  to  the 
town,  we  perceive,  to  the  left,  polygonal  foundations,  being  remains 
of  the  ancient  castle-wall.  Outside  the  wall  is  a  profound  ravine, 
spanned  by  the  imposing  aqueduct  *Ponte  delle  Torti,  built  of  brick, 
which  is  used  as  a  viaduct,  uniting  the  town  with  Monte  Loco.  It 
rests  on  ten  arches,  and  is  290  ft.  in  height,  and  231  yds.  in 
length.  Its  construction  is  attributed  to  Theodelapius,  third  duke 
of  Spoleto  (604).  The  ground-plan  is  apparently  Roman,  while  the 
pointed  arches  indicate  a  restoration  in  the  14th  century.  A  window 
midway  affords  a  view.  To  the  left  on  the  height  is  perceived  the 
monastery  of  S.  Giuliano  j  below  is  S.  Pietro  (see  p.  83).  Beyond 
the  bridge  we  turn  to  the  left,  generally  following  the  direction  of 
the  aqueduct.  After  10-15  min.  a  more  unbroken  *Prospeot  is  ob- 
tained, embracing  the  fortress  and  town,  and  the  spacious  valley. 

The  ascent  of  Honte  Lnco,  IVz  hr.,  is  somewhat  fatiguing.  Befresh- 
menta  at  the  Franciscan  convent  near  the  top  (adequate  remuneration 
expected).  The  hermitages  are  now  used  as  summer^ wellings.  The  ^Fra 
Guardiano'  conducts  visitors  to  the  best  points  of  view.  To  the  N.  and  E. 
lies  the  valley  of  the  Clitumnus  with  Trevi,  Foligno,  Spello,  and  Assisi; 
then  Perugia  and  the  Central  Apennines  near  CittJt  di  Gastello  and  Guhbio. 
In  the  other  directions  the  view  is  intercepted  by  the  mountains  in  the 
vicinity.  Towards  the  E.  these  are  overtopped  bj'  the  rocky  peak  of  the 
Sibilla,  snow-clad  until  late  in  the  summer.  —  Returning  to  the  right  we 
pass  the  former  Capuchin  monastery  of  S.  Maria  delle  Qratie^  an  ancient 
resort  of  pilgrims. 

The  Railway  now  ascends  for  8/4  hr.  to  its  culminating  point 
on  Monie  Somma  (2230  ft.).  —  Passing  through  a  long  tunnel ,  it 
reaches  (51  M.)  Oiuncano. 

58  V2  M.  Temi.  —  The  town  is  about  V4M.  from  the  station.  The  hotel- 
omnibuses  meet  the  trains  j  a  seat  in  a  carriage  Cun  posto')  to  the  piazza 
30-60  c,  box  20  c. 

Hotels.  ^Edbopa  A  Inohiltbbra,  in  the  piazza,  with  restaurant, 
R.  from  2,  A  1/2,  B.  11/4,  dej.  2V«»  D-  incl.  wine  5  fr.  ^  Italia  ;  Alb.  Nuovo 
with  trattoria.'  —  Ca/4  Elvezia^  near  the  Europa. 


to  Orte.  TERNI.  11.  RouU.    85 

Gabkiaqb  to  the  Waterfalls  P/*,  back  V«^'0:  ^  person  6.  2  pers.  7, 
3  pers.  9fr.,  etc.  (bargaining  advisable)*,  or  at  the  hotels  7,  10,  and  15 fr. 
respectively,  besides  which  a  fee  of  1-1  Va  fr.  is  expected.  —  Guidb  (qnite 
nnneeessvy)  3  fr.  —  The  traveller  should  be  abundantly  provided  with 
copper  coins.  At  the  different  points  of  view  contributions  are  levied  by 
the  custodians  (3-4  soldi):  flowers  and  fossils  from  the  Velino  are  offered 
for  sale,  also  for  3-4  soldi ;  besides  which  the  patience  is  sorely  tried  by 
the  importunities  of  a  host  of  beggars  and  guides. 

Temi,  situated  in  the  fertile  vaUey  of  the  Nera,  with  15,900 
inhab.  (incl.  villages)  and  several  manufactories,  is  the  ancient 
IrUercmmaj  where,  it  is  believed,  the  historian  Tacitus  and  the 
emperors  Tacitus  and  Florianus  were  born.  Remains  of  an  amphi- 
theatre (erroneously  styled  a  'Temple  of  the  Sun^^  in  the  grounds 
of  the  episcopal  palace,  Roman  inscriptions  in  the  Palazzo  Pubblico, 
palaces  of  theUmbrian  nobility,  etc.,  are  objects  of  interest.  Pleasant 
walk  on  the  ramparts,  whence  the  beautiful  NeraVaUey  is  surveyed : 
to  the  left  Collescipoli,  to  the  right  Gesi,  opposite  the  spectator  Narni. 

The  Watebpalls  of  Tbeni  may  be  reached  on  foot  in  IY2  hr.  { 
the  whole  excursion,  including  stay,  requires  about  4  hrs.  (by  car- 
riage 3  hrs.).  Pedestrians  may  return  by  railway.  Carriages  and 
fees,  see  above. 

The  Railway  to  Rieti  (see  Baedeker^  Southern  Italy)  gradually 
ascends  to  the  S. ,  across  the  plain  of  the  Nera,  to  (5^2  M.)  /Sftroncon*, 
the  station  for  a  village  of  the  same  name  on  the  hill.  Thence  the 
line  ascends  rapidly  in  curves,  threading  six  tunnels.  As  the  train 
emerges  from  the  last  two,  we  catch  line  glimpses  of  the  upper  val- 
ley of  the  Nera.  —  10  M.  Marmore  (50  min.  from  Teml,  in  the  re- 
verse direction  40  min.;  fares  1  fr.  85,  Ifr.  30,  85  c.),  about  V2M. 
from  the  waterfalls.  The  railway  now  ascends  the  valley  of  the  Ve- 
lino. —  li  M.  Piedilueo  (55  min.  from  Teml;  fares  2 fr.  5,  1  fr.  45, 
95  c),  on  the  W.  bank  of  the  lake,  opposite  the  village  of  that  name 
(p.  86).  A  boat  for  the  transit  (1/2  hr. ;  y^i  fr.)  is  not  always  to 
be  had  without  delay.    A  road  (2  M.)  is  being  made. 

To  reach  the  Watssfallb  from  the  station  of  Marmore  CRail.  Re- 
ttaurant)  we  turn  first  to  the  right,  and  80  paces  beyond  the  pointsman's 
hut  "So.  214,  cross  the  railway.  Paying  no  attention  to  the  'Custodi  delle 
Gascate^  here  lying  in  wait,  we  keep  to  the  left,  passing  some  cottages. 
We  then  pass  through  the  gate  on  the  right  (when  closed,  fee  of  2-3  soldi), 
and  still  keep  on  to  the  left  till  we  reach  (6  min.)  the  upper  fall  (p.  86). 

Two  carriage -roads  lead  from  Terni  to  the  waterfalls.  The 
New  Road  (4^2  M.) ,  following  the  right  bank  of  the  Nera ,  and 
flanked  with  poplars,  leaves  the  town  near  the  Porta  Spoletina, 
and  crosses  the  plain  in  a  straight  direction.  On  the  right  rises  a 
government  manufactory  of  weapons ;  on  the  left  an  armour-plate 
factory.  We  now  approach  the  stream,  the  valley  of  which  contracts. 
On  each  side  tower  lofty  rocks,  to  which  the  luxuriant  vegetation  of 
the  slopes  forms  a  beautiful  contrast.  —  The  Old  Road  is  reached 
from  the  piazza  at  Terni  by  passing  the  Albergo  Europa  and  descend- 
ing the  Strada  Garibaldi.  We  at  first  follow  the  Rieti  and  Aquila 
road,  which  crosses  the  Nera  just  outside  the  gate,  traversing  garden? 
and  olive-plantations ;  after  2  M.  (near  a  small  chapel  on  the  right), 


86  Route  11.  TERNI. 

broad  road  to  the  left  descends  into  the  valley  of  the  Nera,  while  the 
high-road  ascends  gradually  to  the  right.  The  former  descends  in 
windings  past  the  village  of  PapignOj  picturesquely  situated  on  an 
isolated  rock,  (8/4  M.)  crosses  the  Nera,  and  on  the  right  bank,  near 
the  villa  of  Count  CasteUi-Graziani,  reaches  the  new  road  mentioned 
above  (1-1 1/4  M.  to  the  falls). 

The  celebrated  falls  of  the  Velino  (which  here  empties  itself  into 
the  Nera),  called  the  **Caseate  delle  Hannore,  are  about  650  ft. 
in  height,  and  have  few  rivals  in  Europe  in  beauty  of  situation  and 
volume  of  water.  The  rivulet  is  precipitated  from  the  height  in  three 
leaps  of  about  65,  330,  and  190  ft.  respectively,  the  water  falling 
perpendicularly  at  some  places,  and  at  others  dashing  furiously  over 
rocks.    The  spray  of  the  falls  is  seen  from  a  considerable  distance. 

The  Velino  is  so  strongly  impregnated  with  lime  that  its  deposit  eon- 
tinnally  raises  its  bed^  and  the  plain  of  Bleti  (1400  ft.)  is  therefore 
frequently  exposed  to  the  danger  of  inundation.  In  ancient  times  Hanius 
Cnrins  Dentatus  endeavoured  to  counteract  the  evil  by  the  construction 
of  a  tunnel  (B.  C.  1771),  which,  though  altered,  is  to  this  day  in  use. 
The  rising  of  the  bed  of  the  river,  however,  rendered  new  measures 
necessary  from  time  to  time.  Two  other  channels  were  afterwards 
excavated,  the  Cava  Beatina  or  Oregoriana  in  1417,  and  the  Cava  Paolina 
by  Paul  III.  in  1546  5  these,  however,  proving  unserviceable,  Clement  VIII. 
re-opened  the  original  'emissarium''  of  Dentatus  in  1598.  In  1787  a  new 
cutting  was  required,  and  another  has  again  become  necessary.  The 
regulation  of  the  Velino  fall  has  long  formed  the  subject  of  vehement 
discussions  between  Bieti  and  Terni ,  as  the  unrestrained  descent  of  the 
water  in  rainy  seasons  threatens  the  valley  of  Terni  with  inundation. 

Fine  views  of  the  falls  are  obtained  from  several  points.  Before 
reaching  the  falls,  we  may  ascend  a  rough  path  to  the  left,  leading 
in  10  min.  to  the  finest  view  of  the  upper  and  central  falls.  —  We 
now  return  to  the  road,  retrace  our  steps  (80-90  paces)  to  the  path 
on  the  left ,  and  cross  the  Nera  by  a  natural  bridge,  below  which 
the  water  has  hollowed  its  own  channel.  Where  the  path  divides, 
we  ascend  gradually  to  the  left.  The  surrounding  rocks  (in  which 
there  is  a  quarry)  have  been  formed  by  the  incrustations  of  the  Ve- 
lino. The  channel  on  the  right  (Cava  Paolina)  is  fuU  in  winter 
only.  In  12-15  min.  we  come  to  a  point,  where  the  division  of  the 
cascade  is  surveyed ;  the  central  fall,  in  the  spray  of  which  beautiful 
rainbows  are  occasionally  formed,  may  be  approached  more  nearly. 
A  farther  steep  ascent  of  15-20  min.  leads  to  a  small  pavilion  of 
stone  on  a  projecting  rock,  affording  a  beautiful  view  of  the  principal 
fall  and  the  valley  of  the  Nera.  We  next  ascend  a  flight  of  steps 
(4  min.) ,  and  soon  reach  another  point  of  view  on  the  left,  in  the 
garden  of  the  first  cottage  (20  c).  —  Following  the  same  path  for 
a  few  minutes  more,  we  turn  to  the  right  and  come  to  a  small 
house;  passing  through  its  garden  (10-15  c),  and  between  several 
houses,  we  reach  in  10  min.  the  road  to  Rieti  and  Aquila  (see  above), 
and,  after  crossing  the  railway,  a  good  osteria  (No.  153).  The  station 
of  Marmore  (p.  85)  is  seen  to  the  left. 

If  time  permit,  the  excursion  may  be  extended  to  the  beautiful 


NARNI.  11.  Route.   87 

*Lake  of  PiedikieOj  IV2  M.  farther  on.  Following  the  road,  which 
skirts  the  indentations  of  the  lake,  we  arrive  at  the  village  of  Pie- 
diUieo,  with  its  ruined  castle,  in  V2  ^^-  (tolerable  inn).  On  the 
opposite  (8.W.)  bank  lies  the  railway-station  mentioned  at  p.  85. 

The  Railway  intersects  the  rich  valley  of  the  Nera.  To  the 
right  on  the  hill  lies  Ceti,  5  M.  to  the  N.W.  of  Terni ,  to  the  right 
of  the  S.  Gemine  and  Todl  road  (p.  55),  with  remains  of  ancient 
polygonal  walls  and  interesting  subterranean  grottoes.  To  the  left, 
CoUeseipoU. 

66^2^  Vanii  (^AngelOj  tolerable),  the  ancient  Umbrian  Natnia 
(originally  Nequinum),  birthplace  of  the  Emperor  Nerva,  Pope  John 
XIII.  (965-72),  and  Erasmus  of  Narnl,  surnamed  Gattamelata,  the 
well-known  'condottiere'  of  the  15th  century.  It  is  picturesquely 
situated,  ^4  M.  from  the  station,  on  a  lofty  rock  (1190  ft.)  on  the  Nar, 
now  Nera ,  at  the  point  where  the  river  forces  its  way  through  a 
narrow  ravine  to  the  Tiber.  The  old  castle  is  now  a  prison.  •—  The 
Cathedral,  erected  in  the  13th  cent.,  with  a  vestibule  of  1497,  and 
dedicated  to  St.  Juvenalis,  the  first  bishop  (369),  is  architecturally 
interesting.  —  The  Town  Hall  contains  the  Coronation  of  Mary 
by  Ohirlandajo  (formerly  in  the  monastery  of  the  Zoccolanti ,  the 
strictest  branch  of  the  Franciscans),  spoiled  by  retouching. 

From  Nami  vi&  Perugia  by  Todi,  see  pp.  66,  55. 

From  17ami  a  road  leads  to  the  N.W.  to  the  (6  H.)  venerable  and 
finely  situated  Umbrian  moantain-town  of  Amelia,  Lat.  Ameria  (inn  outside 
the  gate),  mentioned  by  Cicero  in  his  oration  Pro  Boscio  Amerino,  with 
admirably  preserved  *Cyclopean  Walls  and  other  antiquities  (1890  ft.). 

The  train  turns  towards  the  narrowing  valley  of  the  Nera,  and 
passes  close  to  the  ^Bridge  ofAugustui  (on  the  left),  which  spanned 
the  river  immediately  below  Narni  in  three  huge  arches ,  and  be- 
longed to  the  Via  Flaminla  (p.  101),  leading  to  Bevagna  (p.  80). 
The  arch  next  to  the  left  bank,  60  ft.  in  height,  alone  is  preserved, 
while  of  the  two  others  the  buttresses  only  remain. 

The  train  continues  to  follow  the  valley  of  the  Nera ,  .with  its 
beautiful  plantations  of  evergreen  oaks.  Beyond  (71  M.)  Nera  Mon^ 
ioro  we  pass  through  two  tunnels,  and  then  (near  the  influx  of  the 
Nera)  cross  the  Tiber,  which  in  1860-70  formed  the  boundary  be- 
tween the  Kingdom  of  Italy  and  the  Papal  States.  —  Near  — 

77  M.  Orte  (^RaiU  Restawrant)  we  reach  the  main  line  from  Ghiusi 
to  Rome  (see  p.  67). 

12.   From  Bologna  to  Rimini,  Faleonara  (Rome), 
and  Ancona. 

127  M.  Bailwat  in  S-Ti/a  hrs.  (fares  23  fr.  10,  16  fr.  16,  10  fr.  40  c.t 
express  25  fr.  40,  17  fr.  80  c.)  —  Beautiful  views  of  the  sea  between  Biminl 
and  Cattolica,  and  beyond  Pesaro.  A  seat  on  the  left  should  therefore  be 
secured.  —  From  Bologna  to  Romb,  300  M.,  express  in  13»/4  hr*.  (vi^  ^or- 
ence  in  13  hrs.).  This  train  diverges  to  the  8.W.  at  Faleonara,  the  last 
station  before  Ancona. 


88  RouU12,  FAENZA.  From  Bologna 

The  towns  on  the  coast  of  the  Adriatic  are  far  inferior  in  attraction 
to  those  in  the  W.  part  of  the  peninsula  (Tuscany  and  TJmhria);  but 
without  a  visit  to  them  the  traveller's  acquaintance  with  Italy  would  he 
but  imperfect.  The  views  of  the  Adriatic  to  the  E.,  and  of  the  Apennines 
to  the  W.  are  often  charming,  and  the  situation  of  some  of  the  towns, 
especially  Ancona,  is  strikingly  beautiful.  Rimini  ^  an  ancient  Roman 
colony  and  frontier  fortress,  possesses  several  fine  monuments  of  antiquity, 
and  its  church  of  S.  Francesco  is  an  admirable  Renaissance  work.  Roman 
triumphal  arches  are  also  preserved  at  Ancona  and  Fano ;  and  Loreto  boasts 
of  valuable  sculptures  in  the  Renaissance  style  (p.  106).  Urhino,  too,  the 
birthplace  of  Raphael,  lies  within  a  short  distance  of  this  route.  Many  of 
the  towns  now  have  galleries  of  pictures  collected  from  the  suppressed 
monasteries,  but  of  second-rate  importance.  The  provinces  of  Pe*aro-Ur- 
binoy  Ancona,  Maeerata,  and  A»eoU  are  called  the  Mabchbs  (Le  Marehe). 
In  Roman  times  the  8.  part  as  far  as  Ancona  was  called  Picenum,  while 
the  V.  part  belonged  to  Umbria  (comp.  p.  93). 

From  Bologna  via  (22  M.)  Jmola  to  (26  M.)  Casta  Bolognese, 
.  junction  for  the  hranch-line  to  BavennOj  see  Baedeker'a  Northern 
Italy,  The  line  follows  the  ancient  Via  .Emilia ,  which  ran  from 
Placentia  to  Ariminum. 

We  cross  the  river  Senio,  the  ancient  Sinnus, 

31  M.  Taenia  (*Alb,  Firenze,  Corona,  near  the  Piazza  Maggiore ; 
Tre  Mori),  a  pleasant  town  with  14,500  inhab.  (commune  36,100), 
on  the  Amone  (ancient  Anemo'),  the  Faventia  of  the  BoU,  was  the 
scene  of  Sulla's  victory  oTer  Carbo.  In  the  middle  ages  it  witnessed 
numerous  feuds,  and  in  1509  it  was  annexed  by  Julius  II.  to  the 
States  of  the  Church.  The  town  was  famous  in  the  15th  cent,  for  its 
pottery,  the  manufacture  of  which  has  lately  been  revived  (* faience'), 
and  contains  considerable  silk  and  weaving  factories.  Faenza  was 
the  birthplace  of  Torricelli,  the  inventor  of  the  barometer  in  1643, 
to  whose  memory  a  monument  has  been  erected  in  front  of  the 
church  of  S.  Francesco,  to  the  left  as  we  enter  the  town. 

The  main  street  leads  direct  to  the  Piazza  Maggiore,  which  is 
surrounded  by  arcades.  In  this  square,  to  the  left,  is  the  Cathsdbai. 
OP  S.  CosTANzo,  a  handsome  basilica  of  the  15th  cent,  named  after 
Oonstantius,  the  first  bishop  of  Faventia  (313).  It  contains  the  tombs 
of  Giov.  Bosi  (d.  1542;  1st  chapel  to  the  right)  and  Africano  Seve- 
roli  (d.  1522;  5th  chap,  on  the  right),  both  \ijBariloio;  a  Holy 
Family  by  Innocenzo  da  Imola  (4th  chap,  on  the  right) ;  and  the 
tomb  of  St.  Savinus,  by  Benedetto  da  Majano,  1472  (chap,  on  left  of 
high-altar).  In  the  Piazza  Maggiore  are  also  the  Palazzo  Municipale 
and  the  Torre  deW  Orologio ;  the  fountain  in  the  centre,  embellished 
with  bronzes,  dalps  from  1621. 

The  street  at  the  end  of  the  piazza,  adjoining  the  post-office, 
leads  to  the  right  to  the  gymnasium,  on  the  first  floor  of  which  is 
the  municipal  Pinacotboa. 

At  the  end  of  the  Vbstibule  :  Colossal  group  of  Mary  with  the  two 
SS.  John,  by  Alfonio  Lombardi.  —  Room  I.  To  the  right:  Pace  da  Faenza, 
Madonna  with  saints  (14th  cent.)*,  ^Lionardo  5<;ate««,  Madonna  with  angels 
and  saints  (1484)*,  Crucifixion,  St.  Dominic  and  St.  Peter;  Oiamibattista 
Btriueei,  Madonna  with  saints  (1506);  Bagnaeavallo ,  Betrothal  of  St.  Ca- 
tharine; PatmeMMono,  Madonna  with  saints  (1^);  PaUneMBOHM,  Bearing 
'  the  Cross  (1635) ;  Done  Doiti,  Two  heads.  —  Room  XL   Giaeomo  Bertveei 


to  Ancona.  FORLI.  12.  Route.    89 

the  Younger^  Madonna  with  saints  (1565),  Descent  from  the  Gross  \  Cctiffnola^ 
Baptism  of  Christ;  MicheU  Mcmxoni^  Martyrdom  of  St.  Entropius;  Ti^lo^ 
Judith ;  Arrail(  Fmtoni,  Bethesda;  Massimo  d'Azeglio^  Landscape;  &tUdo 
Bmi,  Madonna,  with  8S.  Francis  and  Christina;  Van  JDpck^  Two  royal 
portraits.  —  In  the  Small  Rooms:  Two  fine  *cassoni*,  formerly  belonging 
to  the  Manfredi,  and  a  wax-mask  of  the  Dominican  Paganelli.  —  In  the 
Boom  to  thk  bight  op  thk  Entsanoi:  Marble  *Bu8t  of  John  the  Baptist, 
and  wooden  statue  of  St.  Jerome,  both  by  D4maUilo;  terracotta  bust  of 
the  16th  cent.,  and  a  Madonna  of  the  school  of  the  Robbia. 

In  the  Via  Torricelli,  at  the  end  of  the  piazza,  to  the  left,  He 
the  old  Palazzo  Manfredi  and ,  opposite ,  the  church  of  8.  Michele^ 
with  tastefnl  brick  ornamentation. 

The  street  beside  the  clock-tower  crosses  the  hridge  to  the  Borgo. 
The  second  church  in  it,  to  the  right,  La  Maggiof%e,  contains  a  fine 
fresco  hy  Oirolomo  Pennaxicki  da  Udine  (1533),  representing  the 
Madonna  and  saints  (in  a  recess  in  the  choir). 

Beyond  Faenza  the  train  intersects  the  plain  in  a  straight  direc- 
tion. It  crosses  the  Amonej  then  the  Montone,  which,  united  with 
with  the  Boneo  (Bedesis),  falls  into  the  Adriatic  near  Ravenna. 

40  M.  TotU  (^AW,  Ma^iniy  tolerable;  8,  Marco ^  small,  good 
cuisine;  Vapore,  unpretending  but  well  spoken  of),  the  ancient 
Fomm  Livii ,  founded  by  M.  Livius  Salinator  after  the  defeat  of 
Hasdrubal,  is  a  well-built  provincial  capital  with  16,000  inhab. 
(including  suburbs  41,000). 

Forli,  where  in  410  the  marriage  of  Athauif,  king  of  the  Visigoths, 
with  Oalla  Plaeidiay  sister  of  the  Emp.  Honorius  was  solemnised,  was 
long  an  independent  state  in  which  the  Gnelphs  retained  their  ascendancy 
down  to  1315.  The  Ordelaffi  then  usurped  the  supreme  power,  which  they 
retained  till  1480,  when  they  were  succeeded  by  Oirolomo  Riario^  a  favour- 
ite of  Siztus  IV.  This  prince  was  assassinated  in  1488,  and  his  widow. 
Caterina  Bforta^  was  afterwards  banished  by  Cesare  Borgia.  At  length, 
in  1504,  Pope  JuUtu  II.  annexed  the  city  to  the  States  of  the  Church.  — 
Forli  was  the  birthplace  of  the  poet  Cornelius  Oallus  (d.  B.C.  27),  of  the 
historian  Flaoio  Biondo  (15th  cent.*,  p.  128),  and  of  the  talented  painter  Melozto 
da  Forli  (end  6t  15th  cent.) ,  who  was  closely  allied  to  Piero  della  Fran- 
cesca,  was  recognised  by  his  contemporaries  as  a  master  of  perspective, 
and  was  afterwards  engaged  at  Rome. 

The  Piazza  Vitt,  Emanuele ,  the  principal  square  (comp.  Plan, 
p.  90)  is  enclosed  by  handsome  palaces.  Here,  too,  is  the  church  of  — 

S.  Mbbcubialb  (so  named  after  the  first  bishop  of  Fori!).  In  the 
3rd  chapel  to  the  right,  Palmezzano^  Crucifixion,  with  saints  and 
the  donor ;  6th  chap,  to  the  right,  Palmezzano,  Madonna  with  saints ; 
4th  chap,  to  the  left,  the  decoration  in  which  is  by  Oiov.  Veneziano 
(1636),  the  Conception  by  Palmezzano ;  in  the  choir,  carved  stalls 
by  Alessandro  de'  Bigni  (1536) ;  in  the  sacristy,  Tura,  Visitation. 
^—  Opposite  the  church  is  the  restored  Municipio,  with  a  tasteless 
tower  of  the  18th  century. 

Proceeding  southwards  from  the  piazza,  we  reach  the  Catsedbal 
OF  S.  Cboce.  In  the  left  transept  is  the  Chapel  of  the  Madonna  del 
Fuoco,  the  dome  of  which  was  adorned  in  1686-1706  with  frescoes 
of  the  Assumption  by  Carlo  Cignani  of  Bologna.  The  painter  is  bur- 
ied in  the  chapel.  At  the  end  of  the  S.  aisle,  to  the  left,  is  a  St.  Se' 


90    Route  1^.  CESENA.  From  Bologna 

astian  by  Rondinelli.  A  reliquary  of  the  14th  cent.,  and  the  sculp- 
tures of  the  principal  door  (15th  cent.)  also  deserve  notice, 

88.  Biagio  e  Oirolamo  contains  in  the  double  chapel  (1st  &  2nd) 
on  the  right  *Frescoes  by  Melozzo  and  Palmezzano :  History  of  St. 
James  and  (in  the  dome)  prophets  and  angels.  To  the  left  Is  the 
tomb  of  Barbara  Manfredi  (15th  cent.).  In  the  3rd  chapel  on  the 
right  is  an  Immaculate  Conception,  by  Ouido  Reni.  In  the  4th  chapel: 
*  Palmezzano^  Madonna  and  saints,  with  Qirolamo  Riario  and  Cath- 
arina  Sforza  and  their  sons  (1486).  The  frescoes  in  the  dome  are 
also  by  Palmezzano. J 

The  Pinacoteca  and  other  municipal  art- collections  are  preserved 
in  the  Ginnasio  Comunalb,  in  the  Piazza  di  S.  Pellegrino.  The 
school  of  Fori!  is  represented  in  the  Pinacoteca  by  Melozzo  and  Pal- 
mezzano, and  also  by  Agrestij  Menzocchi,  Morolini,  and  Cignani. 
The  names  of  the  artists  are  attached  to  each  painting. 

In  tlie  Coubt:  Monament  to  the  anatomist  Morgagni  (d.  1771),  nnveiled 
in  1875.  On  the  Staibcas£  :  Sarcophagus  of  the  14th  cent.  \  Sarcophagus 
of  St.  Marcolinus,  by  Antonio  BoselhHi  (1458).  Fine  door-frame  and  lunette, 
Madonna  with  angels  (formerly  in  the  cathedral),  by  Simone  di  Oiov.  Ohini. 

Pinacoteca.  Passing  through  a  corridor  with  engravings  we  enter 
Boom  I.  To  the  left:  5.  Marcello  Venusti^  Reaurrection  (restored);  20. 
Tapestry  from  the  design  of  a  Lower  Rhenish  master  (ascribed  to  Perugino} ; 
35.  Tapestry  from  the  design  of  a  South  German  master  (ascribed  to  Wohl- 
gemuth)'y  34.  Cigoli^  St.  Francis:  Fra  Angelico,  48.  Christmas  night,  45. 
Christ  on  the  Mount  of  Olives ;  44.  Simone  Memrni^  Two  saints ;  54.  Bassano, 
Adoration  of  the  Shepherds/  In  the  middle:  Hebe,  by  Canova.  —  Lakoe 
RooH.  To  the  right:  77.  Cagnacci,  St.  Valerian:  86.  Ouereino^  Annun- 
ciation; 90.  Rondinelli,  Madonna;  *92.  Francia,  Adoration  of  the  Child; 
93.  Agostino  Carraeci,  St.  Francis;  96.  PalmezeanOy  Portrait;  108.  Cignani, 
Portrait  of  himself;  *Melogzo,  *Pestapepe',  an  apprentice  with  pestle  and 
mortar  (a  fresco,  formerly  used  as  a  shop  sign);  113.  Morolini,  Annun- 
ciation ;  115.  Palmezzano,  Crucifixion  (1492) ;  117.  Cotignola,  Gtod  the  Father 
with  saints  (1513);  •126.  Melozzo,  S.  Antonio  Abbate,  John  the  Baptist, 
and  St.  Sebastian;  127.  Melozzo ^  God  the  Father;  128.  Palmezzano,  An- 
nunciation; •147.  Palmezzano,  Institution  of  the  Eucharist  (1501);  148. 
Palmezzano,  Portrait  of  himself  in  his  80th  year  (1536);  151.  Rondinelli, 
Portrait  said  to  be  of  Ceesar  Borgia;  168.  Cagnaed,  S.  Mercuriale.  —  In  the 
Small  Rooms:  Medals  (among  which  is  the  portrait  of  Catharine  Sforza), 
fayence,  Pre-Roman  and  Roman  antiquities,  marble  bust  of  Pino  Orde- 
laffi  (15th  cent.). 

The  church  of  8.  Pellegrino,  opposite  the  Ginnasio,  to  the  right, 
contains  a  fine  tomb  of  the  15th  century. 

The  Citadel,  constructed  in  1361  by  Cardinal  Albornoz,  and  en- 
larged by  the  Ordelaffl  and  Riarii,  is  now  used  as  a  prison. 

A  diligence-route  leads  from  Fori!  through  the  Apennines  viS,  2ioeea 
3.  Caseiano  and  8.  Benedetto  to  Florence. 

The  Railway  to  Rimini  crosses  the  Roneo  and  passes  (45  M.) 
Forlimpopoli,  the  ancient  Forum  Popilii ;  to  the  right,  on  the  hill, 
Bertinoro,  with  its  productive  vineyards.  It  then  passes  Polenta  and 
crosses  the  8avio  (the  ancient  Sapis), 

52  M.  Cesena  (Leon  d'Oro,  R.  2V2  fr- ;  CappeUo),  with  about 
10,000  inhab.  (incl.  villages  38,300),  is  surrounded  by  beautiful 
leadows  and  hills,  and  boasts  of  several  interesting  palaces. 


Chirsc : 
LJtUericortUa' 
i     >    i.S.Antonio  .    . 

3.  S.  Tranceeeo  tTurtpio  • 
ela  JlalatestiL  I .  .  . 
^.S.Franuteo  dLFcuHtL 
a.S.GiroUuno   .  . 
i.S.Gudiarto 
7.SJiartuio 
I — \S.6uauuw  Ji.JfiUioUea/ 
9^cdaMxa  dA  Comxate 


^»^t:T  ADeltea  Lei 


ioAncona.  RIMINI.  12.  Route.     91 

Caesena  is  one  of  the  most  ancient  episcopal  sees  in  Italy,  where  8t. 
Philemon  is  said  to  have  held  the  office  as  early  as  the  year  92.  During 
the  middle  ages  it  was  at  first  an  independent  state,  then  became  subject 
to  the  Ghibelline  family  of  Montefeltro,  and  shortly  afterwards  to  the 
Halatestas,  who  where  partisans  of  the  Guelphs.  This  rapid  change  of 
rulers  is  alluded  to  by  Dante,  Inf.  xxvii,  52 

Cot\  eom^  ella  sie^  tra  il  piano  e  il  monte^ 

Tra  Hrannia  ti  vive  e  state  franco. 
On  Ist  Feb.,  1377,  the  town  was  cruelly  sacked  by  Cardinal  Robert 
of  Geneva,  and  subsequently  by  Gesare  Borgia    after  which  it  was  incor- 
porated with  the  States  of  the  Church. 

In  the  Piazza  is  the  handsome  Palazzo  Pubblico^  -with  a  statae  of 
Pins  VI.,  who  was  born  at  Oesena  in  1717,  as  well  as  his  successor 
Pius  VII.  in  1742.  —  The  Cathedral  contains  two  marble  altars  of 
the  15th  and  16th  centuries.  —  The  Library,  built  in  1452  by  Matteo 
Nuzio  for  Domenico  Malatesta  Novello,  contains  4000  MSS.,  many  of 
them  written  for  the  founder,  and  afterwards  used  by  the  learned 
Aldus  Manutius  in  preparing  his  famous  editions  of  the  classics.  — 
The  Pinaeoteca  contains  a  good  Presentation  in  the  Temple  by 
Franc.  Francia,  —  In  the  Oiardino  Bufalini  is  a  statue  erected  in 
1883  to  the  physician  Maurizio  Bufalini  of  Gesena. 

On  an  eminence ,  3/4  M.  distant,  stands  the  handsome  church 
of  *8.  Maria  del  Monte,  a  work  of  Bramante.  Productive  sulphur- 
mines  in  the  vicinity,  towards  the  S. 

The  train  crosses  the  stream  Piaciatello,  the  upper  part  of  which, 
called  Urgone,  is  identical  with  the  Rubicon  of  the  ancients,  the 
boundary  between  Italy  proper  and  the  province  of  Gallia  Cisalpina, 
and  memorable  for  its  passage  by  Gsesar  at  the  beginning  of  the 
civil  war  between  him  and  Pompey,  B.C.  49. 

The  most  recent  investigations  tend  to  show  that  the  Rubicon  has 
entirely  quitted  its  ancient  course.  It  appears  originally  to  have  fallen 
into  the  Fwmicino,  farther  S.,  while  at  the  present  day  its  upper  part 
(TJrgone)  unites  with  the  Pisciatello.  Most  of  the  towns  and  villages  of 
this  district  have  in  turn  laid  claim  to  the  distinction  of  possessing  the 
Rubicon  within  their  territory.  Kor  did  they  rest  satisfied  with  a  mere 
literary  feud  in  order  to  gain  the  object  of  their  ambition.  An  action  in- 
volving this  question  was  instituted  at  Rome,  and  in  1756  the  *Rota'  de- 
cided in  favour  of  the  claim  of  the  Uso  (see  below),  beyond  the  small 
town  of  Savignano.  On  the  road  between  Cesena  and  Savignano  stands  a 
column  bearing  a  decree  of  the  Roman  senate,  which  threatens  to  punish 
those  who  should  without  authority  trespass  beyond  the  Rubicon.  Montes- 
quieu regarded  this  as  genuine,  but  it  is  an  obvious  imposition  and  not  the 
only  one  connected  with  the  interminable  dispute  regarding  the  Rubicon. 

56  M.  Oambettola;  60^2  M.  Savignano.  The  train  crosses  the 
TJso.  63  M.  S.  Arcangelo,  where  Pope  Clement  XIV.  (Ganganelli) 
was  bom  in  1705  (d.  1771).    The  Marecchia  is  next  crossed. 

69  M.  Bimini.  ^  *Aqutla  d'Oao,  in  the  Corso,  R.  A  A.  2V2,  luncheon 
2V4,  omn.  from  station  «/*  fr.  •,  Albeboo  Ndovo,  also  with  omnibus  at 
the  station;  Italia,  at  tlie  Pescheria,  fair.  —  Trattoria  d*Europa^  Piazza 
Cavour;  Ccfffk  delta  Speranza,  Piazza  Giulio  Cesare.  —  Railway  Restaurant, 
good  wine  of  the  country. 

Carriage  from  the  station  to  the  Piazza,  with  one  horse  1  fr.,  with  two 
horses  1  fr.  20  c.  —  Tramway  to  the  bathing-place  on  the  beach. 

Rimini,  beautifully  situated  on  the  Adriatic  at  the  mouth  of  the 


92    Route  12.  RIMINI.  From  Bologna 

Ansa  and  Marecchia,  with  11,000  inhab.  (incl.  villages  over  37,000), 
and  extensive  fisheries  and  silk  manufactories,  has  of  late  come 
into  notice  as  a  sea-bathing  place.  Handsome  public  rooms  with  a 
caf^  and  restaurant,  and  numerous  lodging-houses  have  been  erected 
on  the  pleasant  promenade  on  the  beach. 

Rimini  y  the  ancient  Ariminutny  a  town  of  tlie  Umbrians,  became  a 
Roman  colony  in  B.C.  269,  and  formed  the  frontier- fortress  of  Italy  in  the 
direction  of  Oanl.  and  the  termination  of  the  Via  Flaminia  from  Borne, 
constructed  in  220.  The  town  was  extended  and  embellished  by  Julius 
Geesar  and  Augustus.  During  the  Exarchate,  it  was  the  northernmost  of 
the  Pentapolis  Maritimay  or  'Five  Maritime  Cities',  which  were  ruled  over 
by  one  governor.  The  other  four  were  PesarOj  Fano,  Sinigaglia,  and  Aneona. 
In  260  Ariminum  became  an  episcopal  see,  and  in  350  a  council  against 
Arianism  was  held  here.    The  town  afterwards  belonged  to  the  Lombards. 

In  the  course  of  the  13th  cent,  the  Malatesta  made  themselves  masters 
of  the  city.  In  1285  Oiovatmi  it  Sciancato  (Hhe  lame'),  surnamed  also 
LancilottOy  put  to  death  his  wife,  Franeesca  Polenta  of  Ravenna,  and  his 
brother,  JPaolo  il  Bello  (an  event  from  which  Dante  derived  the  episode 
of  'Franeesca  da  Riminr  in  the  5th  canto  of  the  Inferno,  and  Leigh  Hunt 
the  materials  for  his  *Story  of  Rimini'').  During  the  following  century  this 
family  ruled  the  greater  part  of  the  Romagna ,  and  also ,  for  a  time ,  the 
mark  of  Aneona.  Under  Lewis  the  Bavarian  they  became  vicegerents  of 
the  emperor,  but  Cardinal  Albomoz  afterwards  succeeded  in  reducing 
them  under  the  power  of  the  pope.  The  Ualatesta  family,  divided  into 
the  Pesaro  and  Rimini  branches,  distinguished  themselves  as  condottieri, 
but  also  as  patrons  of  learning.  The  most  famous  scion  was  Bigismondo., 
son  of  Pandulfo  (1417-68),  who  united  the  gifts  of  a  great  military  leader 
with  the  most  violent  passions.  He  attracted  painters  and  scholars  to  his 
court,  in  order  to  secure  immortalily  for  himself  and  his  mistress  (after- 
wards his  wife),  the  clever  Itotta.  —  In  1528  the  people  revolted  against 
the  Malatesta  and  placed  themselves  under  the  authority  of  the  pope. 

A  broad  road  leads  from  the  Station  (PI.  D,  4)  to  the  gate,  -within 
which  it  is  called  the  Via  Principe  Umberto.  After  4  min.  we  follow 
the  Via  al  Tempio  Malatestiano  to  the  left. 

*S.  Francbsco  (JDuomOf  Tempio  del  Malatesta;  PI.  3;  C,  5), 
originally  a  Gothic  edifice  of  the  13th  cent,  was  magnificently  re- 
modelled in  the  early-Renaissance  style  in  1447-55  by  Sigismondo 
Malatesta  from  designs  by  Leo  Battista  Alberti  and  under  the  super- 
intendence of  Matteo  da  Pasti,  The  windows  of  the  original  building 
are  retained.  Of  the  facade  unfortunately  the  lower  part  only  has 
been  completed,  while  the  dome  intended  by  Alberti  to  surmount 
the  choir  is  wanting.  The  choir  itself  dates  from  1709.  On  the 
cornice  are  the  initials  and  arms  (the  elephant  and  rose)  of  Sigis- 
mondo  and  Isotta. 

The  vaults  on  the  S.  side  contain  the  sarcophagi  of  the  poets  and 
scholars  whom  Sigismondo  entertained  at  his  court.  In  the  first  four  are 
the  remains  of  BasiniOy  the  Parmese  poet;  Oiiuto  de'  Conti;  Oemisthius 
Plethon  (d.  1451),  a  Greek  philosopher  whose  corpse  Sigismondo  brought 
hither  from  his  campaigns  in  Greece;  and  Roberto  Volturio  (d.  1489),  the 
learned  engineer.  In  the  others  repose  several  physicians  and  a  bishop 
of  the  16th  century. 

The  Intebiob  was  said  by  Pope  Pius  II,  to  resemble  a  heathen  temple 
rather  than  a  Christian  church.  To  the  right  of  the  entrance  is  the  Tomb 
of  Sigismondo  (d.  1468).  Most  of  the  plastic  ornamentation  of  the  chapels 
was  executed  by  Agoitino  di  DucHo  of  Florence;  a  few  works  are  by 
Fiero  Bernardo  Ciuffagni.  —  Isx  Chapbl  on  the  right:  above  the  altar, 
''*■.  Sigismund   of  Burgundy,  patron-saint  of  the  founder;  by  the  pillars, 


to  Aneona.  RIMINI.  12,  RouU,   93 

allegorieal  figures  of  the  Tirtaea.  ~  2md  Chapsl  of  *hk  Bbucs  OSantaario*, 
shown  by  the  sacristan),  containing  a  (restored)  ^Fresco  by  Fiero  delta 
Franeesea  CPetri  de  Burgo  optu  liSV):  Sigiamund  Halatesta  kneeling  before 
his  patron  St.  Sigismand,  with  La  Rocca,  built  by  hiin,  on  the  right  In  the 
Gappxlls.  di  S.  Miohblx,  the  3rd  to  the  right,  is  the  Tomb  of  I§oUa  (d.  1470), 
erected  in  1400,  with  the  motto  Hempus  loquendi,  tempus  tacendl\  The 
archangel  on  the  altar,  by  Oiuffagni^  is  a  portrait  of  Isotta.  By  the  pillars, 
angels  playing  on  musical  instruments.  —  4th  Ohapxl  on  the  right:  by  the 
pillars,  the  planets  and  other  fantastic  representations  from  a  poem  by 
Sigismondo  in  honour  of  his  mistress.  —  4th  Ghapkl  on  the  left:  by  the 
pillars,  allegorical  figures  of  the  sciences.  —  3rd  Chapkl  on  the  left: 
Children's  games,  probably  by  Simome  Ferrucei,  a  pupil  of  Donatello.  — 
The  2md  Chaprl  on  the  left  is  closed.  —  The  Ibt  Chapki.  on  the  left, 
restored  in  1868,  is  named  the  Cappella  deir  Acqua  from  an  ancient 
statue  of  the  Madonna,  represented  as  sending  rain.  On  the  left  is  a 
sarcophagus  for  the  reception  of  the  ancestors  of  the  founder,  with  two 
reliefs ,  representing  the  House  of  Malatesta  in  the  Temple  of  Minerva 
and  the  Triumph  of  Sigismondo.  By  the  pillars,  above  the  elephants, 
two  portrait-medallions  of  Sigismondo. 

From  the  small  piazza  in  front  of  the  church,  the  Via  Patara 
leads  S.  to  the  Piazza  Giulio  Gbsabb  (PI.  G,  5),  the  ancient  forum. 
A  stone  Pedestal  here,  erected  by  Sigismondo  and  restored  in  1560, 
commemorates  Ossar^s  passage  of  the  Rubicon.  Near  it  is  a  chapel, 
on  the  spot  where  St.  Anthony  once  preached,  and  another  on  the 
canal  is  said  to  mark  the  spot  where  the  saint  preached  to  the  fishes 
because  the  people  refused  to  hear  him.  —  The  Gobbo  d'Auqubto, 
which  intersects  this  piazza,  leads  to  the  S.  to  the  Porta  Romana,  and 
to  the  N.  to  the  Piazza  Gavour  and  the  bridge  of  Augustus. 

The  ♦PoBTA  Romana  or  Arco  titAugtuto  (Pi.  D,  6)  is  a  triumphal 
arch  of  travertine,  of  simple  design ,  erected  to  Augustus  in  E.G. 
27  out  of  gratitude  for  the  restoration  of  the  Via  Flamlnia ,  as  the 
inscription  records  (which,  however,  has  been  Inaccurately  restored ; 
the  letters  to  the  right  outside  the  gate  also  belong  to  it).  Above 
are  medallion  figures,  on  the  outside  those  of  Jupiter  and  Minerva, 
on  the  Inside  those  of  Neptune  and  Venus. 

Near  the  town-wall,  beyond  S.  Marino,  are  the  scanty  remains 
of  an  Amphitheatre  (reached  by  the  Via  dell'  Anflteatro,  the  second 
side-street  of  the  Gorso  from  the  Porta  Romana),  which,  however, 
scarcely  merit  a  visit. 

The  Palazzo  dbl  Gomunb  (PI.  9;  B,  5],  in  the  Piazza  Gavour, 
contains  a  small  picture-gallery,  comprising :  Domenico  del  Ohirlan- 
dajo  (school-piece),  SS.  Yincenzo  Ferrerio,  Sebastian,  andRochus; 
Oiovanni  Bellini,  Piet^  (early  work);  Perino  del  Vago,  Madonna; 
Tintoretto,  S.  Domenico.  —  In  front  of  It  rises  a  bronze  Statue  of 
Pope  Paul  V,  (inscription  on  the  pedestal  obliterated).  Beyond 
the  Teatro  Vittorio  Emanuele(Pl.  10),  erected  in  1857,  is  the  ancient 
Palace  of  the  Malatesta,  now  a  prison,  and  in  a  very  dilapidated  con- 
dition. Their  arms  are  still  to  be  seen  over  the  entrance.  The 
town-wall,  to  the  right  of  the  palace,  commands  a  fine  view  of  the 
mountains. 

The  Library  (PI.  8 ;  0, 5),  in  the  Via  Gambalunga  to  the  E.  of  the 
Piazza  Gavour,  founded  in  1617  by  the  jurist  Qambalunga,  contain' 


94  BouU12.  PESARO.  From  Bologna 

23,000  Yols.  and  several  MSS.  The  small  Afii^^o  Archeologico  here 
contains  the  *Tomb  of  a  woman,  a  heima  of  Pan  and  other  antique 
sculptures,  and  tombstones  of  the  10- 11th  centuries. 

At  the  end  of  the  Gorso  the  Mareechia  (the  ancient  Ariminus) 
is  crossed  by  the  flve-arched  *Pontb  d'Augusto  (PI.  A,  B,  4),  one 
of  the  finest  ancient  structures  of  the  kind.  It  leads  to  the  Sorgo 
S.  Giuliano,  where  the  Via  /Emilia  united  with  the  Via  Flaminia, 
which  led  to  Rome.    Here,  too,  is  situated  the  church  of  — 

S.  Oiuiiano  (PI.  6 ;  A,  3,  4),  containing  the  Martyrdom  of  St. 
Julian,  an  altar-piece  by  Paolo  Veronese  ^  and  an  old  picture  by 
Lattanzio  della  Marca  (1357),  the  Life  of  the  saint. 

In  the  Castello  di  S.  Leo^  18  M.  to  the  W.  of  Rimini,  the  notorious  im- 
postor Cagliostro  (Giuseppe  Balsamo)  died  in  confinement  in  1794.  From 
S.  Leo  a  bridle-path,  much  frequented  by  fishermen,  leads  yi&  Camaldoli  and 
Vallanibrosa  to  Florence. 

About  12  M.  from  Bimini  is  situated  the  ancient  republic  of  San  Ka- 
rino,  the  smallest  in  the  world  (32  sq.  H.  in  area ,  with  80(X)  inhab.),  said 
to  have  been  founded  in  an  inaccessible  wilderness  by  St.  Marinus  at  the 
time  of  the  persecutions  of  the  Christians  under  Diocletian.  This  diminu- 
tive state  braved  all  the  storms  of  mediaeval  warfare,  and  even  the  ambition 
of  the  popes.  It  retained  its  ancient  constitution  till  1847,  when  its  senate 
was  converted  into  a  chamber  of  deputies.  The  precipitous  rock  in  a 
bleak  district  on  which  the  town  (Albergo  Bigi)  is  situated  is  reached  by 
one  road  only  from  Bimini.  The  village  of  Borgo  at  the  base  is  the  residence 
of  the  wealthier  inhabitants.  The  celebrated  epigraphist  and  numismatist 
Bartolommeo  Borghesi,  born  at  Savignano  in  1781,  was  £rom  1821  until  his 
death  in  1860,  a  resident  at  S.  Marino,  where  he  arranged  and  described 
his  admirable  collections,  and  received  visits  from  foreign  savants. 

Fbok  Bimini  to  Bavknna,  31  H.,  narrow-gauge  railway  along  the 
coast  in  li/a  hr.  (fares  5  fr.  70,  4  fr.,  2  fr.  60  c). 

Beyond  Rimini  the  line  skirts  the  coast,  crosses  the  streams 
Marano  and  Conca  (the  Orustumius  Rapax  of  Lucan),  and  reaches 
(75  M.)  Riceione.  81  M.  CaUolica ,  so  called  from  having  been 
the  residence  of  the  Roman  Catholic  bishops  during  the  Council  of 
Rimini  in  359.  A  chain  of  hills  descends  here  to  the  sea ;  the  train 
ascends  for  some  distance,  and  then  passes  through  them  by  means 
of  a  long  tunnel.  It  crosses  the  TavoUo  and  passes  the  ViUa  Vit^ 
loria ,  situated  on  the  left ,  on  the  road  to  Rimini.  We  then  cross 
the  Foglia^  the  ancient  haurus  or  Pisaurus, 

9OY2  M.  PeSI&ro.  —  •Albkego  Zongo,  near  the  Piazza,  with  restaur- 
ant; starting-point  of  the  diligence  to  Urbino  (see  p.  96).  ^  C<iffi  della 
Piazza^  in  the  piazza,  next  door  to  the  Urbino  diligence-office  (4  fr.);  del 
CommerdOj  in  the  Corso.  —  Carriage  from  the  station  to  the  town,  one- 
horse  80  c,  two-horse  1  fr. ;  one-horse  carr.  to  TJrbino  about  12  fr. 

Pesaroy  with  11,000  inhab.  (with  suburbs  21,000),  the  ancient 
Pisaurumy  is  the  capital  of  the  united  provinces  of  Pesaro  and  Ur- 
bino, and  formerly  belonged  to  the  Pentapolis  Maritima  (p.  92). 

Pesaro,  first  inhabited  by  the  Siculi,  then  by  the  tTmbrians  and  Etrus- 
cans,  and  a  Boman  colony  as  early  as  B.C.  184,  was  destroyed  by  Vitiges 
the  Gk)th ,  and  rebuilt  by  Belisaritts.  In  the  iSth  cent,  it  passed  to  the 
Malatesta  family,  in  1445  to  the  Sforza^  and  in  1512  to  the  Rovere^  dukes 
of  Urbino,  under  whom ,  chiefly  through  the  influence  of  Luerezia  d*£stey 
"'^isort  of  Francesco  Maria  II.,  it  became  a  centre  of  art  and  literature, 
■vas   visited   by  Bernardo  and    Torquato  Tasso.    The  former   of  these 


to  Aneona.  PESARO.  12.  Route.  95 

a,athor8  completed  bis  ^Amadis*  here.    In  1631  the  town  was  annexed  to 
the  Papal  States.  —  The  figs  of  Pesaro  are  excellent. 

The  Via  Branca,  to  the  left  in  which  is  the  Teatro  Rossini^ 
leads  to  the  Piazza,  just  on  this  side  of  which  a  side-street  dlyerges 
on  the  left  to  the  Alb.  Zongo ,  while  on  the  right  is  the  handsome 
portal  of  the  former  church  of  S.  Domenico  (1395). 

In  the  Piazza,  which  is  adorned  with  a  large  fountain,  rises  the 
imposing  Prefettura ,  the  ancient  ducal  palace,  built  by  the  Sforza 
in  1465,  and  completed  by  the  Rovere.  The  architects  were  prob- 
ably Qirolamo  Oenga  and  his  son  Bartolommeo.  The  banquet-hall, 
132  ft.  long  and  48  ft.  wide,  still  contains  a  painted  wooden  ceiling 
dating  from  the  latter  half  of  the  16th  century.  In  1474  this  hall 
was  the  scene  of  the  marriage  of  Constanzo  Sforza  and  Camilla 
d*Aragon. 

Opposite  is  situated  the  more  modern  Palazto  dei  Pagi.  Between 
the  palaces,  to  the  right,  is  a  facade  erected  in  1848,  with  marble 
statues  of  the  composer  Oioachimo  Rossini  (b.  1789 ;  d.  at  Paris 
1868),  the  *Swan  of  Pesaro',  and  the  author  Count  Oiulio  Perticari 
(1779-1822),  by  P.  Lorandini.  —  At  the  other  angle  of  the  piazza 
is  the  Palazzo  del  Municipio,  the  vestibule  and  entrance  of  which 
face  the  Piazza  Mamianl.  it  temporarily  (until  completion  of  the 
Ateneo,  see  below)  contains  an  admirable  Majolica  Collection  (650 
pieces;  many  from  Pesaro,  Urbino,  Gastel  Durante,  and  Gubbio, 
by  Maestro  Oiorgio')^  two  pictures  by  Zoppo  (a  Pietk  and  a  head  of 
John  the  Baptist),  and  a  marble  bust  of  Napoleon  by  Canova* 

To  the  N.  of  the  Piazza,  In  the  Via  Mazza  (formerly  Posta 
Vecchia),  is  the  Palazzo  Almerici,  with  the  Atbnbo  Pbbaresb. 

In  the  Vkstibulk  are  votive  stones  of  the  matrons  of  Pisanrum, 
among  the  moat  ancient  Latin  monuments  extant.  In  the  conrt  and  on 
the  staircase  are  Roman  and  Christian  inscriptions  and  sculptures :  high 
up  two  reliefs  with  representations  of  ships,  dating  from  about  1000  B.  C. 
—  Here  is  the  entrance  to  the  Museum  and  to  the  BiBLiOTBOii  Olivieri. 
The  latter  contains  36,000  volumes  and  1400  HSS.,  amongst  which  are 
letters  of  Tasso  and  others.  —  In  the  Musbuk  are  ancient  clay  images 
and  lamps-,  ivory  earrings  (early  Christian  reliefs  of  the  Expulsion  from 
Paradise  and  the  Stoning  of  Stephen,  and  a  slab  from  the  throne  of  Maxi- 
minian  in  Ravenna);  early  Italian  bronzes  and  coins  (aes  grave  from  Ve- 
tulonia);  an  image  of  Mithras  in  vitreous  past«. 

In  the  Palazzo  MachireUi  (first  turning  to  the  left  from  the 
Albergo  Zongo)  is  the  Lieeo  Comunale,  In  which  is  a  sitting  figure 
of  Rossini  by  Marochettl,  erected  in  1864  by  two  admirers.  Baron 
Salamanca  of  Madrid  and  G.  Delahante  of  Paris. 

In  the  Via  Rossini,  in  which  stands  the  small  house  where  Rossini 
was  born,  is  the  old  Cathedral  (closed  at  present).  Close  by,  in  the 
hall  of  the  Vescovadoy  is  an  early-Christian  NymphsBum. 

The  present  cathedral ,  8.  Francesco ,  in  the  Via  Roma ,  has  a 
Gothic  portal.  It  contains  a  Madonna  enthroned,  with  four  saints, 
by  Giovanni  Bellini  (1495).  —  *S.  Giovanni  BaUista,  in  the  Via 
Passeri,  was  begun  by  Giovanni  Genga  in  1615,  and  finished  by 


96   RouU  12,  URBINO.  From  Bdlcgna 

Bartolommeo  in  1543.  —  8,  AgosiinOf  in  the  Corso,  has  a  Gothic 
portal  of  1413. 

On  the  N.  side  of  the  town  stands  the  Roeehetta  (now  a  powder- 
magazine),  built  by  Giovanni  Sforza.  —  Opposite  the  spacious 
Lunatic  Asylum  (Manicomio  or  Ospizio  degli  Incurdbili)  are  the 
small  Orti  Oiuliy  where  a  bastion  of  the  town- wall  commands  a 
fine  view  of  the  Foglia  (once  crossed  by  a  Roman  bridge)  and  of 
Monte  S.  Bartolo. 

About  IVt  H.  from  Pesaro  rises  Monte  8.  Bartolo^  where  the  Roman 
dramatist  L.  Attius  is  said  to  have  been  interred.  On  the  top  lies  the  *Villa 
Imperiale,  belonging  to  the  Principe  Albania  at  whose  town-house  entrance- 
tickets  may  be  obtained.  Alessandro  Sfona  built  a  country-house  on  this 
site,  the  foundation-stone  of  which  was  laid  by  the  Emperor  Frederick  III., 
on  his  journey  to  Italy  in  1469.  The  upper  rooms  were  adorned  by  the 
Bovere  with  stucco-work,  majolica-plaques,  and  frescoes.  In  the  1st 
Boom  is  the  triumphal  procession  of  Duke  Francesco  Maria  of  Urbino, 
accompanied  by  Alfonso  of  Ferrara,  by  Geuga.  The  *2nd  Boom  was  de- 
corated as  an  arbour,  with  figures  of  Daphne  and  landscapes,  by  the 
brothers  DoiH;  on  the  ceiling  is  the  duke  with  his  army.  In  thd  8rd 
Boom  are  the  Coronation  of  Charles  Y.,  and  allegories  after  designs  by 
Angelo  Bronxino.  The  frescoes  in  the  following  rooms  represent  the  duke 
being  appointed  commander-in-chief  by  Cardinal  Alidosi,  Pope  Leo  X., 
and  the  doge  of  Venice.  The  last  room,  which  has  a  fine  stucco  ceiling, 
is  embellished  by  paintings  by  Rafftullino  del  Colle,  representing  the  duke 
being  crowned  with  a  garland,  Calumny  (after  Apelles),  and  the  Christian 
virtues.  —  Eleonora  Gonzaga  caused  Oirolamo  Qenga  to  erect  a  new  palace 
about  1530,  near  the  old  bouse,  with  an  inscription  on  the  facade  to  the 
effect  that  it  was  built  for  her  husband  Francesco  Maria  *a  bellis  redeunti 
animi  cgus  causa\  It  was  unfortunately  never  completed,  but  even  in  its 
present  dilapidated  condition,  it  retains  much  beauty  ^  fine  view  from  the 
terrace.  —  In  the  neighbourhood  is  the  church  of  the  Qirolamitani;  one 
of  the  finest  ''Views  in  the  environs  is  obtained  from  an  eminence  behind 
the  monastery. 

The  Munidpio  of  the  littie  coast-town  of  Oradara,  7  M.  to  the  IT.W. 
of  Pesaro,  contains  a  Madonna  and  saints  by  Giovanni  Santi  (1484) ;  in  the 
Roeca  is  a  terracotta  altar  by  Andrea  della  Robbia. 


An  EzcuBSioN  to  Urbino  is  best  made  from  Pesaro.  Diligence 
twice  daily  (fare  4  fr.),  ascending  in  5,  and  descending  in  4  hrs. 
The  road  leads  through  the  valley  of  the  Foglia^  which  falls  into  the 
sea  at  Pesaro,  and  then  ascends,  passing  several  unimportant  vil- 
lages. At  the  inn  'del  Cappone',  halfway,  the  horses  are  changed. 
Beyond  Moline  the  road  ascends  in  windings.  Above ,  to  the  right, 
is  the  ducal  palace,  with  three  loggie  flanked  by  round  towers.  The 
diligence  stops  in  the  main  street ,  flanked  on  the  left  by  arcades, 
in  which  the  inn  and  caf^  are  situated. 

Urbino  (*Albergo  deW  Italia)^  the  ancient  Vrvinum  Metaurtnse^ 
celebrated  as  the  birthplace  of  the  greatest  painter  of  all  ages, 
Raphael  Santi  (b.  28th  March,  1483;  d.  at  Rome,  6th  April,  1520), 
lies  on  an  abrupt  hill,  surrounded  by  barren  mountains.  The  town, 
with  narrow,  crooked  streets  and  16,900  inhab.  (incl.  villages), 
has  a  university  with  as  many  professors  as  students,  and  merits  a 
visit  for  the  sake  of  its  monuments  and  historical  associations.  The 
situation  is  picturesque. 


to  Ancona.  URBINO.  /l>.  BouU,   97 

In  the  13th  cent,  the  town  came  into  the  posseMion  of  the  lionUfeltro 
family,  and  under  Fbdbbioo  Hontbfbltbo  (14£4-62)  and  his  son  Chtidobaldo 
(1482-1606)  attained  to  such  prosperity  as  entirely  to  eclipse  the  neigh- 
bonring  courts  of  the  Malatesta  at  Rimini  and  the  Sfoma  at  Pesaro. 
Federigo  Montefeltro,  who  distinguished  himself  as  a  condottiere  in  the  feuds 
of  the  16th  cent.,  married  his  daughter  in  1474  to  OioTanni  della  Rovere, 
a  nephew  of  Sixtus  IV.,  and  was  in  consequence  created  Duke  of  Urbino. 
His  court  was  regarded  as  a  model  aniong  the  princely  courts  of  that  period. 
It  was  yisited  for  shorter  or  longer  periods  by  numerous  scholars  and  ar- 
tists ,  amongst  whom  the  prince  was  pre-eminent  for  learning.  His  son, 
Guidobaldo ,  in  spite  of  ill  health  and  other  misfortunes ,  eealously  fol- 
lowed his  example,  with  the  able  assistance  of  his  beautiful  and  ta- 
lented wife  Blizdbtta  Qonzaga.  A  famous  description  of  the  court  of  Ur- 
bino under  Guidobaldo,  depicting  it  as  the  most  refined  social  school  of  the 
day,  is  given  by  Covni  Baldassar  Coitiglione  in  his  *Gortigiano\  the  ideal 
of  a  courtier.  In  1497  Guidobaldo  was  expelled  by  Oetare  Borgia^  the  son 
of  Alexander  VI.,  after  whose  death,  however,  he  returned  to  Urbino  in 
1508.  He  died  in  1606  and  bequeathed  his  dominions  to  his  nephew  Fran- 
ceKO  Maria  delta  Rovere^  the  favourite  of  Pope  Julius  II.  In  1626  the  duchy 
was  incorporated  with  the  States  of  the  Church,  when  Urban  VIII.  per- 
suaded the  last  and  childless  Duke  Francesco  Maria  11,  to  abdicate. 

Amongst  the  most  distinguished  Abtists  employed  at  the  court  of  Ur- 
bino, during  the  zenith  of  its  splendour  under  Federigo  and  Guidobaldo, 
were  Paolo  Uccelli ,  Piero  della  Francesco^  and  Melozzo  da  Forli.  Even  for- 
eign painters ,  like  Justtu  van  Ghent ,  a  picture  by  whom  is  still  preserved 
in  the  gallery  (see  p.  98),  were  attracted  to  the  court.  The  peculiar  bond 
of  union  which  existed  here  between  the  interests  of  science  and  art  is 
chiefly  exhibited  in  the  library  pictures  or  ideal  portraits  of  scholars  painted 
by  Melozzo  da  Forli  and  others,  but  which  have  been  removed  from  Urbino 
together  with  the  library.  Timoteo  Viti,  or  dblla  Vitb,  of  Ferrara 
(1467-1523),  the  best  pupil  of  Francesco  Francia ,  spent  the  greater  part  of 
his  life  in  Urbino  \  he  was  the  first  painter  who  exercised  an  influence  on 
Raphael ,  but  at  a  later  period  he  himself  became  subject  to  that  great 
master^s  magic  spell.  —  The  master,  however,  In  whom  we  are  now  spe- 
cially interested ,  is  Giovanni  Santi  of  Urbino  (?  1460-94) ,  the  father  of 
Raphael,  whose  firescoes  at  Cagli  (p.  101)  and  Fano  (p.  100)  show  considerable 
power  and  a  keen  sense  of  the  graceful.  As  (Giovanni  died  when  Ra- 
phael was  in  his  11th  year,  his  son  can  hardly  have  had  the  benefit  of  his 
instruction.  After  his  father's  death,  Raphael  remained  in  Urbino  till  1600, 
but  under  what  tuition  is  unknown.  Another  native  of  Urbino  was  Fbd- 
bbioo Baboocio  (1028-1612) ,  some  of  whose  works  are  able ,  while  others 
display  the  customary  affectation  of  the  post-Raphaelite  period. 

In  the  centre  of  the  town  is  the  Pian  del  Mbboato  ,  or  market- 
place, where  the  Gorso  Dnoale,  in  which  the  inn  is  situated,  ends. 
—  The  Via  Pncinotti  ascends  hence  to  the  right  in  a  few  minutes  to 
a  somewhat  dull  piazza,  with  the  cathedral  and  ducal  palace. 

The  Cathedral  contains  some  Interesting  pictures. 

To  the  right  of  the  entrance,  St.  Peter,  a  replica  of  the  statue  in  St. 
Peter's  at  Rome.  In  the  2nd  chapel  to  the  right :  St.  Sebastian  by  Federigo 
Barocdo;  to  the  left  of  the  high-altar,  the  Lord's  Supper,  also  by  Fed. 
Baroccio.  In  the  sacristy:  SS.  Martin  and  Thomas  h,  Becket,  with  a  por- 
trait of  Duke  Guidobaldo,  the  master-piece  of  Timoteo  Viti  (1504)  \  Ador- 
ation of  the  Magi,  by  the  same ;  and  a  Scourging  of  Ohrist  by  Piero  della 
Franceecay  elaborately  executed  in  the  miniature  style.  —  The  Cbtft 
(entered  from  the  right  comer  of  the  small  piazza  between  the  cathedral 
and  the  palace)  possesses  a  Pietii  by  Qiov.  da  Bologna. 

The  ♦♦Ducal  Palacb,  erected  by  Luciano  Laurana  of  Dalmatia 
in  1468  by  order  of  Federigo  Montefeltro,  and  completed  by 
Baccio  Pintellij  is  now  used  as  a  'Residenza  Govemativa*,  and  con- 
tains the  archives.     The  requirement  of  strength ,  coupled  with 

Babdbksb.    Italy  II.    10th  Edition.  7 


98  Route  12,  URBINO.  From  Bologna 

the  nneyenness  of  the  ground,  has  given  rise  to  the  irregularity  of 
the  building,  but  at  the  same  time  has  enhanced  its  picturesqueness. 
The  palace  has  always  been  much  admired,  and  was  regarded  by  the 
contemporaries  of  the  founder  as  an  embodiment  of  their  Ideal  of  a 
princely  residence.  According  to  modern  standards,  however,  its 
dimensions  are  not  grand,  and  even  the  court  by  Baccio,  the  entrance 
to  which  is  opposite  the  cathedral,  is  pleasing  rather  than  Imposing. 
In  the  latter,  to  the  right,  are  medieval  tombstones  and  a  relief 
(Pietk)  of  the  14th  century.  The  staircase  to  the  upper  rooms  is  on 
the  left ,  with  a  statue  of  Duke  Federigo ,  by  Oirol.  Campagna 
(1606).  The  ornamentation  of  the  doors,  windows,  and  chimney- 
pieces  here  and  in  the  apartments  is  by  Ambrogio  da  MUanOj  etc. 
The  corridors  and  rooms  contain  a  collection  of  inscriptionB  from 
Rome  and  the  Umbrian  municipia,  early- Christian  and  medisval 
sculptures,  and  a  small  Picture  Oallery. 

The  Collection  of  Inscriptions  was  made  by  the  epigraphist  Fabretti. 
—  Of  the  BcnlptnreB  the  chief  are  72  reliefs  with  representations  of 
engines  of  war  (after  Francesco  di  Giorgio'),  by  Ambrogio  da  Milano  (1464), 
which  formerly  decorated  the  outside  of  the  palace.  Farther  on  in  B.00X  I. 
are  fonr  chimney-pieces  and  a  marble  'Lavatojo'.  Boom  II.  Fr.  Ztiechero, 
Pieti;  two  crucifixes  of  the  13th  cent.  5  St.  Clara  (14th  cent.).  Boom  III. 
Tapestry  worked  in  Urbino  by  masters  from  Flanders  5  to  the  right,  Pal- 
meriniy  Madonna ;  stucco-reliefs  by  Brandano.  Farther  on  is  the  Sala  dkoli 
Angbli,  with  five  beautiful  doors  and  dancing  angels,  and  a  room  with 
a  portrait  in  relief  of  Ariosto.  In  the  Chapel  is  a  plaster-cast  of  Baphaers 
skull.  The  studio  of  Duke  Federigo  should  be  visited  for  the  sake  of 
the  in  tarsias,  which  formerly  also  covered  the  upper  part  of  the  walls, 
and  the  fine  ceiling.  From  the  balcony  a  beautiful  view  is  obtained.  — 
The  celebrated  library  collected  by  Federigo  has  been  removed  to  Borne. 

Picture  Gallery.  To  the  right:  38.  Baroccio,  Kadonna,  with  saints; 
25.  Viti,  St.  Sebastian ;  23.  Paolo  Ueeello ,  Legend  of  the  desecrated  Host. 
Fine  chimney-piece.  —  22.  Oiuliano  da  Rimini.  Madonna,  with  saints ;  *2. 
Oiovanni  Santi,  Madonna  with  SS.  John  the  Baptist,  Sebastian,  Jerome,  and 
Francis ,  and  the  Buffi  family ;  Piet^ ;  18.  Fiero  delta  Francesco,  Archi- 
tectural piece;  *1.  Jttsku  vAn  Gent,  Holy  Communion,  with  numerous 
portraits,  including  Duke  Federigo  and  Caterino  Zeno,  the  Persian  ambas- 
sador (to  the  right  of  the  table;  1474);  60.  Tim.  Viti,  8.  ApoUonia;  53. 
Sassoferrato,  Madonna;  52.  Fra  Camevale,  Madonna;  Titian,  Last  Supper 
(damaged),  and  the  Besurrection  (late  works). 

Opposite  the  palace  rises  an  Obelisk,  facing  which  is  the  church 
of  8.  Domenico ,  with  a  pleasing  portal  and  a  terracotta  relief  of 
the  Madonna,  with  SS.  Dominic  and  Peter  Martyr,  by  Luca  delta 
Robbia  (1449).  —  The  street  contracts ;  to  the  right  is  the  Univer- 
sity,  with  armorial  bearings  over  the  door.  Farther  on  is  the  Istituto 
di  Belle  Arti,  which  contains  sculptures  and  some  fine  majolicas. 

In  the  market-place  (p.  97)  is  the  loggia  of  S,  Francesco,  a 
church  of  the  14th  cent.,  with  a  handsome  campanile.  The  portal 
of  the  chapel  to  the  right  of  the  high-altar  is  by  Bartol.  Gentogatti 
(15th  cent.). 

The  Contrada  Raffaelo  leads  hence  to  the  Fortezza.  No.  278  on 
the  left  is  the  house  in  which  Raphael  was  born.  It  was  purchased 
'^  1873  at  the  suggestion  of  Count  Gherardi ,  aided  by  a  donation 


toAncom,  URBINO.  12.  Bottle.    99 

from  Mr.  Morris  Moore,  and  now  belongs  to  the  *R.  Accademla 
RaffaeUo'. 

The  rooms  are  adorned  with  engrayings  from  Baphaers  pictures.  In 
one  of  the  rooms  id  a  fresco  of  the  Madonna  (removed  from  the  court; 
entirely  repainted),  by  Giovanni  Santiy  possibly  representing  Vagia  Ciarla, 
Baphaers  mother  (fee  >/<  fr.). 

From  the  beginning  of  the  Gontrada  RafTadllo  the  Via  Bramante 
leads  to  the  church  of  8,  Spirito ,  containing  a  *Piet^  and  ^Descent 
of  the  Holy  Ghost  by  Luca  Signorelli ,  originally  a  chnroh-banner, 
of  1495. 

Returning  to  the  market-place,  and  descending  the  Via  Bal- 
bona,  we  follow  the  Via  della  Posta  Vecchia,  the  first  side-street  to 
the  right,  and  then  the  Via  S.  GioTanni,  the  first  street  to  the  left, 
which  leads  straight  to  the  Oratorio  della  Confraternity  di  8.  Oio- 
vanni.  The  walls  of  the  Interior  are  covered  with  scenes  from  the 
history  of  the  Virgin  and  John  the  Baptist ,  by  Lorenzo  da  8.  Seve- 
rino  and  his  brother,  of  the  school  of  Giotto  (1416).  —  The  neigh- 
bouring church  of  8.  Oiuseppe  contains  a  Nativity  by  Fed,  Brandano, 

In  the  Tkeatrej  once  famous  for  its  decorations  by  Qirolamo 
Oenga,  the  first  Italian  comedy  was  performed.  This  was  the  *Ga- 
landra'  of  Cardinal  Bibbiena  (1470-1514),  the  friend  of  Pope  LeoX. 
and  patron  of  Raphael. 

The  hiU  of  the  old  Fortet%a  (ascend  the  Contrada  RaffaeUo ,  at 
the  top  take  the  Via  del  Maceri  to  the  left,  and  knock  at  No.  1461 ; 
fee  25-50  o.)  commands  an  Interesting  *Survey  of  the  barren  chain 
of  the  Apennines.    A  powder-magazine  now  stands  at  the  top. 

About  1  M.  to  the  E.  of  Urbino ,  to  the  left  of  the  Pesaro  road, 
are  situated  the  conspicuous  old  monastery  and  church  of  8.  Ber- 
nardino^ with  the  new  cemetery  of  Urbino.  This  spot  commands  a 
fine  view  of  the  town.  The  church  contains  the  tombs  of  the  Dukes 
Federigo  and  Guidobaldo,  with  their  busts. 

Fbom  Ubbino  to  Fobsombbonb  (p.  101)  ilVs  M. ;  no  regular  communi- 
cation (carriage  10  fr.).  The  *Ck)rriere  del  Furlo*  passes  through  Fossom- 
brone  at  11  a.m.    Oarriage  from  Urbino  to  Gubbio  40  fr. 

The  Railway  fbox  Pbsabo  to  Ancona  skirts  the  coast,  oc- 
casionally approaching  close  to  the  sea,  of  which  a  pleasant  view 
is  afforded. 

98  M.  Fano  (*Albergo  del  Moro) ,  the  Fanum  Fortunae  of  anti- 
quity, is  indebted  for  its  origin  to  a  temple  of  Fortune,  a  fact  com- 
memorated by  a  modem  statue  of  fortune  on  the  public  fountain. 
It  afterwards  prospered,  and  is  now  a  pleasant  little  town  (20,000 
inhab.,  ind.  suburbs),  surrounded  by  ancient  walls  and  a  deep  moat. 
The  once  celebrated  harbour  is  now  unimportant.  Pope  Clement  VIII. 
(Aldobrandlni)  was  bom  at  Fano  in  1536.  The  first  printing-press 
with  Arabic  type  was  s^t  up  here  in  1514  at  the  cost  of  Pope  Ju- 
lius n.    As  a  sea-bathing  place  Fano  is  less  expensive  than  Rimini. 

In  the  centre  of  the  town  is  the  Piazza,  in  which  (In  the 
mediaval  Palazzo  deUa  Ragione)  is  the  Theatre,  formerly  one  o^ 

7* 


100     Rofde  12.  FANO.  From  Bologna 

the  most  famous  in  Italy,  rebuilt  by  Torelli,  a  native  architect,  and 
decorated  by  Bibbiena  (d.  1774).  One  of  the  rooms  contains  (tempo- 
rarily) a  David  with  the  head  of  Goliath,  by  Domenichino  (formerly 
in  the  Collegio  Nolfl) ,  which  unfortunately  was  much  injured  by 
thieves  in  1871.  —  The  old  Palazzo  del  Municipio  is  seen  through 
the  arches  to  the  right  of  the  market-place. 

The  S.  side  of  the  Piazza,  which  is  enlivened  by  a  fountain  of 
flowing  water,  is  skirted  by  the  €k>rso.  Following  the  latter  to  the 
right ,  we  reach  the  Via  dell'  Arco  d*Augusto ,  the  second  cross- 
street  to  the  left.  In  a  small  piazza  here  rises  the  Gathbdbal  of 
S.  FoBTUNATO,  the  four  recumbent  lions  in  front  of  which  formerly 
supported  the  pillars  of  the  portico.  The  portal  dates  from  the  13tb 
century. 

In  the  iMTXiuoB  the  chapel  of  8.  Girolamo  (the  2nd  to  the  left)  contains 
a  monument  of  the  Bainalducci  family  ^  nearly  opposite  (4th  to  the  right) 
is  a  chapel  adorned  with  sixteen  frescoes  by  Domenichino,  once  admirable, 
now  disfigured  by  restoration.  —  In  the  chapel  of  the  sacristy,  a  Madonna 
with  saints ,  by  L.  Carracei.  —  In  the  court  of  the  Veicowado,  behind  the 
cathedraJ,  are  some  sculptures  of  the  13th  century. 

Farther  on  we  come  to  the  *Abch  op  Augustus,  which  spans 
the  street ,  a  structure  of  simple  design ,  to  which  a  second  story 
was  added  in  the  4th  cent. ,  when  it  was  re-dedicated  to  Constan- 
tino. It  once  had  three  openings ,  as  is  shown  by  a  view  of  it  on 
the  adjacent  church  of  S.  Michele,  adjoining  the  handsome  Renais- 
sance portal.  — On  the  side  of  the  arch  next  the  town  is  the  Spedale 
degli  Esposti^  a  pleasing  edifice  with  loggie. 

Returning  to  the  piazza,  we  follow  the  Via  Boccaccio  opposite  the 
fountain,  and  then  take  the  Via  Bonaccorsi,  inclining  to  the  left,  to 
the  church  of  S.  Maria  Nuova,  with  portico. 

Intbbiob.  Ist  chapel  on  the  left:  Oiov.  Santi,  Visitation;  2nd  chapel: 
Perugino,  Annunciation,  1498.  3rd  chapel  on  the  right:  *Perugino,  Ma- 
donna and  saints,  1497;  admirable  predelle,  recalling  Raphaers  style. 

8.  Croce ,  the  hospital-church ,  contains  a  *Madonna  with  four 
saints,  by  Giovanni  Santi.  —  S.  PaternianOj  dedicated  to  the  first 
bishop  of  Fano,  a  handsome  structure,  possesses  a  Betrothal  of  the 
Virgin,  by  Chiercino.  —  8,  Pietro  is  an  imposing  and  richly-decorated 
church,  with  frescoes  by  Viviani;  in  the  chapel  of  the  Gabrielli  (1st 
on  the  left)  an  Annunciation  by  Ouido  Reni.  —  In  8.  Agostino  is  a 
painting  of  S.  Angelo  Custode,  by  Ouercino.  —  In  the  vestibule  of 
8.  Franeeseo  (closed)  are  the  monuments  of  Pandolfo  III.  Malatesta 
(d.  1427;  to  the  right),  perhaps  by  L.  B.  Albtrti,  1460,  and  his 
wife  Paola  Bianca  (d.  1398;  left). 

Interesting  excursion  to  the  Monte  Cfiove,  by  a  good  road  (4  M.).  At 
the  top  is  a  monastery,  where  visitors  are  lodged.  Splendid  view  of  the 
Adriatic. 

Fbom  Fang  to  Fossato  vil  Fobsombbonb  and  the  Fdrlo  Pass,  corriere 

daily:  to  Fossombrone  2V2»  to  Cagli  6V2,  to  Sphieggia  10,  and  to  Fossato 

12Vs  hrs.,  including  halts  for  meals.    The  road  is  identical  with  the  ancient 

Via  Flaminiay  constructed  in  B.C.  220  by  the  Censor  C.  Flaminius  (who  fell 

*   the  Battle  of  the  Trasimene  Lake ,  see  p.  46) ,  in  order  to  secure  pos- 

'on  of  the  district  of  the  Po  which  had  been  recently  wrested  from  the 


to  Aneona.  FOSSOMBRONE.  12,  Route.   101 

GanlB.  The  road  quita  Fano  hj  thd  Arch  of  Aagastos  and  the  Porta 
Ma^ore,  and  skirts  the  K.  hank  of  the  Metaurus^  the  fertile  valley  of 
which  is  well  cultivated.  About  1  H.  from  Fossomhrone,  near  the  church 
of  S.  MarHHO  al  Piemo,  was  once  situated  the  Boman  colony  of  Forum 
SemproMi^  of  which  hut  scanty  remains  now  exist.  After  its  destruction 
by  the  Goths  and  Lombards,  the  modem  Fossombrone  sprang  up. 

15V2  M.  FoBsombrone  (Tre  Be;  Pavone)^  long  in  possession  of  the 
Malatesta  family,  accrued  to  the  States  of  the  Church  under  Sixtus  IV. 
It  i»  now  a  busy  Uttle  town  with  9000  inhab.  and  silk-factories ,  prettily 
situated  in  the  valley,  which  contracts  here,  and  commanded  by  a  castle. 
—  From  Fossombrone  to  OWMno,  see  p.  09. 

The  Via  Flaminia  about  2  M.  from  Fossombrone  crosses  the  Metaunu^ 
which  descends  from  the  Talley  near  8.  Angelo  in  Vado  from  the  N.,  and 
follows  the  left  bank  of  the  Candigliano,  which  at  this  point  empties  itself 
into  the  Metaurus.  The  valley  soon  contracts;  to  the  right  rises  the  hill 
of  Pietraiata,  occasionally  named  Monie  d^AsdriAale.  Here ,  according  to 
the  popular  tradition ,  was  fought  the  memorable  battle  of  the  Metaurus 
in  which,  B.C.  207,  Hasdrubal,  whilst  marching  to  the  aid  of  his  brother 
Hannibal  with  60,000  men ,  was  signally  defeated  and  slain  by  the  consuls 
Livius  Salinator  and  Claudius  Nero.  This  was  the  great  event  which 
decided  the  2nd  Punic  War  in  favour  of  Home. 

The  valley  now  becomes  still  more  confined  and  is  bounded  by  pre- 
cipitous slopes.  At  the  narrowest  part ,  where  the  rocky  walls  approach 
so  near  each  other  as  to  leave  space  for  the  river  only,  is  the  celebrated 
*Furlo  Pass  (Furlo  from  forulut  =  passage ,  the  ancient  petra  inter eita), 
a  tunnel  17  ft.  wide,  14  ft.  high,  and  about  32  yds.  in  length.  The  founder 
of  the  work  was  the  Emp.  Vespasian  (In  A.  D.  76),  as  the  inscription 
preserved  at  the  X.  entrance  records  (Imp.  Caesar.  Augustus.  Vespasianus. 
pont.  max.  trib.  pot.  VII.  imp.  XVII.  p(ater)  d(atri(s)  cos.  VIII.  censor, 
/aciund.  euravU).  —  A  little  beyond  it  is  the  small  church  Badia  del  Furlo. 
At  the  confluence  of  the  Candigliano  and  Burano,  8  H.  from  Fossombrone, 
lies  the  village  of  Acqualagna.  The  road  crosses  the  Candigliano  and  then 
follows  the  left  bank  of  the  Burano.  At  the  foot  of  the  hill  on  which 
Cagli  is  situated,  an  antique  bridge,  built  of  huge  masses  of  rock,  crosses 
a  tributary  brook. 

31  M.  Oagli  (ItaliUy  in  the  Piassa,  charges  according  to  bargain)  occu- 
pies the  site  of  the  ancient  borough  of  CaleSy  or  Calle.  B.  Domenico  contains 
one  of  the  chief  works  of  Oiovanni  Banti^  Raphael's  father,  a  Madonna 
with  saints ,  al  fresco.  The  angel  on  the  right  of  the  Madonna  is  said  to 
be  a  portrait  of  the  young  Raphael.  Also  a  Pieta  with  St.  Jerome  and 
Bonaventura,  by  the  same  master.  S.  Francesco  and  B.  Angelo  Minore 
also  possess  several  pictures.  —  Travellers  beyond  Cagli  are  generally 
conveyed  in  smaller  carriages.  About  6  M.  beyond  Cagli  is  Gantiano,  with 
3000  inhab.  \  the  church  della  Collegiata  contains  a  Holy  Family  by  Peru- 
gino.  —  The  road  ascends  rapidly,  and  reaches  the  height  of  the  pass, 
2400  ft.  above  the  sea.  A  little  before  arriving  at  Schieggia  the  road 
crosses  a  ravine  by  the  curious  Ponte  a  Botte,  constructed  in  1805. 

431/3  M.  Schieggia,  an  insignificant  place,  lies  at  the  junction  of  the 
roads  to  Fossato  and  Foligno,  and  to  (6  M.)  GuDbio  (the  latter  leading  over 
the  pass  of  Monte  Calvo;  carriage  6-6  fr.).  On  Monte  Petrara^  in  the 
vicinity,  amid  oak-plantations,  stand  the  ruins  of  the  celebrated  temple 
of  Jupiter  Apenninus,  whose  worship  was  peculiar  to  the  Umbrians, 
Several  bronzes  and  inscriptions  have  been  discovered  in  the  environs. 

The  main  road  continues  to  descend  the  green  valley  of  the  Chiascio, 
and  leadfl  via  Oostacdaro  and  Bigillo  (stalactite  caves)  to  — 

55  M.  FossatOf  a  station  on  tiie  Ancona  and  Borne  line,  p.  109. 

Beyond  Fano  the  train  crosses  the  river  Metaurus  (see  above), 
celebrated  as  the  scene  of  Hasdrubars  defeat  (B.C.  207);  then  the 
Cesano,  near  (105  M.)  stat.  Marotta. 

112  M.  Sinigaglia  or  Senigallia  (^Alhergo  Boma,  near  the  har- 
bour ;  Trattoria  del  OiardinOy  near  the  Municlpio),  the  ancient  Sena 


f02  Rrjmun,  AJICONJL  Ariels. 

fJallk/jf  •with  22.!'00  zzihab.  (in^lndiii^  Tillages),  duefly  occupied 
'.u  tiling.  The  tovn  va«  destroyed  bj  Pompey  dving  the  Civil 
W4tr  t^eCveefi  Jtuios  and  Si:lijL  It  wis  ui  episeopal  see  as  early  as 
th/ff  itli  <xxtt.,  but  was  afterwards  fireqneotly  deTtstated  by  fiie  and 
iwrd,  Kf  tLat  it  DOW  presents  quite  a  modern  appearance.  Pope 
Koe  JX.  ^Coute  Jfastai-Feiietti)  was  bom  bere  on  I3tk  May,  1792 
y.  ih7'6j.  A  fair,  iiistitnted  in  the  13th  coit.,  is  held  here  from 
-y.th  July  Uj  %tb  Al^ .  aDijaally ;  it  was  once  the  most  frequented 
Itt  Itaiy,  bat  has  long  since  lost  its  importance.  In  summer  Sini- 
I5*^;a  fj  a  Uwonnte  sea-bathing  place.  —  The  monastery-chnreb  of 
K  Marta  dUU  Oraxic  (2  M.  distant)  contains  in  the  choir  a  picture 
by  /Vmyifl^  (retouehed),  and  over  the  3rd  altar  on  the  right  a 
small  HiAffJtaz  by  Pitro  dtUa  FraneeMca. 

i  i'i^.f  M,  Mr/nUmaraano.  Pleasant  view  of  the  promontory  of 
At^/HUL,  rising  from  the  §c».  The  train  crosses  the  £saio.  At 
(VZ'Z  H.)  %Ui.  FaUcnara  passengers  for  the  line  to  Rome  change 
KM[T\ii.%*:ik  (fe<3e  B.  14j.    The  town  lies  on  the  hill  to  the  dght. 

127  if.  AnKma^  see  B.  13. 

13.  ABeona  and  iti  Environs.    Odmo.    Lorato. 

B«tcls«  •VITT9WA  (PI.  b;  C,  D,  3),  in  the  Corso  Vittorio  Emaauele, 
mt-M  mu-A  up,  K.  2>/r,  D.  o  fr.;  Ais.  Beai^  dkixa  Pack  (PI.  *;  C,  3)  wiS 
y/^A  rT«t»arai3t,  B.  .^V«,  I>.  *,  <ann.  Ifr.;  *1Iilaso  (PI.  c;  C,  4),  Corso  di 
P'/fU  PU,  t<»uiiD^ciaJ,  with  restaurant  and  garden.  Hotel-onmibuses  at 
tb«  tUUUa,  —  Cafe.  ;a{<>r9K»(  ^  Leva,  in  the  Oorso.  —  Trattoria.  Lecn 
dOrOf  in  tti«  O/rtfK 

Tmit  OfUe  (PI.  20;  8^  o'clock),  Piazza  Roma.  —  meantph    OfiSte 

Cata.  Ow^horu  cab  from  station  to  town,  xncL  laggsge,  1  at  nieht 
Uh  fr.i  imo-hor$e  V/t  or  2  fr.  -  For  1  hr.  iy.-2  fr.;  each  «/,  hr.  more, 
06  ^50  c,  —  Beyond  the  town,  2  fr.  50  or  3  fir.  GO  c.  for  1  hr.r  each  i/,  hr 
iw/zre,  I  fr.  15  or  1  fr.  70  c.  '  '*  "• 

Tramway  from  the  station  through  the  Via  Kazionale  to  the  Piazza 
4«1  Teatro  and  the  Piazza  Cavonr. 

Steamboats  of  the  Peninsular  and  Oriental  Companw  on  F»id.  mornings 
f//  hriodlsl  and  Alexandria;  on  Sun.  to  Venice.  SocieUt  Riuwite  FlorS>- 
/IiOHatino,  on  Hon.  mornings  to  Zara  in  DalmaHa,  in  9hrs.;  on  Mon 
afl^rooons  to  Tremiti,  Viesti,3ari,  Bnndisi,  the  Piripus,  and  Constanti- 
nople ;  </n  Tu*rs.  nights  to  Venice,  in  12  hrs.  Austrian  Lloyd^  to  Zara  and 
I' i Mine  erery  alternate  Sat.;  to  Trieste  every  alternate  Sunday. 

tea  Baths,  near  the  raUway-sUtion.  Warm  Baths,  Piazza  Stamura 
(PL  K,  4). 

MtUh  Viee^Misnl,  Big-  ^AO>*rt  P.  Tomauini  (also  American  Consular 
Ag«ntj,  "^ 

Aneona^  the  capital  of  a  provinc^e,  with  28,000  inhab.  find 
suburbs  47,700),  of  whom  upwards  of  6000  are  Jews,  and  possessing 
an  excellent  harbour,  i«  beautifully  situated  between  the  promon- 
tories of  Monit  Astagno  (PL  C,  6)  and  Monte  Guasco  (Pi  C  11 
Hince  1860  the  government  has  improved  the  harbour  and  endeav- 
oured to  foster  the  trade  of  Ancona,  but  business  has  declined 
>^omewhat  of  late  years.    Silk  and  oil  are  largely  manufactured  here 

Ancona  was  founded  by  Done  Greeks  from  Syracuse,  and  thence  named 
Doriea  Aneon  (i.e.   *clbow%    from  the  form  of  the  primontory).    u  wm 


102   Route  13.  ANCONA.  Hotels. 

QaUica^  with  22,500  inhab.  (including  villages),  chiefly  occupied 
in  fishing.  The  town  was  destroyed  by  Pompey  during  the  Civil 
War  between  Marius  and  Sulla.  It  was  an  episcopal  see  as  early  as 
the  4th  cent.,  but  was  afterwards  frequently  devastated  by  fire  and 
sword ,  so  that  it  now  presents  quite  a  modern  appearance.  Pope 
Pius  IX.  (Conte  Mastai-Ferretti)  was  born  here  on  13th  May,  1792 
fd.  1878).  A  fair,  instituted  in  the  13th  cent.,  is  held  here  from 
30th  July  to  8th  Aug.  annually ;  it  was  once  the  most  frequented 
in  Italy,  but  has  long  since  lost  its  importance.  In  summer  Sinl- 
gaglia  is  a  favourite  sea-bathing  place.  —  The  monastery-church  of 
8.  Maria  delle  Qrazie  (2  M.  distant)  contains  in  the  choir  a  picture 
by  Perugino  (retouched),  and  over  the  3rd  altar  on  the  right  a 
small  Madonna  by  Piero  dtUa  Francesca. 

1191/2  M.  Montemardano.  Pleasant  view  of  the  promontory  of 
Ancona,  rising  from  the  sea.  The  train  crosses  the  Esino.  At 
(122  M.)  Stat.  Falconara  passengers  for  the  line  to  Rome  change 
carriages  (see  B.  14).    The  town  lies  on  the  hill  to  the  right. 

127  M.  Aneona^  see  R.  13. 

13.   AjLcona  and  its  Environs.    Osimo.    Loreto. 

Hotels.  ♦ViTTOEiA  (PI.  b  i  C,  D,  3) ,  in  the  Corso  Vittorio  Emannele, 
well  fitted  up,  E.  2V2,  D.  5  fr. ;  Alb.  Rkale  della  Pace  (PI.  a;  C,  3),  with 
good  restaurant,  R.  SVi,  I>.  4,  omn.  1  fr. ;  *Milano  (PI.  c ;  C,  4),  Corso  di 
Porta  Pia,  commercial,  with  restaurant  and  garden.  Hotel-omnibuses  at 
the  station.  —  Oafd.  Stoppani  d:  Leva,  in  the  Corso.  —  Trattoria.  Lecn 
d'Oro,  in  the  Corso. 

Poat  Oftloe  (PI.  20}  8-8  o*clock),  Piazza  Roma.  —  Telegraph  Office^ 
Via  del  Porto. 

Gaba.  One-horu  cab  from  station  to  town,  incl.  luggage,  1.  at  night 
IVa  fr.  •,  two-horu  IVj  or  2  fr.  —  For  1  hr.  1  Y5r2  fr.  5  each  72  hr.  more, 
6(>^  c.  —  Beyond  the  town,  2  fr.  50  or  3  fr.  60  c.  for  1  hr.;  each  »/«  hr. 
more,  1  fr.  15  or  1  fr.  70  c. 

Tramway  from  the  station  through  the  Via  Kazionale  to  the  Piazza 
del  Teatro  and  the  Piazza  Cavour. 

Steamboats  of  the  Peninsular  and  Oriental  Company  on  Fiid.  mornings 
to  Brindisi  and  Alexandria;  on  Sun.  to  Venice.  Societit  Rittnite  Florio- 
Euhattinoy  on  Mon.  mornings  to  Zara  in  Dalmatia,  in  9  hrs. ;  on  Mon. 
afternoons  to  Tremiti.  Viesti, .Bari ,  Brindisi,  the  Pirwus,  and  Constanti- 
nople ;  on  Tues.  nights  to  Venice,  in  12  hrs.  Austrian  Lloyd,  to  Zara  and 
Hume  every  alternate  Sat.  \  to  Trieste  every  alternate  Sunday. 

Sea  Baths,  near  the  railway  -  station.  Warm  Baths.  Piazza  Stamura 
(PI.  E,  4). 

British  Yice-Gonsul,  Sig.  Albert  P.  Tomassini  (also  American  Consular 
Agent). 

Aneonaf  the  capital  of  a  province,  with  28,000  inhah.  (incl. 
suburbs  47,700),  of  whom  upwards  of  6000  are  Jews,  and  possessing 
an  excellent  harbour,  is  beautifully  situated  between  the  promon- 
tories of  Monte  Astagno  (PI.  0,  6)  and  Monte  Guasco  (PI.  0,  1). 
Since  1860  the  government  has  improved  the  harbour  and  endeav- 
oured to  foster  the  trade  of  Ancona,  but  business  has  declined 
somewhat  of  late  years.   Silk  and  oil  are  largely  manufactured  here. 

Ancona  was  founded  by  Doric  Greeks  from  Syracuse,  and  thence  named 
Dorica  Ancon  (i.e.   *elbow',   from   (he  form  of  the  promontory).    It  was 


-'^'Stijaadb' SMa-TsxTCTTia. 


1  •  14^00  %m 


Cathedral  ANOONA.  13.  Route.    103 

afterwardA  a  Roman  colony,  and  the  harbour  was  enlarged  hy  Trajan.  In 
the  middle  ages  it  repeatedly  recovered  from  the  ravages  of  the  Goths  and 
others,  and  In  1532  was  made  over  hy  Gonzaga  to  Pope  Clement  VII.,  who 
built  a  fort  and  garrisoned  it.  Anoona  is  also  frequently  mentioned  as  a 
fortress  in  modern  history.  Thus  in  1796  it  was  surrendered  to  the  French, 
in  1799  to  the  Austrians,  in  1805  to  the  French  again;  and  in  1815  it  was 
ceded  to  the  pope,  to  whom  it  belonged  till  1860.  In  1832-38  the  citadel 
was  garrisoned  by  the  French,  to  keep  in  check  the  Austrians,  who  held 
Bologna  and  the  surrounding  provinces.  In  1849  the  town  revolted,  but  on 
18th  June  was  re-captured  by  the  Austrians.  On  20th  Sept.,  1860,  after  the 
Battle  of  GasCelfldardo  (p.  lOo),  it  was  finally  occupied  by  the  Italians. 

The  Uabboub,  an  oyal  basin  of  ahont  990  by  880  yds.  in  dia- 
meter, is  considered  one  of  the  best  in  Italy.  A  handsome  quay, 
called  the  Banehiney  has  recently  been  completed.  The  N.  pier 
is  of  ancient  Roman  origin.  At  the  beginning  of  it  rises  the  well- 
preserved  marble  ^Triumphal  Arcli  (PL  2;  B,  1),  erected  A.D.  112 
by  the  Roman  senate  in  honour  of  Trajan  on  the  completion  of  the 
new  quays,  as  the  inscription  records.  The  holes  to  which  its  ori- 
ginal bronze  enrichments  were  attached  are  still  obseryed.  The 
new  pier  constructed  by  Pope  Clement  XII. ,  a  continuation  of  the 
old,  also  boasts  of  a  Triumphal  Arch  {^l.  1 ;  B,  1),  designed  by  Van- 
vitelliy  but  far  inferior  to  the  other.  Its  facade  is  towards  the  sea 
and  has  no  inscription.  At  the  S.  angle  of  the  harbour  is  the  old 
Lazzaretto,  built  in  1732,  now  a  bonded  warehouse  (^Magazzini 
Qer^erali,  Pi.  B,  5).    The  harbour  is  defended  by  several  forts. 

The  ^Cathedral  of  8.  Ciriaco  (PI.  6;  C,  1),  dedicated  to  the  first 
bishop  of  Ancona,  stands  on  the  Monte  Quasco  (Pi.  G.  1),  one  of 
the  above-named  promontories ,  which  shelters  the  harbour  from 
the  N.E.,  and  an  excellent  point  of  view.  The  church  occupies  the 
site  of  a  temple  of  Venus  mentioned  by  GaCtuUus  and  Juvenal,  and 
contains  ten  beautiful  columns  which  once  belonged  to  the  ancient 
temple.  Like  St.  Mark's  at  Venice,  it  is  in  a  mixed  Lombard  and 
Oriental  style  of  architecture ,  and  in  the  form  of  a  Greek  cross, 
each  of  the  arms  being  flanked  with  aisles.  The  octagonal  dome 
over  the  centre  of  the  cross  is  one  of  the  oldest  in  Italy.  The  facade 
(13th  cent.),  ascribed  to  Margaritone  dHArezzo^  has  a  beautiful  (Go- 
thic portico,  the  foremost  columns  of  which  rest  on  red  lions. 

In  the  LxFT  Aislk,  in  front,  is  a  handsome  tomb  of  1530.  In  the 
Eight  Transept  the  semi-Byzantine  capitals  have  been  preserved  j  the 
railing  of  the  steps  to  the  choir  dates  from  the  12th  century.  In  the  Cbtpt, 
to  the  right,  sculptures  of  the  13th  cent.;  relief  of  Christ  between  an  ox 
and  a  lion,  by  Fhilippusf  beneath,  Head  of  Christ  and  St.  George;  tomb 
of  the  Franciscan  B.  Gabriel  Ferretti  (1456) ;  in  the  corner,  three  statuettes 
(12th  cent.) ;  reliefs,  probably  from  the  ancient  choir  of  the  left  transept ; 
^Sarcophagus  of  Titus  Fl(avius)  Oorgonius,  Preetor  of  Ancona,  with  scenes 
from  the  life  of  Christ  (the  Nativity,  Adoration,  Baptism,  Entry  into  Jeru- 
salem, Christ  before  Pilate,  Christ  as  Judge,  Christ  and  the  apostles  with 
Gorgonius  and  his  wife  at  the  Savlour^s  feet ;  4th  cent.) ;  farther  on,  Roman 
head;  statue  of  St.  Primianus;  relief  of  Christ  (12th  cent.);  sarcophagus 
of  St.  Marcellinus.  —  The  cT&tpt  of  ths  Left  (modernised)  Transept 
contains  the  tombs  of  SS.  Cyriacus,  Marcellinus,  and  Liborius,  in  the 
rococo  style. 

Pope  Plus  II.  Piccolominl,  while  vainly  endeavouring  to  organise 


104    Route  13.  ANCONA. 

a  crusade  against  the  Turks,  died  in  the  Episcopal  Palace^  adjoining 
the  cathedral,  in  1464.  —  Within  a  house  at  the  foot  of  the  hill  are 
scanty  remains  of  a  Roman  Amphitheatre, 

The  Palazzo  Comunale  (PI.  15;  C,  2)  has  been  frequently  re- 
built; in  the  13th  cent,  by  Margaritont  d'Arezzo,  in  the  15th  by 
Francesco  di  Giorgio^  and  finally  in  the  17th  century.  The  statues 
of  Adam  and  Eve  on  the  facade  and  the  lower  part  of  the  rear  date 
from  the  13th  cent,  building.  On  the  staircase  in  the*interior  is  a 
statue  of  the  law-giver  Marco  de'  Rossi  (14th  cent.).  —  Close,  by  in 
the  Via  del  Porto,  is  the  church  of  8,  Maria  deUa  Misericordia,  with 
an  elegant  early-Renaissance  portal. 

The  Strada  delle  Scuole  descends  from  the  Palazzo  Comunale 
to  the  left,  to  the  church  of  8.  Francesco  (PI.  9 ;  D,  3 ;  now  a  bar- 
rack), resting  on  a  massive  substructure,  with  a  rich  Gothic  portal 
by  Giorgio  da  Sebenico  (1455).  —  The  street  next  leads  (r.)  to  the 
Prefettura,  the  fine  court  of  which  is  flanked  by  Gothic  arcades,  and 
has  a  fine  Renaissance  archway.  We  proceed  through  the  court  to 
the  high-lying  Piazza  del  Plebiscito  (PI.  D,  3),  adorned  with  a 
statue  of  Clement  XII.  (Corsini,  1730-40),  by  Comachini.  —Farther 
up  is  the  church  of  8,  Domenieo  (PI.  7),  which  contains  a  Madonna 
and  saints  by  Titian  (in  the  4th  Chapel  on  the  right),  beautiful  and 
imposing  in  its  composition,  though  now  much  injured. 

Adjoining  the  church  on  the  right  is  the  Museum  (Civicd  Pina- 
coteca  Podesti  e  Museo  Archeologico  delle  Marche), 

Vestibule.  Keystones  from  the  doorways  of  houses  and  other  reliefs 
of  the  13th  cent. ;  also  large  groups ,  Cain  and  Abel  from  the  old  Palazso 
Comunale,  etc.  —  Boom  I.  Roman  antiquities  and  coins.  —  Boom  II.  Antique 
bronzes  and  vases;  medals. 

Upper  Floor.    Boom  I.    Paintings  and  drawings  by  Francesco  Podetti. 

—  Boom  II.  *i.  Carlo  CrivelH^  Small  Madonna ;  8.  Titian^  Crucifixion  (dam« 
c«ed);  9.  Pellegrino  Tibaldi^  Baptism  of  Christ;  11.  Querdno^  Cleopatra; 
13.  Lorenzo  Lotto,  Assumption  of  the  Virgin;  27.  Oiccarelli,  Belief  of  the 
Madonna;  80.  G'uerctno,  St.  Pelagla ;  *37.  Zoren^ro  Xotto,  Madonna  and  saints. 

The  street  descending  to  the  right  from  the  Prefettura  leads  to 
the  Loggia  dei  Mercanti  (Exchange,  PL  14 ;  C,  3),  an  early-Gothic 
edifice  with  a  facade  of  1459.  In  the  interior  are  paintings  by  Pel- 
legrino Tibaldi  and  stucco-work  by  Varlh.  —  Adjoining  is  the  pretty 
Palazzo  Benincasa  (16th  cent.).  —  Farther  on  to  the  right  we  reach 
the  church  of  8,  Maria  deUa  Piazza  (PI.  11 ;  C,  3),  with  a  rich  ♦Fa- 
cade of  the  beginning  of  the  13th  cent. ;  the  sculptures  byFilippus. 

—  We  return  through  the  Via  della  Loggia  to  the  Piazza  t)EL  Teateo 
(PI.  C,  3),  the  centre  of  business,  beyond  which  is  8.  Agostino^  with 
a  late-Gothio  portal  showing  a  Renaissance  tendency. 

From  the  Piazza  del  Teatro  the  well -paved  Cobso  Vittorio 
Emanuele  (PI.  C,  D,  E,  4;  tramway)  ascends  towards  the  E., 
through  the  new  quarters  of  the  town.  At  the  end  is  the  spacious 
Piazza  Catoub,  with  a  colossal  statue  of  the  minister  in  the  centre 
(PI.  21 ;  E,  4). 


OSIMO.  13.  Route,     105 

EXCUBSIONS  F&OM  AnOONA. 

The  Province  of  Aneona,  the  ancient  Pieenumy  is  a  remarkahly  fertile 
diBtriet,  abounding  in  beautiful  scenery.  The  Apennines  send  forth  a  series 
of  parallel  spurs  towards  the  sea,  forming  a  number  of  short,  but  pictur- 
esque valleys.  The  towns  and  villages  are  invariably  situated  conspicuously 
on  the  heights.  To  the  W.  the  view  is  bounded  by  the  Central  Apen- 
nines ^  which  here  attain  their  greatest  elevation  in  several  continuous 
ranges,  from  the  Montagna  della  Sibilla  to  the  Oran  Basso  dUtalia  (9815  ft.), 
and  are  covered  with  snow  till  July.  Towards  the  £.  glitters  the  broad 
Adriatic,  on  which  numerous  sails  are  visible  in  clear  weather. 

On  the  coast,  9  M.  to  the  S.  of  Aneona,  rises  the  *  Monte 
Ctonero  (1760  ft.),  with  an  old  Camaldulensian  monastery,  com- 
manding a  superb  panorama.  The  pedestrian  follows  a  tolerable 
road  over  the  coast-hills  nearly  as  far  as  (7M.)  airolo  (2000inhab.), 
whence  a  path  to  the  left  ascends  in  3/4  hr.  to  the  top.  A  carriage 
(see  p.  102)  may  be  taken  as  far  as  the  foot  of  the  hill. 

The  Ancona-Foooia  Railway  (to  Loreto,  1 5  M. ,  in  36-55  min . ; 
fares  2  fr.  70,  1  fr.  90,  1  fr.  20  c,  express  2  fr.  95,  2  fr.  5  c;  to 
Porto  Civitanova,  27  M.,  in  1  hr.  5  min.  to  I3/4  hr.)  penetrates  the 
heights  enclosing  Aneona  by  means  of  a  tunnel.  To  the  left,  Monte 
Conero.   4  M.  Varano. 

10  M.  Osimo  {Alhergo  della  Corona,  in  the  market-place ;  om- 
nibus from  the  station  to  the  town,  3  M.,  75  c),  the  ancient 
Auximum,  colonised  by  the  Romans  B.C.  157,  and  mentioned  by 
Csesar,  is  now  a  country-town  with  5000  inhab. ,  and  lies  on  a  hill 
in  a  commanding  position.  The  greater  part  of  the  *Town  Wall^ 
dating  from  the  2nd  cent.  B.C.,  still  exists.  A  walk  round  it  affords 
a  beautiful  view.  The  Palat%o  Pubblico  in  the  large  Piazza  contains 
inscriptions  and  statues  in  Roman  dress,  found  on  the  site  of  the 
ancient  forum  in  the  15th  cent.,  but  barbarously  mutilated  on  the 
occasion  of  the  capture  of  the  town  by  the  Milanese  in  the  16th 
century.  The  Cathedral  contains  a  fine  bronze  font  of  the  16th 
century. 

Proceeding  hence  by  railway,  we  perceiTe,  to  the  right ,  Castel- 
fldardo,  where  on  18th  Sept.  1860,  the  papal  troops  under  Lamo- 
riciftre  were  totally  defeated  by  the  Italians  under  Cialdini. 

15  M.  Loreto  (^CampaneUay  or  Postay  in  the  principal  street; 
omnibus  to  the  town  60  c),  situated  on  a  hill  at  some  dis- 
tance from  the  line,  and  affording  admirable  ^Yiews  of  the  sea, 
the  Apennines ,  and  the  proTince  of  Aneona,  is  a  celebrated  resort 
of  pilgrims  (nearly  half  a  million  annually).  It  consists  of  little 
more  than  a  single  long  street ,  full  of  booths  for  the  sale  of  rosa- 
ries, medals,  images,  etc.,  and  is  much  infested  by  beggars. 

According  to  the  legend,  the  house  of  the  Virgin  at  Nazareth  became 
an  object  of  profound  veneration  after  the  year  336,  when  the  aged 
Empress  Helena,  mother  of  Gonstantine,  made  a  pilgrimage  thither,  and 
caused  a  basilica  to  be  erected  over  it.  Owing  to  the  incursions  of  the 
Saracens  the  basilica  fell  to  decay,  and  after  the  loss  of  Ptolemais  WUe 
(kua  Banta  was  miraculously  transplanted  by  the  hands  of  angels  in  12»l 
to  the   coast  of  Dalmatia   (the   precise   spot   being  between  Fmme   and 


106     BouU13.  LORETO.  Environs 

Tersato),  where  it  remained  undisturbed  during  three  years.  For  some  un- 
known reason,  however,  it  was  again  removed  by  angels  during  the  night, 
and  deposited  near  Becanati,  on  the  ground  of  a  certain  widow  Laureta 
(whence  the  name  Loreto).  A  church  was  erected  over  it,  and  houses  soon 
sprang  up  for  the  accommodation  of  the  believers  who  flocked  to  the  spot. 
In  1586  Pope  Siztus  V.  accorded  to  Loreto  the  privileges  of  a  town. 

Among  the  numerous  pilgrims  who  have  visited  this  spot  may  be 
mentioned  Tasso,  who  thus  alludes  to  it:  ~ 

^Beeo  fra  le  tempeste^  e  i  JUri  venii 

Di  queito  grande  e  spazioso  mare^ 

0  ianta  atelkty  il  iuo  gplendor  nCha  seorto, 

Ch"  illustra  e  sealda  jmr  Vumane  mentf. 

The  *Chissa  uella  Gaba  Santa  has  been  repeatedly  restoied 
since  1464.  The  handsome  facade  was  erected  under  Sixtos  Y.,  a 
colossal  statue  of  whom  adorns  the  entrance  flight  of -steps.  O-ver 
the  principal  door  Is  a  life-size  statue  of  the  Madonna  and  Child, 
by  Qirolamo  Lombardo ,  his  sons ,  and  his  pupils ;  there  are  also 
three  superb  bronze-doors,  executed  under  Pope  PaulV.,  1605-21. 
The  campanile ,  designed  by  VanviteUi ,  is  a  Yery  lofty  structure  in 
a  richly-decorated  style,  surmounted  by  an  octagonal  pyramid.  The 
pincipal  bell,  presented  by  Pope  Leo  X.  in  1516,  weighs  11  tons. 

In  the  Intbiuob,  to  the  left  of  the  entrance,  is  a  beautiful  *Font,  cast 
in  bronze  by  Tibureio  Vereelli  and  Giambattitta  VitaUy  and  adorned  with 
basreliefs  and  figures  of  Faith,  Hope,  Charity,  and  Fortitude.  On  the  al- 
tars and  in  the  chapels  of  the  nave  are  'Mosaics  representing  St.  Francis 
of  Assisi,  by  J)omenichino,  and  the  Archangel  Michael,  by  Ouido  Reni ;  also 
a  number  of  valuable  pictures,  frescoes,  and  sculptures. 

In  the  centre  of  the  church  rises  the  ^Oasa  Santa^  (or  'Holy  House^), 
a  simple  brick-building,  iSVa  ft.  in  height,  28  ft  in  length,  and  12Vs  ft* 
in  width,  surrounded  by  a  lofty  ^Marble  Screen  designed  by  Brafnanie^ 
and  executed  by  Andrea  SansovinOy  Qirolamo  Lombardo^  Qiovanni  da  Bo- 
logna^  Bandinelliy  Tribolo,  Quglielmo  delta  Porta,  etc.,  with  bronze  doors  by 
Qirolamo  Lombardo.  This  handsome  work  was  begun  under  Leo  X.,  con- 
tinued under  Clement  VII.,  and  completed  under  Paul  III.  It  is  adorned 
with  statues  of  prophets  and  sibyls,  and  with  reliefs,  among  which  are:  — 

W.  Side.  Annunciation ,  by  Sansovino,  termed  by  Vasari,  *una  opera 
divina^;  smaller  representations  by  Sangallo,  Qir.  Lombardo,  and  Qugl, 
delta  Porta. 

S.  Side.  Xativity,  by  Sansovino;  David  and  Qoliath,  Sibyls,  Ado- 
ration of  the  Magi,  by  other  masters. 

B.  Side.  Arrival  of  the  Santa  Casa  at  Loreto,  by  Niecolb  Tribolo; 
above  it^  Death  of  the  Virgin,  by  Domenico  Aimo  of  Bologna. 

K.  Side.  Kativity  of  the  Virgin,  begun  by  Sansovino,  continued  by 
Baeeio  BandineUi  and  Safaele  da  Montelupo,  Basreliefs :  Kuptials  of  the 
Virgin,  by  the  same  masters. 

In  a  niche  of  the  interior  is  a  small  black  image  of  the  Virgin  and 
Child,  in  cedar,  attributed  to  St.  Luke.  It  is  richly  adorned  with  jewels, 
the  lustre  of  which  is  enhanced  by  silver  lamps  always  kept  burning. 
In  1796  it  was  carried  off  to  Paris  by  the  French. 

•  In  the  1^.  T&AM8EPT  is  the  entrance  to  the  *  Treasury  (open  to  the 
public  on  Sun.  till  11.30  a.m.;  at  other  times  fee  1  fr.),  which  contains 
valuable  votive  offerings  and  curiosities,  the  gifts  of  monarchs  and  persons 
of  rank.  Several  of  the  treasures  disappeared  at  the  time  of  the  Peace  of 
Tolentino  (1797).  The  ceiling-painting  is  by  Pomarando^  who  also  painted 
the  now  damaged  frescoes  in  the  dome. 

In  the  Piazza  in  front  of  the  church  are  situated  the  JestUis' 
College  and  the  — 

♦Palazzo  Apostolico,   begun  in  1510  from  designs  by  Bra- 


ofAneona,  LORETO.  13.  RouU.    107 

manie.  It  contains  a  small  picture-gallery  (Titian ,  Christ  and  the 
woman  taken  in  adultery ;  Vouety  Last  Supper ;  Schidone,  St.  Clara ; 
QutfcinOy  Descent  from  the  Cross;  Ann.  Carraceij  Nativity,  etc.)  j 
a  hall  with  Tapestries  after  RaphaeVs  Cartoons  (Paul  at  Lystra, 
Healing  the  Lame,  *Feed  my  Sheep',  Elymas  the  Sorcerer,  Holy 
Family,  Miraculous  Draught  of  Fishes,  St.  PauVs  Speech);  and  a 
^Collection  of  Majolicas^  chiefly  from  the  well-known  manufactory 
in  Urhino  (1  fr.). 

The  next  station  heyond  Loreto  Is  — 

I7V2  ^-  Becanati,  loftily  situated  at  some  distance  from  the 
line,  and  commanding  charming  views.  It  was  a  fortified  and  impor- 
tant place  in  the  middle  ages.  A  charter  of  municipal  privileges  ac* 
corded  to  it  by  Emp.  Frederick  II.  in  1229  is  shown  at  the  Fala%%o 
Comunale.  The  Cathedral  of  S.  Ftaviano  y  with  a  Gothic  porch, 
contains  the  monument  of  Gregory  XII.,  of  1417.  Several  of  the 
palaces  deserve  notice,  especially  that  of  the  Leopardi^  containing 
the  collections  of  the  scholar  and  poet  Qiacomo  Leopardi  (d.  1837). 

Excursion  from  Recanati  to  Macerata  (see  below),  passing  the  ruins  of 
Helvia  Ricina  (remains  of  an  amphitheatre,  bridge,  etc.,  on  the  Poienta), 
Omnibus  from  Macerata  to  stat.  Givitanova. 

The  train  crosses  the  Fotenta.  23  M.  Potenza  Picena ,  named 
after  a  Roman  colony,  the  ruins  of  which  have  disappeared.  On  the 
hill,  4^2  M.  distant,  lies  Montesanto. 

27  M.  Porto  CivitanovGy  at  the  mouth  of  the  Chienii,-  the  town 
of  Civitanova  lies  1  M.  inland.  —  Thence  to  Pescara,  Foggia,  etc. , 
see  Baedeker's  Southern  Italy. 

From  Poaxo  CnritANOTA  to  Fabsiano,  69Vs  M.,  railway  in  about  4  hrs. 
—  The  line  at  first  ascends  the  fertile  valley  of  the  Chienti.  The  principal 
stations  are  as  under. 

17VaM.  Macerata  CPac*;  Posta)^  a  flourishing  town  with  20,3(X)  inhab., 
capital  of  the  province  of  Macerata,  picturesquely  situated  on  the  heights 
between  the  valleys  of  the  Chienti  and  Potenza^  possesses  a  university ,  an 
agricultural  academy,  etc.  In  the  Cathedral  a  Madonna  with  St.  Francis 
and  St.  Julian,  ascribed  to  Pervgino.  In  S,  Giovanni  an  Assumption  of 
the  Virgin,  by  Lanfranco.  The  Palazzo  Munidpdle  and  the  Pal.  Compagnoni 
contain  inscriptions  and  antiquities  from  Helvia  Rieina  (see  above),  after 
the  destruction  of  which  the  modem  towns  of  Becanati  and  Macerata 
sprang  up.  Macerata  also  has  a  modern  triumphal  arch,  called  the  Porta 
Pia.  The  Biblioteca  Comunale  contains  a  small  Ptnaeoteca,  the  chief  treasures 
of  which  are  a  Me  donna  and  88.  Julian  and  Anthony  of  Padua  by  OenUle  da 
Fabriano  (Kos.  36,  22),  a  Madonna  by  Carlo  CriveUi  (1470;  l^o.  36).  and  a 
Madonna  with  saints  by  Alegretto  da  Fabriano  (1368*,  No.  39).  Outside 
the  gate,  »/4  M.  from  the  town,  is  the  church  of  the  Madonna  delle  Verginey 
ascribed  to  Bramante. 

22  M.  Urbisagliay  the  Roman  Urbs  ScUvia,  with  extensive  ruins,  am- 
phitheatre, walls,  baths,  etc. 

28V8  M.  Tolentino  {Corona^  tolerable),  the  ancient  TolenUnum  iYcenwro, 
prettily  situated  on  the  Chienti^  with  i2,CKX)  inhab.,  was  once  strongly 
fortified.  The  Palazzo  Munidpale  in  the  Piazza  contains  a  few  Roman 
antiquities,  the  most  important  of  which  is  a  female  portrait-statue  of  the 
time  of  the  Flavian  emperors.  The  Basiliea  di  S.  Niecolb  possesses  a  court 
of  the  13th  cent,  and  a  Gothic  *  Portal,  presented  to  his  native  town  by 
Kiccol6  Mauruzzi,  the  celebrated  condottiere  (1436).  A  chapel  in  the 
interior  is  adorned  with  frescoes  from  the  life  of  St.  Nicholas,  by  Lor/^*^ 
and  Jacopo  da  San  Severino ,  aud  another  contains  two  paintings  of  tb 


lOS    RouUli.  JESI.  FromAneona 

Venett&n  school  (the  Fire  at  St.  Markka  at  Venice,  and  the  Plagae  in 
Sicily).  The  church  of  8.  Frtmceseo.  dating  from  the  13th  cent.,  contains 
a  fresco  of  the  Crucifixion  executed  in  1360  (chapel  to  the  right  of  the 
high-altar)  and  another  of  1475,  representing  the  Madonna  and  S.  Amicone 
healing  the  infirm  (chapel  to  the  left).  The  church  of  S.  Caterto,  on  the 
£.  side  of  the  town,  possesses  an  early- Christian  sarcophagus,  embellished 
with  reliefs  (Adoration  of  the  Magi,  (3hrist  as  the  Good  Shepherd)  and 
containing  the  remains  of  St.  Catervus,  who  is  highly  revered  in  the 
Marches.  The  frescoes  of  the  Crucifixion  and  the  Evangelists  date  from. 
the  15th  century.  The  Fal,  Gentiloni  contains  the  proceeds  of  the  ex- 
cavations carried  on  by  Count  Silver!  Gentiloni  since  1880  in  the  Picene 
necropolis  surrounding  the  town  (adm.  by  visiting-card).  The  tombs,  dating 
from  c.  525-350  B.C.,  yield  numerous  weapons  and  amber  ornaments.  The 
learned  Francis  Fhilelphus,  one  of  the  first  students  and  disseminators  of 
classical  literature,  was  bom  at  Tolentino  in  1388.  —  The  picturesque 
environs  command  fine  views  of  the  mountains. 

The  railway  now  quits  the  Chienti  and  enters  the  valley  of  the  Po- 
tema.  —  35  M.  San  Severino  delle  Karohe,  6  M.  to  the  N.W.  of  Tolentino 
and  about  as  far  S.  of  Castel-Baimondo  (see  below),  in  the  valley  of  the 
Potenza,  arose  from  the  ruins  of  the  ancient  Septempeda.  In  the  church  del 
Castello^  frescoes  by  Dioti$alvi  d^Angeluzzoy  and  an  altar-piece  by  Niecold  da 
Foligno  (1468) ;  in  the  sacristy  of  the  Duomo  Nuovo  a  Madonna  by  Finturieehio, 
S.  Lorenzo  stands  on  the  site  of  an  ancient  temple.  Inscriptions  and  anti- 
quities in  the  town-hall,  and  at  the  residence  of  the  Conte  Servanzi-Collio. 

From  (42  M.)  Castel-Raimondo  a  road  leads  to  the  S.  to  (6  M.)  Oamerino, 
the  ancient  Camerinum  Umbrorum,  once  the  capital  of  the  IJmbrian  Camertes, 
who  during  the  Samnite  wars  allied  themselves  with  Rome  against  the 
Etruscans.  It  is  the  seat  of  a  bishopric  (founded  in  252).  The  cathedral  of 
J3.  Sovino  occupies  the  site  of  a  temple  of  Jupiter;  in  front  of  it  is  a  bronze 
Statue  of  Pope  Sixtus  V.,  of  1587.  The  painter  Carlo  Maratta  was  bom  here 
in  1625  (d.  at  Rome  in  1713). 

47  M.  Matelica,  a  town  with  4000  inhab.,  pojssessing  pictures  by  Pal- 
mezzano  and  Eusebio  di  S.  Giorgio  in  the  church  of  S.  Francesco,  and  a 
small  picture-gallerv  in  the  Pal.  Piersanti.  —  64  M.  Alhaeina.  —  69*|2  M. 
FdbrianOy  see  p.  109. 

14.  From  Ancona  to  Foligno  (Orte,  Borne), 

80  M.  Railway  in  4-5V2hrs.  (fares  14  fr.  60,  10  fr.  25,  6  fr.  60  c. ;  ex- 
press 16  fr.  5,  11  fr.  25  c).  To  Rome  (183  M.)  in  81/8-12  hrs.  (fares  33  fr. 
35,  23  fr.  30,  15  fr.  5  c.-,  express,  36  fr.  70,  25  fr.  65  c). 

The  train  runs  on  the  rails  of  the  Bologna  line,  which  with  the 
old  road  skirts  the  coast  (to  the  righit  a  retrospect  of  the  town  and 
harbour),  as  far  as  (5i/2  M.)  FcHconara  (p.  102). 

Here  the  train  diverges  to  the  S.W.  into  the  valley  of  the 
Esino  (Lat.  JEsis),  which  it  soon  crosses  at  (IOY2  M.)  Chiaravallej 
a  small  town  with  a  Cistercian  monastery. 

171/2  M.  Jesi  (*Alb.  Sr  Trattoria  della  Speranza;  Corona) f  with 
20,000 inhab.  (incl.  villages),  now  one  of  the  most  prosperous  man- 
ufacturing towns  of  the  province ,  was  the  ancient  ^sis ,  where 
the  Emp.  Frederick  II.,  the  illustrious  son  of  Henry  VI.  and  Con- 
stantia  of  Sicily,  and  grandson  of  Frederick  Barbarossa,  was  born 
on  26th  Dec.  1194.  The  picturesque  town-walls,  dating  from  the 
middle  ages,  are  in  good  preservation.  The  Cathedral  is  dedicated 
0  the  martyr  St.  Septimius,  the  first  bishop  of  Jesi  (308).  The 
'alaxzo  PubblicOy  now  the '  Prefettura,  bears  the  town-arms  within 


to  Foliyno,  NOOEKA.  U,  BouU.     109 

an  elaborate  Renaissance  border.  Jest  was  also  the  birthplace  of 
the  composer  G.  Spontini  (1778-1851). 

The  valley  contracts,  and  the  train  crosses  the  ri-ver  twice.  26  M. 
Cattel  PlarUo.  Beyond  (30 1/2  M.)  Sena  8.  QuiricOy  nedLi  McnUBo880, 
the  valley  narrows  to  a  wild  ravine,  endangered  by  falling  rocks. 
Long  tunnel  through  the  Monte  R0880,  39i/2  M.  A26aetna,  Junction 
for  Porto  Givltanova  (p.  107). 

4472  ^-  Fabxiano  (Leon  d'Oro;  Campanajy  a  prosperous  town 
with  18,000  inhab.  (incl.  suburbs),  noted  since  the  14th  cent,  for  its 
paper-manufactories,  lies  near  the  sites  of  the  ancient  Tufieum  and 
Attidium.  The  Town  Hall  contains  ancient  inscriptions  and  a  small 
collection  of  pictures.  The  Campanile  opposite  bears  a  bombastic  in- 
scription about  the  unity  of  Italy.  The  churches  of  8.  Niccolb, 
8,  Benedetto,  8.  Agostino,  and  8.  Lucia,  and  the  private  houses 
Ca8a  Morichi  and  Fomari,  contain  pictures  of  the  Fabriano  school, 
of  which  OeniiU  da  Fabriano  (?  1370-1450;  p.  48)  was  the  head. 
—  Railway  to  Porto  Civitanova,  see  p.  107. 

From  Fabriano  a  mountain-road  (9  M.)  leads  via  the  picturesque  La 
Genga  to  the  lofty  Bassoferrato,  situated  in  a  fertile  valley,  consisting 
of  the  upper  and  lower  town,  with  2000  inhab. ,  and  possessing  interesting 
churches  and  pictures.  OiambattUta  Salviy  sumamed  Scuioferrato ,  was 
horn  here  in  1606;  he  was  especially  noted  for  his  Madonnas,  and  died  at 
Borne  in  1685.  8.  Pietro  contains  a  Madonna  by  him.  In  the  vicinity  are  the 
ruins  of  the  ancient  Sentinum,  where,  B.  C.  296,  the  great  decisive  battle  took 
place  between  the  Bomans  and  the  allied  Samnites,  Gauls ,  IJmbrians ,  and 
Etruscans,  in  which  the  consul  Decius  heroically  sacrificed  himself.  The 
Roman  supreniiacy  over  the  whole  of  Italy  was  thus  established. 

Beyond  Fabriano  the  train  skirts  the  brook  Qiano ,  and  pene- 
trates the  central  Apennine  chain  by  a  tunnel  IY4  M.  long. 

At  (541/2  M.)  Fo88aio  (junction  of  the  line  from  Arezzo  to  Fos- 
sato,  pp.  56-59)  we  enter  the  plain  of  the  Chiascio,  To  the  left  on 
the  hill,  Palat%olof  to  theright)  Pellegrino;  to  the  left,  Palazzo  and 
8.  Facondino. 

58  M.  GualdoTadino,  a  small  town  with  7000  inhab.,  lies  about 
2  M.  from  the  railway  (cab  40  c.) ,  near  the  insignificant  ruins  of 
the  ancient  Tadinum,  In  552  Narses  defeated  and  slew  the  Ostro- 
gothic  king  Totila  here,  and  owing  to  this  victory,  soon  gained 
possession  of  Rome.  In  the  Palazzo  Comuncde  is  a  small  picture- 
gallery  with  a  Pietk  by  Niccol6  Alunno  (1471)  and  works  by  native 
artists ;  in  the  corridor  are  an  ancient  sarcophagus  and  a  few  in- 
scriptions. The  church  of  8,  Franc€8co  contains  an  altar-piece  by 
Niccold  Alunno  (1471).  The  Cathedral  has  a  fine  rose-window;  in 
the  sacristy,  pictures  by  Niccol6  Alunno. 

The  train  gradually  descends  to  (68  M.)  Kocera,  an  episcopal 
town,  on  the  site  of  the  ancient  Nuceria,  a  city  of  the  Umbri  (3  M. 
from  the  station;  omn.).  The  Cathedral  and  the  church  of  the  Ma- 
demina  contain  a  few  tolerable  paintings.  Some  admirable  frescoes 
of  1434  were  discovered  in  1877  on  the  organ-screen  of  8,  Fran- 
cesco,  and  others  of  less  importance  (c.  1500)  in  the  nave  and  choir 


110  BouUU.  VALTOPINA. 

The  Orfanoirofeo  (Vtseovado  AnUeo)  contains  poitraits  of  the  bis- 
hops of  Nocera  from  the  let  cent,  of  onr  eia(?),  painted  in  1659. 
Near  the  town  are  mineral  springs,  knoim  since  1510. 

The  train  now  enters  the  narrow  VaU  Topma^  crosses  the  brook 
several  times,  passes  through  a  tunnel,  and  descends  by  Ponte  Cen- 
teaimo  to  — 

80  M.   Folignoi  thence  to  Bome^  see  pp.  79-87  and  66-68. 


SECOND  SECTION. 


B  0  M  E. 


Arxival.  At  the  railway-station  (Plan  I,  25)  numerous  hotel-omnibuses 
are  in  waiting,  for  the  use  of  which  a  charge  of  MV*  f^>  ia  made  in  the 
bill.  Open  one-horse  CcA  for  1-2  pers. ,  1  fr. ;  at  night  1  fr.  20  e.  ^  Otwed 
one-horse  Cab  1-2  pers.  1  fr.  20  c.,  at  night  1  fr.  90  c.;  each  additional  pers. 
20  c,  at  night  40  c. ;  Two-horse  Carriage,  for  1-4  pers.,  2  fr.,  at  night 
21/2  fr. ;  each  addit.  pers.  20  c,  at  night  40  c. ;  small  articles  of  lavage 
free,  each  small  box  20  c,  trunk  50  c.  Porter  (faeehino)  25-00  c.  —  Polios 
Omck  (Questura):  Via  SS.  Apostoli  17  (PI.  II,  16).  ~  Railway  enquiry  and 
ticket  offices  in  the  town,  Via  della  Propaganda  8  and  Corso  318;  also  That, 
Cook  is  Son,  Piazza  di  Spagna  2. 

Bmhaasiea  and  Oonsiuatee.  There  are  two  classes  of  diplomatic  agents 
at  Rome,  those  accredited  to  the  Italian  goTemment,  and  tiiose  accredited 
to  the  Papal  court.  The  offices  of  two  of  the  former  class  alone  need  here 
be  mentioned :  Eitolish  Exbasst,  Ifarquts  of  Huffertn^  Via  Venti  Settem- 
bre,  near  Porta  Pia;  Amsbicait  Legation,  Hon.  Albert  O.  Porter,  Via  Va- 
sionale  13  (office-hours  10-1).  —  Evoubh  Gomsulatb:  A.  Roesler  Fronts^ 
JSfg.,  consul,  Piassa  S.  Claudio  96.  Axbbioav  Gonsulatk:  Hon,  Angmttme  0. 
Bourn,  consul-general.  Via  Nasionale  13  (office-hours  10-2). 

Hotels  (comp.  pp.  vi,  xx).  The  best  and  most  expensive  are  in  the 
Strangers*  Quarter,  Wween  the  Porta  del  Popolo  and  the  Piazaa  di  Spagna, 
and  also  between  the  latter  and  the  railway-station  (some  of  them  incon- 
▼eniently  situated).    Several  are  closed  during  summer. 

*HdTBL  Qdibinalb  (PL  I,  25,  A),  Via  Kazionale,  a  large  hotel  in  the 
Swiss  style,  with  lift,  R.  A  L.  4-6,  B.  li/s,  lunch  3,  D.  5-6,  A.  1,  omn.  1, 
^pension'  12  fr.  and  upwards ;  *HdTXL  pb  Lohdbbs  (PL  I,  17,  c),  Piassa  di 
Spagna  13,  with  lift,  D.  excl.  wine  6fr.;  *Bbi0tol  (PL  I,  22,  x),  Piasza 
Barberini,  with  lift-,  *Ru88ia  (PL  I,  18,  b),  Via  del  Babuino  9,  near  the 
Piazsa  del  Popolo,  with  a  lift  and  a  pleasant  garden,  B.  from  3,  B.  liAe, 
lunch  3,^.  5,  ^pension*  10  fr.  and  upwards;  Roma  (PL  I,  i7,i),  Corso  128, 
with  Uft,  R.  4,  D.  5,  B.  IV*  fr.  -,  Eubopa  (PL  I,  20,  d).  Piazza  di  Spagna  35. 
After  these  rank  the  *HdTBL  Continbntal,  Via  Gavour  &  near  the  station, 
with  lift;  HdTBi.  db  i.a  Villb  (PL  I,  18,  o),  Via  del  Babuino  196:  HdTK. 
DB  Pabis  (PL  I,  23,  jr).  Via  S.  Nicola  di  Tolentino,  with  lift;  nvoHiL- 
TXBBA  (PI.  I,  17,  /),  Via  Bocca  di  Leone  14,  B.  li/s,  I>.  6  ft.  x  •HdTBt  Rotal, 
Via  Venti  Settembre,  opposite  the  Finance  Ministry  (p.  169,  new,  with 
lift ;  HoTBL  Mabimi,  Via  del  Tritone  17,  with  lift.  At  all  these,  ^pension' 
for  a  prolonged  stay,  10-12  f^.  per  day,  and  upwards. 

Somewhat  less  expensive :  Hihxbva  (PL  II,  16,  m).  Piazza  della  Mi- 
nerva 69,  in  the  interior  of  the  city,  well  spoken  of,  with  lift,  R.  3.  B.  IV4, 
D.  with  wine  5  fr. ;  •Hotel  Hassleb  (PL  I,  17,  «).  Via  Bocca  di  Leone 
68,  'pension'  firom  IIV2  fr.,  without  lunch  from  9  fr.  (Feb.  1st- June  Ist, 
13  and  9>|2  fr.),  frequented  almost  exclusively  by  Germans ,  with  restau- 
rant ;  Edbh  Hotbl  (same  proprietor),  Via  Ludovisi  49,  with  lift;  Allb- 
HA05B  (PL  I,  17,  *),  ViaCondotU  18,  well  spoken  of;  Molabo  (PL  1, 19,  ir). 
Via  Gregoriana  56,  R.  from  4,  A.  1,  L.  8/4,  b.  1*/.,  lunch  3,  D.  6  fr.; 
H6TBL-Pmr8ioH  du  Midi,  Via  delle  Finanze;  Aholo-Ambbicaho,  ViaFiat- 
tina  128;   Vittobia  (PL  I,  19,  0,   Via  Due  Macclli  24;   Laubati,  Via  Na- 


112  Prelim,  Information.       ROME.  Restaurants, 

sionale  153-150,  not  far  from  the  Piazza  Venezia,  with  lift,  R.  8V21  L.  »U^ 
A.  V«  fi*- ;  MiLANO,  Via  Colonna  22  and  Piazza  di  Monte  Gitorio  (PI.  1, 16), 
frequented  by  the  Italian  deputies,  with  a  restaurant;  Alibbrt  (PI.  1,17, 
q),  Vicolo  d'Alibert,  quiet,  E.  2V2,  A.  V»fr.  lCesaei  (PI.  I,  16,  »),  Via  di 
Pietra?  Italia  (PI.  I,  22,  aa\  via  Quattro  Fontane  12,  with  Uft;  Posta, 
Via  della  Vite  29  (PI.  I,  16,  19),  R.  from  2  fr. ;  H6tel  bt  Pension  Cen- 
tbalb  (PL  I,  16,  atf).  Piazza  della  Rosa  9;  GAyoua,  Via  S.  Ghiara  5  (PI. 
II,  13, 16),  R.  from  2,  •pension'  from  7  fr. ;  Obisntb  rPl.  I,  19,  a 6),  Via 
del  Tritone  80,  R.  from  2,  ^pension'  from  71/2  fr.  •,  Hotel  dd  Sud  (PI.  I, 
19,  »),  Via  Gapo  le  Gase  56',  Hotel  dd  Gapitole,  Gorso  288-291,  comer 
of  the  Piazza  Venezia,  ^pension'  8  fr.,  well  spoken  of,  with  a  cafe-restau- 
rant; GoLONNA,  Piazza  Colonna;  Sxnato.  Via  delle  Goppelle  16,  with  re- 
staurant ;  ALBEEao  S.  Ghiaba,  Via  8.  Ghiaro  18,  R.  21/2  fr.  —  'Pension'  at 
all  these  hotels,  except  the  smiJler  ones  last  mentioned,  with  or  without 
luncheon.  The  price  of  the  room  is  generally  raised  for  those  who  do  not 
take  full  'pension',  except  in  the  last-named  houses,  where  the  visitor  can 
arrange  to  he  perfectly  free.  It  is  advisable  to  come  at  once  to  a  distinct 
understanding  as  to  the  price  of  the  room,  including  light  and  attendance. 

Fensiona.  Tellenbach,  Via  Due  Macelli  66,  near  the  Piazza  di  Spagna. 
with  lifL  pens.  7-9  fr. ;  Avanzi,  Via  Gapo  le  Gase  75 ;  Mrs.  Mat,  Via  Lu-, 
dovifli  16 ;  Lbbmann,  Via  Gavour  71 ,  7-10  fr.  according  to  the  room ;  Miss 
Smith,  Piazza  di  Spagna  93;  Pbnsion  Fban^^aisb  (Mme.  Lavigne),  Via  del 
Tritone  86,  with  lift;  Bbllevub  di  Pinoio,  Via  di  Porta  Pinciana  18,  Eng- 
lish hostess,  8-10  fr. ;  Mbs.  Ghafh an.  Via  8.  Kicola  da  Tolentino  76,  Ameri- 
can ;  Pension  TTnione,  Piazza  Honte  Gitorio  121 ;  Mad.  Michel,  Via  Sistina 
72;  Kbdegbb,  Via  Nazionale  181,  frequented  by  Americans,  from  8  fr.  per 
day;  Pboobi,  Via  Quirinale  46.  in  the  Palazzo  Bospigliosi,  with  back  en- 
trance towards  the  Via  Hazionale  (7  fr.);  Bblvbdbbe,  Via  Porta  Pinciana 
18  (8  fr.). 

Private  Apartmenta.  The  best  are  situated  in  the  quarter  bounded 
by  the  Gorso  on  one  side,  and  by  the  Via  del  Babuino,  the  Piazza  di  Spagna, 
and  the  Via  Due  Macelli  on  the  other,  and  also  in  the  Via  Gapo  le  Gase, 
Via  Sistina,  Via  Gtregoriana,  Piazza  Barberini,  and  other  streets  on  the 
Pincio.  The  most  expensive,  and  often  the  least  sunny,  are  in  the  Gorso,  Piazza 
di  Spagna,  and  Via  del  Babuino.  A  northern  aspect  should  be  studiously 
avoided ,  and  a  stipulation  made  for  stove ,  carpet ,  and  attendance  (stufa, 
tappeti,  servizio).  Rent  of  two  well-furnished  rooms  in  a  good  locality  150^ 
250  fr.,  one  room  40^  fr.  per  month;  for  a  suite  of  3-5  rooms  300-500  fr. 
and  even  more.  Artists  generally  reside  in  the  Via  Sistina,  Via  Quattro  Fon- 
tane, and  that  neighbourhood.  In  the  Forum  of  Trajan  and  the  adjoining 
streets  the  visitor  may  obtain  sunny  apartments,  conveniently  situated 
with  regard  to  the  ancient  part  of  the  town.  Rooms  may  be  procured  in 
almost  every  street  in  the  strangers'*  quarter,  where  notices  and  placards 
are  frequently  observed ;  but,  as  they  are  seldom  removed  when  the  roomB 
are  let,  the  traveller  must  be  prepared  for  a  number  of  fruitless  Snquirles. 
Those  who  engage  apartments  in  the  Gorso  should  come  to  an  under- 
standing with  regard  to  the  windows  for  the  Gamival.  —  House-agents: 
Karl  PochaUky  (German),  Gorso  131;  ToH^  Piazza  di  Spagna  53;  MuUon  d: 
Co. J  Via  Frattina  104.  —  Firewood  is  kept  stored  in  many  houses  (basket 
about  272  fr.) ;  it  may  be  bought  cheaper  (20  fr.  per  *passo',  delivered  free), 
at  RottVSf  Via  Monte  Brianzo  88;  OentiWSj  Gampo  Marzio  24;  and  other 
large  wood-fltores. 

Rome  does  not  yet  possess  a  complete  Dibectoby  ;  but  much  informa- 
tion is  afforded  by  the  GHtida  Commerciale  delta  Oittd  di  JRoma,  published 
by  Tito  Monad  (10  fr.).  An  unknown  address  may  be  ascerttdned  at  the 
JJfficio  di  Anagrafe  on  the  Gapitol,  under  the  arches  of  Vignola,  above 
the  stairs  leading  to  the  Monte  Gaprino  (p.  208). 

Restaurants  (those  of  more  moderate  pretensions  are  called  Trattorie; 

comp.  p.  xxii).   Handsomely  fitted  up  and  expensive  (D.  itprixjUxe  6  fr.  and 

upwards):  —  iVa««arr«,  Piazza  di  Spagna  81;  Spilhnann  d:  O).,  Gorso  164; 

Renaud,  Via  Frattina  97;  Ca/^  di  Roma  (p.  113);  Donep  A  mpoti,  Via  delle 

^vertite  19.  —  The  following  are  somewhat  less  pretentious :  Mitano  (see 

^)t  Monte  Gitorio  13;   Colonna^  Piazza  Golonna,  in  the  arcade  to  the 


TraUork.  R0M:£.      PrtUm,  Infornuition.    113 

right  i  (k^/i  di  Kei»«ma,  Gorso  288,  near  the  PiaazaVenesia;  ^»rr«r<aJ/or<«» 
<Cr  Oo.  (see  belowj  lunch  from  3,  D.  from  4fr.). 

Second  clads,  with  good  French  and  Italian  cuisine :  RmUtri^  Via  Mario 
de'  Fiori26i  *CorradeUi^  Via  della  Croce  81,  frequented  by  visitors  of  all 
nationalities;  Panelli,  Via  della  Croce  69}  Oran  Cairo^  Via  del  Tritone  182; 
SetuUo  (see  p.  112),  Via  delle  Gopelle  16 ;  Al  Fagiano^  Piazaa  Colonna,  at 
the  comer  of  the  Via  Golonna,  often  crowded  (branch  at  Via  Sistina  3); 
Le  Ventte  (Venetian  cuisine),  Via  Gampo  Marsio  69,  with  garden. 

The  Tkattoub  are  recommended  to  those  who  have  some  acquain- 
tance with  the  language  and  customs  of  the  country :  —  Cervigni^  Via  Mazio- 
nale  246;  Fietro  Mieea^  Via  S.  Andrea  deUe  Fratte  36  and  Via  Mercede  27 
(Piedmontese  cookery) ;  Rosetta^  Via  Giustiniani  22  and  Via  Rosetto  1,  nearly 
opposite  the  front  of  the  Pantheon.  —  The  cuisine  and  wine  at  the  follow- 
ing are  perhaps  as  good  as  at  those  just  enumerated,  but  the  rooms  are 
not  so  clean:  Oc^iont,  Via  del  Lavatore  40,  by  the  Fontana  Trevi;  Tor- 
retta.  Piazza  Borghese;  2 rait.  Europea^  Piazza  Busticuccl  21  &  26,  oppo- 
site St.  Peter^s;  Tratt.  degli  Artuti,  Via  della  Vite  68  (German  cooking 
and  beer;  also  a  few  beds);  Tr€  Re,  Via  della  Bipresa  dei  Barberi  16, 
Hrst  floor,  near  the  Piazza  Venezia;  Bueci,  Pescheria  delle  Gopelle  54-57 
(fish  and  ^zuppa  alia  marinara').  —  Meals  supplied  to  private  houses  by 
nearly  all  the  Trattorie  and  by  BriecM,  Via  Gapo  le  Case  71;  Giorgio^  Via 
Bocca  di  Leone  5.  —  Mention  may  also  be  made  of  the  Bostiocbbis,  where 
freshly  cooked  meat  and  poultry  may  be  bought  by  the  pound  for  dinner 
or  supper:  Caa*pa^  Via  Venti  Settembre  22;  A><o»t,  Via  Venezia  10;  Mei^ 
TomacelU  153,  and  others. 

Osterid  (wine-houses,  comp.  p.  zxiv).  The  ordinary  wines  of  the  en- 
virons of  Rome  ( Vino  dei  Caslelli  Bomani)  are  generally  served  in  clear  bot- 
tles containing  one,  a  half,  or  a  fifth  litre  (mezzo  litro  30-50c.),  and  the  bet- 
ter qualities  in  smaller  bottles  (fiaschetti).  —  The  following  have  a  good 
name  for  their  wine  at  present:  Jaeobiai,  with  buffet.  Via  di  Pietra  G6  and 
Via  Quattro  Fontane  114  (wine  of  Genzano);  0«<«nt,  Via  delle  Conver- 
tite  11  (Genzano);  PaUnnbella  (Montefiascone ,  p.  69),  Via  della  Palom- 
bella  2;  Santovetti,  Via  del  Quirinale  21  (Frascati);  Salvatori,  Via  Uffici 
del  Vicario  22;  the  OsUria,  Via  Belsiana  86  (Marino  wine);  Bottiglieria 
Romcma^  Via  Umilta  74.  There  are  also  favourite  Osterie  on  the  Moi^e 
Teetaedo  (p.  251)  and  by  the  Fbnie  Molls  (p.  336). 

The  best  Tusoav  Wihb  Houses  are  duelli.  Via  dell^  Impresa  25,  with 
a  branch  at  Via  del  Tritone  172  B ;  Campagnoli,  Via  della  Missione  5,  be- 
hind the  Chamber  of  Representatives;  Ficuchetterio  Totcana,  Piazza  S.  Lo- 
renzo in  Lucina  30;  Siedoli  de  Co.  (wine  only),  Palazzo  Sciarra,  Via  Muratte. 
The  Tuscan  wine  is  generally  served  in  large  bottles  (fiaschi)  covered  with 
basket-work,  and  payment  is  made  according  to  the  quantity  consumed  (about 
60  o.  per  mezzo  litro).     Luncheons  may  also  be  obtained  at  these  houses. 

Foreign  wines  are  sold  at  the  restaurants  (p.  112),  and  by  Presenzini^ 
Via  della  Croce  78;  Bumel  <Cr  Guichard  Aini^  Via  FraUina  116.  Also  by 
the  LiQUoaiSTi :  ^'AragnOy  Gorso  237«  Piazza  Sciarra,  and  Piazza  Monte  Citorio 
118-120;  aiacosa,  Via  della  Maddalena  17-19;  Vine.  AUili,  Via  del  Tritone 
88  (open  till  2  a.m.);  Morteo  (see  above).  —  Mineral  waters  may  be  obtained 
from  CoffwrH^  Corso  20,  and  Mansoni^  Via  Pietra  90. 

Beer  (birra),  Birreria  Morteo  de  Co. ,  Palazzo  Ruspoli  (p.  148),  in  the 
Gorso,  at  the  comer  of  the  Piazza  in  Lucina,  with  a  pleasant  garden  (Vienna 
beer  35  c;  good  cuisine,  see  p.  112);  branch-establishment,  ViaXazionale 
46-48;  *Sa9,  Albreeht,  Via  di  S.  Giuseppe  a  Capo  le  Case  24  (Munich  beer); 
Birreria  Poli,  Via  Poll  90-96;  MarameUo,  Via  del  Gesu  59 ;  Qambriwu-HalU, 
Corso  393,  near  the  Piazza  Golonna  (Munich  beer).  —  Roman  beer  is  brew- 
ed and  sold  by  Germans:  Via  di  S.  Giuseppe  a  Capo  le  Case  7;  also  at 
the  cafds,  etc. 

Oafes.  *Roma^  Gorso  426-433,  somewhat  expensive ;  *  Ufasionale^  Corso 
372,  adjoining  the  Palazao  (Hiigi,  and  also  at  the  comer  of  the  Corso  (179) 
and  Via  delle  Gonvertite  (excellent  coffee  at  these  two) ;  Venezia,  Gorso 
289;  CoUmna,  Ca^i  degli  Specehi,  Piazza  Golonna ;  3.  Chiara,  Via  S.  Chiara, 
adjoining  the  Piazza  Minerva  i  Capretari.  Piazza  CapreUri;  CatielUno,  Via 
Kazioaale  129;  C^ffh  Turco,  PiazBa  di  Spagna  43  (also  beer);  Oreeo,  Vio 

Basoskjcb.    Italy    II.  lOtb  Edition.  8 


\i4  Prelim.  Information.       ROME.  Climate. 

Oondotii  86,  and  Artisti^  Via  Due  Maeelli  91  >  also  reslaurant,  both  fre* 
qaented  by  artists  •,  CtuUlUno.  Via  NaMonale  184.  —  lees  in  all  the  eaf^s ; 
particularly  good  at  the  *aorh9tteria  Ifapotetana^Yitk  deir  Impresa  22,  to 
4he  N.  of  the  Piazsa  Coloima,  60  c.  per  portion,  90  c.  per  half-portton. 

Oonfeetionerfl.  Ranzi  A  iSinger,  in  the  Piazza  Golonna.  comer  of  the 
Gorso  (Ho.  349)}  PmoU,  Via  del  Tritone  68  ^  RamanoHi,  Via  Frattina  76, 
Gorso  283,  and  Via  Nazionale  196  ^  Neuzarr4^  Piazza  di  Spagna  (comp. 
p.  112).  —  Snolibh  AMD  VUNMBSB  Bakskb  :  Cololueci^  Via  della  Croce91^ 
Lais^  Via  della  Croce  49*,  Pwrego^  Via  Nazionale  148;  VtUan^  Via  del  Ba- 
buino  100  and  Via  Condotti  79a  5  DonaH  (biscuits),  Via  Principe  "Umberto 
145.  —  Vaoohebib  (dairies;  fresh  milk,  cream,  butter,  and  eggs  daily):  Via 
Venfi  Settembre  141,  with  branch-establishment  at  Via  Sistina  105  •,  Via 
Muratte  14;  Via  del  Tritone  14.  —  Gbogsrs:  C7a<om',  Piazza  di  Spagna  32; 
Cattrati^  Piazza  Trevi89;  Parentiy  Piazza  di  Spagna  46;  MamiU^  Via  Due 
Maeelli  90;  AeMno^  Monte  Citorio  116.  —  Pbbsbbvbd  Meats,  etc..  Alber- 
Uniy  Via  Kazionale  66  and  Via  Grociferi  28;  Dagnino,  Via  del  Tritone  54- 
56;  Qwrrini.Yii,  Frattina  109;  Valazsa^  Via  Muratte  11.  —  Fbuit  Shops: 
Oangalanti,  Piazza  S.  Lorenzo  in  Lucina  19;  Poiidoro,  Via  del  Tiitone  179; 
Melanot  Via  della  Groce  9. 

Tobacco  (comp.  p.  zxiy)  at  the  Regia  dei  Tabaeehi,  comer  of  the  Gorso 
and  Piazza  Sciarra ;  foreign  cigars  26  c.  and  upwards. 

Ghratnitiea.  As  exorbitant  demands  are  often  made,  the  following  aver- 
ages are  given.  In  the  galleries  for  1  pers.  10  soldi ,  for  2-3  pen.  15s.,*  for 
4  pers.  1  tr. ;  regular  frequenters  5  soldi.  To  attendants  ^n^o  open  doors 
of  houses,  churches,  gardens,  etc..  58.;  for  other  services  (guidance,  explan- 
ations, light,  etc.),  V2-I  fr.  —  It  is  also  usual  to  give  a  trifle  (l-2s.)  to  the 
waiters  at  the  cafds. 

'  Baths  (iys-2  fr.;  fee  25  c.)  at  the  hotels:  also  Vicolo  d'AIibert  1,  Via 
Belsiana  64,  Via  del  Babuino  96,  Via  Ripetta  116 ;  Via  della  Vite  39,  opposite 
the  post-office;  Via  Volturno  87  (recommended  in  summer,  from  May  on- 
wards).  —  J?ydropa«Afc  Ettabiishments:  Piazza  Pia  (PI.  1, 10);  Via  Grociferi  44. 

Haibdbbbsbbb:  Oiardinieri,  Gorso  428;  Lancia,  Via  8.  Giacomo  12; 
Pasquali,  Via  Gondotti  11;  all  with  ladies'  rooms.  —  Per/umerSy  Gorso 
890,  342,  348;  Rimmel,  Gorso  524;  Bntgia,  Gorso  344. 

LiBUX  d'  Aibangb  (10  c.) :  Vicolo  dello  Sdrucciolo,  near  the  Piazza  Go- 
lonna; Via  dei  Pianellari,  adjoining  the  church  of  8.  Agostino  (p.  189); 
Via  Belsiana;  Via  del  Mancino,  adjoining  the  Piazza  Venezia  (15c.);  Vicolo 
del  Goverao  Vecchio;  Vicolo  Tata  Giovanni;  Vicolo  Tribuna  Tor  de'  Spee- 
ch! ;  "Via  Alessandrina ;  Passeggiata  di  Ripetta ;  in  the  colonnade  of  the 
Piazza  of  St.  Peter,  on  the  side  next  the  Porta  Angelica ;  outside  the  Porta 
del  Popolo,  to  the  left. 

Olimate  (comp.  Introd.).  The  mean  temperature  at  Rome  is  60"  Fahr.; 
the  greatest  heat  in  summer  being  about  100*>  in  the  shade,  and  the  greatest 
cold  about  21".  Snow  falls  rarely,  and  does  not  lie  long.  The  average 
temperature  in  January  is  45",  in  July  75".  The  pleasantest  season  is 
from  the  beginning  of  October  to  the  end  of  May.  In  summer  when  the 
fever-laden  aria  caiiiva  prevails,  all  the  Inhabitants  who  can  afford  it 
make  a  point  of  leaving  the  city.  The  prevalent  winds  are  the  2'ra- 
fnontona,  or  north  wind,  which  generally  brings  clear  and  bracing  wea- 
ther ,  and  the  Seiroeco^  or  south  wind ,  which  is  relaxing  and  rainy.  As 
the  temperature  usually  falls  rapidly  after  sunset,  and  c<ddfi  are  very 
easily  caught,  the  traveller  should  not  dress  too  lightly.  Invalids  should 
of  course  consult  their  medical  advisers  before  ehoosing  rooms,  but  even 
persons  in  robust  health  will  do  well  to  remember  the  Roman  proverb : 
''Dove  non  va  il  sole,  va  il  medieo', 

FhyBicianB.  English:  CAarles,  Via  S.  Xicola  da  Tolentino  72;  Drufn- 
mondj  Piazza  di  Spagna  8;  Gason,  Via  8.  Sebastianello  8;  BaldWn,  Piazza 
Trinity  de'  Monti  16;  Young,  Piazza  di  Spagna  20;  iSfpurway,  Via  Gondotti 
48;  Thompton  (American),  Via  Due  Maeelli  60.  —  German:  Brhardt  (phy- 
sician to  the  German  Kmbassy),  Mario  de'  Fiori  16;  Erhardt  Jun.,  Piazza 
di  Spagna  26;  Fleisehl,  Gorso  151  (3-4);  Kraniehfeld,  PiazKa  di  Spagna  44; 
Prof.   Molesehott,   Via  Volturno  58;   Neuhane,   Via  di  Porta  Pinctana  56 ; 


Ltbrafiea  ROME.     Prelim.  Information.    115 

W^bety  Vift  SiAtina  86;  OotOwrff,  Piaua  di  Spagna  9  (atKiaaingen  In  sum- 
mer);  Bmll  (Danish),  Piaasa  di  Spagna  20;  WiUmer.  Via  delle  (^uattro  Fon- 
tane  17;  Botdny  (lOiyaician  to  the  Ausirian  Embassy),  Gorso  SCO;  JTeld 
(homoeopath),  Gorso  456.  —  Italian:  G<ila»»i.^  PiazKa  CapretariTO;  ManautU 
Via  de'  Lncchesi  9;  iVardmt,  Pal.  Doria,  Via  Plebiacito  112;  Oeehini^  Pa- 
laszo  Moroni,  Via  S.  Kicola  da  Tolentino;  UbtraK  (homcDopath) ,  Via 
S.  Cbiara  49.  —  Sdbgbons:  Cecearelli^  Via  Leecosa54;  i>tira»te,  Via  S.  Ba- 
silic 60.  — -  Oculists  :  Demioney  Piazza  Monte  Citorio  121  (hours  for  con- 
saltation  11-1);  Butin^liy  Piazza  S.  Lorenzo  in  Luoina  17  (consultations 
2-4).  —  AuBisT :  De  Rossiy  Piazza  di  Spagna  71.  —  Dsmtibtb  :  Chamb4rlain 
(American) ,  Piazza  di  Spagna  51 ;  Curtis  (American),  Piazza  di  Spagna  ^, 
1st  floor;  Gakusiy  Piazza  di  Spagna  68 ;  Van  Marter  (American),  Via  Kazio- 
nale  87 ;  Martin,  Gorso  388;  aiehliny  Via  delle  Garozze  8,  1st  floor. 

Ghamiats:  Biuimbtrghiy  Bvam$y  A  Co,,  Via  Condotti  64-^,  patronised 
by  the  English  and  American  embassies;  Robert*  A  Co.,  Piazza  di  S.  Lo- 
renzo in  Lucina  36;  Baker  is  Co.  (proprietor  Q.  P.  Pa$aarge) ,  Piazza  di 
Spagna  42,  patronised  by  the  German  embassy ;  BoriiUy  Via  del  Babuino 
98;  Oameriy  Via  del  Gambero  39;  Mariffnani,  Gorso  436;  other  Italian 
chemists  in  every  part  of  the  town.  —  Suboioal  Ikstbuxbnts  aitd  Ban- 
dages: Immeleny  ViaFrattina  134.  —  Siok  Kubsbs  may  be  obtained  at  Via 
Palermo  35  (10  fr.  per  day;  Roman  Catholic)  or  on  application  to  Miss 
Martin,  Via  Palestro  62  (5-7  fr.). 

Bankers.  English :  Machean  &  Co.,  Piazza  di  S.  Silvestro  81 ;  Maquav, 
Hooker,  d:  Co.,  Piazza  di  Spagna  20 ;  F.  MotUagne-HandUy,  Piazza  di  Spagna 
79;  Eddv,  Piazza  S.  Silvestro  62;  PUmden  A  Co.,  Piazza  S.  Glaadio  166. 
—  Italian:  Cerati,  Via  del  Babuino  51:;  Bpada,  Via  Condotti  20.  —  German : 
Natt-KoU>  de  3ehumaeher,  Via  della  Mercede  9;  Sohmitt  A  Co.,  Via  della 
Vite  7;  Pucci,  Jfoevrenberg,  dc  Oo.y  Palazzo  Chigi,  Piazza  Golonna;  Roes- 
Ur-Franz,  Piazza  S.  Giaudio  96;  Fueter,  Tognola,  d:  Co.,  Via  del  Tritone  46; 
Wagniire,  Piazza  Gapranica  78.  —  Money  Changers  in  the  Gorso,  Via  Con- 
dotti, etc.  (comp.  Introd.).     

Booksellers.  Piale,  Piazza  di  Spagna  1;  Loescher  d:  Co.,  Palazzo  Simo- 
netti,  Gorso  307,  entered  from  Via  del  Gollegio  Romano ;  Spithoever,  Piazza 
di  Spagna  84;  Libreria  OentraHe,  Pal.  Bernini,  Gorso  146:  English,  German, 
and  French  books  at  all  these.  Fratelli  Boeca,  Gorso  217;  Fratelli  Treves, 
Gorso  383:  Poravta,  Piazza  SS.  Apostoli  66-65.  —  Religious  works  and  mu- 
sic, Via  di  Propaganda  Fide  6.  —  Maps  at  BossCs,  Gorso  401,  and  at  Loe- 
scher^s  (see  above).  —  Old  Books  at  Rossi*s,  Via  Bocca  di  Leone  25 ,  and 
Boeea's,  Via  del  Giardino  110;  also  at  Loescher's  and  Spithoever's.  — 
BooKBiMDBBS.  dingier.  Via  della  Mercede  86;  Olivieri,  Piazza  di  Spagna 
87  and  Via  del  Babuino  49 ;  Santinelli,  Via  Pi^  di  Marmo. 

Libraries.    The  principal  libraries  are  the  following: 

1.  BiBLiOTBCA  Apostoliga  Vaticana,  See  p.  319-  Permessi  issued  di- 
rectly by  the  Cardinal-Secretary  of  State  to  the  prefects  of  the  library,  see 
p.  124.  Readers  admitted  from  Oct.  1st  to  Easter  9-1,  from  Easter  to  29th 
June  8-12  o'clock;  the  library  is  closed  on  Sun.,  Thurs.,  and  holidays. 

2.  POBLio  LiBBAiBiBs,  Open  on  the  days  mentioned  below  from  9  to  3, 
with  the  exception  of  the  Biblioteca  Angelica,  which  is  open  from  9  to  2. 
Admittance  wittiout  permessi  according  to  the  conditions  set  forth  in  the 
placard  in  the  Bibl.  Vittorio  Emanuele.  Books  are  lent  out  by  the  Bibl.  Vit- 
torio  Emanuele  only,  on  the  security  of  the  embassy  or  consulate  (farther 
particulars  in  the  Utfizio  dei  Prestiti,  on  the  ground-floor  of  the  library). 
Biblioteca  Alessandrina  in  the  Sapienza  (p.  197),  entrance  Via  deir  Univer- 
sity ,  1st  NoT.-30th  June  also  open  7-10  p.m.  —  Biblioteca  Angelica  (p.  189), 
Sun.  and  Thurs.;  closed  in  Oct.  —  Biblioteca  Casanatensis  (p.  196),  daily, 
except  Sundays.  —  Biblioteca  Centrale  Vittorio  Emanuele  (p.  156),  from  Nov. 
to  May  also  7-10  p.m. ,  closed  for  a  short  time  at  midsummer  (besides  the 
large  public  reading-room  there  is  a  'Sala  Riservata'  with  an  excellent  re- 
ference-library, for  the  use  of  which  a  permesso  is  necessary). 

3.  Pbivate  Libbabibs  :  Biblioteca  Barberina  (p.  171),  open  to  the  Public 
on  Thurs.  9-2;  elosed  in  Oct.  —  Biblioteca  8.  Cecilia,  Via  de'  Greci  l^ 
daily  9-8  (music).  —  Biblioteca  Chigiana  (p.  154),  admission  by  permesso,  o 

8* 


116  Prdim.  Information,      ROME.  Studios, 

tainable  through  the  traveller's  consul,  10-12  •,  closed  in  summer.  —  Bihlio- 
Uca  Corsiniana  (p.  9^),  open  to  the  public  dally,  except  Sun.  and  Wed., 
Not.  to  Uarclfc  1-4,  Apr.  to  July  2-5.  ~  BiblMscm  Sarti  (p.  238),  in.  the 
Academy  of  St.  Luke,  daily  except  Sat.  and  Sun.,  in  summer  8-2,  in 
winter  9-3.  —  Biblioteea  Vallieellana  (p.  200),  open  on  Tues.,  Thurs.,  and 
Sat.,  10^.  —  BibKoteca  Lancitiana  Cp,  ^6 \  medical  works),  in  the  Hospital 
of  S.  Spirito,  daily,  9.30-2.30. 

Lending  Libraries.  English  books  at  PitUe"*  and  at  Loesch€r*$  (see 
p.  115;  one  book  weekly  1,  monthly  3  fr.).  —  Reading  Rooms.  PiaU^  Piazza 
di  Spagna  1  (English  and  American  newsf^apers). 

Newspapers,  very  numerous,  5-10 c.  per  number.  The  most  popular 
with  visitors  are :  lialie  (in  French ,  containing  a  list  of  the  sights  of  the 
day) ;  Fanfulla  (similar  to  the  Paris  Figaro) ;  Biforma ,  Capitan  Frac€usa^ 
and  Popolo  Romano^  three  government  organs ;  Diritio^  Tribunal  opposition 
journals ;  Capitale^  Messaffgero,  and  Don  Chichotte^  radical  \  Osservalore  Ro- 
mano, Journal  de  Bome^  CivHtii  Catolica,  and  Voce  delta  VeritA^  all  clerical. 
BugaiUino  is  a  condc  paper  in  the  local  dialect.  —  The  Italian  Timet  and 
Roman  Herald  (20  c.)  are  English  papers  published  at  Rome. 

Guides  to  the  Antiquities.  Mr.  R.  8.  Fbrbee,  publisher  of  the  ^Bulletin 
Ck>mmentarium  Rerum  Urbanarum*  (fortnightly),  Via  del  Babuino  93,  and 
Signor  Olinio  L,  Spadoni,  editor  of  the  ^Roman  Herald%  Piazza  di  Spagna  3, 
give  peripatetic  lectures  on  the  site  of  ancient  ruins  and  organise  excur- 
sions  to  the  environs. 

Teachers  of  Italian  (2-3  fr.  per  lesson) :  enquire  at  the  bookselIers\ 

Kusio  Sellers.  Succeseori  Landtherg^  Via  Condotti  86,  1st  floor  (pianos 
and  music  for  sale  or  hire);  Boeeola^  Corso  140;  Venturini  A  Co.^  Ck>rso 
387;  Ricordi,  Corso  392;  Bartolo,  Via  Condotti  70.  —  Strings:  Berti,  Via 
Tor  Argentina  19;  Rufini.  Piazza  SS.  Apostoli  49.  —  Teachers  of  music 
and  singing  may  be  heard  of  at  the  booksellers'  or  at  the  music-shops. 
As  well-known  composers  and  teachers  of  the  piano  may  be  mentioned : 
M.  Ramkilde^  a  Dane,  Ripetta  39 ;  Alb,  Cavanna^  Via  dei  0reci  10. 


Studios.  ScuLPTOAs:  Amiei^  Passeggiata  di  Ripetta  20;  L.  Ansiglioni,  Via 
Venti  Settembre  116;  R.  Cauer,  ViaBrunetti  16;  ChiaradiOy  Via  Hargutta  5; 
Daiueh,  Via  S.  Giacomo  18;  Ezechiel^  Piazza  delle  Terme  118;  Feuerslein, 
Via  Palestra  19 ;  Qalletti,  Via  0esu  e  Maria  21 :  Gerhard,  Passeggiata  di 
Ripetta  33;  Prof.  Ouglielmi,  Via  Babuino  155;  Hcueelriis  (Dane),  Via  Mar- 
gutta  51;  /OM,  Via  Hargutta  33;  Jos.  Kopf,  Via  Margutta  59;  Macdonald, 
Via  S.  Nicola  da  Tolentino  22;  Monteverde,  Piazza  deir  Indipendenza ; 
F.  Sehulze,  Palazzo  Barberini;  Simmone,  Via  S.  Nicola  da  Tolentino  73; 
Sommerj  Monte  Caprino  24a;  Spies,  Piazza  S.  Pietro  in  Vincoli  40a ;  Storp 
(American),  Via  S.  Martino  a  Macao  7;  Volkmann,  Piazza  Dante  5. 

Paintbsb  :  Aemi,  Via  Margutta  48 ;  Alvarez,  Via  S.  Martino  9 ;  Brandt, 
Via  di  Ripetta  39;  Brioschi,  Palazzo  Venezia;  Coleman  (American),  Via 
Margutta  33;  Corrodi  (water-colours),  Via  del  Tritone  62;  H,  Corrodi,  Via 
degli  Incurabili  8;  Effenberger,  Vicoh)  S.  Nicolo  da  Tolentino  13;  Ferrari, 
Via  Margutta  33;  Glennie,  Piazza  Margana  17;  (7mt0o{c<  (English),  Via  del 
Basilio^;  Hdbert,  director  of  the  French  Academy  (p.  149);  Knilpfer ,  Pa- 
lazzo Venezia ;  Koelman,  Via  deirOlmato  46  (miniatures) ;  Kronberg  (Swede), 
Via  Margutta  33;  Lindemann - Frommel  (landscape).  Via  del  Babuino  39; 
Likoenthal,  Via  Margutta  33 ;  Mario  de  Maria,  Pal.  Lanza  Vecchio.  outside 
the  Porta  Pia ;  Martens,  Via  Flaminia  44 ;  Navone ,  Passeggiata  di  Ripetta 
35 ;  Nerly  (landscapes  and  sea-pieces).  Piazza  S.  Bernardo  109 ;  Podesty,  Pa- 
lazzo Doria,  Circo  Agonale  13 ;  PradUla  (Spaniard),  Via  Sistina  75 ;  SchWs- 
<er.  Via  Venti  Settembre  4;  Schwarzer,  Piazza  S.  Salvatore  in  Lauro  13; 
Sciuti,  Piazza  Mattel  10;  L.  Seitz,  Piazza  Gappuccini  6;  Shade,  Via  Sistina 
123;  Siemiradski  (Pole),  Via  Gaeta  7;  Struit,  Via  della  Croce  81;  TiUon, 
Via  S.  Basilio  20;  Vannutelli,  Via  Margutta  51a;  Vedder  (American),  Via 
S.  Basilio  20;  Villegas,  Pal.  Villegas,  Viale  Parioli;  Weckeeser,  Piazza 
Barberini  43;  Zielke,  Via  de'  Maroniti  4. 

International  Association  of  Artists,  Via  Margutta  53.  President: 
Jacovacci  (painter).  —  Britisu  Academy,  Via  S.  Nicolo  da  Tolentino  22  A. 


Shops.  ROME.       Prelim.  Jnformaiion,    117 

—  British  ahd  American  Abohvbolooigal  Socibtt,  Via  delle  Groce  76, 
with  a  good  library.  —  Verbim  Deutbchbb  KiiNSTLERf  Palazzo  Serlupi,  Via 
del  Seminario  13. 

Works  of  Art ,  both  ancient  and  modern ,  are  liable  to  government 
inspection  on  exportation.  —  Goods  Aqbnts:  C.  Sl§in^  Via  di  Mercede 
42;  Giordani  A  jPerront.  Piazza  Golonna  370a;  Roesaler,  F)^ang,  A  Co.,  Via 
Gondotti  6;  Tombinij  Via  del  Oambero  6.  —Packer  ('Incasaatore') :  Ferroni, 
Ripetta  228;  Vineenzo  Oiorgini,  Via  Mororiti  31. 

Shops.  Aktiquitikb:  AugtutoCkutellani,  Piazza  di  Trevi  86  (see  below); 
Martinetti,  Via  Bonella  74;  Bernard,  Via  Sistina  21 ;  Innoeenti,  Piazza  Trinita 
de'  Honti  13 A;  Jfod,  Fontanella  Borghese  29. 

Art,  Works  op.  Societii  Artistica,  Via  del  Babuioo  136;  D'Atri,  Via 
Gondotti  7;  PUani,  Piazza  di  Spagna  23  (these  chiefly  for  pictures) ;  An- 
dreoni,  Piazza  del  Popolo  17  (marble  and  alabaster  sculptures) .  See  also 
Cameos,  Casts,  Copies  of  Bronzes,  Engravings,  etc. 

Artists*  Materials.  CorteselU,  Via  Sistina  160 ;  Juliana,  Via  Babuino 
147;  ZeeeOy  Via  Hargutta  53  a. 

Artiolrs  D£  Votage:  Bar/oot  (English  saddlery),  Via  del  Babuino  150  D 
and  152;  Chiara,  Via  Giustiniani  17;  Be' Angeli,  Via  Sistina  28;  Old  Eng- 
land, Via  Xazionale  116. 

Gakbos:  SemHni,  Via  del  Babuino  96;  Angeliei,  Via  Sistina  19;  Pia- 
nella.  Via  de'  Maroniti  4,  fourth  floor;  B' Estrada,  Via  Sistina  26;  Ro»i, 
Piazza  di  Spagna  86,  second  floor. 

Casts:  ManUi,  Via  Frattina  16;  Leopoldo  Malpieri,  Corso  54;  Pado- 
velK,  Via  Due  Xacelli  85 ;  Lucignani,  Via  Sistina  111. 

Clothino.  For  Gbntuembn:  Gtuutalla,  Corso  335  (large  shop);  Bavo- 
nelU  A  Co.,  Corso  300;  Fratelli  Boeconi,  (3orso,  adjoining  the  Piazza  Go- 
lonna ;  Old  England,  Via  Kazionale  115.  See  Tailors.  —  Ladies''  Dress  akd 
HiLUHERT:  FratelU  Ponteeorvo,  Corso  172;  Mauoni,  Ck)rso  307;  Compagnie 
Lyonnaise^  Corso  473;  Catarina  Tua,  Corso  526;  Madame  Boudrot,  Via 
Gondotti  81;  Mentro-Oiubergia,  Ciorso  60;  Antonia  Lupa,  Corso  28;  Ville  de 
Ivon,  Via  dei  Prefetti  48-52 ;  Coeiama  Federieo,  Via  S.  Nicola  da  Tolen- 
tino  26  (for  moderate  requirements).  —  See  Haberdashery. 

Copies  of  An cibkt  Bronzes  and  Marbles  :  BoeeheUi,  Via  Gondotti  74 ; 
Rdhrich,  Via  Due  Macelli  62;  Jfelli,  Via  del  Babuino  139;  Rainaldi,  Via 
del  Babuino  51 A  (lirge  stock,  fixed  prices). 

Drapers:  Todroe,  Corso  418;  Sehostal,  Corso  158;  Outset,  Corso  244; 
Ouastaila,  Via  Golonna  20. 

Dressmakers  :  Caterina  Tua,  Corso  526 ;  Antonia  Lupa,  Corso  28 ;  Mae- 
eoni,  Corso  307;  Coetanza  Federieo,  Via  S.  l^icola  da  Tolentino  26,  I.  (for 
moderate  requirements). 

Engravings  at  the  Regia  CdUografia,  formerly  the  Stamperia  Gamerale 
(moderate  prices),  Via  della  Stamperia  6  (PI.  1, 19,  7). 

FuRNiTURB  (carved).  BarherUo,  Via  Sistina  130;  Noei,  Via  Fontanella 
Boi^hese  29-34.  —  Intarsia:  ZuceareUi,  Via  del  Babuino  34. 

Glows,  Collars,  and  Xbok-tiss:  Chanal,  C!orso  143;  also  at  Corso 
227;  Piazza  S.  Lorenzo  in  Lucina  39;  Via  della  Vite  10;  Via  Frattina  15; 
Via  di  Pietra  77. 

GoLDSMiTHB :  *Ca*tellani ,  Piazza  di  Trevi  86 ,  who  also  possesses  an 
interesting  collection  of  ancient  golden  ornaments,  and  executes  imitations 
from  Greek,  Etruscan,  and  Byzantine  models;  Marchesini,  comer  of  the 
Corso  and  Via  Gondotti;  Boni,  Piazza  S.  Carlo,  in  the  Corso;  Aneorge, 
Fasoli,  Pierret,  Piazza  di  Spagna  72,  96,  &  20;  Freechi,  Via  Gondotti  56; 
Calvi,  Via  Sistina  15  (silver  ornaments  after  ancient  patterns). 

Haberdashery:  Maeini^  Corso  309;  Carsana,  Corso  136;  Borgia,  Via 
dei  Prefetti  19.  See  also  Clothing,  Dressmakers,  Roman  Shawls. 

Hatters:  Betsi,  Via  Nazionale  137;  Miller,  Via  Gondotti  16;  Vigano, 
Via  Monte  Gatini  4;  Monti  (straw«hat  warehouse).  Piazza  Firenze  29. 

Jbwsllbbt,  see  Goldsmiths,  Roman  Pearls. 

Lamps,  etc. :  Faueillon,  Via  di  Propaganda  23.  ».     «. 

Marblk-(3utters  :  OrUmdi,  Via  Sistina  75  G ;  Faihi,  Via  Sistina  94;  Pt^r- 
matiei,  Via  Sistina  81, 


118   Prelim.  Information.      ROME.  Theatres. 

MiLLiNEBs,  see  Haberdashers,  Dressmakers,  etc. 

Mosaics:  De  Felid,  Piazza  di  Spagaa  99;  Boeeheggiani^  ViaGondotii  14. 
Mosaics  and  cameos,  at  moderate  prices,  in  the  Stabilimeato,  Piassa  Bor>- 
ghese  106. 

Opticians:  HitMh.,  Corso  403;  friotH^  Corso  419;  Busdpi,  Gono  157. 

Photoosaphs  :  Loe»eher  Op.  115) ;  Stpithoever  (p.  115 ;  Brann's  photographs, 
Anderson's  views  of  Rome);  Libreria  Centrale  (p.  115;  Brogi^s  photo- 
graphs): Molins^  Via  Gondotti  38  (views  of  the  Parker  GoUectton,  for 
archeeologists) ;  Casali,  Via  Sistina  119;  Befner,  Via  Frattina  133  (Semelli's 
photographs);  Alinari  d:  Caok^  Gorso  90;  Mosdoniy  Via  Gondotti  10a;  OU- 
vterj,  Piazza  di  Spagna  87  and  Via  Babuino  49 ;  Piale,  Piazza  di  Spagna  1. 

Photographs  for  artistic  purposes  (reproduction  of  sketches,  pictures, 
etc.) :  Vasariy  Via  Poli  25.  ~~  Portraits:  AUssandri^  Corso  13;  Le  Lieure, 
Vicolo  del  Mortaro  19;  Montabone,  Piazza  di  Spagna  9;  8iBh«mboche^  Via 
di  Mercede  54;  Fotografia  Jfaeionale,  Via  Oregoriana  30;  Susctpi^  Via 
Gondotti  48;  Delia  Valle,  Via  della  Groce  67. 

Roman  Peakls:  Key,  Via  del  Babuino  133;  SartoUnij  Via  Frattina  97; 
Lacehini^  Piazza  di  Spagna  69. 

Roman  Shawls  :  AgosHni^  Gampo  Marzo  3 ;  Bianehi,  Piazza  della  Mi- 
nerva 69  (also  other  Roman  silk  wares);  Amadori,  Gorso  316;  Stsffoni,  Pi- 
azza di  Spagna  63. 

Shobhakbbs:  Berardi,  Via  Fontanella  di  Borghese  36;  Oiangrandi^ 
Via  Frattina  79;  Jesi,  Gorso  139;  Rubini^  Gorso  33a;  R«nner,  Via  delle 
Quattro  Fontane  7;  Pateita^  Via  Due  Macelli  30;  FraUlli  JfUnster^  Gorso 
163.    Boots  and  shoes  are  generally  dear  in  Rome. 

Small  Wares,  etc.:  Merico  Gagiati^  Gorso  167-169;  Janetti,  Via  Gon- 
dotti 18;  il.  Gagiaiiy  Gorso  350;  Finei  (t  Bianchelli,  Gorso  377;  Old  England ^ 
Via  Nazionale  115;  Fil.  Haa$  A  Figliy  Via  Gondotti  46,  at  the  corner  of 
the  Gorso. 

Stationkbs:  Calzone^  Gorso,  entrance  in  the  Via  Lata;  Rieei^  Gorso 
314,  Piazza  Golonna;  Brenta,  Pal.  Odescalchi,  Oorso. 

Tailoks:  Sehraider^  Piazza  di  Spagna 5;  Mattinu.  Corso  107,  first  floor; 
Mont^  Via  Due  Macelli  48;  0.  Shgre^  Piazza  di  Trevi88;  Foa  A  OtMitaUa^ 
Corso  105. 

Umbbbllas,  Son-shadbs,  and  Fans:  Gilardini^  Gorso 409;  Motta^  Gorso 
334;  Ouattari,  Gorso  411. 

Upholsterers  :  Levera,  Via  Gorso  895 ;  Pepron  A  Co. ,  Gorso  Vittorio 
Emanuele  53;  Fil.  Haas  d:  Figli^  Via  Gondotti  46. 

Watghmakebs:  Kohell^  Via  del  Gambero  19;  Kolbati^r^  Via  Due  Ma- 
celli 108;  Oondret^  Gorso  144;  Ifautmann.  Via  Boeca  di  Leone  84;  Kohl- 
marni.  Via  Gondotti  69;  Conti,  Piazza  di  Spagna  53. 

Weapons  (permesso  necessary,  see  p.  xvii):  Spadini^  Piazza  Borghese  89. 

Italian  Alpine  Olub,  Roman  Section,  Via  Gollegio  Romano  36.  (Mem* 
bers  of  foreign  Alpine  Clubs  are  readily  afforded  information  about  moun- 
tain-ascents in  the  Apennines.) 

Theatres.  Since  the  demolition  of  the  Teatro  Apollo ,  the  first  place 
is  taken  by  the  Teatbo  Aboentina  or  Teairo  Comunale  (PI.  II,  13,  16),  Via 
di  Tor  Argentina,  near  S.  Andrea  della  Valle.  —  Then  follow  the  Teatbo 
GosTANzi  (PI.  I,  35),  Via  Firenze,  and  Teatbo  Vallb  (PI.  II,  13,  15),  near  the 
Sapienza,  for  dramas.  —  Besides  these  there  are  the  smaller  theatres :  Teatbo 
Metastasio  (PI.  I,  13,  75),  Via  di  Pallacorda,  near  the  Via  della  Scrofk,  for 
vaudevilles  with  ^Pulcinella^  (performances  about  6  and  9;  for  gentlemen 
only);  Teatbo  Manzoni,  Via  Urbana  153;  Teatbo  Quibino  (PI.  II,  16, 19), 
Via  delle  Vergini,  for  small  operettas  and  ballet. 

The  companies  usually  change  three  times  a  year,   one  performing  in 

autumn  and  winter  till  Christmas,  another  till  Lent,  and  a  third  after  Lent. 

Boxes  are  generally  let  permanently,   and  visits  paid  and  received  there. 

-lies  frequent  the  boxes  only,  gentlemen  the  pit  (plaSea).    Particulars 

■t  admission,  etc.,  are  published  in  the  hand-bills.    Gomp.  p.  xxrv. 

*iarionetU  Theatre:  Teatbo  Goldoni,  Via  de'  Soldati.  —  Ctifis  Chan- 
numerous. 


Church  Festivals.  ROME.      Prelim.  Information.    119 

OabSf  OmnibUMS,  and  Tramways,  see  Appendix. 

Carriage  Hirers.  Belli,  Via  Margutta  27}  PiscUeUii  Vicolo  degli  Avigrion- 
esi  7.  Charges  rary  according  to  the  aeagon,  hut  the  average  may  be  placed 
at  90  fr.  a  day.  The  beat  carriagea  are  obtained  at  the  larger  hotels,  where, 
however,  the  charge  is  sometimes  as  high  as  60  fr.  a  day.  Gratuity  to  the 
coachman  extra.  —  Saddle  Homes.  OairoU^  Via  Margntta  38  ^  Jarret^  Piazza 
del  Popolo  3 1  Franeesangeli^  Via  Principe  Umberto  183  \  PiereMy  Via  Firenze 
43.    Charge  10  fr.  for  half-a-day ;  ostler's  fee  1  fr. 

Porters  (FaUoriHi  Fubblid).  The  best  are  those  of  the  Impresa  Bo- 
mana^  Vicolo  Sciarra  60,  with  the  name  on  their  caps  and  a  brass  number 
on  their  coats.  Porter  with  letter  or  luggage  under  83 lbs.,  25-75  e.  accord- 
ing to  the  distance.    There  are  also  three  other  companies. 

Post  Office  (comp.  Introd.,  p.  xxv),  Piaaaa  di  S.  Silvestro  in  Capite,  a 
large  new  edifice,  open  from  8  a.m.  to  9.30  p.m.  (PI.  I,  16}  also  entered 
from  the  Via  della  Vite).  Poaie  EutanU  letters  (^ferma  in  posta")  are  de- 
livered at  several  windows  for  the  different  initials  under  the  arcades 
in  the  court,  on  the  right.  Under  the  arcades,  on  the  left,  is  a  writing- 
room  (letter  10  c).  Btaneh  0/fiees:  at  the  railway-station  (open  till  10.30 
p.m.),  Piazza  Barberini  10  (open  till  10  p.m.)>  Via  del  Babuino  106,  Boreo 
Xnovo  136,  Cono  Vittorio  Smanuele  61,  Via  Alessandrina  160  fopen  8-»). 
—  Parcel  Post  at  the  general  post-office  and  at  Monte  Citorto  132  (9-6). 

Telegraph  Office,  open  day  and  night,  in  the  General  Post  Office  building, 
Piazza  di  S.  SUvestro  in  Capite.  Branch  Officer:  Piasza  Aracosli  3,  Via 
Venti  Settembre  118,  Borgo  Vnovo  86  (in  summer  7*9,  in  winter  8-9); 
also  at  the  Baiiway  StatiOB  (open  night  and  day). 

-     --  \  Ohnrolies.    AU  Saints,  Via  Babuino,  Piazsa  di  Spagna,  designed 


by  Street  (superseding  the  old  Anglican  Church  near  the  Porto  del  Po- 
polo); services  at  8.  30  a.m.,  11  a.m.,  and  8  p.m.,  in  summer  9  a.m.  and 
5  p.m.;  chaplain,  Canm  Watson  TFosm,  M,  A..  Via  della  Croce  81.  —  Tri- 
nity Church,  Piazza  8.  Silvestro,  opposite  the  Post  Office  (p.  153);  services 
at  11  a.m.  and  3  p.m. :  chaplain  (1888-90),  Rev,  A.  C.  ThiselUm.  —  Ameri- 
can Episcopal  Church  of  St.  Pauly  a  handsome  brick  edifice  by  Street,  Via 
Vazionale:  services  at  8.90  a.m.,  11  a.m.,  and  4  p.m.;  rector,  Rev.  Dr.  2f$- 
v*n,  Via  l^azionale  16.  —  Scottish  PrcshpUriam  Churchy  Via  Yenti  Settembre 
7,  near  the  Quattro  Fontane;  services  at  11  a.m.  and  3.80  p.m.;  minister, 
Rev.  Dr.  Gray,  Via  Venti  Settembre  7,  2nd  floor.  —  Weslepan  Methodist 
Church,  Via  della  Scrofa  63;  services  on  Sun.  11  a.m.  and  7.30  p.ni^  on 
Thurs.  7.30  p.m. ;  minister,  Rev.  Henry  Piggott^  Via  delle  Copelle  28.  — 
American  Baptist  Church,  Via  Teatro  Valle.- 

Italian  Protestant  Ohnrches.  Waldeneian  Church,  Via  l^aalonale  107. 
—  Free  Italian  Church  (Signor  Oavazzi),  Via  Panico  43,  opposite  the  church 
of  S.  Angelo.  —  Military  Church,  Via  delle  Copelle  28;  service  every 
evening  at  Ave  Maria  (1  br.  after  suns6t);  cbaplalA,  Rev.  Cap.  Capellini, 
PosEO  delle  Comacchie  14.  —  Epieeopal  Methodist  Church,  Piazza  Poll.  — 
Bapiisi  Chapel,  Piazza  San  Lorenzo  in  Lucina.  —  Baplitt  Church,  ViaUr- 
bana  154. 

Anglo-Ameriean  Olab,  Via  Condotti  21.  —  Enflish  Olab,  Via  della 
Croce  78.  

Ohurch  Festivals.  Since  the  annexation  of  Borne  to  the  kingdom  of 
Italy  on  20th  Sept.,  1870,  the  great  ecclesiastical  festivals  have  lost  most 
of  their  splendour.  The  public  ceremonies  at  which  the  Pope  formerly 
officiated  in  person,  such  as  these  of  the  Holy  Week,  the  benedictions, 
and  the  public  processions  including  that  of  theFdte  deDieu,  have  been 
discontinued.  The  Pope  still  officiates  on  high  festivals  in  the  Sistine 
Chapel,  but  visitors  are  not  admitted  without  an  introduction  from  very 
high  quarters.  (Gentlemen  are  required  to  wear  uniform  or  evening 
dress.    Ladies  must  be  dressed  in  black,  with  blaek  veils  or  caps.) 

The  following  enumeration  of  the  various  festivals,  as  they  were 
celebrated  prioe  to  20th  Sept.  1870,  will  still  be  found  useful  in  many 
respects.  Details  are  contained  in  the  Diario  Romano,  published  amally. 
The  best  work  on  the  ceremonies  of  the  Holy  Week  and  their  significa- 
tion is  the  Manuale  delle  cerimonie  che  hanno  luogo  nella  settimana  santa  e 


1 20   Prelim.  Information.      ROME.  Church  Festivals. 

neir  ottava  di  patqua  al  VaHcanc  (1  fr. ;  also  a  French  edition),  obtainable 
at  the  bookshopa  mentioned  at  p.  Ufi. 

The  Pope  used  to  officiate  in  person  three  times  annually,  on  Christmas 
Day,  Easter  Day,  and  the  Festival  of  St.  Peter  and  St.  Paul  (29th  June) ;  and 
four  times  annually  he  imparted  his  benediction,  on  Holy  Thursday  and  Easter 
Day  from  the  balcony  of  St.  Poter*s,  on  Ascension  Day  from  the  Lateran, 
and  on  16th  Aug.,  the  anniversary  of  the  *  Assumption  of  the  Virgin*,  from 
S.  Maria  Maggiore.  The  most  imposing  ceremonies  were  those  of  the  HoV^f 
Week^  from  Palm  Sunday  to  Easter  Day,  the  most  important  of  which  took 
place  in  the  Sistine  Chapel ,  accompanied  by  the  music  Clamentettioru',  etc.) 
of  Palestrina  and  other  old  masters,  on  which  occasions  the  papal  band 
(cappella  papale)  performed. 

The  following  are  the  principal  festivals:  — 
January    1.  Cappella  Papale  in  the  Sistine,  10  a.m. 

—  5.  Cappella  Papale  in  the  Sistine,  3  p.m. 

—  6.  Epiphany.    Cappella  Papale  in  the  Sistine,  10  a.m.;  at  4p.m. 

procession  in  Aracosli. 

—  17.  S.  Antonio  Abbate  (PI.  II,  25,  near  S.  Maria  Maggiore) ,  bene- 

diction of  domestic  animals. 

—  18.  Anniversary  of  foundation  of  the  chair  of  St.  Peter ,  Cap.  Pa> 

pale  in  St.  Peter^s,  10  a.  m. 

—  21.  8.  Agnese  Fuori  (p.  342). 

February  1.  Illumination  of  the  lower  church  of  S.  Clemente  (p.  260). 

—  2.  Candlemas.    Cap.  Papale  in  St.  Peter*s,  9  a.  m. 

—  7.  Cappella  Papale  in  the  Sistine,  in  memory  of  Pius  IX, 

—  20.  Cappella  Papale  in  the  Sistine,   to  celebrate  the   anniversary 

of  Leo  XIII.'s  election. 
On  Ash  Wednesday  and  every  Sunday  during  Lent,  Cappella  Papale  in  the 
Sistine  at  10  a.  m.    The  Lent  sermons  in  Oesii  ^I.  II,  1^,  S.  Maria 
sopra  Minerva  (PI.  II,  16),  and  other  churches  are  celebrated. 
March.     8.  Cappella  Papale  in  the  Sistine,  to  celebrate  Leo  XIII.^s  instal- 
lation. 

—  7.  St.  Thomas  Aquinas,  in  S.  Maria  sopra  Minerva  (PI.  II,  16). 

—  9.  S.  Francesca  Romana  (in  the  Forum). 

—  16.  Festival  in  the  chapel  of  the  Palazzo  Massimi  (PI.  II,  17)  in 

commemoration  of  a  resuscitation  by  S.  Filippo  Neri  (p.  199). 

—  25.  Annunciation.  Cap.  Papale  in  S.  Maria  sopra  Minerva  (PI.  II,  16^. 

Holt  Week. 

Palm  Sunday.  Cappella  Papale  in  St.  Peter*s.  Consecration  of  palms  -,  then 
mass.    At  2  p.m.  confession  in  the  Lateran  (PI.  H,  80). 

Wednesday.    Cappella  Papale  in  the  Sistine,    8  p.  ro.  Tenebrse,  Miserere. 

Ifoly  Thnrtday.  Cappella  Papale  in  the  Sistine,  10  a.  m.  Towards  noon 
the  benediction  'TJrbi*  from  the  loggia  of  St.  Peter^s.  Then 
washing  of  feet  in  St.  Peter*s ,  immediately  after  a  dinner  to 
twelve  pilgrims  in  the  loggia  of  St.  Peter*s.  Cappella  Papale 
in  the  Sistine,  3  p.  m.    Tenebrse  and  Miserere. 

Oood  Friday.  Cappella  Papale  in  the  Sistine ,  9  a.  m.  (music  by  Pales- 
trina). At  8  p.  m.  Tenebrse  and  Miserere.  Procession  of  Car- 
dinals in  St.  Peter^s. 

Saturday.  Cappella  Papale  in  the  Sistine,  9  a.m.  (Missa  di  Papa  Mar- 
cello,  by  Palestrina).    Baptism  of  converts  in  the  Lateran. 

Easier  Day.  High  Mass  in  St.  Peter's,  formerly  celebrated  by  the  Pope. 
The  elevation  of  the  host  (about  11  a.  m.)  was  accompanied 
by  the  blast  of  trumpets  from  the  dome.  The  Pope  was  then 
carried  in  procession  from  the  church,  and  about  noon  imparted 
the  great  benediction  'Urbi  et  Orbi*  from  the  loggia  of  St. 
Peter's.    After  sunset,  illumination  of  the  dome  of  St.  Peter's. 

Faster  Monday.    Cappella  Papale  in  the  Sistine,  9  a.  m. 

E€uter  Tuesday.    Cappella  Papale  in  the  Sistine,  9  a.  m. 

Saturday  in  Albis.    Cappella  Papale  in  the  Sistine,  9  a.  m. 

April  25.  Procession  of  the  clergy  from  S.  Marco  (PI.  II,  16)  to  St.  Peter's 
at  7.  80  a.  m. 


Popular  Festivals.  ROME.       Prelim.  Information.    121 

Hay    26.  S.  Filippo  Neri.    Gappella  Papale  in  the  Ghiesa  Kuova,  10  a.  m. 
AtieensUm.    Gappella  Papale  in  the  Lateran.    Benediction  from  the  loggia. 
Whitsunday.    Gappella  Papale  in  the  Sistine ,  10  a.  in. 
Trinity.    Gappella  Papale  in  the  Sistine,  10  a.  m. 

Corptu  Domini  (FSte  dc  Dien).    Procession  of  tlie  Pope  and  clergy  round 
the  piassa  of  St.  Pctcr^s,  8  a.  in. 
John  the  Baptist.    Gappella  Papale  in  the  Lateran,  10  a.  m. 
Eve  of  SS.  Peter  and  Paul.    Gappella  Papale,  St.  Peter's,  6  p.m. 
SS.  Peter  and  Paul.  —  Forenoon,  Gappella  Papale,   St.  I'eter's, 

celebration  formerly  by  the  Pope. 
S.  Bonaventura,  in  S.  S.  Apnstoli. 
S.  Ignasio,  in  Gesu. 

St.  Peter  in  Vinculis,  in  S.  Pietro  in  Vincoli  (PI.  11,  23). 
8.  Maria  della  Neve,  in  S.  Maria  Maggiore  (PI.  11,  25). 
Assumption  of  the  Virgin.    Gappella  Papale   in  S.   Maria  Mag- 
giore (PI.  II,  25),  9  a.  m. ;  great  benediction  from  the  loggia. 
Nativity  of  the  Virgin.    Gappella  Papale  in  S.  Maria  del  Popolo 

(PI.  I,  18),  10  a.m.  yy-  y 

Elevation  of  the  Gross,  in  8.  Marcello  (PI.  II,  16). 
S.  Marco,  in  the  church  of  that  saint  (PI.  II,  16). 
S.  Luca,  in  the  church  of  that  saint  (PI.  II,  20). 
All  Saints'  Day ,    Gappella  Papale  in    the  Sistine ,    10  a.  m.  and 

3  p.m. 
All  Souls'  Day.    Gappella  Papale  in  the  Sistine,  10  a.  m. 
Requiem    for    former  Popes.    Gappella  Papale  in    the  Sistine, 

10  a.  m. 
8.  Garlo  Borromeo.    Gappella  Papale  in  S.  Garlo,  10  a.  m. 
Requiem  for  deceased  cardinals  in  the  Sistine. 
On  the  four  Sundays  of  Advent,  Gappella  Papale  in  the  Sistine,  10  a.m.    (On 
the  first  Sunday    of  Advent  Procession    of  the  Mass  to  the 
Gappella  Paolina.) 
Nov.   22.    St.  CecUia.    Gappella  Papale  in  S.  Gecilia  in  Trastevere  (p.  331). 
Illuminafcion  of  the  Gatacombs  of  Galliatus  (p.  361). 
~      23.    Illumination  of  the  lower  church  of  S.  Glemente  (p.  260). 
Dec.      8.    Gonception.    Gappella  Papale  in   the  Sistine,  3  p.  m.     Proces- 
sion from  Aracoeli  (PI.  II,  20). 
~      24.    Christmas  Eve.    G^pella  Papale  in  the   Sistine ,   8  p.  m.    To 
wards  midnight,  solemnities  in  Aracoeli,   about  5  a. m.  in  S. 
Maria  Maggiore  (PI.  II,  25). 
Dec.    25.    Ghristmas  Day.    Gappella  Papale  in  St.  Peter's,  9  a.m.,  cele- 
bration formerly  by  the  Pope ;  elevation  of  the  host  announced 
by  trumpets  in  the,  dome. 

—  26.    St.  Stephen's  Day.    Gappella  Papale  in  the  Sistine,  10  a.  m. 

—  27.    St.  John  the  Evangelist.  Gappella  Papale  in  the  Sistine,  10  a.  m. 

—  31.    Gappella  Papale  in  the  Sistine;    after  which,  about  4  p.  m., 

grand  Te  Deum  in  Gesu  (PI.  II,  16). 


June 

24. 

__ 

28. 

— 

29. 

July 

14. 

— 

31. 

Aug. 

1. 

._ 

5. 

— 

15. 

Sept. 

8. 

_^ 

14. 

Oct. 

7. 

18. 

n7v. 

1. 

. 

2. 

- 

3. 

_ 

4. 

— 

5. 

Popular  FestiTala  (which  have  lost  much  of  their  former  interest) :  — 
Epiphaitt  (6th  Jan. ),  celebrated  in  the  evening  in  the  Piazza  Navona, 
since  1873  (formerly  near  S.  Eustaehio) ;  array  of  booths  and  prodigious  din 
of  toy-trumpets. 

The  Cabnival,  which  has  of  late  regained  a  little  of  its  former  splen- 
dour, lasts  from  the  second  Saturday  before  Ash  Wednesday  to  Shrove 
Tuesday,  and  consists  in  a  daily  procession  in  the  Corso^  accompanied  by 
the  throwing  of  bouquets  and  comfits  (except  on  Sundays  and  Fridays, 
when  a  *gala  corso"  generally  takes  place),  and  concluding  with  a  horse-race. 
The  last  evening  is  the  Moccoli  (taper)  evening,  the  tapers  being  lighted 
immediately  after  sunset.  A  window  in  the  Gorso  is  the  best  point  of  view. 
The  liveliest  scene  is  between  the  Piazza  Golonna  and  S.  Garlo.  Balconies 
there  are  in  great  request  (as  high  as  600  fr.) ;  single  places  are  let  on  stands 
fitted  up  for  the  occasion. 


122   Prelim.  Information.       ROME.       CoUectiom^  Villas,  etc. 

The  OoTOBBB  Fbstiyal,  in  the  Tintage-fleawii,  once  famonfl,  is  celebrated 
with  singingf  dancing,  and  carousals  at  the  osterie  ontside  the  gates. 

The  Fbsta  dbllo  Statuto,  or  Festival  of  the  Constitution,  introduced 
since  the  annexation  of  Borne ,  is  on  the  first  Sunday  in  June.  Military 
parade  in  the  forenoon  in  the  Piasza  deir  Indlpendenza  or  the  CSanapo 
Hilitare  (p.  169).  In  the  evening  fireworks  ('Girandola')  in  the  Piazza  del 
Popolo  and  elsewhere.  —  On  the  anniversary  of  the  Foundation  or  Bomb 
(21st  April),  it  has  of  late  been  usual  to  illuminate  the  Colosseum  and  the 
Forum  with  Bengal  fire. 

The  opening  of  Parliament  is  also  inaugurated  with  festivities. 

Street  Soenes.  The  top  of  the  Scala  di  Spagna  (PI.  I,  20)  and  the 
Via  Sistina  are  the  favourite  haunts  of  artists'  models,  chleflv  Neapolitans, 
whose  costumes  are  a  well-known  subject  of  photographs  and  pictures. 

The  favourite  haunts  of  the  country-people  are  in  front  of  the  Pantheon 
(PI.  II,  16;  especially  on  Sundays),  the  Piazza  Montanara  (PI.  II,  17),  and 
the  market-place  of  the  Gampo  di  Fieri  (p.  204). 

The  Oarrison  of  Home  consists  of  4  regiments  of  If^fantry  (wearing 
the  'giubba',  or  dark  blue  coat  common  to  the  whole  army,  grey  trousers, 
white  leather  belts ,  and  caps)  \  2  regiments  of  Oranatieri  (or  Grenadiers ; 
infantry  uniform,  with  a  burning  grenade  on  the  cap  to  distinguish  them) ; 
1  regiment  of  Benaglieri  or  riflemen  (dark  blue  uniform  with  crimson 
facings,  large  plumed  caps  worn  on  one  side ,  forming  an  ^lite  corps  like 
the  Austrian  Kaiserjager)  t,  1  regiment  of  Cavalry  (dark  blue  uniform,  light 
grey  trousers,  and  helmets ;  the  Lanzieri  wear  fur  caps  and  trousers  faced 
with  black) ;  1  brigade  of  FUld  Artillery  and  1  brigade  of  Fortress  Ar- 
tillery (dark  blue  uniform  with  yellow  facings) ;  and  1  brigade  of  ^n^ineers 
(dark  blue  uniform  with  crimson  facings).  To  these  we  may  add  the  Cara- 
binierif  or  gensdarmcs  (p.  xvi). 


Collections,  Villai,  eU. 

Changes  in  the  arrangements  take  place  so  frequently  that  the  follow- 
ing data  cannot  long  remain  accurate.  Even  the  lists  of  sights  contained 
in  some  of  the  daily  newspapers  are  not  always  trustworthy  (best  in 
^L'ltalie'  and  in  the  Anglo-American  'Boman  Herald").  Intending  visitors 
should  therefore  make  additional  enquiry  at  the  hotels,  booksellers,  etc. 
The  Villas  Borghese  and  Doria  Pamphilj  are  best  visited  by  carriage.  — 
Galleries  and  palaces  within  angular  brackets  in  the  following  list  are  tem- 
porarily closed. 

The  ^PermessC  necessary  for  visitors  to  the  Vatican  and  several  other 
collections  may  either  be  obtained  personally  in  the  ways  described  below 
or  through  the  consuls  (p.  Ill)  or  bankers.  —  FeeSy  see  p.  114. 

Aecademia  diS.  l/wca(p.  238),  pictures:  daily,  9-3;  closed  In  July 
and  August. 

Alhaniy  Villa  (p.  338),  antiquities  and  pictures :  Tuesdays,  except 
in  wet  weather,  from  12  noon;  admittance  by  permesso,  obtain^ 
able  at  the  office  In  the  Palazzo  Torlonla ,  Piazza  Yenezla  135, 
to  the  left  on  the  ground-floor,  on  presenting  a  visiting-card. 

Barherini,  Pcdatto  (p.  170),  picture-gallery  and  antiquities :  daily, 
10.  30-5  (Thurs.  2-5);  library,  Thurs.  9-2  (closed  from  the 
middle  of  Sept.  to  the  end  of  Oct), 

^Borghese,  Palazzo  (p.  184),  pictures:  Mon.,  Wed.,  andFrid.,  9-3; 
admittance  by  permesso,  obtainable  at  the  Palace  10-12  a.  m. 

*  Borghese,  Villa  (j^.  334),  garden:  Tues.,  Thurs.,  Sat.,  and  Sun., 
after  1  p.m.,  cabs  also  admitted;  the  casino,  with  the  antiqui- 
ties, Sat.  1-3,  admittance  by  permesso  obtainable  at  the  Palazzo 
Borghese. 


CoUections,  ViWaa,  etc,       ROME.       Prelim.  Jnfannation,    123 

•CapiioUne  Museum  (^.  216):  daily,  10-3,  50  c. ;  on  Sun.,  New 
Year's  Day,  Epiphany,  Festival  of  the  ConBtltution  (p.  122), 
Ascension  Day,  Corpus  Ohrietl  Day,  Festival  of  SS.  Peter  and 
Paul,  Aug.  15th,  Sept.  8th,  and  Dec.  8th,  10-1,  free;  closed 
on  Easter  Day,  Sept.  20th,  Nov.  Ist,  and  Christmas. 
CasUllo  8.  Angelx)  (p.  274) :  dally  at  9, 11,  1,  or  3  o'clock  by  per- 
messo,  available  for  six  persons,  obtainable  at  the  Comando  di 
Divisione  Territoriale  di  Roma,  Via  de'  Burrd  (a  street  connect- 
ing the  Piazza  di  Pietra  and  Piazza  S.  Ignazio;  PI.  I,  II,  16), 
No.  147,  second  floor. 

*  Cataeombs  of  St.  CcUmtus  (p.  361)  :  daily,  see  p.  356. 
*Col(ynnaj  Palazzo  (p.  163),  picture-gallery:  Tues;,  Thurs.,  &Sat., 

11-3. 
*Colos8eum  (p.  234) :  open  at  all  hours ;  the  galleries  closed  after 

11  p.  m.  (comp.  p.  236). 
* Conservatori ,  Pedaee  of  (^.  215),   new  collection,  bronzes  and 

pictures :  times  of  admission  same  as  for  the  Oapitoline  Museum 

(see  above). 
Corainij  Palazzo  (^.  324),  picture-gallery:  Mon.,  Thurs.,  and  Sat., 

9-3,  except  on  holidays. 
*Doria,  Palazzo  (p.  158),  picture-gallery:  Tues.  and  Frid.  10-2; 

or  Wed.  or  Sat.,  if  one  of  the  usual  days  is  a  holiday. 
Doria,  F»/fa,  see  below  (  Villa  Pamphilj). 
*Fame8inay  ViUa  (p.  323) :  on  the  1st  and  the  15th  of  each  month ; 

closed  in  midsummer. 

*  Forum  Romanum  (p.  222) :  daily ,   tUl  dusk ,  gratis ;  closed  in 

midsummer,  12-3. 
* Kireheriano,  Museo  (p.  156):  daily,  except  public  holidays,  9-3 

(1  fr.).  Sun.  free. 
*LaUran,   Ck)lle€tiom  of  the  ($.  268):  daily,  9-3;  in  spring  10-4, 

in  summer  9-1. 
[Ludovisij  ancient  sculptures  from  the  former  Villa  (p.  172) :  closed 

at  present.] 
Maltese  Villa  and  8.  Maria  Aventina  (p.  253):  Wed.  and  Sat.,  9 

to  dusk. 
Mattei,  Villa  (p.  269):  Thurs.,  after  2.  30  p.m. ;  visitors  write 

their  names  in  a  book. 
Medici  J    FiWa  (p.  149),  collection  of  casts:  Wed.  and  Sat.,  8-12, 

and  afternoons  till  dusk. 
Museo  Artistico  IndustriaU  (p.  151),  daily,  9-3,  except  Wed. 
Museo  delle  Terme  (p.  168),  same  as  the  Oapitoline  Museum. 

*  Palatine  Excavations  (p.  242):  daily,  9  till  dusk;  adm.  1  fr. ;  on 

Sun.  and  holidays  gratis;  closed  in  summer  12-3. 

*PamphUjj  ViUa  Doria  (p.  355):  Mon.  and  Frid.,  1  till  dusk,  some- 
times only  from  4 ;  two-horse  carriages  and  one-horse  carriages 
without  numbers  also  admitted. 

*8t.  Peter's,  Dome  of(jp.  285),  daily  8-11,  by  permesso. 


124  Prdim.  Information.      ROME.  Students' Permessi, 

Quirinaley  Palazzo  del  (p.  173),  the  residence  of  the  King,  daily, 
but  part  of  it  only  is  shown. 
*Rospiglio8iy  Casino  (p.  175),  pictures:  Wed.  and  Sat.,  9-3. 
*Thermae  of  Caraedila  (p.  255):  daily,  9  till  dusk  (1  fr.);  Sun. 
after  10,  gratis;  closed  from  12  to  3  in  midsummer. 
Thermae  of  Titua  (p.  237) :  admission  as  to  the  preceding. 
[Torlonia^  Museo  (p.  325),  formerly  by  written  application  to  the  Pa- 
lazzo Torlonia  (p.  162),  but  closed  at  present.] 
*  Vatican  Collections  and  Library  (p.  287)  accessible  on  the  days 
mentioned  below  (but  always  closed  on  Sat.,  Sun.,  and  holi- 
days), 10-3,  gratis,  by  permessi,  to  be  obtained  through  a  con- 
sul, or  by  direct  application  at  the  Segretaria  of  the  Maggior- 
domo  (9-1  o'clock)  in  the  Oortile  di  S.  Damaso  (p.  286). 
Intending  visitorB  apply  to  the   Swiss  guard  (no  gratuity)  at  the 
Portone  di  Bronze,  opposite  the  chief  entrance  to  the  Vatican  (p.  286),  and 
are  conducted  to  the  office,  where  they  write  their  nanaes  in  the  permesso. 
The  hotel-keepers  also  procure  permessi  for  their  guests,  for  which  they 
sometimes  charge  1  fr.  each.    On  leaving  the  Vatican  the  visitor  who  in 
tends    to  return  should  at  once  procure  another  permesso  in  the   way 
above  mentioned,  or  ask  the  custodian  to  give  him  back  the  old  one  O/a  fr.)- 
Besides  the  permessi  for  artists  and  scientific  men  mentioned  below, 
there  are  ordinary  permessi  available  for  5  persons.    For  Raphael's  Stanze 
and  Loggie^  the  Picture  Gallery^   and  the  SisHne  Chapel ^  9-3  o'clock  on 
the  first  five  week-days,  festivals  excepted.  —  For  the  Museum  of  Statuary^ 
the  Etruscan  Museum ^   and  the  Egyptian  Museum ,   Mondays,    Tuesdays, 
Wednesdays,  and  Fridays,  9-3. 

The  Vatican  Library  is  open  on  the  same  days  as  the  Museum  of  Statuary 
(Mon.,  Tues.,  Wed.,  Frid.,  8-12),  no  permesso  being  required;  comp.  p.  319. 
Those  who  desire  to  study,  draw,  or  copy  in  B.oman  museums  or  pri- 
vate collections  must  procure  a  Permesso  through  their  consul.  For  the 
Papal  Museums  permission  is  granted  by  Monsignor  Macehi  (maggiordomo 
of  the  pope)  at  his  office  (see  above),  the  written  application  having  been 
left  there  a  day  or  two  previously.  (Separate  permessi  required  for  the  mu- 
seums of  the  Vatican  and  Lateran,  the  Vatican  picture-gallery,  and  BaphaePs 
Loggie.)  In  the  case  of  Private  Galleries^  application  must  be  made  to  the 
proprietor  in  Italian  or  French,  stating  also  which  picture  it  is  intended 
to  copy,  and  the  size  and  description  of  the  copy.  In  some  collections  copies 
of  the  original  size  must  not  be  made.  As  to  this  and  similar  regulations, 
information  should  be  previously  obtained  from  the  custodian.  The  follow- 
ing form  of  application  to  the  Monsgr.  Maggiordomo,  may  be  also  addressed 
to  a  principe  or  marchese,  the  *Bevma'  being  in  this  case  omitted. 
Eecellenza  Revma^ 

Jl  sottoscritto,  che  si  trattiene  a  Roma  con  lo  scopo  di  proseguire  in  questa 
capitale  i  suoi  studj  artistici  (storici,  etc.),  si  prende  la  libertit  di  rivolgersi 
con  questa  a  Vra  Eecellenza  Revma  pregando  La  perehi  voglia  aceordargli  il 
grazioso  permesso  di  far  degli  studj  (dei  disegni,  delle  notizie,  etc.)  nel  Museo 
(nella  Galleria)  Vaticano.  ^ 

Sperando  di  essere  favorite  da  Vra  Eecellenza  Revma  e  pregando  La  di 
gradire  anticipatamente  i  piii  sinceri  suoi  ringraziamenii,  ha  Fonore  di  pro- 

testarsi  col  piit  prof ondo  rispetto  ^   w  -  r.     „         «    -« 

^     -^    "^  ^  dt  Vra  Eecellenza  Revma 

Roma  li  .  .  .  .  Vmmo  Obbmo  Servitore 

A  Sua  Eecellenza  Revma  N.  N. 

Monsignor  Macehi 

Maggiordomo  di  Sua  Santitdi. 


f)iary.  ROME.      Prelim.  Information.    125 

Biary. 

(To  be  compared  with  the  preceding  Alphabetical  List)* 

Daily:  Capitoline  Museum  (p.  216)  and  Palace  of  the  Cousei- 
vatori  (p.  215),  9-3,  adm.  50  c.;  Sun.,  10-1,  gratis.  —  Collections 
in  the  Lateian  fp.  268),  10-3,  in  summer  9-1.  —  Museo  Klrche- 
liano  (p.  156),  9-3,  adm.  1  fr.;  Sun.  gratis.  —  Forum  Romanum 
(p.  222).  Excavations  on  the  Palatine  (p.  242):  adm.  Ifr. ;  Sun. 
gratis).  Thermffl  of  Caracalla  (p.  255) ;  adm.  1  fr. ;  Sun.  gratis  ; 
all  three  after  10a.m.,  closed  In  summer  from  12  to  3.  —  Dome  of 
St.  Peter's  (p.  285)  8-11.  —  Catacomhs  of  St.  Callistus  (p.  361),  etc. 

Daily y  except  Sundays  and  Holidays:  Academy  of  S.  Luca 
(p.  238)  9-3;  closed  in  July  and  August.  —  Galleria  Barberini 
(p.  170)  12-5. 

Sundays:  Villa  Borghese  (p.  334),  after  1  p.m. 

Mondays:  Vatican  Collections  (Raphael's  Stanze  and  Loggie, 
Picture  Gallery,  Sistine  Chapel,  and  Museum  of  Statuary)  9-3 
(Library  8-12).  —  Galleria  Borghese  (p.  184)  9-3.  —  Galleria 
Corsini  (p.  324)  9-3.  —  Villa  Pamphilj  (p.  355). 

Tuesdays:  Vatican  Collections  (Raphael's  Stanze  and  Loggie, 
Picture  Gallery ,  Sistine  Chapel ,  and  Museum  of  Statuary)  9-3 
(Library  8-12).  —  Galleria  Doria  (p.  158)10-2.  —  Galleria  Colonna 
(p.  163)  11-3.  —  Villa  Borghese  (p.  334),  in  the  afternoon. 

Wednesdays :  Vatican  Collections  (Raphael's  Stanze  and  Loggie, 
Picture  Gallery ,  Sistine  Chapel ,  and  Museum  of  Statuary)  9-3 
(Library  8-121  —  Casino  Rospigliosi  (p.  175)  9-8.  —  GaUeria 
Borghese  (p.  184)  9-3.  —  S.  Maria  Aventina  (p.  253),  from  9  a.m. 

Thursdays :  Vatican  Collections  (Raphael's  Stanze  and  Loggie, 
Picture  Gallery,  Sistine  Chapel,  Egyptian  and  Etruscan  Museums) 
9-3.  —  Galleria  Corsini  (p.  324)  9-3.  —  Barberini  Library  (p.  171) 
9-2.  —  Galleria  Colonna  (p.  163)  11-3.  —  Villa  Borghese  (p.  334) 
in  the  afternoon.  —  Villa  Mattel  (p.  259)  after  2.  30  p.m. 

Fridays :  Vatican  Collections  (Raphael's  Stanze  and  Loggie,  Pic- 
ture Gallery,  Sistine  Chapel,  and  Museum  of  Statuary)  9-3  (Library, 
8-12).  —  GaUeria  Borghese  (p.  184)  9-3.  —  Galleria  Doria  (p.  158) 
10-2.  —Villa  Dorla-Pamphilj  (p.  355). 

Saturdays :  Casino  Rospigliosi  (p.  175)  9-3.  —  Galleria  Corsini 
(p.  324)  9-3.  —  Galleria  Colonna  (p.  163)  11-3.  —  Villa  Borghese 
(J).  334)  and  the  Casino,  in  the  afternoon.  —  S.  Maria  Aventina 
(p.  253)  9  till  dusk. 


Duration  of  Visit. 
To  become  thoroughly  acquainted  with  the  matchless  attractions 
of  Rome,  the  traveller  should  spend  a  whole  winter  in  the  *Eternal 
City',  and  even  to  obtain  a  hasty  glimpse  at  them  he  must  make  a 
stay  of  10-14  days  at  least. 


126  Praim.  Information,      BOMB.  Fortnight's  VisU. 

Summary  of  CUef  Attraotiong . 

Chdbchu  :  St.  Peter's  (p.  277),  S.  Giovanni  in  Laterano  (p.  266),  S.  Maria 
Maggiore  (p.  176),  S.  Lorenzo  fuori  le  Mura  (p.  343),  S.  Paolo  fuori  le 
Hura  (p.  352),  SiBtine  Chapel  (p.  287),  8.  Agostino  (p.  189),  S.  Glemente 
(p.  260),  S.  Croce  in  GeruBalemme  (p.  181),  S.  Maria  degli  Angeli  (p.  167), 
S.  Maria  in  Aracoeli  (p.  209).  S.  Maria  sopra  Minerva  (p.  195),  S.  Maria  della 
Pace  (p.  191),  S.  Maria  del  Popolo  (p.  147),  8.  Maria  in  Traatcvere  Op-  330), 
8.  Onofirio  (p.  322),  8.  Pietro  in  Vincoli  (p.  182),  8.  Prassede  (p.  178). 

Palacsb:  Palazzo  della  Cancelleria  (p.  199),  Farnefie  (p.  205),  Giraud 
(p.  276),  di  Venezia  (p.  162). 

BuiKS :  Fornm  (p.  222),  Colosseum  (p.  234),  Imperial  Palaces  {p.  244), 


Cloaca  Maxima  (p.  248),  Thermse  of  Titus  and  CaracaUa  (pp.  237,  256), 
Pantheon  (p.  193),  Theatre  of  Marcellus  (p.  203),  Forum  of  Trajan  (p.  240), 
Temple  of  Ifeptune  (p.  166),  Pyramid  of  Cestius  (p.  252).  —  Catacombs  of 


St.  Callistus  (p.  361). 

CoLLBonoMS  OF  Statubs  in  the  Vatican  (p.  306),  Capitol  (p.  216),  La- 
teran  (p.  268),  ViUa  Albani  (p.  338),  Borghese  (p.  334),  Ludovisi  (p.  172). 

PiGTUBBB :  Raphael's  Loggie  and  Stanze  (p.  Q&2)y  galleries  of  the  Vatican 
(p.  301),  Palazzi  Borghese  (p.  186),  Barberini  (p.  171),  Golonna  (p.  163),  and 
Dona  (p.  166). 

Pbombnaoss  :  Monte  Pineio  (p.  148),  where  a  military  band  plays  daily 
2  hours  before  sunset  (in  summer  in  the  Piazza  Colonna),  attracting  a 
fashionable  crowd  both  of  Romans  and  foreigners.  —  The  Villa  Borghese^ 
the  most  popular  of  the  Roman  villas  (p.  334) ;  the  ViUa  Doria-Pamphilj 
(p.  355)-,  and  the  Via  Appia  (pp.  264,  348).  —  The  new  Pat*4ffgiata  Mar- 
gherita  (p.  330)  and  Parco  Regina  Margherita  (p.  336). 

Points  of  Vibw  on  the  left  bank :  The  Pineio  (PI.  1, 18 ;  p.  148), 
Basilica  of  Gonstantine  (PI.  II,  20;  p.  232),  PalaUne  (Pi.  U,21;  p.  241);  on 
the  right  bank :  *S.  Pietro  in  Montorio  (PI.  II,  12 :  p.  328),  and  the  adjoining 
^Passeggiata  Margherita  (p.  330;  at  least  1/2  br.  before  sunset). 


A  Fortnight't  Visit. 

The  traveller  who  desires  to  see  most  of  the  above  sights  within 
a  fortnight  must  economise  time  by  drawing  up  a  careful  programme 
for  each  day  before  starting,  or  by  following  the  plan  suggested  be- 
low. It  is  advisable  to  devote  the  early  part  of  the  forenoon  to  visit- 
ing the  churches ,  which ,  with  the  exception  of  the  largest ,  are 
closed  from  12  to  4.  With  regard  to  meals,  it  is  hardly  necessary  to 
say  that  the  heavy  *  dejeuner  ^  la  fourchette'  in  the  middle  of  the 
day  should  be  eschewed,  as  it  encroaches  on  the  most  valuable  part 
of  the  day,  and  that  the  usual  English  hours  for  a  substantial  break- 
fast, slight  luncheon,  and  late  dinner  should  be  observed.  One  of  the 
first  things  to  be  done  is  to  secure  'permessi'  (comp.  pp.  122,  124). 

IsT  Dat.  The  first  part  of  this  had  better  be  devoted  to  what  may 
be  called  an  *  Orientation  Drive\ 

Engage  a  cab  for  2-3  hrs.  (tariff,  see  Appendix)  and  drive  down  the 
Corso  as  far  as  the  Piazza  di  Venezia,  then  to  the  Foro  Trajano  and 
through  the  Via  Alessandrina  and  Via  Bonella  to  the  Forum  Romanum, 
past  the  Colosseum,  through  the  Via  di  8.  Giovanni  in  Laterano  to  the 
Piazza  in  front  of  the  church,  then  through  the  Via  Merulana,  passing 
8.  Maria  Maggiore,  through  the  Via  Ag.  Depretis  (Quattro  Fontane)  and 
the  Via  Kazionale  to  the  Piazza  Venezia,  then  through  the  Corso  Vittorio 
Emanuele  to  the  Via  Tor  Argentina,  through  the  last  street  to  the 
Ponte  Garibaldi,  crossing  it  to  Trastevere,  passing  8.  Maria  in  Trastevere, 
and  through  the  Lungara  to  the  Piazza  di   8.  Pietro;  then  through  the 

'o  Nuovo,  across  the  Pia/xa  Pia,  past  the  Castle  of  8.  Angelo,  over 
nte  8.  Angek),  and  through  the  Via  Banco  di  S.  Spirito,  the  Corso 


Bibliography.  ROME.       Prelim.  Information.    127 

Vittorio  Emanuele,  and  the  Via  Aracoeli  to  the  Piazza  in  AraeoBli  at  the 
foot  of  the  Capitol,  where  the  cab  may  be  diimlMed.  Ascend  to  the  Piatna 
del  Gampidoglio  (p.  210),  visit  the  CapUoUnt  Mmtum  (p.  216)  and  the  Forwn 
Romanum  (p.  222),  and  lastly  spend  the  evening  on  the  Pindo  (p.  148). 

2nd  Day  (Hon.  or  Wed.).  Galleria  Borghese  (p.  185;  Hon.,  Wed., 
Frid.,  9-3);  Pantheon  (p.  193);  8.  Maria  eopra  Minerva  (p.  196);  Can- 
celleria  (p.  199);  Pal.  Fameee  (p.  206);  Ponte  Sisto  (p.  327);  S.  Mana  in 
TrasUvere  (p.  330);  8.  Pieiro  m  Montorio  (p.  328);  then,  if  time  permit,  a 
walk  in  the  new  Paueggiata  Margherikt  (p.  830),  which  may  also  be  in- 
cluded in  the  programmes  given  below  for  the  3rd  and  8th  days. 

3kd  Day  (Mon.,  Tues.,  Wed.,  or  Frid.).    81.  Peter'' »  (p.  277)  and  the  " 
Dime  (p.  285;  8-10);  Sitiine  Chapel  (p.  287;  9-3);  Antiquities  (p.  804;  9-3); 
8.  Onofrio  (p.  322). 

4th  Day  (Mon.,  Thurs.,  or  Sat.).  RaphaeVe  Stame  and  Loggie.  Vatican 
Picture  OaUery  (p.  293;  Mon.  to  Frid.  9-3);  Oalleria  Cotsmi  (p.  324;  9-3); 
Palatine  (V.  Hi).  if  ,       ^, 

6th  Day  (any  weeic-day).  Mueeo  Kir^heriano  (p.  166) ;  Forwn  of  Tra- 
jan (p.  240);  Fora  of  Auguskie  (p.  239)  and  Nerva  (Golonnacce,  p.  239); 
8.  Pieiro  in  Vineoli  (p.  182);  Thermae  of  Titua  (p.  237);  Cdlosaeum  (p.  234); 
Arch  of  CoMtantine  (p.  236) ;  walk  over  the  Caelius  (p.  268),  if  time  permit. 

Gth  Day  (T«o8.).  8.  Maria  del  Popolo  (p.  147);  Geeit  (p.  197);  Oatte- 
Ha  Doria  (p.  158;  10-2);  Galleria  Colonna  (p.  163;  11-3);  Quirinal  (p.  174); 
8.  Maria  degli  Angeli  (Thermae  of  Diocletian,  p.  167) ;  8.  Agnete  fuori  le 
Mura  (p.  3^),  if  time  left. 

7th  Day  (any  day).  8.  Clemente  (p.  260);  Lateran,  Museum  (9-3), 
Church  and  Baptistery  (p.  267);  8.  Maria  Maggiore  (p.  1t6);  8.  Prastede 
(p.  178);  8.  Lorenzo  fwn-i  (p.  843). 

8th  Day  (any  day).  From  the  Forum  Romanum  to  the  Janui  Quadri- 
from  (p.  248);  Ctoaea  Maxima  (p.  248);  Ponte  Rotto  (p.  280);  so-called 
Temple  of  Fortnaa  Virilie  (p.  249)  and  that  of  Hereulee  Victor  (p.  249); 
8.  MaHa  in  Cosmedva  (p.  249) ;  by  tramway  to  8.  Paolo  fvori  (p.  363)  and 
back  to  the  Porta  8.  Paolo ;  Pyramid  of  Ceetitte  (p.  262);  Monte  Testaccio 
(261);  over  the  AvenUne  {8.  Sabina^  p.  363). 

9th  Day  (any  day).  8.  AgotUno  (p.  186) ;  8.  Maria  delP  Anima  (p.  191) ; 
8.  Maria  delta  Pace  (p.  191);  second  visit  to  8i$iine  Chapel  and  to  RaphaeVe 
8tante  and  Loggie  or  to  the  Picture  OaUerp  (9-3).  Excursion  to  Ponte  Molle 
(pp.  334-336). 

10th  Day  (any  day).  8.  Maria  in  Aracoeli  (p.  209);  collections  in  the 
Paktee  of  the  ConservatoiH  (p.  211 ;  10-3) ;  Thermae  of  Caracalla  (p.  265) ; 
Via  Appia,  within  and  without  the  city  (pp.  254,  348),  and  the  Catacombs 
of  Callistus  (p.  361).    Back  by  the  tombs  on  the  Via  LaHna  (p.  346). 

11th  &  12th  Days.  Another  day  or  two  should  be  devoted  to  revisit- 
ing the  collections  of  antiquities  in  the  Vatican  and  the  Capitol  and  the 
Borghese  Gallery ;  a  visit  may  also  be  paid  to  the  ViUa  Famesina ,  open 
only  on  the  Ist  and  the  15th  of  each  month. 

13th  &  14tu  Days.  Lastly,  a  day  should  certainly  be  devoted  to  the 
Alhan  Mts.  (p.  363),  and  another  to  Tivoli  (p.  377).  These  excursions 
should  not  be  postponed  till  the  end  of  the  visitor's  Stay  at  Borne.  They 
may  be  made  on  a  Sunday,  which  is  not  a  good  day  for  sight-seeing. 


Bibliography. 

The  literature  on  the  history  and  topography  of  Rome,  especially 
of  ancient  Rome,  is  so  extensive,  that  it  is  impossible  to  do  more 
than  indicate  a  few  of  the  most  useful  works  on  the  subject.  At 
the  revival  of  learning  after  the  dark  ages  numerous  scholars,  such 
as  Poggio  (1440),  Flavio  BiondOj  and  Lucio  Fauno^  devoted  them- 
selves with  enthusiasm  to  exploration  in  this  field.  The  most  im- 
portant of  the  mediaeval  works  on  Rome  is  NardinVs  Roma  Aniica 
(1666),  edited  by  Nibby  in  1818. 


128   Ptelim,  Infotmaiion,     ROME.  Bibliography. 

Among  modem  workB  we  may  mention  the  following:  — 

1.  Italian.    Nuova  DueritioiM  di  Roma  Antiea  e  Modfna  lS30y  by  C.  Fea. 

IndicoMUm*  Topoffroiflea  di  Roma  Antiea  (3rd  ed.,  1841)  and  other  works 

by  Canina, 
Roma  new  Anno  1838,  by  Nibfiy  (3  vols.  \  1843). 

2.  Fkbngh.    Rome.^  DueripUon  €t  JSouvenir^  by  Francu  Wejf,  a  handsome 

iUu3trated  work,  with  368  wood-cuts  (3rd  ed.,  Paris,  1875). 
Rome  au  BUcU  d'AugtuU,  by  Dezobry  (1844). 
Promenadei  Arehiologiques^  by  Boiitier  (Paris,  1881). 
Rome  et  tes  Monuments^  by  Debleser  (1882^  useful  information  about 

church  services  and  other  ecclesiastical  matters). 
Let  AnUquit^t  de  la  Yille  de  Rome  au  XIV^  XV^,  et  XYI^  siiclee,  by 

£.  Milniz  (Paris  5  1886). 

3.  Gehman.    Gesehiehte  und  Betehreibung  der  Stadt  Rom^  by  Saehee  (1824). 

Beschreibunff  Rome,  by  Niebuhr.  Flatner.  BtMeen.  Ulritha.  and  others,  a 
learned  and  extensive  work  forming  the  basis  for  all  subsequent  ex- 
ploration (6  vols.,  183(^42).  An  abridgment  of  this  work,  in  1  vol., 
was  issued  by  Flatner  and  Uhriehe  in  1845. 

Uandbueh  der  Rdmitchen  Alterihamer,  by  W,  A.  Becker,  a  useful  sup- 
plement to  the  foregoing  (numerous  references  to  classical  authors). 

Topographie  der  Bladi  Rom  im  AUerthum,  by  ff.  Jordan,  with  an  ac- 
count of  the  present  state  of  the  excavations  (3  vols.;  1871-85). 

Topographie  der  Stadt  Rom,  by  0.  RicMer,  an  excellent  and  learned 
survey,  though  somewhat  crowded   owing  to  its  conciseness  (1889). 

Die  Ruinen  Rome,  by  Reber  (3rd  ed.,  Leipsic,  1879). 

Darttellungen  aus  der  8ittengeeehiehte  Rome  in  der  Zeit  von  Auguet  bie 
zum  Auegang  der  Antonine,  by  L.  Wedlaender,  a  valuable  contri- 
bution to  the  social  history  of  the  imperial  era  (5th  ed.,  1881-82). 

GeeehieMe  der  Stetdt  Rom  im  Afittelalter,  by  Ferdinand  Oregorovitu ,  a 
history  of  Rome  in  the  middle  ages,  closing  in  1535  (1858-72). 

Oeeehiehte  der  Stadt  Rom,  by  A,  von  Reumont,  a  history  of  Rome  from 
its  foundation  to  1846  &  vols. ;  Berlin,  1867-70). 

4.  Emolish.    Walke  in  Rome,  by  Augtuiue  J,  C.  Hare  (12th  ed.,  1887).  an 

admirable  cicerone  for  the  ordinary  visitor  to  Rome  (may  be  bor- 
rowed at  Piale's  library). 

Rotne,  Ancient  and  Modem ,  by  the  Rev.  Br.  Donovan  (4  vols. ;  1842), 
based  on  the  works  of  Professor  Nibby. 

Trane/ormation  or  The  Marble  Faun,  by  Nathaniel  Ilaiothorne,  contains 
much  incidental  matter  of  interest  for  the  visitor  to<Rome.  —  See  also 
Georgee  Sand's  *'Dan%ella\  Sans  Andereen'e  ^Improvieatore"*,  nnd  Mies 
RoberW  'Mademoiselle  Mori\ 

Archaeology  of  Rome,  by  /.  H.  Parker,  profusely  illustrated. 

Architectural  History  of  Rome,  by  J.  H.  Parker  (1881). 

Romae  Antiquae  Notitia,  or  the  Antiquities  of  Rome,  by  Basa  Kennel  (1731). 

Rtme  under  Pius  IX.,  by  8.  W.  Fullom  (1864). 

Rome  Illustrated,  translated  from  the  French  of  Francis  Wey  (see  above ; 
new  ed.,  1887). 

Architectural  Antiquitiee  of  Rome,  by  Taylor  ds  Gresy  (new  ed.,  1874). 

Rome  and  the  Campagna,  by  Bum  (London,  1870),  the  best  English  work 
of  the  kind. 

Historic  and  Monumental  Rome,  by  C.  J.  Hemans  (1874). 

Gallus,  by  W.  A.  Becker  (English  translation  by  Metcalfe). 

Manual  of  Roman  Antiquities,  by  Prof.  Ramsay. 

Topography  of  Rome  and  its  Vicinity,  by  Sir  William  GeU  (1846). 

The  Roman  Catacombe,  by  the  Rev.  J.  Spencer  Northcote  (new  ed.,  1859). 

The  City  of  Rome,  by  Dyer  (1883). 

Ancient  Rome  in  1885,  by  Prof.  J.  H.  Middleton  (Edinburgh,  18S5). 

Ancient  Rome  in  the  Light  of  Recent  Discoveries,  by  R.  A.  Laneiani 
(illus.;  London,  1888). 

The  reader  need  scarcely  be  reminded  of  the  histories  of  Gibbon,  Nie- 
buhr, Mominsen,  Merivale,  Ai-nold,  Duruy,  and  Ihne. 


Origin.  ROME.  History.    129 

BOttory  of  the  City  of  Borne. 

Difflcnlt  as  it  undoubtedly  is  to  trace  the  career  of  the  Eternal 
City  throughout  upwards  of  two  thousand  years ,  and  to  mark  and 
appreciate  the  manifold  vicissitudes  which  it  has  undergone,  the 
traveller  will  naturally  desire  to  form  some  acquaintance  with 
the  history  of  the  ancient  centre  of  Western  ciyilisatlon,  the  city  of 
the  Republic  and  Empire,  on  the  ruins  of  which  the  seat  of  a  vast 
ecclesiastical  jurisdiction  was  afterwards  founded,  and  now  the 
capital  of  an  important  and  steadily  progressing  modern  state. 
Wherever  we  tread ,  our  thoughts  are  Involuntarily  diverted  from 
the  enjoyment  of  the  present  to  the  contemplation  of  the  past ;  and 
the  most  careless  of  pleasure-seekers  will  find  It  difficult  to  with- 
stand the  peculiar  influence  of  the  place.  The  following  sketch  is 
merely  designed  to  put  the  traveller  in  the  way  of  making  farther 
researches  for  himself,  and  deals  exclusively  with  those  leading  and 
general  facts  with  which  he  ought  to  be  acquainted  before  proceed- 
ing to  explore  the  city  in  detail. 

As  the  more  remote  history  of  Italy  is  Involved  in  much  ob- 
scurity, so  also  the  origin  of  the  city  of  Rome  is  to  »  great  extent  a 
matter  of  mere  conjecture.  It  was  not  till  a  comparatively  late 
period  that  the  well-known  legend  of  Romulus  and  Remus  was 
framed,  and  the  year  B.  C.  753  fixed  as  the  date  of  the  foundation. 
In  all  probability,  however ,  Rome  may  lay  claim  to  far  greater  an- 
tiquity. We  are  led  to  this  conclusion,  not  only  by  a  number  of 
ancient  traditions ,  but  also  by  the  recent  discovery  in  Latium  of 
relics  of  the  flint-period ,  an  epoch  far  removed  from  any  written 
records.  The  Palatine  was  regarded  by  the  ancients  as  the  nucleus 
of  the  city,  around  which  new  quarters  grouped  themselves  by  slow 
degrees ;  and  it  was  here  that  Romulus  is  said  to  have  founded  his 
city,  the  Boma  Quadrataj  of  which  Tacitus  (Ann.  12,  24)  states  the 
supposed  extent.  Modern  excavations  have  brought  to  light  portions 
of  the  wall ,  gateways ,  and  streets  which  belonged  to  the  most  an- 
cient settlement  (see  pp.  241,  242).  After  the  town  of  Romulus  had 
sprung  up  on  the  Palatine,  a  second,  inhabited  bySabines,  was  built 
on  the  Quirinal,  and  the  two  were  subsequently  united  into  one 
community.  Whilst  each  retained  its  peculiar  temples  and  sanctu- 
aries, the  Forum ,  situated  between  them ,  and  commanded  by  the 
castle  and  the  temple  of  Jupiter  on  the  Capitol ,  formed  the  com- 
mon focus  and  place  of  assembly  of  the  entire  state,  and  the  Forum 
and  Capitol  maintained  this  importance  down  to  the  latest  period  of 
ancient  Rome.  The  rapid  growth  of  the  city  is  mainly  to  be  attri- 
buted to  its  situation,  the  most  central  in  the  peninsula,  alike 
adapted  for  a  great  commercial  town ,  and  for  the  capital  of  a  vast 
empire.  The  advantages  of  its  position  were  thoroughly  appreciated 
by  the  ancients  themselves,  and  are  thus  enumerated  by  Livy 
(5,  54):  *flumen  opportunum,  quo  ex  mediterraneis  locis  fruges 
devehantur,   quo  maritimi  commeatus  acclpiantur,  mare  vidnuT 

Babdbkxjb.    Italy  II.    lOth  Edition.  9 


130  History.  ROME.  The  Kings, 

ad  oommoditates  nee  exposittim  nimia  propinquitate  ad  pericula 
clasflinm  extemarnm ,  regionum  Italia  medium ,  ad  inciementnm 
arbis  natum  nnice  locum'.  The  Tiber  was  navigable  for  sea-going 
ships  as  far  as  Rome,  whilst  its  tributaries,  such  as  the  Anio,  Neia, 
Ghlana,  and  Topino,  contained  sufficient  water  for  the  river  vessels 
which  maintained  a  busy  traffic  between  Rome  and  the  Interior  of 
the  peninsula.  The  state  of  these  rivers  has,  however,  in  the  course 
of  ages  undergone  a  complete  revolution,  chiefly  owing  to  the  grad- 
ual levelling  of  the  forests  on  the  mountains ,  and  at  the  present 
day  the  lower  part  only  of  the  Tiber,  below  Orte,  is  navigable. 

Whilst  the  origin  of  the  capital  of  the  world  is  traditionally  re- 
ferred to  Romulus,  its  extension  is  attributed  with  something  more 
of  certainty  to  Servius  Tullius.  Around  the  twin  settlements  on  the 
Palatine  and  Quirinal,  extensive  suburbs  on  the  Esquiline  and 
Caelius ,  as  well  as  on  the  lower  ground  between  the  hills,  had 
sprung  up ;  for  not  only  were  numerous  strangers  induced  to  settle 
permanently  at  Rome  on  account  of  its  commercial  advantages,  but 
the  inhabitants  of  conquered  Latin  towns  were  frequently  trans- 
planted thither.  Out  of  these  heterogeneous  elements  a  new  civic 
community  was  organised  towards  the  close  of  the  period  of  the 
kings ,  and  its  constitution  commemorated  by  the  erection  of  the 
Servian  Wall,  This  structure  included  an  external  wall  round  the 
whole  of  the  town,  and  also  the  fortifications  of  the  Capitol  and  other 
heights  within  it.  The  outer  wall  led  from  the  N.  slope  of  the  Cap- 
itol across  what  was  later  the  Forum  of  Trajan ,  skirted  the  Qui- 
rinal ,  and  turned  to  the  S.E.  at  the  gardens  of  Sallust  (p.  173). 
For  more  than  3/^  M.  at  this  part  of  the  circuit,  where  the  artificial 
defences  are  not  aided  by  nature ,  the  wall  was  replaced  by  a  ram- 
part about  80  ft.  in  breadth ,  with  a  moat  100  ft.  wide  in  front  of 
it.  Considerable  remains  of  this  rampart  are  extant  near  the  rail- 
way-station. The  wall  recommenced  on  the  £.  side  of  the  Esquiline, 
skirted  the  S.  slope  of  the  Caelius,  enclosed  the  two  summits  of  the 
Aventine ,  and  ended  at  the  Tiber  (below  St.  Sabina's ,  p.  252). 
While  care  was  taken  thus  to  protect  the  city  externally,  the  kings 
were  not  less  solicitous  to  embellish  the  interior  with  handsome 
buildings.  To  this  period  belong  the  Temple  of  Jupiter  Capitolinus 
(p.  208),  the  Circus  in  the  valley  between  the  Palatine  and  the 
Aventine  (p.  250),  the  Career  Mamertinus  (p.  237),  and  above 
all  the  Cloaca  Maxima  (p.  248),  destined  to  drain  the  swampy  site 
of  the  Forum,  and  still  admired  for  its  massive  construction.  This 
energetic  and  brilliant  development  of  the  city  under  the  kings  of 
the  Tarquinian  family  in  the  6th  cent.  B.C.  came  to  a  close  with 
the  expulsion  of  the  last  king  Tarquinius  Supeibus  (509). 

During  the  first  century  of  the  Republic  the  united  efforts  of 
the  citizens  were  directed  to  the  task  of  establishing  themselves 
more  securely  in  the  enjoyment  of  their  new  acquisitions ;  and  in 
"his  they  succeeded,  although  not  without  serious  difficulty.    It 


The  Republic.  ROME.  History.    131 

was  a  haid  and  bitter  period  of  probation  that  the  nation  had  to 
undergo  in  the  first  period  of  its  new  liberty,  and  it  was  not  till  the 
decline  of  the  Etmscan  power  that  Rome  began  to  breathe  freely 
again.  After  protracted  struggles  she  succeeded  in  conquering  and 
destroying  her  formidable  rival  Veii  (396) ,  a  victory  by  which  the 
Roman  supremacy  was  established  over  the  south  of  Etruria  as  far 
as  the  Oiminian  Forest.  Shortly  afterwards  (390)  the  city,  with  the 
exception  of  the  Capitol,  was  taken  and  entirely  destroyed  by  the 
Oauls.  Although  this  catastrophe  occasioned  only  a  transient  loss 
of  the  prestige  of  Rome,  it  produced  a  marked  effect  on  the  external 
features  of  the  city.  The  work  of  re-erection  was  undertaken  with 
great  precipitation ;  the  new  streets  were  narrow  and  crooked,  the 
houses  poor  and  unattractive  ,  and  down  to  the  time  of  Augustus, 
Rome  was  far  from  being  a  handsome  city.  Her  steadily  increasing 
power,  however,  could  not  fail  in  some  degree  to  influence  her  ar- 
chitecture. During  the  contests  for  the  supremacy  over  Italy ,  the 
first  aqueduct  and  the  first  high-road  were  constructed  at  Rome  by 
Appius  Claudius  in  312  (^Aqua  and  Via  Appia^  p.  348);  in  272  a 
second  aqueduct  (Anio  Vetus)  was  erected.  Down  to  the  period  of 
the  Punic  wars  Rome  had  not  extended  beyond  the  walls  of  Servius 
Tullius ;  but ,  after  the  overthrow  of  Carthage  had  constituted  her 
mistress  of  the  world,  the  city  rapidly  increased.  The  wall  was  al- 
most everywhere  demolished  to  make  room  for  new  buildings ,  so 
that  even  in  the  time  of  Augustus  it  was  no  longer  an  easy  matter 
to  determine  its  former  position ,  and  new  quarters  now  sprang  up 
on  all  sides.  During  the  last  century  B.C.,  after  the  Graeco- 
Aslatic  wars  of  the  previous  century  had  brought  the  Romans  into 
contact  with  the  civilisation  of  the  East,  the  city  began  to  assume 
an  aspect  more  worthy  of  its  proud  dignity  as  capital  ot  the  civilised 
world.  The  streets,  hitherto  unpaved,  were  now  converted  Into 
the  massive  lava-causeways  which  are  still  visible  on  many  of  the 
ancient  roads  (e.  g.  Via  Appia).  The  highest  ambition  of  the 
opulent  nobles  was  to  perpetuate  their  names  by  the  erection  of 
imposing  public  buildings.  Thus  in  184  M.  Porcius  Cato  erected 
the  first  court  of  judicature  (Basilica  Porcia)  in  the  Forum ,  and 
others  followed  his  example.  Speculation  in  houses  was  extensively 
carried  on ,  and  it  was  by  this  means  that  the  Triumvir  Orassus, 
among  others ,  amassed  Ms  fortune ;  for  rents  were  high ,  and  the 
houses  of  a  slight  and  inexpensive  construction.  These  insulae,  or 
blocks  of  houses  erected  for  hire,  contrasted  strikingly  with  the 
domuSj  or  palaces  of  the  wealthy,  which  were  fitted  up  with  the 
utmost  magnificence  and  luxury.  Thus  the  tribune  Clodius,  the 
well-known  opponent  of  Cicero ,  paid  14,800,600  sesterces  (i.  e. 
about  130,525t.)  for  his  house.  The  ordinary  building  material 
consisted  of  sun-dried  bricks  (laterts),  while  the  volcanic  stone 
(tufa  and  peperino)  of  the  neighbourhood  was  used  for  the  more^ 
ambitious  edifices.   Among  the  comparatively  few  extant  buildin'^ 

9* 


132  HUtory.  ROME.  ThtEmptfOrs, 

of  the  Republican  period  are  the  Tahularium  of  B.  G.  78  (p.  221), 
the  Ionic  Temple  at  the  Ponte  Rotto  (p.  249),  and  the  tombs  of  the 
Sei^ioa  (p.  257),  Btbulus  (p.  163),  and  CateiUa  MeUlla  (p.  349). 

The  transformation  of  the  lepublio  into  a  Militaby  Dbspotism 
involyed  the  introduction  of  a  ne^  architectural  period  also.  Usurp- 
ers are  generally  wont  to  direct  their  energies  to  the  construction 
of  new  buildings ,  with  a  view  to  obscure  the  lustre  of  the  older 
edifices ,  and  to  obliterate  the  associations  connected  with  them. 
Caesar  himself  had  formed  the  most  extensive  plans  of  this  nature, 
but  their  execution  was  reserved  for  his  more  fortunate  nephew.  Of 
all  the  ruins  of  ancient  Rome  those  of  the  buildings  of  Augustus 
occupy  by  far  the  highest  rank ,  both  in  number  and  importance. 
The  points  especially  worthy  of  note  are  the  Campus  Martiua  with 
the  Pantheon  (p.  193)  and  the  Thermae  ofAgrippa  (p.  195),  the 
Theatre  of  Marcellus  (p.  203),  the  Portico  of  Octavia  (p.  203)  and 
the  Mausoleum  of  Augustus  (p.  184),  the  Basilica  Ju£ia  (p.  226), 
and  the  Forum  of  Augustus  with  the  Temple  of  Mars  (p.  239).  No 
fewer  than  82  temples  were  restored  by  Augustus  ('templorum 
omnium  conditorem  ac  restitutorem'  as  he  is  termed  by  Livy), 
who  might  well  boast  of  having  found  Rome  of  brick  and  left 
it  of  marble.  The  wonderful  fire-baked  bricks ,  the  time-resist- 
ing qualities  of  which  excite  our  admiration  in  the  Roman  build- 
ings of  the  next  500  years ,  now  came  into  use ,  supplemented  by 
the  beautiful  travertine  from  the  vicinity  of  Tivoli,  while  the 
walls  were  lined  with  marble  from  Carrara ,  Pares  and  other  Greek 
islands,  Numidia  ('giallo  antico'),  Laconia  ('rosso  antico'),  and 
EuboBa  ('dpollino').  The  administration  and  police-system  of  the 
city  were  also  re-organised  by  Augustus ,  who  divided  Rome  into 
14  quarters  (regiones)j  adapted  to  its  increased  extent  (p.  134). 
A  corps  of  watchmen  (vigiles),  who  also  served  as  firemen,  was 
appointed  to  guard  the  city  by  night.  These  and  other  wise  in 
stitutions ,  as  well  as  the  magnificence  attained  by  the  city  under 
Augustus,  are  depicted  in  glowing  terms  by  his  contemporaries. 
His  successors  followed  his  example  in  the  erection  of  public  edi- 
fices, each  striving  to  surpass  his  predecessors.  In  this  respect 
Nero  (54-68)  displayed  the  most  unbridled  ambition.  The  con- 
flagration of  the  year  64 ,  which  reduced  the  greater  part  of  Rome 
to  ashes,  having  been  ignited,  it  is  said,  at  the  emperor^s  in- 
stigation, afforded  him  an  opportunity  of  rebuilding  the  whole  city 
in  a  modern  style  and  according  to  a  regular  plan.  For  his  own  use 
he  erected  the  '  Oolden  House* ,  a  sumptuous  palace  with  gardens, 
lakes,  and  pleasure-grounds  of  every  description,  covering  an  enor- 
mous area,  extending  from  the  Palatine  across  the  valley  of  the  Co- 
losseum, and  far  up  the  Esquiline  (p.  234).  These  and  other  works 
were  destroyed  by  his  successors,  and  well  merited  their  fate ;  the  frag- 
ments which  still  bear  the  name  of  Nero  at  Rome  are  insignificant. 

The  Flavian  Dynasty,  which  followed  the  Julian ,  has  on  the 


The  t!mperora.  ROME.  History,    133 

other  band  perpetuated  its  memory  by  a  number  of  most  imposing 
works,  above  all  the  Colosieum  (p.  234),  which  has  ever  been  re- 
garded as  the  symbol  of  the  power  and  greatness  of  Rome,  the  Therma 
of  Titus  on  the  Esquiline  (p.  237),  the  Flavian  Palaoe  on  the 
Palatine  (p.  244),  and  the  Triumphal  Arch  (p.  233)  erected  after 
the  destruction  of  Jerusalem.  Under  Trajan j  architecture  received 
a  new  Impetus,  and  indeed  attained  the  highest  development 
of  which  the  art  was  capable  at  Rome.  To  this  the  Forum  of 
Trajan  fp.  240),  with  the  column,  and  the  reliefs  afterwards 
employed  to  decorate  Constantino's  arch,  bear  eloquent  testimony. 
Under  Trajan  the  cxilminating  point  both  of  art  and  of  political 
greatness  was  attained.  Thenceforward  the  greatness  of  the  empire 
began  gradually,  but  steadily,  to  decline.  Although  under  the  next 
emperor  Hadrian  this  tendency  was  apparently  arrested,  yet  the 
monuments  of  his  reign ,  such  as  the  Temple  of  Venus  and  Roma 
(j>.  233),  and  his  Mausoleum  (p.  275),  exhibit  traces  of  degeneracy. 
The  same  remark  applies  also  to  the  time  of  the  Antoninbs.  These 
monarchs  were  remarkable  for  their  excellent  qualities  as*  sovereigns, 
and  their  peaceful  sway  has  frequently  been  regarded  as  the  period 
during  which  mankind  in  general  enjoyed  the  greatest  prosperity. 
There  is  even  a  tradition  that  'the  good  old  times'  will  return  when 
the  equestrian  statue  of  the  worthy  Marcus  Aurelius^  the  gilding  of 
which  has  almost  entirely  disappeared,  shall  resume  its  costly  cover- 
ing. This,  however,  was  but  the  lull  preceding  a  storm.  The  great 
plague  under  the  latter  emperor  was  the  first  of  a  series  of  fearful 
calamities  which  devastated  the  empire.  Throughout  an  entire  cen- 
tury civil  wars ,  incursions  of  barbarians ,  famine ,  and  pestilence 
sncceeded  each  other  without  intermission.  Although  Rome  was 
less  affected  by  these  horrors  than  the  provinces ,  it  is  computed 
that  the  population  of  the  city ,  which  at  the  beginning  of  the  2nd 
cent,  was  about  IY2  million,  had  dwindled  to  one-half  by  the  time 
of  Diocletian.  A  constant  decline  in  architectural  taste  is  traceable ; 
but ,  as  building  always  formed  an  important  feature  in  the  policy 
of  the  emperors,  the  number  and  extent  of  the  ruins  of  this  period  are 
considerable.  To  this  epoch  belong  the  Column  of  Marcus  Aurelitu 
(p.  154),  the  Arch  of  Sept.  Severus  (p.  228),  the  magnificent  Baths 
of  Caracalla  (p.  255),  and  the  huge  Thermae  ofDiocUtian  (p.  167). 
After  the  Punic  War  the  walls  of  the  city  had  been  suffered  to 
fall  to  decay,  and  during  nearly  five  centuries  Rome  was  destitute 
of  fortification.  Under  the  emperor  AureliaUj  however,  danger 
became  so  Imminent  that  it  was  deemed  necessary  again  to  protect 
the  city  by  a  wall  against  the  attacks  of  the  barbarians.  This 
structure  is  to  a  great  extent  identical  with  that  which  is  still 
standing.  The  latest  important  ruins  of  antiquity  bear  the  name  of 
Const  AN  TiNB  the  Great,  viz.  the  Basilica  (p.  232),  Baths  (pp. 
165,  174),  and  Triumphal  Arch  (p.  236).  The  two  former  were, 
however,  erected  by  his  rival  Maxentius.    Oonstantine  manifested 


134  HUtory,  ROME.  Rise  of  Christianity. 

little  partiality  for  Rome  and  ancient  traditions,  andthetransferenoe 
of  the  seat  of  empire  to  Byzantium  (in  330)  marks  a  decided  tnm- 
ing-point  in  the  history  of  the  city,  as  well  as  in  that  of  the  whole 
empire.  Rome  indeed  was  still  great  on  account  of  its  glorious  past 
and  its  magnificent  monuments ,  but  in  many  respects  it  had  sunk 
to  the  level  of  a  mere  proTincial  town.  No  new  works  were  thence- 
forth undertaken,  and  the  old  gradually  fell  to  decay. 

The  city  was  still  divided,  in  accordance  with  the  AnauSTAH  Stbtbm, 
into  fourteen  regions,  in  enumerating  which  we  shall  name  the  principal 
ruins  belonging  to  each:  —  1.  Porta  Captna,  Via  Appia,  within  the  city 
<p.  254);  2.  CaelimonUum,  Ceelius  (p.  258);  8.  Isis  et  SerapU^  Colosseum 
(p.  234),  Baths  of  Titus  (p.  237) ;  4.  Templum  Facts,  Venus  et  Eoma  (p.  233), 
Basilica  of  Gonstantine  (p.  232),  Temple  of  Faustina  (p.  231)  -,  5.  Ezquiliae, 
Temple  of  Minerva  Medica  (p,  180) ;  6.  Alta  Semita^  Baths  of  Gonstantine 
(p.  174)  and  Diocletian  (p.  167) :  7.  Via  Lata,  between  the  modem  Corso, 
the  Quirinal ,  and  Pincio  (p.  148)  ^  8.  Forum  Romanum,  the  republican 
and  imperial  Fora  (pp.  222,  237)  and  the  Gapitol  (p.  208);  9.  Circus  Fla- 
minius ,  Theatres  of  Marcellus  (p.  203)  and  Pompey  (p.  205) ,  portico  of 
Octavia  (p.  203),  Pantheon  (p.  193),  column  of  Marcus  Aurelius  (p.  154), 
and  the  Temple  of  Neptune  (p.  155) ;  10.  Palatium,  Palatine  (p.  244) ;  li. 
Circus  Maximus,  temple  in  the  Forum  Boarium  (p.  250);  12.  Piscina 
Publica ,  Baths  of  Garaca]la  (p.  255) ;  13.  Aventinus ,  Pyramid  of  Gestius 
(p.  252) ;  14.  Transtiberim,  Trastevere  and  the  Borgo.  According  to  the 
statistics  of  this  period,  Rome  possessed  37  gates,  from  which  28  high- 
roads divei^ed,  and  19  aqueducts;  and  although  four  only  of  these  last  are 
now  in  use,  there  is  probably  no  city  in  the  world  which  can  boast  of 
such  an  excellent  supply  of  water  as  Rome.  The  banks  of  the  Tiber 
were  connected  by  8  bridges.  There  were  423  streets ,  1790  palaces,  and 
46,602  dwelling-houses.  Among  the  public  structures  are  mentioned  11 
Thermse,  856  baths,  1352  fountains  in  the  streets,  36  triumphal  arches,  10 
basilicas,  etc.  When  the  grandeur  and  magnificence  suggested  by  these 
numbers  is  considered,  it  may  occasion  surprise  that  comparatively  so 
few  relics  now  remain;  but  it  must  be  borne  in  mind  that  the  work  of 
destruction  progressed  steadily  during  nearly  a  thousand  years,  and  was  not 
arrested  till  the  era  of  the  Benaiasance,  but  for  which  even  the  monuments 
sUU  extant  would  ere  now  have  been  consigned  to  oblivion. 

The  Catacomba,  the  earliest  burial-places  of  the  Chbistians, 
illustrate  the  gradual  progress  of  this  interesting  community,  in 
spite  of  every  persecution ,  from  the  1st  century  downwards.  At 
the  beginning  of  the  year  313  Constantino  issued  his  celebrated 
decree  from  Milan,  according  to  Christianity  equal  rights  with  all 
other  religions.  This  was  the  decisive  step  which  led  to  the  union 
of  the  church  with  the  state.  In  325  the  first  cecumenical  council 
was  held  at  Nicsea ,  and  in  337  the  emperor  caused  himself  to  be 
baptised  when  on  his  death-bed.  Tradition  attributes  the  earliest 
ecclesiastical  division  of  Rome  into  seven  diaconates  to  St,  Clement, 
the  fourth  bishop ,  and  St.  Peter  is  said  to  have  founded  the  first 
place  of  worship  in  the  house  of  the  senator  Pudens,  now  the 
church  of  8,  Pudenziana  (p.  175).  To  Callistus  I.  (217-22)  is 
ascribed  the  foundation  of  the  church  of  8.  Maria  in  Trastevere 
(p.  330),  and  to  Urban,  his  successor,  that  of  8.  Cecilia  (p.  331). 
*■  bout  the  beginning  of  the  fourth  century  8,  Alessio  and  8.  Ptisea 
*ihe  Aventine  are  supposed  to  have  been  founded.  Of  these 
•>hes,  however,  and  also  of  the  edifices  erected  by  Constantinb, 


Early  Middle  Ages,  BOME.  Mstofy.    135 

no  trnstworthy  record  has  been  handed  down  to  ns.  To  that 
monarch  tradition  attributes  the  foundation  of  the  following 
churches  —  the  Lateran,  St.  Peter* 8  ^  8.  Paolo  Fuori,  S.  Croee  in 
OerusaUmmej  8,  Agnest  Fttori,  8.  Lorenzo  Fuori^  and  88.  Pietro  e 
MarctlUno  at  Torre  Pignattara  (p.  345),  —  but  probably  errone- 
ously ,  with  the  exception  of  the  first ,  which  was  styled  'omnium 
urbis  et  orbis  eccleslarum  mater  et  caput'.  It  is,  however,  note- 
worthy that  the  oldest  and  most  important  churches  were  generally 
outside  the  gates,  or  at  least  in  their  immediate  yicinity ;  and  this 
is  accounted  for  by  the  fact  that  the  Roman  aristocracy  at  first  dung 
tenaciously  to  the  old  traditions,  and  for  a  long  period  the  city  pre- 
served its  heathen  character.  The  state  at  length  overcame  this 
antagonism.  In  382  the  altar  of  Victoria  was  removed  from  the 
senate-hall,  and  in  408  the  ancient  religion  was  at  length  deprived 
by  a  law  of  Honorius  of  all  its  temporal  possessions ,  and  thus  in- 
directly of  its  spiritual  authority  also.  The  destruction  of  the  an- 
cient temples,  or  their  transformation  into  Christian  places  of  wor- 
ship now  began,  and  the  churches  rapidly  increased  in  number.  At 
this  early  period  Rome  possessed  28  parish  churches  (tittdi) ,  be- 
sides numerous  chapels,  and  among  them  arose  the  five  PATBiAjacHAX 
Ghitbohbs,  presided  over  by  the  pope,  and  forming  a  community  to 
which  the  whole  body  of  believers  throughout  the  world  was  con- 
sidered to  belong.  These  five  were  8.  Giovanni  in  Laterano,  8, 
Pietro,  8.  Paolo,  8.  Lorenzo,  and  the  church  of  8.  Maria  Maggiore 
founded  by  Liberius.  Besides  these ,  8.  Croee  in  Oerusalemme  and 
8.  8eba8iiano,  erected  over  the  catacombs  of  the  Via  Appia,  enjoyed 
special  veneration.  These  formed  the  ^ Seven  Churches  of  Rome'  to 
which  pilgrims  flocked  from  every  part  of  western  Christendom. 
The  number  of  monasteries  now  steadily  increased,  and  at  the  same 
time  the  inroads  of  poverty  made  rapid  strides. 

In  the  4th  Century  the  cultivation  of  the  Roman  Campagna 
began  to  be  seriously  neglected,  and  in  an  official  document  of  the 
year  395  it  is  stated  that  upwards  of  500  square  miles  of  arable  land 
had  been  abandoned  and  converted  into  morass.  The  malaria  at  the 
same  time  extended  its  baneful  sway  from  the  coast  into  the  in- 
terior of  the  country.  The  storms  of  the  barbarian  irruptions  greatly 
aggravated  the  misery.  Although  the  Yandals  and  Goths  are  often 
erroneously  held  responsible  for  the  destruction  of  all  the  great 
monuments  of  antiquity,  which,  on  the  contrary,  Theodorie  the 
Great  did  his  utmost  to  protect,  Rome  doubtless  suffered  terribly 
from  having  been  the  scene  of  their  battles  and  pillagings.  In  410 
the  city  was  plundered  by  Alaric,  and  in  445  by  the  Yandals ,  and 
In  537  it  sustained  its  first  siege  from  the  Goths  under  Vitigea. 
They  laid  waste  the  Campagna  and  cut  off  all  the  supplies  of  water 
brought  to  the  city  by  the  aqueducts ,  but  the  skill  of  Belisarius, 
and  the  strength  of  the  walls ,  particularly  those  of  the  Castle  of 
S.  Angelo,  effectually  repelled  their  attacks  on  the  city.    In  March 


136  HUtory.  ROME.  The  Papacy, 

538  they  were  at  length  compelled  to  abandon  their  designs,  after 
having  beleaguered  the  city  for  upwards  of  a  year.  In  December 
546,  Totilaj  the  ,king  of  the  Goths,  entered  Rome,  and  is  said  to 
have  found  not  more  than  500  persons  within  the  walls  of  the 
devastated  city.  Belisarius  then  repaired  the  walls,  which  had  been 
partially  destroyed,  and  in  547  he  sustained  a  second  siege.  In  549 
the  city  again  fell  into  the  hands  of  Totila ,  but  in  552  it  was  re- 
captured by  Narses  and  once  more  united  with  the  Byzantine  empire. 
About  this  period  the  city  was  reduced  by  war,  pestilence,  and 
poverty  to  a  depth  of  misery  which  was  never  again  paralleled,  ex- 
cept during  the  absence  of  the  papal  court  at  Avignon.  No  thorough 
restoration  was  possible,  for  the  Byzantine  emperors  cared  nothing 
for  Rome,  and  in  the  Lombards  arose  new  enemies  to  their  dynasty 
in  Italy.  In  663  Chnstans  II.  visited  Rome ,  an  interval  of  306 
years  having  elapsed  since  it  had  been  entered  by  a  Byzantine  em- 
peror, and  availed  himself  of  the  opportunity  to  carry  off  the  last 
remains  of  the  bronze  with  which  the  ancient  monuments  were  de- 
corated. In  755  the  Lombards  under  their  duke  AUtulf  besieged 
Rome  for  two  months  and  ruthlessly  devastated  the  Campagna, 
which  during  the  preceding  interval  of  peace  had  begun  to  wear  a 
more  smiling  aspect.   A  lamentation  of  that  period  begins  thus :  — 

^Kobilibna  quondam  fueras  constructa  patronis, 
Subdita  niinc  servis,  heu  male  Boma  ruis; 

Deseruere  tui  tanto  te  tempore  reges, 
Gessit  et  ad  Grsecos  nomen  honosque  taas\ 
and  terminates  with  the  words :  — 

'Nam  nisi  te  Petri  merltum  Panliqne  foveret, 
Tempore  jam  longo  Boma  misella  fores'. 
It  was  in  fact  the  tradition ,  Indelibly  attaching  to  Rome,  of  the 
great  struggles  and  victories  of  Christianity  which  preserved  the 
city  from  total  destruction.  The  transformation  of  heathen  into 
Christian  Rome  was  accompanied  by  the  gradual  development  of  the 
Papacy  as  the  supreme  ecclesiastical  power  in  the  West.  Leo  the 
Great  (440-461)  and  Gregory  the  Great  (590-604)  may  be  regarded 
as  the  chief  originators  of  this  scheme  of  aggrandisement.  These 
prelates  and  their  successors  were  indefatigable  in  their  efforts  to 
realise  their  project,  and  under  their  auspices,  notwithstanding  the 
poverty  and  misery  into  which  Rome  had  sunk ,  new  churches  and 
monasteries  were  constantly  springing  up  among  the  ruins  of  the 
monuments  of  antiquity ,  and  the  last  feeble  spark  of  artistic  taste 
which  still  survived  was  devoted  to  the  decoration  of  these  build- 
ings. The  objects  at  which  they  chiefly  aimed  were  independence 
of  Byzantium,  the  subjection  of  the  Eastern  church  to  the  court  of 
Rome,  and  the  conversion  of  the  heathen  Germans,  the  acoomplish- 
ment  of  which  would  materially  pave  the  way  for  their  ulterior  am- 
bitious schemes.  In  727  the  Lombard  king  Luitprand  presented 
Sutri,  which  had  been  captured  by  him,  to  the  pope,  this  being  the 
first  instance  of  a  town  being  presented  to  the  church,  and  this  gift 


The  MiddU  Agei.  ROME.  Bistory.   137 

constituted  a  basis  for  the  subsequent  formation  of  the  States  of  the 
Ghoroh.  In  755,  on  the  invitation  of  the  pope,  the  Prankish  king 
Pepin  proceeded  to  Italy  and  practically  put  an  end  to  the  Byzan- 
tine supremacy.  It  is  not  known  whether  that  monarch  absolutely 
made  over  the  Exarchate  of  Ravenna  and  the  other  towns  to  the  re- 
presentative of  St.  Peter ,  or  whether  he  granted  them  to  him  as  a 
flef ;  but  it  is  certain  that  the  temporal  power  of  the  popes  and  their 
supremacy  over  Rome  dates  from  the  grants  made  by  Pepin  to  the 
church.  On  Christmas  Day ,  in  the  year  800 ,  Charlemagne  was 
crowned  by  Leo  111.^  and  from  that  period  dates  the  career  of  the 
*Holy  Roman  Empire'  and  the  Mbdlstai.  Histobt  of  Rome  and 
the  Roman  Catholic  Church. 

A  characteristic  of  this  period  is  to  be  found  in  the  numerous, 
many-storied  towers  of  red  brick  which  contrast  so  strongly  with 
the  monuments  of  ancient  Rome.  This  style  of  architecture  was 
developed  in  the  Carlovingian  epoch,  although  most  of  these  towers 
now  extant  were  not  erected  before  the  12th  or  13th  century.  In 
still  greater  numbers  sprang  up  towers  of  a  defensive  character,  a 
few  only  of  which,  such  as  the  so-caUed  Torre  di  Nerone  (p.  169), 
are  still  preserved.  The  forest  of  towers,  belonging  to  numerous 
different  owners,  which  reared  themselves  over  the  ruins  of  the 
mistiress  of  the  world,  affords  at  the  same  time  a  clue  to  the 
character  of  the  whole  epoch ;  for ,  in  spite  of  the  nominal  sway 
exercised  over  the  greater  part  of  Europe  by  the  pope  and  the  em- 
peror, continual  feuds  raged  both  at  Rome  and  elsewhere  between 
the  temporal  and  spiritual  powers ,  and  between  the  nobility  and 
the  populace.  The  great  monuments  of  antiquity  were  now  doomed 
to  utter  destruction,  and  their  fate  is  thus  described  by  the  historian 
Gregovorius  (lii,  565) :  — 

^Charlemagne  had  already  set  the  example  of  carrying  off  ancient 
columns  and  sculptures  to  adorn  his  cathedral  at  Aix-la-Chapelle,  and  the 
popes,  who  regarded  the  greatest  monuments  of  Some  as  the  property  ot 
the  state,  possessed  neither  taste,  nor  time,  nor  ability  to  take  measures 
for  their  preservation.  The  plundering  of  ancient  buildings  became  the 
order  of  the  day.  The  priests  were  indefatigable  in  transferring  antique 
columns  and  marbles  to  their  churches ;  the  nobles,  and  even  the  abbots, 
took  possession  of  magnificent  ancient  edifices  which  they  disfigured  by 
the  addition  of  modem  towers ;  and  the  citizens  established  their  work- 
shops, rope-walks,  and  smithies  in  the  towers  and  circuses  of  imperial 
Rome.  The  fisherman  selling  his  fish  near  the  bridges  over  the  Tiber, 
the  butcher  displaying  his  meat  at  the  theatre  of  Marcellus,  and  the  baker 
exposing  his  bread  for  sale,  deposited  their  wares  on  the  magnificent  slabs 
of  marble  which  had  once  been  used  as  seats  by  the  senators  in  the 
theatre  or  circus  and  perhaps  by  Ceesar,  Mark  Antony,  Augustus,  and 
other  masters  of  the  world.  The  elaborately  sculptured  sarcophagi  of 
Roman  heroes  were  scattered  in  every  direction  and  converted  into 
cisterns,  washing- vats,  and  troughs  for  swine  \  and  the  table  of  the  tailor 
and  the  shoemaker  was  perhaps  formed  of  the  cippus  of  some  illustrious 
Roman,  or  of  a  slab  of  alabaster  once  used  by  some  noble  Roman  matron 
for  the  display  of  her  jewellery.  For  several  centuries  Rome  may  be  said 
to  have  resembled  a  vast  lime-kiln,  into  which  the  costliest  marbles  were 
recklessly  cast  for  the  purpose  of  burning  limej  and  thus  did  the  Romans 
incessantly  pillage,bum,  dfcmantle,  and  utterly  destroy  their  glorious  old  city 


138  History,  ROME.  Modem  Times, 

Leo  IV.  encircled  the  'Lboninb  City'  with,  a  wall ,  and  erected 
other  useful  stractures,  which  indicate  a  renewed  period  of  pros- 
perity; but  the  ravages  of  the  Saracens  in  the  city  and  its  en- 
virons soon  prevented  farther  progress.  When  at  length  these  bar- 
barians were  Anally  subdued  by  John  X,  the  city  was  repeatedly 
besieged  and  captured  by  German  armies  during  the  contest  for  the 
imperial  supremacy ;  and  subsequently,  in  consequence  of  incessant 
civic  feuds ,  the  whole  city  was  converted  into  a  number  of  distinct 
fortified  quarters,  with  castellated  houses,  in  the  construction  of 
which  numerous  monuments  of  antiquity  were  ruthlessly  destroyed 
for  the  sake  of  the  building  materials  they  afforded.  £very  tem- 
porary re-establishment  of  peace  was  invariably  followed  by  new 
scenes  of  devastation,  as  when  the  senator  BraneaUone  dismantled 
no  fewer  than  150  of  the  strongholds  of  the  warlike  nobles. 

The  constantly  increasing  civic  and  national  dissensions  at 
length  compelled  Clement  V.  in  1309  to  transfer  the  seat  of  the 
pontifical  government  to  Avignon,  where  it  remained  till  1377, 
whilst  Rome  was  successively  governed  by  Quelphs  and  Ghibellines, 
Neapolitans  and  Germans ,  Orsinf  s  and  Colonna's,  and  for  a  brief 
period  (1347)  Cola  di  Rienzi  even  succeeded  in  restoring  the  an- 
cient republican  form  of  government.  This  was  an  epoch  of  the  ut- 
most misery,  when  poverty,  war,  and  disease  had  reduced  the  popu- 
lation to  less  than  20,000  souls. 

A  happier  era  was  inaugurated  by  the  return  of  Gregory  XI.  to  the 
city  (1377).  After  the  termination  of  the  papal  schism  (1378-1417), 
the  new  development  of  the  city  progressed  rapidly,  aided  by  the 
vast  sums  of  money  which  flowed  into  the  papal  coffers,  and  by  the 
revival  of  taste  for  art  and  science  promoted  by  Nicholas  F.,  Ju- 
lius II.  f  Leo  X,  etc.  In  1527  the  city  was  devastated  by  the  troops 
of  Charles  of  Bourbon ;  but  it  gradually  recovered  from  the  blow, 
its  population  again  increased,  and  many  churches  and  palaces  were 
restored  by  the  popes,  their  cardinals,  and  favourites,  especially  dur- 
ing the  pontificate  of  Sixtus  V.  (1585-90),  to  whom  modem  Rome 
is  chiefly  indebted  for  its  characteristic  features.  Comp.  p.  Ivii. 

In  1798  a  republic  was  established  for  a  short  period  at  Rome, 
and  from  1809  to  1814  the  city  was  under  the  supremacy  of  France. 
A  republican  form  of  government  was  again  declared  in  1849,  in 
consequence  of  the  events  of  1848,  but  Pius  IX.  was  restored  by  the 
French  in  1850.  The  city  was  then  garrisoned  by  15,000  French 
troops,  who  were  withdrawn  in  1866,  in  accordance  with  the  con- 
vention of  1864;  but  they  were  recalled  after  the  Garibaldian 
hostilities  of  1867,  and  were  quartered  in  the  environs  until  the 
breaking  out  of  the  Franco-Prussian  war  of  1870.  On  20th  Sept.  of 
that  year  the  Italian  troops  marched  into  the  city,  after  a  bombard- 
ment of  five  hours.  The  States  of  the  Church  are  now  incorporated 
with  the  kingdom  of  Italy,  of  which  Rome  is  once  more  the  capital. 
The  population  of  the  city  in  1870  was  about  215,000. 


Chronolog.  Table  of  ROME.       Emperors  and  Popt9.   139 

CHRONOLOGICAL  TABLE. 


B.C. 

Bom.  Emp 

Popes  ». 

A.D. 

Rom.  Emp. 

Popes. 

U 

Jalins  Ccesar 

238 

Gordian  III. 

murdered.  . 

2U 

Philip  the 

28 

Cresar  Octa- 

Arabian. 

vianus  Au- 

249 

Decius. 

A.D. 

gustus. 

251 

Gallus  and 

14 

Tiberius. 

Volusianus. 

Cornelius, 

87 

Caligula. 

252 

251-252. 

41 

Claudius. 

253 

.fimilianas. 

LuciusI.,252-253. 

54 

Nero. 

Valerianus. 

Stephen  I., 
253-257. 

67 

Martyrdom  of 

257 

St.  Peter. 

Sixtus  II., 

68 

Oalba. 

Linus,  67-79. 

260 

Gallienus. 

257-258. 

69 

Otho. 

Dionysius, 

Vitellius. 

268 

Claudius  II. 

25^269.          ^ 

69 

Vespasian. 

270 

Aurelian. 

Felix  I.,  269-274. 

79 

Titus. 

Anacletus,  79-91. 

275 

Tacitus. 

81 

Domitian. 

Clement,  91-100. 

276 

Florianus. 

Eutychianus. 

96 

Kerva. 

Probus. 

98 

Trajan. 

282 

Carus. 

100 

Euaristus. 

283 

Carinus  and 

109 

Alexander  I. 

Numerianus. 

117 

Hadrian. 

288 

119 

Sixtus  I. 

284 

Diocletian. 

Cajus. 

128 

Telespborus. 

296 

138 

AntoninusPius 

306 

Constantius 

Marcellinus. 

139 

Hyginus. 

Chlorus  and 

142 

Pius  I. 

Maximianus 

157 

Anicetus. 

Galerius. 

161 

Marcus    Au- 
relius. 

306 

Constantine 
the  Great 

168 

Soter. 

(sole  Emp. 
324-337). 

ITT 

Eleutherus. 

180 

Commodufl. 

307 

Maximin  II. 

190 

Victor  L,  190-202. 

Severus. 

193 

Pcrtinax. 
Didius  Ju- 

Licinus. 
Maxentius. 

lianus. 

308 

Marcellus 

193 

Septimius 

309 

Eusebius. 

Sevems. 

311 

Melchiades. 

202 

Zephyrinus, 
202-218. 

314 
336 

Sylvester  I. 
Marcus. 

212 

Caracalla 
(Geta  d.  212.) 

337 

Constantine  II. 
Constantius. 

Julius  L 

217 

Macrinus. 

Constans. 

218 

Heliogabalus. 

Callistus  L, 

352 

Liberius. 

222 

Alexander 

218-222. 

366 

Felix  II. 

Severus. 

Urbanus  L, 

360 

Julian. 

223 

223-230. 

363 

Jovian. 

230 

Pontianus, 

Valenti-  j^l 

235 

Maximinus. 

230-236. 

364 

236 

Anterus,  235-236. 

nian  I.      o  g 

238 

GordianL&IL 

Fabianus, 

and         >§j| 
Valens.     m  «, 

Pupienus  and 

236-250. 

jp3a 

(»)  The  dates  of  the  popes  down  to  Constantine  arc  uncertain,  having 
been  handed  down  by  vague  tradition  only. 


140   Chronolog.  Table  of       ROME.  Emperors  and  Popes. 


A.D. 

Bom.  Emp. 

Popes. 

A.D. 

Bom.  Emp. 

Popes. 

366 

Damasus  I. 

615 

Deusdeditus. 

367 

Gratian. 

619 

Boniface  V. 

376 

Valentinian  II. 

625 

HonoriuB  I. 

379 

Theodo8ms(9ole 
Emp.  392-395) 
Arcadius. 

640 

Severinus. 
John  IV. 

388 

642 

Theodoras  L 

384 

Siricius. 

649 

St.  Martin  I. 

395 

Honorius  &. 

655 

St.  Eugene  I. 

398 

Anastaaius  I. 

657 

St  Vitalianus. 

402 

Innocent  I. 

672 

Adeodatus. 

417 

Zosimus. 

676 

Donus  I. 

418 

Boniface  I. 

678 

St.  Agathus. 

422 

GcBlestinus  I. 

682 

St.  Leo  II. 

425 

Valentinian  m 

684 

St.  Benedict  II. 

432 

Sixtus  III. 

685 

John  V. 

440 

Leo  I.,  the  Great, 

686 

Conon. 

455 

Petronius 

687 

St.  Sergius  I. 

Haximos 

701 

John  VI. 

455- 

Avitus. 

705 

John  VII. 

475 

Majorianus. 
Lib.  Severufl. 

708 

Sisinnius. 
Constantine  I. 

Anthemius. 

715 

St.  Gregory  U. 

Olybrius. 

Hilarius  461-468. 

731 

St.  Gregory  III. 

Glyceriua. 
Julius  Nepofl. 
Bomulus  Au- 

Simplicius 
468483. 

741 
752 

St.  Zacharias. 
Stephen  II. 

475 

Stephen  m. 

gustulus. 

757 

St.  Paul  I. 

476 

End  of  the  W. 

767 

Constantine  II. 

BomanEmpire 

768 

Philip. 

483 

Felix  in. 

Stephen  IV. 

492 

Gelasius  I. 

772 

Hadrian  I. 

496 

Anastasius  II. 

795 

St.  Leo  III. 

498 

Symmachus. 

JRom.  Emp.  of 

514 

Hormisdas. 

Oerm.  origin  o 

523 

John  I. 

800 

Charlemagne. 

526 

Felix  IV. 

814 

Louis  thePious 

530 

Boniface  II.  b 

816 

Stephen  V. 

532 

John  II. 

817 

St.  Paschalis  I. 

535 

St.  Agapetus  I. 

824 

Eugene  II. 

536 

St.  Silveriua. 

827 

Valentinus. 

538 

Vigilius. 

Gregory  IV. 

555 

Pelagius  I. 

843 

Lothairc. 

660 

John  III. 

844 

Sergius  II. 

574 

Benedict  I. 

847 

St.  Leo  IV. 

578 

Pelagius  II. 

855 

Louis  II. 

Benedict  III. 

590 

St.  Gregory  I.  the 

858 

St.  Nicholas  I. 

Great. 

867 

Hadrian  II. 

604 

Sabinianus. 

872 

John  VUI. 

607 

Boniface  III. 

875 

Charles  the 

606 

S.  Boniface  IV. 

Bald. 

(a)  From  395,  the  year  of  the  death  of  Theodosius,  the  division  of  the 
Empire  became  permanent ;  in  the  above  table  the  Emperors  of  the  W. 
Boman  Empire  only  are  enumerated. 

(b)  Thus  far  all  the  popes  have  been  canonised. 

(c)  The  names  of  a  few  English  sovereigns,  especially  those  who  appear 
most  prominently  in  papal  history,  have  been  added  to  this  column  to 
facilitate  realisation  of  contemporary  history. 


Chronolog,  Table  of  ROME.      Emperors  and  Popes.    141 


A.I>. 

Kom.  Einp. 

Popes, 

A,D, 

Horn.  Emp. 

Popei. 

m 

riiavles  th<: 

niild*!ljr4iidO 

Fat. 

10S7 

Victor  111. 

i 

Marinus  I. 

ii.m 

UrbaQ  1 1. 

Httitrian  1]L 

i(m 

Pftacilttlja  Ii; 

SkpLen  VL 

ikXi 

Ilonry  V. 

887 

Amlilf. 

IJIS 

GiJljyiiiiB  IL 

sal 

KumjuALjf. 

Hit) 

Callxtii*  11. 

m 

[Alfrijjl  the 

jiojiifatti  vr. 

ll'i4 

UonoFiuj  11. 

^i-t^M  nfEiiiL- 

Sti^pben  VIT, 

1125 

Lolhairt  tif 

sm 

U«d,P7l  001] 

iLoniainiii  1. 

SftAony. 

TherfdoniJi  11. 

1130 

Inngcent  U* 

m^ 

-lolin  IX, 

tm 

Louia  [Le 

Bcuedict  IV, 

iiai^ 

Cunrari  ML 

ciajd. 

rif  llolieL- 

B03 

f.ei.  V. 

AliLureD. 

L-bristciphoriifl. 

tua 

Cfntlesline  H, 

m 

Serfiua  111, 

1141 

Lucius  11. 

Oil 

Conrad  T. 

AnattUaiiifl  111. 

im 

Kllgt-OQ  III. 

013 

LoudonJii^. 

1152 

Fn^derick  I.     1 

DU 

JoHii  X. 

harbnn^^sa. 

m^ 

Henry  I. 

iL-ia 

Anafllatlu*  IV. 

93S 

T,fio  vr. 

1154 

IHenry    U.    of 

Hitdriaii  IV. 

029 

Stephon  Vlll. 

1153 

FiiKliLiMl,,li:H 

Alexander  til. 

BBi 

.ffiijn  xr. 

JlBl 

-1189,1 

Lucina  m. 

9» 

OOiu  L 

Len  Vll, 

!lrt5 

nrban  11 L 

Siepljen  IX. 

ll^<7 

GPt&CTy  Vm. 

Murinai  ]], 

iiiirT 

Cle merit  111. 

^1 

An  apt  I  ua  11. 

im 

Uetiiy  VL 

Jutiu  Xlf. 

nw 

ilmle.'iyne  III. 

969 

Leo  VHI. 

ll".fcH 

I'tiiJlpnf^wa 

InnocLrnt  111* 

m 

Bcutiiit^L  V. 

bia  a^^d 

0(}fl 

Juha  XUI, 

mho  IV, 

&7ii 

0th. .  U. 

Ueiitillct  VL 

laichcLr^OceiiP 

S74 

Benedifi  VJL 
flonifiica  Vll. 

dti  Lion,  IM^ 
^ll^Lj 

84^ 

0^bL^  IlL 

Jobn  XIV, 

12lL> 

Fredmck  IL 

!B6 

,loLii  XV. 

1216 

I  John       Lnck- 

ITunorhia  HI. 

996 

Gregury  V. 

\m 

land,    ll!>9^ 

Grefiury  IX, 

990 

Sylvcaltr  11. 

m\ 

lilfl.l 

CuelestiiKi  IV. 

1002 

Henry  IL 

1>4B 

Innotcnt  IV, 

1003 

Jt>bd  XVJl. 

iiu> 

Cihnrail  rv\ 

.fylm  XVIII. 

1254 

InlerrffiHirn, 

AleAander  IV, 

±m 

Btirtiud  IV. 

m\ 

L>^au  IV, 

1012 

BtD edict  VI [L 

im 

CJeineut  IV. 

im 

Cnnrud  U. 

Julm  XIX. 

vm 

GrtiKOr>^  X. 

1033 

Bcnedkt  IX. 

im 

iiudntph  Qf 

lomt 

Hfeury  tlL 

Hapiburg, 

1045 

Gregorj-  VI. 

1276 

Innocont  V. 

ClKuittiiL  ii; 

lEdwai:)!  I.    nt 

UmMmi  V. 

\^ 

Damuus  11. 

Kiigiaud,l27^ 

Ji.hn  XX, 

St.  Leo  IX. 

-i:i07,j 

or  XXI, 

im 

Victijr  lit 

,  1277 

Nkboliia  111. 

loae 

llfiury  IV. 

n^i 

Martin  IV, 

i05T 

Stephen  X, 

vm 

Honorlns  TV, 

1066 

Bytiedkt  X. 

rJ8B 

Kichoba  IV. 

im 

[Willittiii  tbe 

Nli:Lolas  IJ. 

129-2 

Adnlpli  uf 

1C61 

Oonnuiiff>rt 

AIcTtartdcp  IL 

nu 

f^t  Cu^l^^-itinfl  V. 

1C1T3 

1066^1067J 

Gr<iE(?ry  Vll. 

i^m 

UuQifecii  VUI. 

142   Chronolog.  Table  of       ROME.  Emperors  and  Popes. 


A.D. 

Bom.  Emp. 

Popes. 

A.D. 

Rom.  Emp. 

Popes. 

1298 

Albert  I. 

1550 

Engand,1553 

Julius  ni.  (Joan. 

1303 

Benedict  XI. 

Maria  de  Monte). 

1306 

Clement  V. 

1555 

Marcellus  II. 

1306 

Henrf  VII.   of 
Luzemboarg. 

Paul   IV.    (Gian 
Pietro  GarafEk 

1314 

Louis    of   Ba- 

1556 

Ferdinand  1. 

of  Naples). 

varift  and 

1559 

[Elizabeth  of 

Pius  IV.   (Joan. 

Frederick  of 

England,  1558 

Angelus  Medici 

AuBtria. 

of  Milan). 

1316 

[Edward  III.  of 

John  XXII. 

1564 

Maximilian  II. 

1334 

England,  1327 

Benedict  XH. 

1565 

St.  Pius  V. 

1342 

-1377.1 

Clement  VI. 

(Ghislieri  of 

1346 

Charles  IV.  of 

Piedmont). 

Luxembourg. 

1572 

Gregory  XHI. 

1362 

Innocent  VI. 

(Ugo  Buon- 

1362 

Urban  V. 

compagni  of 

1370 

Gregory  XI. 

Bologna). 

1378 

Wenzel. 

Urban  VI. 

1576 

Rudolph  II. 

1389 

Boniface  IX. 

1585 

Sixtus  V.  (Felix 

1400 

Rupert  of  the 

Peretti). 

Palatinate. 

1590 

Urban  VII. 

1404 

Innocent  VII. 

(Giambattista 

1406 

Gregory  XII. 

Castagna  of 

1409 

Alexander  V. 

Rome). 

1410 

Sigismund. 

John  XXin. 

1590 

Gregory  XIV. 

1417 

[Henry  V.    of 
England,  1413 
-I4I2.] 

Martin  V. 

(Nic.  Sfondrati 
of  Milan). 

1431 

Eugene  IV. 

1591 

Innocent  IX. 

1438 

Albert  H. 

(Giannantonio 

1440 

Frederick  IH. 

Facchinetti  of 

1447 

Nicholas  V. 

Bologna). 

1455 

[Henry  VI.  of 

Calixtus  m. 

1592 

Clement  VIII. 

1458 

England,  1422 

Pius  II.  (iEneas 

(Hippolyt.  Aldo- 

Sylvius ,  Siena). 

brandini  of 

1464 

Paul  II. 

[James  I.  of 

Florence). 

1471 

Sixtus  IV. 

1605 

England,  1603 

Leo  XI.  (Alexan- 

(Francis della 

der  Medici). 

Rovere  of 

PaiU  V.  (Camillo 

Savona). 

Borghese). 

1484 

[Henry  VII.  of 

Innocent  VUl. 

1612 

Matthias. 

England,  1485 

(Joann.  B.  Cibo 

1619 

Ferdinand  II. 

of  Genoa). 

1621 

[Charles  I.  of 

Gregory  XV. 

1492 

Alexander  VI. 

England,  1625 
-1649.] 

(Alexander  Lu- 

(Boder.  Borgia). 

dovisi). 

1493 

Maximilian  I. 

1623 

UrbanVIII.(Maf- 

1503 

[Henry  VIII.  of 

Pius  III.    (Fran- 

feo Barberini). 

En|land,1509 

cis  Piccolomini 

1637 

Ferdinand  III. 

of  Siena). 

1644 

[Common- 

Innocent X. 

1503 

Julius  II.  (Julian 

wealth  and 

(Giambattista 

della  Rovere). 

Protectorate, 

Pamfili). 

1513 

Leo  X.  (John  de' 

1649-1660.] 

Medici). 

1655 

Alexander  VII. 

1519 

Charles  V. 

(Fabio  Chigi  of 

1522 

Hadrian  VI. 

Siena). 

(of  Utrecht). 
Clement  VII. 

1658 

Leopold  I. 

1523 

1667 

[Charies  II.  of 

Clement  IX. 

1534 

(Julius  Medici). 
Paul  III.   (Alex- 

England,  1660 

(Giul.  Rospig- 
liosi). 

[Mary  I.  of 

ander  Famese). 

MAKTINUS  V. 


COLONNA 


piusn.    PIUSl 

}4«B    y^TTt^    1508 


PICCOLOMINI 


EUGENIUS  IV. 
1431  y^ X    ^*^ 


CONDOLMTERI 


PAULUS  n. 
«6*  y ;:^     1471 

^2n 


NlCOI.Al'S  Y 
1447  / ^   1455 


PARENTUCELLl 


SIXTUS  IV. 


DBLLAROVBRE 


CALIXTITS   DI. 
14-55   /^"^"X   »*Sfi 


INNOCENTIUS  \Tn. 
MM  ^TTX    14«2 


ALEXANDER  VL 
1*92  y^^TT^  1503 


JULIUS  D. 
lS03y<n>v    1S13 


LEOX.     LEO  XI. 
1605 


]IAI)iaANUSllI.CLBMBNSyn 


DELLAROVBRE 


(UTRECHT)  MEDICI 


PAULUS 
1534-  x-T^V    15*0 


URBAlfUSVltASTAGNA) 


JULIUS  m.  MARCELLUS  H. 

1550  Xt4>V    1555    I     1555 


PAULUS  IV. 
1S55  ^^^^  1559 


PIUSV 
1566  j^     \  1572 


GREGORIUSXm. 
1572  /"        \    1585 


CBEGOHrosmiNlfOCBNTIX:      ALDOBRANDINI 


SIXTUS  Y. 
1585  XT"^    15W 


GHISLIERI 


-h 


BUONCOMPAGNO 


CLEMENS   Vm.       [  PAULUS  V. 

1S82    /'~"*\  1605         1605  /^SX   1621 


GRBGORIUS  Tf. 
1621  >r^C^X   1623 


BORGHBSE 


LU  DO  VIS  I 


Ccof raph.  ituit,.voii  Wa^nw  t  T>cbc's,  I 


URBANTJSTm. 
1623  j<      X    164+ 


BARBERINI 


CLEMBNS  X. 
1670  /^      X  1676 


INNOCENTIUSX. 


ALEXANDER  TB. 


1655         1655 


INNOCENTIUS  H. 
1676  y^;^v    1689 


ODESCALCHI 


ALEXANDER  Tm. 
1691 


OTTOBONI 


CLEMENS  IX. 

1669 


ROSPIGLIOSI 


IMNOCENTIVS  XH. 
PIGNATELLI 


CLEMENS  XI. 
1700    /T^    1721 


INNOCENTIUS  Xltt. 
1721    X^^^   1724- 


BENEDICTUS  XBI. 
1724-  /^Sr^    1730 


ALB  AN  I 


CLEMENS  XE. 
1730  y^r\    1740 


BENEDICTUS  XIV. 
1740  ,d'W%.   1758 


CLEMENS : 
1758  y<T"\    1769 


CLEMENS  XN; 
1769  x^'arx    1774 


LAMBERTIN 


REZZONICO 


CHIARAMONTI 

PIUS  DC. 
1846  >^:rTr\    1878 


DELLA  GENOA 


4RTiT-WW-»V.TTT 


GANGANBLLI 


PIUS  Vffl. 
1829    / X    1830 


GRECORinS  XVI. 


n^ 


CASTIGLIONE 


CAPELLARI 


Situation. 


ROME. 


Topography.    143 


A.D. 

Bom.  Emp. 

Popes. 

lA.D. 

Rom.  Bmp. 

Popes. 

1670 

Clement  X. 

1766 

Joseph  II. 

(EmilioAUieri). 

1769 

Clement  XIV. 

1676 

Innocent  XI. 
(Benedetto 
Odescalehi). 

(Giov.  Ant.  Gan- 
ganelli  of  Ri- 
mini). 

1689 

Alexander  XIII. 

1775 

Pius  VI.  (Giov. 

[WiUiam    III. 

(Pietro  Otto- 

Ang.  Braschi). 

and  Mary  U. 

huoni). 

1790 

Leopold  II. 

of  England, 
168&-17^.] 

1792 

Francis  II. 

1600 

Pius  VII.  (Gre- 

1691 

Innocent  XII. 
(Ant.  Plgna- 

Chiaramonti  of 

telli). 

[George  IV.  of 

Cesena). 

1700 

Clement  XI. 

1823 

England,  1820 

LeoXII.(Annib. 

(Giov.  Franc. 

della  Genga  of 

1705 

Joseph  I. 

Albani). 

Spoleto). 

1711 

Charles  VI. 

1829 

Pius  vm. 

1721 

Innocent  XUI. 
(Mich.  Ang.  de 
Conti). 

(Franc.  Xav. 
Gastiglione  of 

[George  II.  of 

Cingoli). 

1724 

England,  1727 

Benedict  XIII. 

1881 

Gregory  XVI. 

(Vine.  Maria 
Orsini). 

(MauroCapellari 

of  Belluno). 

1730 

Clement  XII. 
(Lorenso  Cor- 
sini). 

1846 

Pius  IX.  (Gio- 
vanni Maria 
Mastai-Feretti 

1740 

Benedict  XIV. 

of  Sinigaglia). 

(Prosp.  Lam- 

1878 

Leo  XIII. 

bertini). 

(Gioachino 

1742 

Charles  VII. 
of  Bavaria. 

Pecci  of  Carpi- 
neto,b,2.March 

1745 

Francis  I. 

1810,    Cardinal 

1758 

[George  III.  of 

Clement  XIII. 

1868.  Pope  20. 
Feb.  1878). 

Ensland,  1760 

(Carlo  Rezzo- 

nico  of  Venice). 

Rome^  the  capital  of  the  kingdom  of  Italy,  with  345,036  Inhab. 
(3l8tl)ec.,  1885 ;  less  than  Naples),  is  sltnated  (41°53'54"N.  lat., 
12**  29"  E.  long.,  meridian  of  Green-wich)  in  an  undulating  volcanic 
plain,  which  extends  from  Capo  Linaro,  S.  of  Civlti  Vecchia,  to  the 
Promontorio  Circeo,  a  distance  of  about  85  M.,  and  between  the  Apen- 
nines and  the  sea,  a  width  of  25M.  The  city  Is  built  on  both  banks  of 
the  Tiber,  the  largest  river  in  the  Italian  peninsula,  which  Intersects 
the  city  from  N.  to  S.  in  three  wide  cnrves.  The  banks  of  the 
Tiber  are  connected  by  Eight  Bbidoes:  the  Ripetta  Bridge,  the 
highest;  the  new  Ponte  Umherto;  the  Ponte  8.  Angdo^  near  the 
castle  of  that  name ;  the  Ponte  Leonino,  a  suspension  bridge,  cross- 
ing from  the  Lnngara;  the  Ponte  8i8to\  the  new  Ponte  Oarihaldi; 
a  seyenth  traversing  the  island  between  the  second  and  third  bends  of 
the  river,  called  Ponte  8.  Bartolommeo  (the  ancient  Pons  Cestius) 
from  Trastevere  to  the  island,  and  thence  to  the  left  bank  the  Ponte 


144    Topography.  ROME.  View. 

de'  Quattro  Capi  (Pons  Fabricius);  finally,  below  the  island,  a  new 
bridge  near  the  old  Ponte  Rotto.  Other  bridges  are  projected.  The 
water  of  the  Tiber,  is  turbid  (the  ^flavm  TiberU'  of  Horace).  The 
average  width  of  the  river  is  about  65yds.  and  its  depth  20  ft., 
but  it  sometimes  rises  as  much  as  30-35  ft. ,  as  was  the  case  during 
the  great  inundation  of  1871.  The  construction  of  an  artificial 
channel  for  the  river  has  been  undertaken.  The  navigation  of  the 
river,  by  means  of  which  the  commerce  of  imperial  Rome  was 
carried  on  in  both  directions,  with  transmarine  nations  as  well 
as  with  the  Italian  provinces,  is  now  comparatively  insignificant. 

The  prospect  from  one  of  the  hills  of  Rome  —  and  no  city  is 
richer  in  ever-varying  and  delightful  views  —  is  bounded  towards 
the  E.  by  the  unbroken  chain  of  the  Apennines,  which  rise  at  a 
distance  of  10  to  20  M.  In  the  extreme  N.  towers  the  indented 
ridge  of  Soracte  (2260  ft.),  occupying  an  isolated  position  in  the 
plain,  and  separated  by  the  Tiber  from  the  principal  range  of  the 
Apennines.  Farther  E.,  and  still  more  distant,  is  the  Leonessa 
group  (7255  ft.),  which  approaches  the  Central  Apennines.  Con- 
siderably nearer  lies  the  range  of  the  Sabine  Mts.  The  summit  at 
the  angle  which  they  form  by  their  abutment  on  the  Oampagna  is 
M.  Gennaro  (4160  ft.),  perhaps  the  Lucretilis  of  Horace;  the  village 
at  the  base  is  Monticelli  (1295  ft.).  Farther  off,  on  the  slope  of  the 
hill,  lies  Tivoli,  recognisable  by  its  villas  and  olive-gardens.  More 
towards  the  S.,  on  the  last  visible  spur  of  the  Sabine  Mts.  (2515  ft.), 
is  situated  Palestrina,  the  Praeneste  of  antiquity.  A  depression 
4  M.  in  width  only,  separates  the  Apennines  from  the  volcanic  Al- 
ban  Mts.,  above  which  a  few  peaks  of  the  distant  Yolscian  Mts. 
appear.  On  the  E.  spur  of  the  Alban  Mts.  lies  the  village  of  Co- 
lonna  (1180  ft.).  The  following  villages  are  Rocca  Priora  (2350  ft.) 
and  Monte  Porzio  (1530  ft.);  then  the  town  of  Frascati  (2220  ft.), 
below  the  ancient  Tusculum.  The  highest  peak  of  the  Alban  Mts.  is 
M.  Cavo  (3130  ft.),  once  surmounted  by  a  temple  of  the  Alban  Ju- 
piter, now  by  a  Passlonist  monastery.  On  its  slope  lies  the  village 
of  Rocca  di  Papa  (2645  ft.),  loftily  and  picturesquely  situated,  be- 
low which,  towards  the  plain,  is  the  town  of  Marino  (1320  ft.). 
The  village ,  with  the  castle  farther  to  the  W.  on  the  hill,  is  Castel 
Gandolfo ;  the  mountain  then  gradually  sinks  to  the  level  of  the 
plain.  Towards  the  W.  the  sea  is  visible  from  a  few  of  the  highest 
points  only.  On  the  N.  the  eye  rests  on  the  Janiculus  (280  ft.),  a 
volcanic  chain  of  hills  approaching  close  to  the  river,  beyond  which 
the  horizon  is  bounded  by  mountains  also  of  volcanic  formation: 
towards  the  sea,  to  the  left,  the  mountains  of  Tolfa  (2040  ft.),  then 
the  heights  around  the  lake  of  Bracciano  with  the  peak  of  Rocca 
Romana  (2020  ft.),  the  Ciminian  Forest  (now  generally  called  the 
mountains  ofViterbo,  3465  ft.);  the  nearest  point  to  the  right  is 
the  crater  of  Baccano,  with  the  wooded  hill  of  M.  Musino  (1320  ft.). 
"'he  plain  enclosed  by  this  spacious  amphitheatre  of  mountains,  and 


["^  Seven  Hills.  ROME.  Topography.    145 

intersected  by  the  Tiber  and  the  Anio,  vhich  descends  from  Tivoli 
and  falls  into  the  former  IV2  ^*  above  Rome,  contains  a  sprinkling 
of  farms  and  villages,  but  is  far  more  replete  with  witnesses  of  its 
former  greatness  and  present  desolation  in  the  innumerable  and  ex- 
tensive ruins  which  cover  it  in  every  direction. 

The  city  proper  lies  on  the  Lbpt  Bank  of  the  Tiber,  partly  in  the 
ancient  Campiks  Afortm^,  a  plain  adjoining  the  river,  and  partly  on 
the  surrounding  hills.  Modern  Rome  is  principally  confined  to  the 
plain,  while  the  Heights  on  which  the  ancient  city  stood  were  for 
centuries  almost  uninhabited,  and  have  only  recently  again  begun 
to  be  occupied  by  houses.  These  are  the  far-famed  Seven  Hills  of 
Rome.  The  least  extensive,  but  historically  most  important,  is  the 
Capitoline  (1 65  ft.),  which  rises  near  the  Tiber  and  the  island.  It  con- 
sists of  a  narrow  ridge  extending  £rom  S.W.  to  N.E.,  culminating  in 
two  summits,  separated  by  a  depression.  Contiguous  to  the  Capitoline, 
in  a  N.E.  direction ,  and  separated  from  it  by  a  depression,  extends 
the  long  Quirinal  (170  ft.).  On  the  N.  a  valley,  in  which  the  Piazza 
Barberiniis  situated,  separates  the  Quirinal  from  the  Pincio  (165  ft.), 
which,  as  its  ancient  name  ^collis  hortorum'  indicates,  was  occupied 
by  gardens ,  and  not  regarded  as  part  of  the  city.  To  the  E.  of  the 
Quirinal,  but  considerably  less  extensive,  rises  the  Vimindl  (176  ft.). 
Both  of  these  may  be  regarded  as  spurs  of  the  third  and  more  impor- 
tant height,  the  Esquiline  (245  ft."),  which,  forming  the  common  basis 
of  these  two,  extends  from  the  Pincio  on  the  N.  to  the  Calius.  Its 
present  distinguishing  feature  is  the  conspicuous  church  of  S.  Maria 
Maggiore ;  while  S.  Pietro  in  Vincoli  and  the  ruins  of  the  Thermae 
of  Titus  mark  the  ancient  quarters  which  stood  on  the  hiU  where  it 
approaches  the  Ylminal,  Palatine,  and  C»lius.  To  the  S.  E.  of  the 
Capitoline,  in  the  form  of  an  irregular  quadrangle,  rises  the  isolated 
Palatine  (165  ft.),  with  the  ruins  of  the  palaces  of  the  emperors, 
and  on  the  low  ground  between  these  hills  lies  the  ancient  Forum. 
Farther  S.,  close  to  the  river,  separated  from  the  Palatine  by  the  de- 
pression (70  ft.)  in  which  the  Circus  Maximus  lay,  is  the  Aventine 
(150  ft.).  Lastly,  to  theE.  of  the  latter,  is  the  long  Cadius  (165  ft.); 
in  the  low  ground  between  the  CsbHus,  Palatine,  and  Esquiline  is 
situated  the  Colosseum;  and  farther  E.,  by  the  city-wall,  between 
the  Caelius  and  Esquiline,  is  -the  Lateran. 

On  the  Right  Buhz.  of  the  Tiber  lies  the  more  modern  and 
smaller  part  of  the  city,  divided  into  two  halves :  on  the  N.  the  Borgo 
around  the  Vatican  and  8t.  Peter's,  encircled  with  a  wall  by  Leo  IV. 
in  852  and  erected  into  a  separate  town;  and  to  the  S.,  on  the  river 
and  the  slopes  of  the  Janiculum,  Traatevere,  which  from  ancient  times 
has  formed  a  tete-de-pont  of  Rome  against  Etruria,  and  was  a  densely 
peopled  suburb  in  the  reign  of  Augustus.  These  two  portions  are 
connected  by  the  long  Via  della  Lungara,  constructed  by  Sixtus  V. 

The  wall  enclosing  this  area,  which  was  inhabited  during  the 
imperial  epoch  by  IV2-2  million  souls,  has  a  length  of  about  10  M. 

Basdkkeb.    Italy  II.    lOth  Edition.  10 


146  /.  Strangers'  Quarter,       ROME.  Porta  del  Popolo, 

on  the  left  bank  and  is  pierced  by  13  gates.  It  is  constructed  of 
brick,  and  on  the  ontside  about  55  ft.  high.  The  greater  part  of  it 
dates  from  271  to  276.  It  was  begun  by  the  Emp.  Aurelian,  com- 
pleted by  Probus ,  and  restored  by  Honorius,  Theodoric,  Belisarius, 
and  several  popes.  The  wall  on  the  right  bank  dates  mainly  from 
the  time  of  Pope  Urban  VIII.  (comp.  the  Plan  of  *  Ancient  Rome*, 
p.  207).  The  Italian  government  has  recently  begun  to  fortify 
Rome  by  a  series  of  detached  forts  forming  a  circle  of  about  30  M. 
in  circumference  round  the  city. 


The  following  description  of  Rome  is  arranged  in  accordance 
with  a  division  of  the  city  into  five  districts ,  the  extent  of  which  is 
marked  on  the  clue-map  at  the  end  of  the  Handbook. 

J.  Strangers'  Quarter  and  Corso,  the  chief  centre  of  business. 

II,  The  Eastern  Quarters,  including  the  Quirinaly  Viminal,  and 
Esquiline  Hills,  anciently  covered  with  houses,  afterwards  long  given 
over  to  fields  and  vineyards,  but  now  again  becoming  of  importance 
in  consequence  of  the  municipal  improvements  inaugurated  in  1870. 

///.  Rome  on  the  Tiber  (left  bank),  the  closely  packed  and  tor- 
tuous city  of  the  middle  ages,  the  abode  of  the  poorer  classes,  recently 
much  altered  and  broken  up  by  the  construction  of  new  streets. 

IV.  Ancient  Rome,  to  theS.,  containing  the  chief  monuments  of 
antiquity. 

V,  The  Right  Bank  of  the  Tiber,  including  the  Vatican,  St.  Pe- 
ter's, and  Trastevere. 

/.  Strangers^  Quarter  and  Corso. 

The  N.  entrance  to  Rome  is  formed  by  the  Porta  del  Popolo 
(PI.  I,  18),  not  far  from  the  Tiber,  through  which,  before  the  con- 
struction of  the  railroad,  most  visitors  approached  the  Eternal 
City.  It  lies  at  the  beginning  of  the  main  highway  which  connects 
Rome  with  Tuscany,  Umbria ,  and  N.  and  E.  Italy  generally.  The 
gate  was  constructed  in  1561  by  Vigr^la,  and  the  side  towards  the 
town  by  Bernini  in  1655,  on  the  occasion  of  the  entry  of  Queen 
Christina  of  Sweden.  In  1878  it  was  enlarged  by  the  addition  of 
two  side-portals.  The  gate  is  named  after  the  adjoining  church 
of  S.  Maria  del  Popolo.  —  Outside  the  gate,  on  the  right,  is  the 
Villa  Borghese,  see  p.  334. 

Within  the  gate  lies  the  handsome  "^azza  del  Popolo  (PI.  I, 
18),  adorned  with  an  Obelisk  between  four  water-spouting  lionesses, 
which  was  brought  by  order  of  Augustus  from  Heliopolis  after  the 
defeat  of  Antony,  placed  in  the  Circus  Maximus ,  and ,  according  to 
the  inscription,  dedicated  to  the  Sun.  It  was  removed  to  its  pres- 
ent position  by  order  of  Sixtus  V.  in  1589.  The  shaft  is  78  ft.  in 
height,  and  the  whole  monument  with  the  pedestal  and  cross  118  ft. 
—  Towards  the  W.  the  Piazza  is  bounded  by  an  arched  wall  with 


8.  Maria  del  Popolo,  ROME.      I.  Strangera' Quarter.   147 

flgures  of  Neptune  and  Tritons,  opposite  which  is  a  similar  structure 
adorned  with  Roma  between  the  Tiber  and  the  Anio.  On  each  side 
of  the  latter  is  an  approach  to  the  Pincio  (p.  148). 

Three  streets  diverge  from  the  piazza  on  the  S. :  to  the  right 
the  Via  di  Ripetta  (p.  184),  parallel  with  the  river ;  in  the  centre 
the  Corso  (p.  152) ;  and  to  the  left  the  Via  del  Babuino,  leading  to 
the  Piazza  di  Spagna  fp.  150).  —  Between  the  two  latter  streets 
stands  the  church  of  8.  Maria  in  Monte  8anto,  adjacent  to  which, 
on  the  right,  is  that  of  8.  Maria  de^  Miracoli,  both  dating  from  the 
latter  half  of  the  17th  cent.,  with  domes  and  vestibules,  designed 
by  Rinaldi,  and  completed  by  Bernini  and  Fontana. 

*S.  Maria  del  Popolo  (PI.  I,  18),  said  to  have  been  founded  by 
Paschalis  II.  in  1099  on  the  site  of  the  tombs  of  the  Domitli,  the 
burial-place  of  Nero ,  which  was  haunted  by  evil  spirits,  was  en- 
tirely re-erected  by  Baccio  Pintelli  (?  or  Meo  del  Caprina)  under 
Sixtus  IV.  in  1477.  The  interior  was  afterwards  decorated  by  Ber- 
nini in  the  rococo  style.  It  consists  of  nave,  aisles ,  transept ,  and 
octagonal  dome,  and  contains  handsome  monuments  of  the  15th  cent, 
(comp.  p.  lii)  and  other  works  of  art.  (The  sacristan  shows  the 
choir  and  chapels  j  fee  Y2  ^'^O 

Right  Aiblb.  The  ist  Chapel ,  formerly  delta  Rovere,  now  Venuti^  was 
painted  by  Pinturicehio :  •Altar-piece,  Adoration  of  the  Infant  Christ  ^  in  the 
lunettes,  life  of  St.  Jerome.  On  the  left,  the  tomb  of  Cardinal  della  Bovere, 
right,  that  of  Cardinal  di  Castro ;  on  the  pillar  to  the  left,  a  bust  of  F.  Catel, 
the  painter  (d.  1857)  by  Troschel.  —  In  the  2nd  Chapel :  Assumption  of  Mary, 
altar-piece  by  C,  Maratta. —  3rd  Chapel,  painted  ^y  Pinturicehio :  above  the  altar. 
Madonna  with  four  angels*,  on  the  left.  Assumption  of  the  Virgin;  in  the 
lunettes,  scenes  from  the  life  of  Mary,  in  the  predelle  representations  of 
martyrs  in  grisaille  \  on  the  right,  tomb  of  Giov.  della  Bovere  (d.  1483)  \  on 
the  left,  recumbent  bronze  figure  of  a  bishop.  —  In  the  4th  Chapel  marble 
sculptures  of  the  end  of  the  15th  cent,  above  the  altai  :  St.  Catibarine  be- 
tween St.  Anthony  of  Padua  and  St.  Vincent;  right,  tomb  of  Marcantonio 
Albertoni  (d.  1485)  j  left,  that  of  the  Cardinal  of  Lisbon  (d.  1508). 

Right  Tbaksept.  On  the  right,  tomb  of  Cardinal  Podocatharus  of  Cyprus. 
Kear  it  is  a  door  leading  into  a  passage,  at  the  end  of  which  is  the  sacristy, 
containing  the  former  *  Canopy  of  the  high-altar  of  Alexander  VI.  of  the 
year  1492,  with  an  ancient  Madonna  of  the  Sienese  school  and  the  beautiful 
monuments  of  (left)  Archbishop  Rocca  (d.  1482),  and  (right)  Bishop  Gomiel. 

Left  Aisle.  Ist  Chapel,  on  the  left  and  right  of  the  altar,  two  ciboria 
of  the  15th  cent. ;  left,  tomb  of  Card.  Ant.  Pallavicino  (erected  1507).  By  an 
adjacent  pillar  the  rococo  monument  of  a  Princess  Chigi,  by  Posi  (1771).  — 
The  *2nd  Chapel  was  constructed  under  the  direction  of  Raphael  by  Agostino 
Chigi  in  honour  of  St.  Mary  of  Loreto,  in  the  form  of  a  Greek  cross,  with 
a  lofty  dome,  in  the  style  affected  for  such  structures  in  the  16th  century. 
On  the  vaulting  of  the  dome  are  eight  *Mosaics  by  Aloino  della  Pace  (1516), 
from  BaphaeVs  cartoons :  —  *Around  the  central  circular  scene,  which  re- 
presents the  Creator  surrounded  by  angels,  are  grouped  seven  planet  sym- 
bols and  a  genius  leaning  on  a  globe,  separated  by  ornamental  divisions. 
Each  planet  is  represented  by  an  ancient  deity:  Diana,  Luna,  Mercury, 
Venus,  Apollo,  Mars,  Jupiter,  and  Saturn.  They  are  pourtrayed  in  half- 
figure  with  appropriate  action,  and  each  is  enclosed  within  a  segment  of 
the  zodiac,  on  which  rests  an  angel,  either  pointing  to  the  Creator  above 
or  in  the  act  of  adoration.  This  association  of  gods  and  angels  recalls 
the  prophets  and  sibyls  of  Michael  Angelo,  each  of  whom  is  also  accom- 
panied by  a  genius.  But  Baphael's  composition'is  entirely  independent, 
with  a  distinct  significance  of  its  own ,  and  one  of  a  kind  which  showr 

10* 


148  I.  Strangers'  Quarter,     ROME.  Pineio, 

the  master's  power  in  its  highest  maiiife8tation\  —  The  altar-piece,  a 
Nativity  of  the  Virgin,  is  by  Sebastiano  del  Piombo,  the  other  pictures  by 
Salviati.  Bronze  relief  over  the  altar,  Christ  and  the  Samaritan  woman, 
by  Lorenzetto;  in  the  niches  four  statues  of  prophets:  over  the  altars  Qeft) 
"Jonah,  perhaps  designed  by  Raphael,  and  (right)  Habakkak,  by  Bernini; 
at  the  entrance,  (left)  Daniel,  by  Bernini,  and  (right)  Elyah  by  Lorenzetto. 

Lbpt  Transept  :  Tomb  of  Cardinal  Bernardino  Lonati  (15th  cent.). 

In  the  Choia  *Ceiling-frescoes  by  Finturicehio  (1479) :  Madonna,  the  Four 
Evangelists,  and  the  Four  Fathers  of  the  church,  Gregory,  Ambrose,  Je- 
rome, and  Augustine,  in  excellent  preservation,  and  long  deservedly  ad- 
mired for  the  skilful  distribution  of  space.  Beneath  are  the  *Tomb8  of  the 
cardinals  Girolamo  Basso  della  Bovere  and  Ascanio  Sforza  by  Andrea  Son- 
iovino,  erected  by  order  of  Julius  II.  (1505),  *the  perfection  of  sculpture  com- 
bined with  decoration\  The  same  pope  is  said  to  have  caused  the  two  fine 
stained-glass  windows  to  be  executed  by  Claudius  and  William  of  Marseilles. 

The  chnTch  gives  a  title  to  a  cardinal.  In  the  adjacent  Angnstine 
monastery  Lnther  resided  during  his  visit  to  Rome  (1510). 

If  we  ascend  the  Pincio  by  the  approaches  named  at  p.  147  (gates 
closed  one  hour  after  Ave  Maria) ,  we  observe  in  the  first  circular 
space  two  granite  columns  (columnae  rostratae)  from  the  temple  of 
Venus  and  Roma  (p.  233),  adorned  with  the  prows  of  ships  (mod- 
ern); in  the  niches  three  marble  statues,  and  above  them  captive 
Dacians,  imitations  of  antiques.  Beyond  these,  a  large  relief.  Half- 
way up  are  an  antique  granite  basin,  with  a  fountain,  and  ktl  Eques- 
trian Statue  of  Victor  Emmanuel  IL,  under  a  loggia. 

The  *Fiiicio  (PI.  I,  18),  the  collis  hortorumj  or  'hill  of  gardens', 
of  the  ancients,  was  probably  called  Mon8  Pincius  from  a  palace  of 
the  Pincii  situated  here  in  the  later  period  of  the  empire.  Here 
were  once  the  famous  gardens  of  LucuUus,  in  which  Messalina, 
the  wife  of  Claudius,  afterwards  celebrated  her  orgies.  A  vineyard 
belonging  to  the  monastery  of  S.  Maria  at  the  foot  of  the  hill  was 
converted  by  Valadier,  during  the  Napoleonic  regime,  into  beau- 
tiful pleasure-grounds.  This  is  a  fashionable  drive  in  the  evening, 
when  the  Italians  frequently  pay  and  receive  visits  in  their  carriages, 
presenting  a  gay  and  characteristic  scene.  A  military  band  plays 
here  several  times  weekly  in  the  latter  part  of  the  afternoon  (p.  126). 
The  walks  are  shaded  by  plantations  and  groups  of  trees ,  and  (as 
suggested  by  Mazzini  in  1849)  adorned  with  busts  of  celebrated 
Italians.  —  The  projecting  terrace  at  the  summit  (150  ft.)  com- 
mands a  magnificent  ^Yisw  of  modem  Rome. 

Beyond  the  Piazza  del  Popolo  and  the  new  quarter  in  the  Prati  del 
Gastello,  on  the  opposite  bank  of  the  Tiber,  rises  the  huge  pile  of  St.  Peter's, 
adjoining  which  is  the  Vatican  to  the  right,  and  near  it  the  city-wall. 
Among  the  hUls  which  bound  the  horizon,  the  point  planted  with  cypresses 
to  the  right  is  Monte  Mario.  To  the  left  of  St.  Peter's ,  close  to  the  Tiber, 
which  is  not  visible,  is  the  round  castle  of  S.  Angelo,  with  the  bronze 
angel  which  crowns  it.  The  pines  on  the  height  to  the  left  of  the  castle 
belong  to  the  Villa  Lante  on  the  Janiculum,  with  the  Passeggiata  Mar- 
gherita.  Farther  to  the  left,  on  the  height,  the  facade  of  the  Acqua  Paola, 
adorned  with  a  cross.  Between  the  spectator  and  the  river  is  a  labyrinth  of 
houses  and  churches.  The  following  points  serve  as  landmarks.  Of  the 
two  nearest  churches  that  with  the  two  towers  to  the  right  is  S.  Giacomo 
in  the  Corso,  that  with  the  dome  to  the  left,  S.  Carlo  in  the  Corso ;  between 
'"-  two  appears  the  flat  dome  of  the  Pantheon,   beyond  which  a  part  of 


Villa  MedieU  ROME.     I.  Strangers' Quarter.    149 

the  Gampagna  is  vigible.  To  the  left  of  this,  on  the  height  in  the  distance, 
rises  the  long,  undecorated  side  of  the  church  of  S.  Maria  in  Aracceli,  and 
behind  it  appears  the  tower  of  the  senatorial  palace  on  the  Capitol.  On 
the  right  side  of  the  Capitol  lies  the  Palazzo  Gaffarelli  (German  embassy), 
in  firont  of  which  the  upper  part  of  the  column  of  M.  Aurelius  in  the  Piazza 
Golonna  is  visible.  Adjacent  to  the  Capitol,  on  the  left,  is  the  bright-looking 
Villa  Hills,  shaded  by  cypresses,  on  the  Palatine.  Farther  to  the  left  a  low 
brick-built  tower  on  the  Quirinal,  the  so-called  Torre  di  Nerone.  To  the 
extreme  left,  and  less  distant,  is  the  extensive  royal  palace  on  the  Quirinal. 

The  N.  side  of  the  Pincio  is  supported  hy  lofty  walls ,  opposite 
which  are  the  grounds  of  the  Villa  Borghese.  In  a  small  round 
space  near  the  middle  of  the  hill,  beside  a  Cafij  rises  an  Ohtliskf 
which  Hadrian  once  erected  in  Egypt  to  the  memory  of  Antinous. 
It  was  afterwards  bronght  to  Rome,  and  erected  here  in  1822.  To 
the  right  of  the  walk  leading  to  the  S.  exit  is  a  monument  by 
Ereole  Rosa ,  erected  in  1883  to  the  memory  of  the  brothers  Cairoli 
of  Pavla,  who  fell  In  battle  near  Rome  in  1867  and  1870.  The 
monument  to  the  left,  in  the  form  of  a  globe,  commemorates  Oalileo 
OalUeij  who  was  confined  from  1630  to  1633,  at  the  instance  of  the 
Inquisition,  in  the  Villa  Medici  (see  below).  —  The  exit  is  closed 
by  an  iron  gate. 

Leaving  the  Plncio  by  the  S.  gate ,  we  observe  to  the  left  the 
Villa  Medici.  In  front  of  it  is  an  avenue  of  evergreen-oaks  and  a 
fountain,  whence  a  celebrated  view  of  St.  Peter's,  most  striking 
towards  evening  or  by  moonlight,  is  obtained. 

The  Villa  Medici  (PI.  I,  18),  erected  in  1540  by  AnnibaU  Lippi 
for  Cardinal  Ricci  da  Montepulciano,  came  into  possession  of  Car- 
dinal Alessandro  de'  Medici  about  1600,  and  afterwards  belonged  to 
the  grand-dukes  of  Tuscany.  In  1801  the  French  academy  of  art, 
founded  by  Louis  XIV.,  was  transferred  hither.  The  garden  is 
open  to  the  public,  and  is  entered  by  the  gate  to  the  left ,  or  by  the 
staircase  to  the  right  in  the  house  (25-30  c). 

Among  the  ancient  reliefs  built  into  the  walls  of  the  tastefully  deco- 
rated fagsMde  of  the  villa  next  to  the  garden  is  one  of  the  ^Judgment  of 
Paris%  the  subject  of  a  famous  engraving  by  Marc  Antonio.  The  wing 
contains  a  Collectioit  of  Casts  (open  on  Wed.  &  Sat.,  8-12,  and  for  three 
hours  in  the  afternoon  before  dusk;  the  keeper  proffers  a  written  cata- 
logue, for  the  use  of  which  25-30 c.  is  given),  comprising  many  from  statues 
not  preserved  at  Rome,  e.ff.  from  the  Parthenon  of  Athens,  and  the  museum 
of  the  Louvre ,  which  are  valuable  in  the  history  of  art.  Adjoining  the 
wing  is  a  terrace,  the  front-wall  of  which  is  adorned  with  casts.  We 
ascend  a  flight  of  steps  (fee  of  a  few  soldi  to  the  gardener  who  opens  the 
door)  and  traverse  the  oak-grove  to  the  right.  We  next  ascend  60  steps 
to  the  Bklvbdbre,  whence  a  fine  view,  now  somewhat  circumscribed,  is 
enjoyed. 

The  street  passing  the  front  of  the  Academy  ends  in  the  Piazza 
DSLLA  Tkinita  ,  where  to  the  left  rises  the  church  of  S.  Triniti 
de'  Monti.  The  Obelisk  in  front  of  it,  a  conspicuous  object  from 
many  points,  is  an  ancient  imitation  of  that  in  the  Piazza  del 
Popolo,  and  once  adorned  the  gardens  of  Sallust. 

8.  Triniti  de*  Monti  (PI.  I,  20),  erected  by  Charies  VIII.  of 
France  in  1495,  and  plundered  during  the  French  Revolution,  was 


150    i.  Stranp^s*  Quarter.     ROME.  Piazza  di  Spagna. 

restored  by  Mazois  in  1816  by  order  of  Louis  XYIII.  It  is  open  on 
Sundays  only,  before  9  a.m.,  and  in  the  evening  at  Vespers  (1  hr. 
before  Ave  Maria) ,  when  the  nuns ,  for  whom  Mendelssohn  com- 
posed several  pieces,  perform  choral  service  with  organ-accompani- 
ment. When  the  door  is  closed ,  visitors  ascend  a  side-staircase  on 
the  left,  and  ring  at  a  door  under  a  metal  roof. 

LsFT,  ist  Chapel :  Cast  of  the  Descent  from  the  Cross,  by  Achtermann, 
2nd  Chapel:  altar-piece  al  fresco,  *  Descent  from  the  Cross,  by  Daniele  da 
Volterra^  his  master-piece  (much  injured  and  freely  restored) ;  the  excel- 
lence of  the  drawing  and  composition  (still  better  seen  in  the  study  at  the 
Lateran,  p.  271)  is  attributed  to  the  aid  of  Michael  Angelo.  3rd  Chapel: 
*Hadonna,  altar-piece  by  Veit.  4th  Chapel:  *St.  Joseph,  by  Langlois.  6th 
Chapel :  Christ,  the  Wise  and  Foolish  Virgins,  and  Return  of  the  Prodigal, 
an  altar-piece  by  Seitx,  -—  Rioht,  3rd  Chapel :  Assumption  of  the  Virgin, 
Dan.  da  VoUerra.  5th  Chapel:  Presentation  in  the  Temple,  Adoration  of 
the  Magi,  Adoration  of  the  Shepherds,  of  the  School  of  Raphael.  6th  Chapel : 
Resurrection,  Ascension,  Descent  of  the  Holy  Ghost,  School  of  Perugino.  — 
In  the  TxANSKPT,  which  is  supported  by  Gothic  arches,  paintings  by  Perino 
del  Vaga  and  F.  Zuccaro. 

The  convent  connected  with  the  church  has  been  occupied  by 
the  Dames  du  Sacr^  CoBur  (teachers  of  girls)  since  1827. 

We  quit  the  piazza  to  the  left  by  the  Via  Sistina,  which  leads  in 
5  min.  to  the  Piazza  Barberini  (p.  171),  and  in  20  min.  more  to  S. 
Maria  Maggiore  (p.  176).  To  the  right  is  the  small  Via  Oregoriana, 
which  after  3  min.  is  intersected  by  the  Via  Capo  le  Case. 

To  the  right,  Via  Sistina  No.  64,  is  the  Ca$a  Zuccari,  once 
the  house  of  the  family  of  the  artists  of  that  name  (marked  by  a 
memorial  -  tablet  in  1872;  paiatings  by  Federigo  Zuccaro  on  the 
ground-floor).  In  1816  it  was  occupied  by  the  Prussian  consul  Bar- 
tholdy,who  caused  one  of  the  rooms  to  be  adorned  with  frescoes  by 
German  artists  then  at  Rome,  among  whom  were  Cornelius,  Over- 
beck,  Veit,  and  Schadow.  The  frescoes,  however,  were  removed 
to  the  National  GaUery  at  Berlin  in  1888. 

The  long  Seala  di  Spagna  (PI.  I,  20;  'Gradinata  di  S.  Trinitk 
de'  Monti*),  which  descends  from  S.  Trinity  to  the  Piazza  di  Spagna 
by  135  steps ,  was  constructed  by  Al.  Specchi  and  De  Sanctis  in 
1721-25.  Models  for  artists  with  their  picturesque  costumes  frequent 
its  vicinity.  To  the  left  of  the  steps  as  we  descend  is  the  house 
where  John  Keats  died  in  1821  (marked  by  an  inscription). 

The  Plana  di  Bpagna  (PI.  I,  17;  82  ft.),  the  centre  of  the 
strangers*  quarter,  is  enclosed  by  hotels  and  attractive  shops.  At 
the  foot  of  the  steps  is  La  Barcaccia  (barque) ,  a  tasteless  fountain 
by  Bernini.  Towards  the  N.  the  Via  dd  Babuino ,  containing  the 
new  English  church  of  All  Saints,  in  the  Gothic  style,  by  Street 
fp.  110),  and  also  several  hotels,  leads  to  the  Piazza  del  Popolo 
(see  p.  146).  John  Oibaon,  the  sculptor,  died  in  1866  at  Via  del 
Babuino  144.  In  the  S.  prolongation  of  the  long  Piazza  di  Spagna 
rises  the  Column  of  the  Immacolata  (PI.  1, 20, 1),  erected  by  Pius  IX. 
in  honour  of  the  'Immaculate  Conception  of  the  Virgin* ,  a  dogma 
promulgated  in  1854;  on  the  top  of  the  cipoUine  column  stands  the 


Fontana  di  Trevu  ROME.      /.  Strangers'  Quarter.    151 

bronze  statue  of  Mary;  beneath  are  Moses,  David,  Isaiah,  and 
Ezekiel. 

At  the  S.  end  of  the  piazza  is  the  Collegio  di  Propaganda  Fide 
(PI.  I,  19,  le),  founded  in  1622  by  Gregory  XV.,  and  extended 
by  his  successor  Urban  VIII.  (whence  ^Collegium  Urbanum*')^  an 
establishment  for  the  propagation  of  the  Roman  Catholic  faith,  where 
pupils  of  many  different  nationalities  are  educated  as  missionaries. 
The  printing-office  of  the  college  was  formerly  celebrated  as  the 
richest  in  type  for  foreign  languages.  —  On  the  right  is  the  Palazzo 
di  8pagna^  or  palace  of  the  Spanish  ambassador,  whence  the  piazza 
derives  its  name.  Opposite  lies  the  small  Piazza  MignaneUi  (PI.  I, 
20),  a  station  of  the  omnibuses  to  St.  Peter's  and  the  Piazza  Mon- 
tanara  (Nos.  8  &  23,  pp.  1,  2  of  the  Appx.). 

Opposite  the  Scala  di  Spagna  is  the  Via  db'  Condotti,  with  its 
numerous  shops  of  Jewellery,  mosaics,  antiquities,  and  photographs. 
It  terminates  in  the  Cor  so  (see  p.  152). 

To  the  S.E.  from  the  Piazza  di  Spagna  runs  the  Via  de^  Due 
MaceUij  to  the  left  of  the  Propaganda,  and  to  the  right  the  Via  di 
Propaganda.  The  latter  leads  to  S.  Andrea  delle  Fratte  (PI.  I,  19) 
at  the  corner  of  the  Via  di  Capo  le  Casej  the  next  cross-street. 
This  church  was  erected  under  Leo  XI.  by  La  Ouerra ;  the  tasteless 
dome  and  campanile  are  by  Borrominif  the  facade  was  added  in 
1826  by  Valadier. 

Tbe  pictures  in  the  Intxbzob  are  poor  works  of  the  17th  cent.:  the 
two  angels  by  the  tribune,  by  Bernini ,  were  originally  destined  for  the 
bridge  of  8.  Angelo.  In  the  2nd  Chapel  on  the  right  is  (on  the  right  side) 
the  monument  of  Mile.  Falconnet  by  !/«'«  Hosmer;  on  the  last  pillar  to 
the  right,  in  front  of  the  aisle,  the  monument  of  the  artist  R.  Schadow 
(d.  1822),  by  E.  Wolff,  In  the  3rd  Chapel  to  the  left,  by  the  right  wall,  is 
the  tomb  of  Angelica  Eauffmann  (d.  1807) ;  adjacent .  by  the  pillar  to  the 
right,  lies  *Maler  Hiiller'  (d.  1825).  The  Danish  archseologist  Zoega  and  a 
converted  prince  of  Morocco  are  also  interred  in  this  church. 

In  the  Via  di  Capo  le  Case  stands  the  church  of  8.  Giuseppe  a 
Capo  le  Case  (PL  I,  19),  adjoining  which  is  the  Musbo  Artistico- 
Industbialb,  an  unimportant  collection  of  terracottas,  majolica, 
glass,  iyory  and  wood  carving,  and  other  products  of  the  artistic  in- 
dustries of  Italy  (adm.  daily  except  Wed.,  9-3,  50  c).  Descriptive 
labels  are  attached  to  the  articles  exhibited. 

We  follow  the  Via  di  Propaganda  towards  the  S.,  passing  in 
front  of  S.  Andrea  delle  Fratte,  and  turn  to  the  right  into  the  Via 
del  Pozzetto,  and  then  to  the  left  into  the  Via  Poli  (PL  1, 19).  The 
last,  which  is  almost  immediately  intersected  by  the  Via  deW 
Angelo  Custode  (p.  154),  a  new  street  connecting  the  Piazza  Bar- 
berini  and  the  Piazza  Colonna,  crosses  the  small  Piazza  Poli,  skirts 
the  Palaszo  Poli^  and  leads  to  the  Fontana  Trevi. 

The  'Tontaaa  di  Trevi  (PL  I,  19),  which  vies  in  magnificence 
with  the  Acqua  Paola,  is  erected  against  the  S.  side  of  the  Mazzo 
Poli,  and  was  completed  from  a  design  by  Nice.  Salvi  (1735)  m 


152  1.  strangers'  Quarter.     ROME.  The  Corso. 

1762.  In  the  central  niche  is  a  figure  of  Neptune,  by  Pietro  Braeci; 
at  the  sides,  Health  (left)  and  Fertility  (right) ;  in  front,  a  large 
stone  basin. 

The  ancient  Aqua  Virffo^  now  Aeqtta  Verginty  which  issaes  here,  was 
conducted  by  M.  Agrippa  from  the  Gampagna,  chiefly  by  a  subterranean 
channel  14  M.  in  length,  to  supply  bis  baths  at  the  Pantheon  (p.  195),  in 
B.C.  19.  It  enters  the  city  by  the  Pincio,  not  far  from  the  Porta  del  Po- 
polo.  The  name  originated  in  the  tradition  that  a  girl  once  pointed  out 
the  spring  to  thirsty  soldiers.  The  fountain  was  restored  by  Hadrian  I., 
Nicholas  v.,  and  others.  In  1453  the  latter  pope  conducted  hither  the 
main  stream  of  the  aqueduct,  and  the  fountain  then  exchanged  its  ancient 
name  for  its  present  name  of  Trevi  (a  corruption  of  ^Trivio*),  which  it 
derives  from  its  three  outlets.  This  aqueduct  yields  daily  upwards  of 
13  million  cubic  feet  of  water,  perhaps  the  best  in  Rome.  The  fountains 
in  the  Piazza  di  Spagna,  the  Piazza  Navona,  and  the  Piazza  Farnese  are 
supplied  from  the  same  source.  —  On  quitting  Rome,  the  superstitious 
partake  of  the  water  of  this  fountain,  and  throw  a  coin  into  the  basin, 
in  the  pious  belief  that  their  return  is  thus  ensured. 

The  busy  Via  deUe  MuratU  (p.  166)  leads  to  the  W.  from  the 
Fontana  Trevi  to  the  Corso.  Opposite  the  fountain  is  88.  Vincenzo 
ed  Anasta^io  (PI.  I,  19,  3),  erected  in  its  present  form,  with  a  de- 
graded facade,  from  designs  by  M.  Lunghi  the  Younger,  at  the 
beginning  of  the  17th  century. 

The  Via  di  S.  Vincenzo,  called  farther  on  the  Via  de'  Lucchesi, 
terminates  in  the  little  Piazza  Pilotta,  in  which,  to  the  right, 
stands  the  Palazzo  MutiPapazzurri,  (PI.  II,  19,  9),  built  by  Mattia 
de'  Rossi  in  1644.  (From  the  Via  de*  Lucchesi  the  Via  della  Dataria 
leads  on  the  left  to  the  Quirinal;  p.  174.)  To  the  right  of  the  Piazza 
Pilotta  lies  the  Piazza  SS.  Apostoli  (p.  160).  The  Via  della  Pi- 
lotta, skirting  the  rear  of  the  Palazzo  Colonna  (No.  17  is  the  en- 
trance to  the  Galleria  Colonna),  and  passing  under  the  two  arches 
which  unite  that  palace  with  the  Giardino  Colonna  (p.  163),  leads 
to  the  Via  Nazionale  (p.  169). 

The  Corso. 

The  *Corso ,  which  corresponds  with  the  ancient  Via  Flaminia 
leading  from  the  Capitol,  extends  from  the  Piazza  del  Popolo 
(p.  146),  between  the  Via  di  Ripetta  and  Via  del  Babuino,  to  the 
Piazza  di  Venezia,  and  is  now  the  principal  street  of  Rome.  It  con- 
tains numerous  shops  and  is  enlivened,  especially  towards  even- 
ing, by  crowds  of  carriages  and  foot-passengers.  Its  length  is  1650 
yds.,  or  nearly  a  mile. 

The  first  part  of  the  street  as  far  as  the  Piazza  S.  Carlo  is  less 
frequented  than  the  other  portions.  No.  618,  to  the  right,  between 
the  first  two  cross-streets,  is  the  Pal.  Rondinini  (PI.  I,  17,  18),  the 
court  of  which  contains  an  unfinished  Piet^  by  Michael  Angelo.  No.  18, 
the  house  opposite,  was  once  inhabited  by  Ooethe ;  inscription :  *In 
questa  casa  immagind  e  scrisse  cose  immortali  Volfango  Goethe. 
^1  Comune  di  Roma  a  memoria  del  grande  ospite  pose  1872*. 

On  the  right,  beyond  the  third  cross-street,   is  the  church  of 


The  Corso.  ROME.       /.  Strangers'  Quarter.   153 

8.  Oiacomo  in  Augusta^  or  degli  Incurdbili  (PI.  I,  17,  2),  with  a 
fa^e  by  G.  Maderna.  It  belongs  to  the  adjoining  surgical  hospital, 
which  extends  to  the  Via  Ripetta  and  accommodates  340  patients 
(founded  1338,  enlarged  1600).  Nearly  opposite,  on  the  left,  is 
the  small  Augustine  church  of  Oesii  e  Maria ,  with  facade  by  Ri- 
naldl.  —  [In  the  Via  de'  Ponteflci,  the  third  transverse  street  from 
this  point  to  the  right,  is  the  Mausoleum  of  Augustus  (p.  184).  ] 

The  Corso  next  leads  to  the  Piazza  S.  Gablo,  in  which,  on  the 
right,  is  S.  Carlo  al  Corso  (PI.  I,  17),  the  national  church  of  the 
Lombards,  and  the  resort  of  the  fashionable  world,  with  a  tasteless 
facade.  It  was  erected  in  the  17th  cent,  by  Onorio  Lunghi  and 
completed  by  Pietro  da  Gortona. 

Ceiling-paintings  in  the  Ihtkbzob  by  Oiaeinto  Brandi.  Over  the  high- 
altar  is  one  of  the  finest  works  of  Carlo  Maraita :  the  Virgin  recommending 
S.  Carlo  Borromeo  to  Christ.  (The  heart  of  S.  Carlo  is  deposited  ander 
this  altar.)    Chief  festival  of  the  church,  4th  Nov. 

The  busy  Via  de'  Condotti  and  other  streets  to  the  left  lead  to  the 
Piazza  di  Spagna  (p.  150);  the  Via  della  Fontanella  di  Borghese, 
prolonging  the  Via  de'  Gondotti  towards  the  W.,  leads  to  the  Palazzo 
Borghese  (p.  184)  and  the  Ponte  S.  Angelo  (p.  274). 

Farther  on  in  the  Gorso,  on  the  right,  No.  418  A,  is  the  spacious 
Palazzo  Ruspoli,  bailt  by  Ammanati  in  1586,  and  now  containing 
the  Restaurant  Morteo  (p.  112). 

To  the  left,  at  the  corner  of  the  Via  Frattina  (No.  151),  is  the 
Palazzo  Bernini,  the  vestibule  of  which  contains  one  of  the  most 
exaggerated  specimens  of  Bernini's  style,  a  group  representing 
'Time  bringing  the  truth  to  light'. 

In  a  small  piazza  on  the  right  side  of  the  Gorso,  opposite  the  Via 
Frattina,  rises  &  Lorenio  in  Lnciiia  (PI.  I,  16),  a  church  of  ancient 
origin,  but  frequently  restored.  The  only  old  part  is  the  campanile, 
the  top  of  which  is  modem.  The  church  and  adjoining  monastery 
have  belonged  to  the  Minorites  since  1606. 

The  PoBTico  is  supported  by  four  columns^  at  the  door  are  two  half- 
immured  mediaeval  lions.  —  In  the  Imtebios,  by  the  2nd  pillar  to  the 
right,  is  the  tomb  of  Nic.  Poussin  (d.  1665),  erected  by  Chateaubriand; 
above  the  high-altar  a  Crucifixion  by  Outdo  Reni. 

Farther  on,  to  the  right,  a  little  back  from  the  street  and  partly 
concealed  by  other  houses,  is  the  unfinished  Pal.  Fiona  (PI.  I, 
16,  8').  The  passage  to  the  court,  entered  from  No.  4,  Piazza  in 
Lucina,  contains  some  good  reliefs  of  figures  and  ornamental  designs 
from  the  Ara  Pacis,  set  up  by  Augustus  in  B.G.  9  (other  remains 
in  the  Villa  Medici,  the  Vatican,  and  the  Ufflzi  at  Florence).  In 
front  of  this  palace  a  triumphal  arch  of  M.  Aurelius  stood  until 
1662  (see  inscription  opposite,  No.  167,  recording  that  Alexan- 
der VU.  levelled  and  widened  the  Corso  for  the  horse-races;  reliefs, 
see  p.  219). 

The  Via  delle  ConvertUe  on  the  left  leads  to  the  Piazza  di  S,  Sil- 
vesirOf  which  is  embellished  with  a  monument  to  the  poet  ^^^^ 
MetaHasio  (b.  at  Rome  1698,  d.  at  Vienna  1782),  erected  in  Ibbb 


154  /.  Sbrangers'  Quarter.    ROME.  The  Corso  and  its 

In  the  N.W.  comer  of  the  piazza  rises  the  veneiable  choich  of  8, 
SUvtstro  in  CapiU  (PL  1, 16),  erected,  together  with  a  monastery,  by 
Paul  I.  (757-67)  on  the  site  of  his  own  house.  The  entrance-court 
has  been  preserved,  but  the  church  has  been  frequently  rebuilt. 
The  ^head  of  John  the  Baptist'  has  been  preserved  here  since  the 
13th  cent,  (festival,  31st  Dec.).  Part  of  the  monastery  has  been 
converted  into  the  handsome  Post  and  Telegraph  Offtee,  which  has 
entrances  from  the  piazza  and  the  Via  della  Yite.  Another  part  of 
the  old  monastery  contains  the  ministerial  Offices  of  Public  Works. 
—  Opposite  S.  Silvestro  is  the  English  Church  of  the  Trinity  (p.  119), 
erected  in  1874,  with  a  handsome  fa^de  in  the  early-Renaissance 
style.  —  At  No.  11,  Via  di  Mercede^  which  leads  to  the  E.  from  the 
Piazza  di  S.  Silvestro,  is  a  tablet  recording  that  Sir  Walter  Scott 
lived  here  when  at  Rome  in  1832. 

Farther  on  in  the  Corso,  to  the  right,  is  the  Pal.  Vbbospi 
(No.  374),  now  Toblonia  (PI.  1, 16,  iO),  erected  by  Onorio  Lunghi^ 
and  restored  by  Alessandro  Specchi.  A  loggia  on  the  first  floor  is 
adorned  with  pleasing  mythological  frescoes  by  IV.  Ai6ant,  recall- 
ing the  famous  Famesina  works  (p.  323).  —  Opposite  begins  the 
wide  Via  dell'  Angelo  Gustode  (see  p.  151),  which  leads  past  the 
church  of  S.  Maria  in  Via  (by  Mart.  Lunghi,  1594;  fagade  by  Rain- 
aldi,  1600)  and  the  N.  front  of  the  Palazza  Poll  (p.  151),  to  the 
Piazza  Barberini  (p.  171).  The  large  establishment  of  the  Fratelli 
Boeconi,  at  the  comer,  was  built  in  1886-87. 

To  the  right,  farther  on,  at  the  comer  of  the  Piazza  Golonna,  is 
the  extensive  Pal.  Chigi,  begun  in  1562  by  Oiac.  della  Porta,  and 
completed  by  C.  Madema.  It  contains  a  few  antiques  and  a  small 
collection  of  pictures,  but  is  not  open  to  the  public.  The  'Biblio- 
theca  Ghisiana'  contains  valuable  MSS.  (adm.,  see  p.  124). 

The  handsome  *Fiazza  Colonna  (PI.  I,  16)  is  bounded  on  the 
N.  by  the  Pal.  Chigi,  and  on  the  S.  by  the  Pal.  Ferrajuoli  (PI.  20). 
In  the  Corso,  to  the  E.,  is  the  Pal.  Piombino  (PI.  22),  and  opposite 
the  Corso  the  former  post-office,  with  a  portico  of  ancient  Ionic 
columns  from  Veil  (p.  389). 

The  "'Colanui  of  Marcus  Anrelius,  rising  in  the  centre  of  the 
piazza  named  after  it,  is  embellished  like  that  of  Trajan  with  reliefs 
from  the  emperor's  wars  against  the  Marcomanni  and  other  German 
tribes  on  the  Danube. 

The  column  consists  of  28  blocks ,  besides  the  basement  and  capital, 
in  all  96  ft.  in  height,  and  is  approached  by  steps.  In  1589  Siztus  V. 
caused  it  to  be  restorea  and  crowned  with  a  statue  of  St.  Paul.  At  that 
period  it  was  ascribed  to  Antoninus  Pius,  after  whom  it  is  still  frequently 
named.  —  The  Piazza  Colonna  is  much  frequented  in  the  evening.  Mili- 
tary music  here  in  the  height  of  summer  (p.  126). 


Adjoining  the  Piazza  Colonna  (beyond  the  old  post-office)  is 
the  Piazza  di  Month  Citorio,  on  the  right  side  of  which  is  the 
spacious  Camera  de'  Deputati  (Pl.  I,  16,  24),  begun  for  the  Lu- 


8id€'8treeU,  ROME.     1.  Stranger$'  Quofier.   155 

doTifii  family  by  Bernini  (1650),  but  finished  under  Innocent  XII. 
by  C,  Fontana  for  the  'Curia  Innocentlana',  or  papal  tribunal.  The 
court  in  the  interior  was  roofed  over  in  1871,  and  fitted  up.  for  the 
use  of  the  Italian  parliament.  The  sittings  usually  take  place  in 
the  afternoon.  Entrance  to  the  public  seats  at  the  back,  No.  10. 
The  door-keeper  will  sometimes  provide  visitors  with  better  places 
(fee  1  fr.).  —  The  rising  of  the  piazza  towards  the  N.  is  due  to  the 
buried  ruins  of  what  has  been  erroneously  identified  with  the  am- 
phitheatre of  Statilius  Taurus  (B.C.  31). 

The  Obelisk  in  the  centre  of  the  piazza,  like  that  in  the  Piazza 
del  Popolo  (p.  146),  was  brought  to  Rome  by  Augustus,  and  used 
as  the  indicator  of  a  sun-dial.  It  stood  till  the  9th  cent.,  was  after- 
wards damaged,  but  was  restored  and  erected  here  in  1789  under 
Pius  VI.  It  was  originally  erected  in  the  7th  cent.  B.C.  by  Psam- 
metichus  I.   Height,  Including  the  globe  and  pedestal,  84  ft. 

The  Pantheon  (see  p.  193)  may  be  reached  hence  by  turning  to 
the  right  at  the  foot  of  Monte  Citorio  (S.W.),  and  crossing  the  small 
Piazza  Capranica  (p.  195).  "We  turn  to  the  left  and  proceed  to  the 
Piazza  di  Pietra,  in  which  is  the  *Dogaiia  di  Terra  (PI.  I,  16, 18), 
formerly  a  custom-house,  now  the  exchange.  Imbedded  in  the  fa- 
cade are  eleven  Corinthian  columns ,  41  ft.  high ,  of  a  Temple  of 
Neptune,  built  by  Hadrian ,  which  once  possessed  15  in  its  length 
and  8  in  its  breadth.  The  three  middle  columns  and  a  fragment  of 
the  wall  of  the  cella  have  been  lately  brought  to  light.  The  pedes- 
tals here  bore  the  statues,  representing  conquered  provinces,  now 
in  the  Palazzo  de*  Conservator!  (p.  211). 

The  Via  de'  Pastini  leads  hence  to  the  Pantheon  (p.  193),  while 
the  Corso  is  regained  by  the  Via  di  Pietra  to  the  left. 


Continuing  to  follow  the  Corso  from  the  Piazza  Colonna,  we  ob- 
serve, to  the  left,  opposite  the  above-named  Via  di  Pietra,  the  Via 
delle  Muraite  (p.  152),  leading  to  the  Fontana  Trevi. 

Farther  on,  also  on  the  left,  where  the  Corso  expands  into  the 
'Piazza  Sciarra*,  we  reach  the  *Palaxso  Soiarra-Colonna  (No.  239 ; 
PI.  I,  16),  the  handsomest  palace  in  the  whole  street,  erected  in  the 
17th  cent,  by  Flamimo  Ponzio,  with  a  portal  of  later  date. 

The  PiGTCBB  Gallbbt  in  this  palace  ia  now  shown  only  to  vidton 
with  a  recommendation  from  high  quarters.  Principal  works:  Raphael^ 
Violin-player,  dated  1518*,  Palma  V«cckio,  Female  portrait,  signed  ^Tam- 
bend";  Bern.  Luini^  'Vanity  and  Modesty",  half-figures  \  Caravaggio,  Players; 
Peruffino,  St.  Sebastian*,  Ouido  JZent,  Magdalene. 

Opposite  is  the  imposing  Savings'  Bank,  by  Cipolla  (1868). 


The  Via  del  Caravita,  the  first  side-street  on  the  right,  leads 
to  the  Piazza  di  S.  Ionazio  (PI.  H,  16),  in  which  is  the  Jesuit 
church  of  S.  Ignaiio,  designed  by  the  Padre  Qrassi,  with  a  fa^de 
by  Algardi.  The  building  was  begun  by  Card.  Ludovisi  in  ^^26, 
after  the  canonisation  of  the  saint,  but  not  completed  till  1675. 


156  I.  Strangers' Quarter.      ROME.  Museo  Kireheriano. 

Intebiob.  The  impression  is  marred  by  the  had  taste  of  the  decora- 
tions, which,  however,  are  less  obtrosive  than  in  most  Jesuit  churches. 
The  paintings  on  the  vaulting,  dome,  and  tribune,  and  the  picture  over 
the  high-altar  are  by  the  Padre  Pozzi,  an  able  master  of  perspective ,  by 
whom  the  chapel  of  St.  Lod.  Gonzaga,  in  the  aisle  to  the  right,  was  also 
designed.  The  perspective  of  the  paintings  on  the  ceiling  and  dome  is 
correctly  seen  from  a  circular  stone  in  the  centre  of  the  nave. 

On  the  front  of  this  church  is  a  Time-Ball^  regulated  from  the  Obser- 
vatory (p.  157),  the  fall  of  which  is  the  signal  for  the  discharge  of  the 
time-gun  at  the  Gastello  S.  Angelo. 

On  the  S.  the  choir  of  the  church  adjoins  the  old  Jesuit  Collegio 
Bomano  (PI.  n,  16),  where  the  higher  branches  of  classics,  mathe- 
matics, philosophy,  etc.,  were  taught,  and  degrees  conferred.  The 
extensive  building  was  erected  at  the  end  of  the  16th  cent.,  under 
Gregory  XIII.  and  Sixtus  V. ,  by  B.  Ammanati.  The  massive  principal 
facade  looks  towards  the  Piazza  del  Collegio  Romano.  A  number  of 
the  rooms  contain  the  Biblioteca  Vittorio  Emanuele  (Director,  Oom- 
mendatore  D.  Gnoli)  consisting  of  the  old  Library  of  the  Jesuits, 
augmented  by  the  libraries  of  many  suppressed  monasteries  and 
constant  new  acquisitions  (in  all  about  500,000  vols,  and  several 
thousand  MSS.).  This  lihrary  is  especially  important  on  account  of 
its  richness  in  modern  works,  in  which  most  of  the  other  Roman 
lihraries  are  deficient,  and  for  its  easy  accessibility  and  convenient 
arrangements  (comp.  p.  116). — The  building  also  contains  the  Liceo 
Ennio  Quirino  Visconti  and  several  collections,  the  chief  of  which 
(on  the  second  floor,  up  three  flights  of  steps)  is  the  — 

Hnseo  Kircheriano,  founded  hy  the  learned  Athanasius  Kircher^ 
born  in  1601,  a  Jesuit  and  teacher  at  Wiirzburg  in  1618,  afterwards 
professor  of  mathematics  at  the  Coll.  Romano,  and  celebrated  for  his 
mathematical  and  scientific  researches  (d.  1680).  In  1870  the  mu- 
seum was  acquired  by  government,  which  has  founded  here  an 
extensive  ethnographical  and  pre  -  historical  collection  (adm.  see 
p.  123).   The  director  is  Commendatore  PigorinL 

We  first  turn  to  the  left,  and  enter  the  Cokbidob.  The  Shote-Cases  in 
the  centre  contain  small  articles  in  bronze,  iron,  ivory,  and  bone,  with  a 
large  collection  of  antique  Roman  and  Italian  bronze  coins  (Ms  grave). 
The  Cabinets  by  the  walls  contain  terracotta  figures  (chiefiy  votive),  lamps, 
clay  vessels,  and  small  objects  in  glass  and  ivory.  2nd  Cab.  to  the  left 
(No.  Ill) :  Silver  goblets  found  in  the  mineral  spring  at  Vicarello  (p.  391), 
among  which  are  three  in  the  form  of  milestones  and  inscribed  with  the 
names  of  the  chief  stations  on  the  route  from  Gades  (Cadiz)  in  Spain  to 
Rome;  a  book  consisting  of  7  plates  of  lead  inscribed  with  mystical  symbols 
(end  of  the  2nd  cent.  A.D.).  3rd  Cab.  to  the  right  (No.  VIII) :  Large  bronze 
tablet  with  a  dedicatory  inscription  to  Minerva  in  the  Faliscan  dialect; 
above,  an  iron  ring  with  a  bronze  label  bearing  the  inscription  ^I  have 
run  away,  catch  me,  and  restore  me  to  my  master,  who  will  reward  you 
with  a  solidus',  generally  supposed  to  have  been  intended  for  a  slave,  but 
more  probably  a  dog-collar. 

I.  BooH.  In  the  centre  is  the  famous  '^Ficoronian  data,  named  after 
its  first  owner,  dating  from  the  3rd  cent.  B.C.,  and  found  near  Palestrina 
in  1744.  It  is  a  toilet-casket  of  cylindrical  form,  adorned  with  admirably- 
engraved  designs ,  representing  the  arrival  of  the  Argonauts  in  Bithynia, 
■^nd  the  victory  of  Polydeuces  over  king  Amycus.  The  feet  and  the  figures 
•■  the  lid  are  of  inferior  workmanship ;  on  the  latter  the  inscriptions : 
vios  Plautios  med  Bomai  (me  Romee)  fecid',  and  ^Dindia  Macolnia  fileai 


Muaeo  Kirekeriano.  ROME.     1,  Strangers'  Quarter.    157 

dedir  (comp.  Introd.)<  —  Also  in  the  centre  is  an  ancient  *BrotuB  Chairj 
inlaid  with  silver.  By  the  windows  are  bronze  figures  of  Bacchus  and 
of  a  Youth  intended  for  a  pillar.  The  WaU-CM9s  contain  Egyptian  wooden 
and  bronze  statuettes,  Etruscan  idols,  small  bronze  figures  of  the  Roman 
period,  weapons,  candelabra,  etc.  —  The  — 

II.  Room,  to  the  left,  at  the  end  of  Room  I,  contains  early-Christian 
tombstones  and  sarcophagas-reliefs.  In  the  centre  is  a  piece  of  ancient 
wall,  in  a  black  frame,  with  a  caricature  of  the  Christians  scratched  upon 
it:  a  man  with  the  head  of  an  ass,  affixed  to  a  cross,  with  a  man  at  the 
side,  and  the  words  'AXi^afiivoc  a«6rrt  ^eov  (Alezamenos  worships  God), 
found  in  the  Psedagogium  on  the  Palatine  (comp.  p.  347).  This  probably 
represents  the  sarcastic  wit  of  an  imperial  page  at  the  expense  of  some 
Christian  companion.  —  The  CabineU  contain  medieeval  and  Oriental  cu- 
riosities forming  part  of  the  original  Kircher  collection. 

The  remaining  rooms  contain  the  Ethnographical  and  Prehiitorie 
Knaetim.  In  the  long  Cobsidob,  which  we  next  enter,  are  objects  from 
the  Polar  Regions  and  from  K.  and  S.  America  (with  explanatory  labels). 

—  Gabinkt  at  the  end  of  the  corridor :  Embroidered  mantle  from  Mexico, 
time  of  Fernando  Cortez.  —  Then,  to  the  right,  are  three  parallel  Cosbidobb, 
devoted  to  Australia,  Polynesia,  India,  Japan,  and  Africa.  •>-  We  now 
tarn  to  the  right  and  enter  the  long  Cobbioob  parallel  to  the  first-men- 
tioned, containing  the  Prehistoric  (Collections.  Objects  of  the  stone  period 
come  first,  followed  by  those  from  lake-dwellings  and  those  of  the  bronze 
age.  Among  the  most  interesting  objects  are  the  cinerarv  urns  in  the 
shape  of  the  primitive  peasants'  huts  (from  Oometo) ;  the  models  of  meg ali- 
thic  monuments  (menhirs  and  dolmens)  from  Terra  d'^Otranto  \  a  model  of 
a  Sardinian  Ifurago^  or  conical  tower  supposed  to  have  been  erected  by 
the  aboriginal  inhabitants  of  Sardinia  as  a  refuge  in  case  of  hostile  attack. 

—  Farther  on  are  American  antiquities,  including  some  rare  Mexican 
masks  with  mosaic  work. 

From  the  section  with  the  model  of  the  Nurago  we  turn  to  the  right 
into  the  room  which  contains  the  *Treasnre  of  Praeneite,  found  at  Pales- 
trina  (p.  383)  in  1877  and  purchased  by  Government.  Next  the  door  is  a 
much  patched  antique  vessel,  ornamented  with  fantastic  figures  of  animals. 
Under  the  windows  are  fragments  of  silver  and  bronze  vessels.  The  chief 
objects  are  exhibited  in  the  Cabinet  in  the  centre:  Ko.  1.  Breast  (or  head) 
decoration,  with  131  lions,  horses,  and  various  fantastic  animals  attached 
to  it  in  rows,  the  details  of  which  are  most  elaborately  executed  in  granu- 
lated work  ^  adjacent  are  two  cylinders  terminating  in  heads  of  animals,  and 
enriched  with  the  Grecian  pattern  in  a  similar  style.  Of  the  several  ad- 
jacent golden  cylinders,  the  finest  is  No.  4,  embellished  with  two  rows  of 
figures  of  animals  and  exquisite  arabesques.  The  small  rod  found  in  the 
cylinder  lies  alongside  of  it.  No.  2.  Golden  fibula ;  26.  Fragments  of  a  silver 
bowl,  with  representations  of  four  boats,  Egyptian  symbols  and  figures,  and 
a  battle-scene  (in  the  centre),  and  inscribed  with  a  Phoenician  name  in  small 
characters  (above  the  wing  of  a  hawk);  25.  Elegant  silver  bowl,  the  in- 
terior adorned  with  a  central  figure  and  two  rows  of  gilded  reliefs  (royal 
hunting-scenes,  horses,  and  birds),  and  terminating  in  a  snake.  23.  Large 
round  silver^gilt  goblet,  with  six  snakes  forming  the  handles  •,  the  bowl 
is  decorated  with  rows  of  figures  of  armed  men , .  wild  beasts ,  and  birds. 
24.  Silver-gilt  bowl ,  the  interior  of  which  is  enriched  with  two  rows  of 
horses,  oxen,  birds,  and  trees ;  it  was  found  adhering  to  an  oxydised  iron 
axe  (No.  89,  in  Case  Y),  which  has  taken  the  impression  of  part  of  It. 
The  two-handled  golden  vessel  (No.  20) ,  the  daggers  numbered  27  and  28, 
and  the  ivory-reliefs,  Nos.  45-49  and  51,  are  also  fine.  In  Ccue  V.  are  the 
largest  objects  of  the  treasure  of  Preeneste :  75.  Fragments  of  a  large  cal- 
dron with  griffins^  heads  as  handles;  72.  Iron  tripod,  with  bronze  bowl, 
the  margin  of  which  is  embellished  with  three  human  figures  and  three 
animals,  in  a  very  primitive  style. 

The  Obsebvatobt,  which  acquired  a  European  reputation  under  Pfadre 
Seeehi  (d.  1878),  is  shown  in  the  forenoon  to  visitors  with  an  introduction. 


158  /.  Strangers*  Quarter.     ROME.  Doria  OaUery. 

In  the  Corso,  beyond  the  Piazza  Sciarra,  on  the  right,  is  the 
Palazao  SimonetU  (No.  307).  Opposite  is  fi,  HaroeUo  (PI.  II,  16),  in 
the  small  piazza  of  that  name,  a  chnich  mentioned  as  early  as  499, 
le-erected  by  Oiaeomo  Sanaovino  in  1519,  and  recently  entirely 
modernised.     The  poor  fa^de  is  by  Carlo  FontarM. 

The  4th  Ghafsl  on  the  right  contains  paintings  by  Perino  del  Vaga^ 
completed  after  his  death  by  Dan.  da  VoUerra  and  Pellegrino  da  Modena^ 
and  the  monament  of  the  celebrated  Card.  Gonsalyi  (d.  1824),  minister  of 
Pius  VII.,  by  Binaldi.  Paintings  in  the  Tbibdnb  by  Giov.  BattUta  da  Novara; 
those  of  the  2in>  Ghapsl  to  the  left  by  Fed.  Zuecaro. 

On  the  right  is  the  small  church  of  8.  Maria  in  Via  Lata,  men- 
tioned as  early  as  the  7th  cent. ,  but  in  its  present  form  dating  from 
the  17th;  facade  by  Pietro  da  Cortona;  from  the  vestibule  a  stair- 
case ascends  to  an  oratory  (built  by  Vignola)  in  -which  St.  Paul  and 
St.  Luke  are  said  to  have  taught.  The  Via  Lata  (called  Via  Flaminia 
outside  the  town ;  p.  336)  was  the  ancient  main  street  of  the  city, 
nearly  corresponding  with  the  present  Oorso.  Below  this  church 
and  the  Palazzo  Doria  lie  extensive  ancient  walls,  which  once 
belonged  to  the  Septa  Julia,  an  edifice  begun  by  Caesar  and  com- 
pleted by  Agrippa,  used  for  taking  the  votes  of  the  national  as- 
sembly, but  converted  into  a  market-place  in  the  reign  of  Tiberius, 
when  this  practice  had  fallen  into  disuse. 

Adjoining  S.  Maria  In  Via  Lata  is  the  *Palauo  Doria,  formerly 
Pamphilj  (PL  II,  16),  an  extensive  pile  of  buildings,  and  one  of  the 
most  magnificent  palaces  in  Bome ;  facade  towards  the  Corso  by  Val- 
vasori,  that  towards  the  Coll.  Romano  by  P.  da  Cortona^  and  another 
towards  the  Piazza  di  Venezia  by  P.-  Amati.  The  handsome  court, 
surrounded  by  arcades,  is  entered  from  the  Corso  (No.  305).  To  the 
left  is  the  approach  to  the  staircase  ascending  to  the  "'Oalleria  Doria 
on  the  1st  floor  (Tues.  and  Frid.,  10-2;  during  the  Easter  fort- 
night, daily;  catalogues  in  each  room;  feey2^^0*  In  winter  the 
galleries  and  other  rooms  are  very  cold.  —  The  Doria  Gallery  re- 
sembles the  other  Roman  collections  in  being  devoted  to  no  parti- 
cular school ,  and  in  possessing  examples  of  every  different  style, 
but  the  founders  have  perhaps  shown  a  preference  for  works  of  the 
17th  century.  The  ante-chambers  are  badly  lighted ,  so  that  the 
pictures  are  not  seen  to  advantage,  but  most  of  the  works  here  are 
hardly  above  mediocrity.  The  visitor  should,  however,  note  the 
predella  of  a  now  lost  altar-piece  by  PeseUi  (II.  Room,  29,  39),  a 
good  specimen  of  early-Florentine  painting,  and  the  Madonnas  of 
Nieeolb  Rondinello  (11.  Room),  a  little  known  master,  who  has  hap- 
pily imitated  the  golden  colouring  of  the  old  Venetians,  and  is  one 
of  Giov.  Bellini's  ablest  followers. 

The  gems  of  the  collection  are  in  the  three  galleries.    Raphael^ 

the  prince  of  cinquecentists,  is  represented  by  the  portraits  of  two 

Venetian  scholars ,  Andrea  Navagero  and  Agostino  Beazzano ;  but 

^heir  authenticity  has  been  questioned ,  and  the  touch  is  certainly 

mewhat  different  from  Raphael's  usual  style,  although  the  vigorous 


Doria  Qallety.  ROME.      /.  Strangers'  Quarter.    159 

tone  and  breadth  of  colouring  may  be  accounted  for  by  Ms  habit  of 
fresco  painting.  Johanna  of  Arragon  is  a  copy  only  (II.  Gallery, 
53),  and  so  too  is  Titian's  Periods  of  Life  (I.  Gall.  20).  Porde- 
none's  Daughter  of  Herodias  (II.  Gall.  40),  and  Lor.  Lotto's  portrait 
of  himself  (II.  Gall.  34) ,  on  the  other  hand ,  are  admirable  Vene- 
tian works.  The  portrait  of  Andrea  Doria  by  Sebastian  del  Piombo 
is  not  Venetian  in  character,  but  is  interesting  from  the  faculty 
displayed  by  the  master  of  imparting  an  air  of  dignity  to  a  for- 
bidding subject.  With  this  work  the  visitor  should  compare  the  por- 
trait of  Pope  Innocent  X.,  by  Velazquez  (I,  Gall. ;  no  number),  and 
the  coldly  aristocratic  portrait  of  Gianettino  Doria  by  A.  Bronzino 
(II.  Gall.  31).  The  colouring  of  the  former  is  strikingly  rich,  com- 
pletely eclipsing  Piombo's  massiyeness  of  style.  The  skilful  manner 
in  which  the  three  shades  of  red  are  blended  should  be  particularly 
noticed. 

Qarofalo  (or  Oriolano ,  to  whom  the  picture  has  recently  been 
ascribed),  though  not  a  master  of  the  highest  rank,  has  produced 
an  admirable  work  in  his  Nativity  of  Christ  (II.  Gall.  61).  The 
landscape-painters  of  the  17th  cent,  are  also  well  represented.  In 
the  landscapes  of  AnnibaleCarraeei  (III.  Gallery)  we  observe  a  con- 
flict between  historic  and  scenic  imagination ,  and  the  obtrusion  of 
the  former  at  the  expense  of  harmony  of  effect.  The  pictures  by 
Salvator  Rosa  (VII.  Boom)  are  not  among  his  best  works,  but  Claude 
Lorrain's  landscapes  (III.  Gall.  5,  13,  24,  34),  are  justly  admired. 
His  ^miir ,  and  the  landscape  with  the  temple  of  Apollo,  may  be 
regarded  as  models  of  ideal  landscape ;  the  effect  is  produced  by 
the  skilful  gradations  of  distance:  the  foreground  is  inclosed  by 
trees  on  both  sides,  the  middle  distance  gently  softened  off ,  and 
the  background  formed  by  mountain  outlines.  —  The  Netherlands 
School  of  the  15th  and  17th  cent,  is  scantily  represented,  but  some 
of  the  pictures,  as  Memling's  Descent  from  the  Cross  (comer-cabi- 
net), and  Lievens'  Sacrifice  of  Isaac  (II.  Gall.  26),  are  worthy  rivals 
of  their  Italian  neighbours. 

I.  Room  :  also  copying-room,  to  which  the  finest  pictures  in  the 
collection  are  frequently  brought.  Antiquities:  in  the  middle,  a  Cen- 
taur in  pletra  dura  and  rosso  antlco  (freely  restored) ;  four  Sarco- 
phagi with  (No.l)  the  hunt  of  Meleager,  (3)  history  of  Marsyas,  (6) 
Diana  and  Endymion,  and  (no  number)  procession  of  Bacchus.  Two 
fine  circular  altars;  2.  Duplicate  of  the  so-called  Diana  of  Gabii 
in  the  Louvre ;  4.  Archaic  statue  of  the  bearded  Dionysus ;  and  a 
number  of  statuettes,  some  of  fine  quality.  Pictures :  21,  22,  24,  25, 
27,  29,  30,  34.  Landscapes  by  O.  Poussin  and  his  followers ;  on  the 
entrance-wall,  Perino  del  Vaga,  Madonna;  between  the  windows 
(no  number),  ** Velazquez j  Pope  Innocent  X.  To  the  left  we  enter 
the  — 

n.  Room.  10.  Franc.  Francia,  Madonna;  *17.  School  ofOuido 
Rent  J  Judith  with  the  head  of  Holof ernes ;  *22.  OuercinOy  John 


160   /.  Stfangfirs'  Quarter.     ROME.  Doria  Gallery . 

the  Baptist  at  the  Jordan ;  23.  Sassoferrato ,  Mater  Dolorosa ;  24. 
BondinellOj  Madonna;  28.  Pisanello^  Sposalizio;  29.  Peselliy  St. 
Sylvester  before  Maximlnas  II. ;  *34.  Fra  Filippo  Lippi ,  Annnn- 
cUtion;  38.  Piaanello,  Nativity  of  the  Virgin;  39.  PeseUi,  Leo  IV. 
exorcising  a  dragon;  *40.  Ouereino,  St.  Agnes  at  the  stake;  *41. 
RoruiinellOj  Virgin  and  Child.  Ascribed  to  Holbein,  42.  Portrait  of 
a  man,  with  a  carnation  and  a  purse,  signed  'at  the  age  of  40,  1545'; 
45.  Portrait  of  a  woman,  signed  'at  the  age  of  36,  1545*.  44.  Nea- 
politan School,  Mary  Magdalene ;  46.  Carlo  Saracenij  Juno  placing 
the  eyes  of  Argus  in  the  peacock's  tail ;  47.  Qiov,  Bellini  (ascribed 
by  Messrs.  Crowe  and  Cavalcaselle  to  Bissolo'),  Presentation  in  the 
Temple ;  55.  School  of  Mantegna,  St.  Anthony ;  96.  (to  the  right 
of  the  entrance)  Marco  Basaiti  (ace.  to  C.  and  C;  not  Perugino"), 
St.  Sebastian.  —  In  the  centre ,  Jacob  wrestling  with  the  angel,  a 
group  in  marble,  of  Bemini*s  school. 

III.  Boom  fclosed). 

IV.  Room  (very  dark).  To  the  right  on  entering:  33.  Cara- 
vaggio,  St.  John;  *17,  31.  P.  BrU,  Landscapes.  Over  the  door: 
1.  Paris  BordonCy  Mars,  Venus,  and  Cupid.  In  the  centre  a 
recumbent  river-god  in  pietra  dura.  On  the  left  wall :  8.  Caravaggio, 
Melon-seller;  in  two  frames,  antique  bronzes  and  other  objects. 
By  the  window  a  bronze  vessel  with  graffiti  in  a  peculiar  style ,  of 
late  origin.  *19,  "^5.  OriAonte,  Landscapes;  32.  Scipio  Pulzone 
(generally  called  Qaetano'),  Betrothal  of  St.  Catharine. 

V.  Room:  13.  0,  Pousain,  Palazzo  Salviati  and  the  Janiculus 
(p.  327);  21.  Beccafumi,  Betrothal  of  St.  Catharine;  22.  Holy 
Family  and  St.  Catharine  (not  by  Titiari);  25.  Quercino,  St.  Joseph ; 
27.  Domenichino,  Landscape;  31.  PouBSin,  Landscape. 

VI.  Room.  Over  the  door:  5.  D.  Ohirlandajo,  Holy  Family; 
15.  Maratta,  Madonna;  ♦9.  Spanish  School,  Portrait  of  a  boy.  To 
the  right  of  the  exit,  39.  School  of  Oiov.  Bellini,  Marriage  of  St. 
Catharine.  —  The  raised  passage-room  contains  several  small  land- 
scapes by  Brueghel,  Orizonte,  and  others. 

VII.  Room:  Salv,  Rosa,  3.  Landscape,  8,  Belisarius;  19.  Maz- 
zolini.  Massacre  of  the  Innocents. 

VIII.  Room  :  J.  A.  Borgognone  and  C.  Maratta,  Capture  of  the 
town  of  Castro  in  1649,  one  of  the  chief  military  exploits  of  Pope 
Innocent  X.;  '17.  Lod,  Carracci,  St.  Sebastian;  opposite,  22.  Lod, 
Carracci,  Holy  Family.  In  the  comer  a  'Head  of  Serapis  in  marble. 

IX.  Room:  Several  interesting  ancient  portrait-heads;  land- 
scapes by  Momper,  Tempesta,  and  Orizonte ;  fruit-pieces  by  Wlccnte. 

X.  Room  :  Subjects  from  still-life. 

We  now  enter  the  galleries.    To  the  left  is  the  — 

I.  Galleby:    2.   Qarofalo,  Holy  Family;   3.  Ann,  Carracci, 

Magdalene;  8.  Quinten  Massys,  Two  male  heads;  9.  Sassoferrato, 

Holy  Family;   11.  J.  Miel,  Madonna;   13.  Padovanir^,  Descent 

from  the  Cross;  14.  Titian,  Portrait  (called  Marco  Polo) ;  15.  A,  del 


J^oria  Oallery,  ROME.     /,  Strangers'  Quarter,   161 

5arto(?),  Holy  Family;  16.  Honthorst,  Lot  and  his  daughten;  20. 
Titianj  The  three  Periods  of  Life,  a  copy  of  the  oilginalln  London ; 
♦25.  CI.  Lorrain ,  Landscape  with  the  flight  to  Egypt ;  ♦26.  OarO' 
falo,  Visitation;  d2,  Saraceni,  Repose  during  the  flight  into  Egypt ; 
36.  Brueghel ,  Creation  of  the  animals ;  37.  Nic»  Poussin ,  Copy  of 
the  Aldobrandine  Nuptials  (p.  321);  49.  P.  Veronese  {f)y  Angel; 
50.  0,  Romano  J  Holy  Family,  after  Raphael;  51.  Dosso  Dossi^ 
Christ  expelling  the  money-changers  from  the  temple.  Opposite, 
at  the  last  window :  5.  School  of  Mantegna^  Bearing  of  the  Cross. 

II.  Gallbbt  (chiefly  remarkable  for  its  admirable  portraits) : 
3.  Oiov,  Bellini  (or  Rondinello},  Madonna ;  '6.  Fr,  Franeia ,  Ma- 
donna; 11.  Pordenone,  Portrait;  13.  Maxzolini,  Christ  in  the 
Temple;  14.  (not  Titian'),  Portrait;  15.  Lor.  Lotto,  St.  Jerome; 
no  number,  Quinten  Massys,  Money-changers  disputing;  19.  Ru- 
bens, Portrait;  21.  0.  Saraeeni,  Repentant  Magdalene ;  22.  Van 
Dyek  (?),  Portrait ;  25, 32,  60,  67.  Brueghel,  The  four  elements ;  26. 
Jan  LievenSj  Sacrifice  of  Isaac;  30.  Rembrandt,  Faun;  ♦SI.  Angela 
Bronzino,  Gianettino  Doria;  ♦34.  Lor.  Lotto,  Portrait  of  a  bearded 
man;  no  number,  ♦♦iSe&cutiancJe^Piom&o,  Portrait  of  Andrea  Doria; 
beneath,  bust  of  Doria;  ^40.  Qiov.  Ant.  Pordenone,  Daughter  of 
Herodias  with  the  head  of  the  Baptist,  a  model  of  female  rigour  and 
dignity ;  49.  Rubens^  Portrait  of  his  confessor  (an  early  work) ;  52. 
Titian,  Portrait ;  53.  After  Raphael,  Johanna  of  Arragon,  Nether- 
landish copy;  54.  Portrait  of  a  poet  (not  by  Titian') ;  *Qi.  Qarofalo 
(Ortolano  ?),  Nativity ;  65.  Old  copy  of  Qiorgiones  Concert  (in  the 
Pittl  Gallery);  ^69.  Correggio,  Allegorical  representation  of  Virtue, 
unfinished  dead-colouring  in  tempera;  78.  Morone,  Portrait;  no 
number,  ** Raphael,  NaTagero  andBeazzano;  77.  Titian  and  his 
wife  (according  to  C.  &  C. ,  by  Sofonisba  Anguissold).  —  The  ad- 
jacent room  (generally  closed)  contains  works  by  unknown  masters 
of  the  16th  century.  At  the  end  of  the  gallery  is  a  portrait-bust 
of  Donna  Olimpia  Maidalchini-Pamflli,  by  Algardi. 

III.  Gallbrt:  3,  8,  30,  35.  An.  Carracci,  Landscapes  with 
historical  accessories ;  5.  Claude  liorrain.  Landscape  with  Mercury's 
theft  of  the  cattle;  ♦!!.  Bronaino,  Portrait  of  Macchiavelli;  ♦IS. 
CI,  Lorrain,  Mill ;  A.  Carracei,  14.  Salutation,  15.  Nativity ;  Qerh. 
van  der  Metre,  18.  Madonna,  22.  Hermit;  19.  A.  Carracei,  Pietk; 
♦24.  CI.  Lorrain ,  Landscape  with  temple  of  Apollo ;  25.  B.  Schi- 
done.  Angel  healing  St.  Rochus;  26.  Mazzola,  Portrait;  27.  Oior- 
gione{i).  Portrait ;  28.  P.  Veronese,  Portrait ;  31. Pra Bartolommeo  (?), 
Holy  Family ;  32.  Dosso  Dossi ,  Vanuozza ,  mother  of  CsBsar  and 
Lucrezia  Borgia  (?) ;  34.  CI.  Lorrain,  Landscape  with  Diana  hunting. 

Adjacent  is  a  small  Cobner-Cabutbt  :  *Memling,  Entombment ; 
Basaiti,  Holy  Family ;  Mostaert,  Girl  reading ;  Rubens,  Lady  with 
a  glove;  Teniers,  Rustic  festival. 

IV.  Gallbry  :  Roman  sculptures  of  little  importance. 

Babdkkbr.    Italy  II.    10th  Edition.  11 


162  /.  Strangers'  Quarter.     ROME.  S,  Marco, 

Opposite  the  Palazzo  Dona  rises  the  new  Palazzo  Odeiccdehi 
(comp.  p.  166),  erected  in  1887-88  in  the  Florentine  style.  Ad- 
jacent is  the  Pal.  Salviati,  built  hy  Rinaldi  and  oocnpied  from  1725 
to  1800  by  the  French  Academy  of  Art  (p.  149). 

On  the  S.  the  Corso  is  terminated  by  the  Piazza  »i  Vbnbzta 
(PI.  II,  16,  19;  48  ft.  above  the  sea-level),  to  the  right  in  which,  at 
the  corner,  rises-the  Pal.  Bonaparte^  formerly  Einuecmi  (PI.  II,  16  j  6), 
erected  by  De  Rossi,  where  Madame  LaBtitia,  mother  of  Napoleon  I., 
died  on  2nd  Feb.,  1836.  TKe  piazza  is  named  after  the  imposing 
*Palaxzo  di  Venezia,  bnilt  (1455)  in  the  Florentine  style,  in  which 
the  effect  is  produced  by  massivenesB  (p.  xlix).  The  building  was 
formerly  attributed  to  Qiuliano  da  MajanOj  but  existing  documents 
record  that  it  was  erected  by  Francesco  del  Borgo  di  8.  Sepolcro  for 
Pope  Paul  II.  (1455).  To  what  extent  Bernardo  di  Lorenzo  partici- 
pated in  the  work  is  uncertain.  The  palace  was  presented  in  1560  by 
Pius  IV.  to  the  Republic  of  Venice,  with  which  it  subsequently  came 
into  the  possession  of  Austria,  and  it  is  still  the  residence  of  the 
Austrian  ambassador,  as  before  the  cession  of  Venetia.  The  large 
court  with  arcades  is  little  more  than  begun ;  and  so  also  is  a  second 
and  smaller  court  to  the  left  of  the  other.  Many  of  the  stones  of 
this  building  are  said  to  have  been  obtained  from  the  Colosseum. 

Opposite  the  side-entrance  of  the  Pal.  di  Venezia  is  the  Falaszo 
Torlonia  (PI.  II,  19,  1),  formerly  Bolognetti,  erected  about  1650  by 
C.  Fontana ,  occupying  the  block  as  far  as  the  Piazza  SS.  Apostoli, 
and  the  property  of  the  late  banker  Prince  Torlonia,  Duke  of  Bracciano 
(d.  1886).  It  is  lavishly  decorated,  and  contains  numerous 
works  of  art,  but  is  not  shown  to  the  public.  Permessi  for  the  Villa 
Albani  (comp.  p.  122)  are  procured  on  the  ground-floor,  to  the  left. 
—  The  N.  corner  of  the  palace  has  been  removed  to  make  way  for 
the  Via  Nazionale  (see  p.  169),  which  is  continued  towards  the  W. 
by  the  Corso  Vittorio  Emanuele  (pp.  197  et  seq.). 

From  the  Piazza  Venezia  we  proceed  straight  through  the  narrow 
RipRESA  DBi  Babbebi,  SO  named  because  the  'Barbary'  horses  used 
in  the  races  of  the  Carnival  were  stopped  here.  The  first  cross-street 
to  the  left  leads  to  Trajan's  Forum  (p.  240). 

To  the  right  the  Via  8.  Marco  leads  to  the  Piazza  di  San  Mabco 
(PI.  II,  16),  laid  out  in  promenades.  Here,  on  the  right,  lies  — 

S.  MarcOy  incorporated  with  the  Pal.  di  Venezia.  This  church  is 
very  ancient,  being  supposed  to  dale  from  the  time  of  Constantino. 
It  was  re-erected  in  833  by  Gregory  IV. ,  and  adorned  in  1455  by 
Qiuliano  da  Majano  (?  Domenico  di  Francesco')  with  a  fine  vestibule 
and  probably  with  the  coffered  ceiling  of  the  nave.  The  interior, 
dating  from  the  17th  cent.,  was  modernised  by  Card.  Quirini  in 
1744.    Festival  on  25th  April. 

Vestibule.  Roman  and  ancient  Christian  inscriptions,  built  into  the 
walls.  St.  Mark  in  relief,  above  the  handsome  inner  principal  portal.  The 
Interior  is  approached  by  a  descent  of  several  steps.  With  the  exception 
of  the  tribune  and  the  beautiful  ceiling,  all  the  older  parts  have  been 


Pal,  Colorma.  ROME.     /.  Strangers'  Quarter,    163 

dlatigaxed  by  restorations.  The  TiUBDint,  with  its  handsome  pareinent 
(opus  Alexandrinum),  lies  a  few  steps  higher  than  the  rest  of  the  church. 
The  mosaics  (in  the  centre  Christ;  left,  the  saints  Hark,  Agapetus,  and  Agnes ; 
right,  Felicianus  and  Mark  escorting  Gregory  IV.)  date  from  the  most  de- 
graded period  oi  this  art  (abont  833)  and  have  been  justly  described  as 
*  utter  caricatures'.  In  the  Biqht  Aislb,  1st  Chapel:  altar-piece  by  Palma 
Giovaney  the  Resurrection.  3rd  Chap. :  Adoration  of  the  Magi,  Maratta.  At 
the  end,  adjoining  the  tribune:  *Pope  Mark,  an  admirable  old  picture,  per* 
haps  by  Carlo  OrwelH,  In  the  Lift  Aislb  ,  2nd  Chap. :  altar-relief,  Greg. 
Barbadigo  distributing  alms,  by  Ant.  d^Este.    4th  Chap. :  St.  Michael,  Mola, 

In  the  Piazza,  in  front  of  the  church,  is  the  so-called  Madonna 
LucrtziOj  the  mutilated  marble  bast  of  a  colossal  female  statue 
(priestess  of  Isis)  which  carried  on  conversations  with  the  Abbate 
Luigl  near  the  Pal.  Yidonl  (p.  198;  no  longer  extant),  similar  to 
those  of  Pasqnin  with  the  Marforio  (comp,  p.  201). 

The  Via  di  S.  Marco  terminates  in  the  Via  Aracali,  which  to 
the  left  leads  to  the  Piazza  Aracceli  (p.  209)  and  the  Capitol,  and 
to  the  right  to  the  Piazza  del  Gest  (p.  197). 

In  the  prolongation  of  the  Ripresa  de'  Barberi,  beyond  the  Via 
S.  Marco,  a  whole  block  has  recently  been  levelled  to  afford  an  un- 
impeded view  of  the  large  Monument  of  Victor  Emmanuel  (p.  210) 
and  to  make  room  for  its  substructure.  —  To  the  left  diverges  the 
Via  di  Marforio  (PI.  II,  19,  20),  leading  to  the  Forum.  The  name 
is  derived  from  Forum  Martis  (or  Forum  of  Augustus).  The  famous 
statue  of  Marforio  which  once  stood  in  this  street,  opposite  the  Career 
Mamertinus ,  is  now  in  the  Capltollne  Museum  (p,  216).  At  the 
heginning  of  this  street,  to  the  left,  is  the  Tomb  of  Caius  Poblicius 
Bibulus  (PI.  I,  19,  2;  now  entirely  built  over),  to  whom  the  ground 
was  granted  by  the  Senate  as  a  burial-place  for  himself  and  his  family 
in  recognition  of  his  merits  ('honoris  virtutisque  causa',  as  the  in- 
scription records)  towards  the  end  of  the  republic.  This  point  must 
therefore  have  lain  outside  the  walls  of  Servius,  which  ran  im- 
mediately below  the  Capitol ,  interments  within  their  limits  having 
been  prohibited.  —  At  the  end  of  the  Via  di  Marforio,  to  the  right, 
are  the  church  of  8,  Giuseppe  de'  Falegnami  (Career  Mamertinus; 
p.  237)  and  the  Forum  Eomanum  (p.  222). 

To  the  E.  of  the  Piazza  di  Venezia,  at  the  bend  of  the  Via  Na- 
zionale  (p.  169),  between  the  piazza  in  front  of  the  SS.  Apostoli 
(p.  165)  and  the  Via  della  Pilotta  (p.  152),  rises  the  extensive 
Palaxzo  Colonna  (PI.  n,  19),  begun  by  Martin  V.,  and  after- 
wards much  extended  and  altered.  It  is  now  in  great  part  occupied 
by  the  French  ambassador,  and  a  number  of  rooms  on  the  ground- 
floor,  with  interesting  frescoes,  are  therefore  closed.  The  *Oalleiia 
Colonna  on  the  llrst  floor  (adm.,  see  p.  123;  1/2  fr-  0^  leaving)  is 
entered  from  the  Via  della  Pilotta,  No.  17. 

I.  Room.  From  right  to  left.  Tintoretto,  Narcissus j  Moroni, 
Portrait;  ^Pietro  Novelli,  Marcantonio  Colonna;  Muziano  (of  Bres- 
cia, an  imitator  of  Michael  Angelo),  Vittoria  Colonna,  the  friend  of 
Michael  Angelo;  Lor,  Lotto,  Card.  Pompeo  Colonna  (?),  a  genuine, 

11* 


164   I.  strangers'  QuarUr,     ROME.  Pal  Colonna, 

but  mncli  damaged  work ;  Qiorgione  (?),  Giaoomo  Sciarra  ColoDna ; 
Pourbus,  Franc.  Oolonna;  Tintoretto^  Angels  in  glory  witli  fon- 
busts;  Moretto  da  Brescia  (?),  Portrait;  Ag.  Carracci,  Pompeo  Co- 
lonna ;  Hieron.  Bosch  (not  Cranach),  Temptation  of  St.  Anthony; 
Van  Dyckf  Lucrezia  Colonna ;  Dom.  Ohirlandajo  (?),  Reconciliation 
between  the  Romans  and  Sabines ;  *Bonifacio  (not  Titian),  Madonna 
with  saints ;  *Pietro  Novelli ,  Isabella  Colonna  and  her  infant  son 
Lorenzo  Onofrio,  a  good  work,  deserving  notice  apart  from  the  rarity 
of  the  master;  Dom.  Ohirlandajo  (or,  according  to  C.  «feC.,  Cosimo 
Rosselli),  Rape  of  the  Sabine  women ;  *Palma  Vecchio,  Madonna 
with  St.  Peter  and  the  donor,  the  effect  of  the  group  being  taste- 
fully enhanced  by  a  background  of  bushes.  In  the  centre  a  Renais- 
sance column  of  red  marble  with  scenes  from  a  campaign  in  relief. 
A  staircase,  on  which  is  placed  a  cannon-ball  flred  into  the  city 
during  the  bombardment  of  1849,  descends  to  the  — 

II.  Gallbbt,  with  ceiling -paintings  by  Coli  and  Gfherardi 
(Battle  of  Lepanto,  8th  Oct.  1571,  which  Marcantonio  Oolonna  at 
the  head  of  the  papal  fleet  assisted  in  gaining).  On  the  walls 
mirrors  painted  with  flowers  (by  Mario  de^  Fiori)  and  genii  (by  C, 
Marattcb).  The  statues  here  are  of  no  great  value,  most  of  them  mod- 
ernised. Reliefs  built  into  the  wall  under  the  windows  (left): 
Head  of  Pallas ;  Wounded  man,  borne  away  by  his  friends ;  Selene 
in  the  chariot  (arehaistic  style).  Right  wall :  *Ruhen8j  Assumption 
of  the  Virgin ;  *8u8termam^  Fed.  Oolonna ;  Crist,  Allorij  Christ  in 
Hades;  Salviati,  Adam  and  Eve;  *Van  Dyck,  Don  Carlo  Colonna, 
equestrian  portrait ;  Quercino,  Martyrdom  of  St.  Emmerentia ;  8. 
GaetanOj  Family  group  of  the  Colonnas  (1581).  Left  wall :  Tin- 
toretto J  Double  portrait ;  N,  Poussin ,  Pastoral  scene ;  Niccoll) 
AlunnOj  Madonna  rescuing  a  child  from  a  demon. 

III.  Room.  The  great  attraction  here  consists  of  eleven  water- 
colour  *Landscapes  by  Oaspard  Poussin,  which  are  among  his  finest 
works  and  the  most  valuable  in  this  gallery.  Some  of  them  are  un- 
favourably hung,  but  every  one  of  them  will  repay  careful  inspection. 
They  represent  a  mountain-road  close  to  a  profound  ravine,  a  bleak 
plain  lashed  by  a  storm,  a  calm  lake  enclosed  by  majestic  trees, 
a  riven  rocky  landscape  with  waterfall,  and  various  other  subjects. 
Notwithstanding  the  simplicity  and  uniformity  of  the  materials 
used,  these  works  will  not  fail  to  interest  by  the  excellence  of  the 
composition  and  drawing.  —  "Window-wall :  Berchem^  Huntsman ; 
Claude  Lorrain  (?),  Landscape ;  Wouverman(?),  Chase  and  cavalry- 
skirmish  ;  I\r.  Poussin ,  Metamorphosis  of  Daphne ;  a  large  cabinet 
with  ivory  carving  by  Franc,  and  Dom*  Steinhard  (in  the  centre, 
the  Last  Judgment,  after  Michael  Angelo).  Opposite  (exit-wall).: 
Cahaletto,  Architectural  piece;  Crescenzo  d^ Onofrio,  Landscape. 

IV.  Room.  Ceiling-painting  by  Battoni  and  Imti  (In  honour  of 
Martin  V.).  Entrance-wall:  P.  Veronese,  Portrait  of  a  man;  Hol- 
bein (?) ,  Lor.  Oolonna ;   over  the  door ,  Bordone  (not  Bonifacio'), 


88.  Apottoli,  ROME.     /.  8ifangen'  QuarUr,   165 

Holy  Family.  Right  wall:  Albano,  Rape  of  Enropa;  *8pagna,  St. 
Jerome;  Domtnieo  Puligo,  Madonna;  Ann.  CarroMi^  Bean-eater; 
ParU  BordonCj  Madonna  with  saints.  Exit- wall :  Oiov.  Bellini j 
St.  Bemhard;  Oirolamo  Trevisani,  Poggio  Bracciolini;  Bron»inOf 
Holy  Family ;  *Titian,  Onnphrius  Panyinins,  an  admirable  study  of 
the  master's  best  period  (name  arbitrary).  Window-wall :  F.  Mola, 
Gain  and  Abel ;  80990 ftrrato,  Madonna ;  Quido  jBeni,  St.  Agnes 

y.  Room.    Throne-room,  with  handsome  old  carpet. 

YI.  Room.  Entrance-wall :  ParmeggianinOy  Holy  Family ;  Innoc. 
da  Jmola,  Same  subject;  two  *Madonnas surrounded  by  smaller  cir- 
cular pictures,  erroneously  attributed  to  Van  Eyck^  but  by  a  later 
Dutch  master ,  interesting  on  account  of  their  elaborate  miniature- 
like  execution.  Right  wall :  Fr,  AlbanOy  Two  landscapes ;  OcntiU 
da  Fabriano  (or,  according  to  G.  &  C,  8iefano  da  Ztvio)^  Madonna ; 
^Qiulio  Romano  f  Madonna  (comp.  p.  Lvn);  Jacopo  d'AvansOj 
Gruciflxion;  Oiov,  8anti  (father  of  Raphael),  Portrait;  Luini^ 
Madonna  (much  damaged).  Exit- wall :  Fra.  Fil,  Lippi  (?),  Madonna ; 
Luca  Longhiy  Same  subject ;  8,  Bottieellij  Same  subject. 

The  beautiful  Garden^  on  the  £.  side  of  the  Via  della  Pilotta 
(entered  by  Via  del  Quirinale  12;  comp.  p.  176),  contains  several 
antiquities,  fragments  of  a  colossal  architrave,  said  to  have  belonged 
to  Aurelian's  temple  of  the  sun,  and  considerable  portions  of  the 
brick-walls  of  the  Thermae  of  Conatantine  (?),  which  formerly  ex- 
tended over  the  entire  Piazza  di  Monte  Gavallo  (p.  173).  The  terrace 
commands  a  good  survey  of  the  city. 

On  the  N.  the  Pal.  Golonna  is  adjoined  by  the  church  and  con- 
vent of  the  SS.  Apostoli,  the  latter  now  containing  the  offices  of 
the  Ministry  of  War, 

.The  church  of  *SS.  ApMtoU  (PI.  H,  19),  facing  the  piazza  of 
the  same  name,  was  founded  by  Pelagius  I.  in  honour  of  SS.  Philip 
and  James ,  re-erected  under  Glement  XI.  in  1702 ,  and  restored 
after  a  fire  in  1871.  The  vestibule  by  Baccio  PinteUi  (?),  the  only 
part  of  the  building  earlier  than  170^,  contains  (on  the  left)  the 
monument  of  the  engraver  Giov.  Yolpato  by  Canova  (1807),  and  (on 
the  right)  an  ancient  *Eagle  with  chaplet  of  oak-leaves,  from  Tra- 
jan's Forum.    Chief  festival  on  1st  May. 

IMTEBIOB.  Right  Aisle,  3rd  Chapel:  St.  Anthony  by  Luti,  In  the  Left 
Aisle ,  2nd  Chapel :  Descent  from  the  Cross  by  Franc.  Manno.  At  the  end, 
to  the  left,  over  the  entrance  into  the  sacristy :  *Honament  of  Clement  XIV. 
by  Ccmova^  on  the  pedestal  Charity  and  Temperance.  In  the  tribune,  with 
altar-piece  by  Muratori  (said  to  be  the  largest  in  Eome),  are  the  monu- 
ments erected  by  Sixtus  IV.  to  his  two  nephews,  the  Cardinals  Biario, 
that  of  Pietro  (d.  1474)  on  the  left,  and  that  of  Alexander  behind  the 
altar ,  and  partly  concealed  by  the  organ.  On  the  yaulted  ceiling  of  the 
tribune,  Fall  of  the  Angels,  a  fresco  by  Oiov.  Odassi,  in  the  rococo  style, 
but  of  striking  effect.  Tlie  older  church  was  decorated  by  Mtlotzo  da  Forli. 
a  fine  fragment  of  whose  frescoes  is  now  in  the  Quirinal  (p.  1TB),  and 
othera  are  in  the  sacristy  of  St.  Peter's  (p.  284). 

The  passage  in  the  monastery  adjacent  to  the  church  contains  a  monu- 
ment to  Michael  Angelo,  who  lived  and  died  in  the  parish  of  SS.  Apostoli, 
and  the  tomb  of  Card*  BeMoHon  (d.  1472). 


166  //.  Eattem  Quarter.       ROME.  Railway  Station. 

Opposite  the  front  of  the  SS.  Apostolils  the  old  Pak  Odescalchi, 
built  by  Bernini.  

11.    The  Eastern  Quarter. 
Qoirinal.  Viminal.  Esquiliiie. 

On  the  Quirinal  at  a  very  early  period  lay  a  Sabine  town,  the 
union  of  which  with  that  on  the  Palatine  formed  the  city  of  Rome. 
The  Servian  Wall  (p.  130)  ran  from  the  Capitol  along  the  N.  W.  side 
of  the  Quirinal,  and  then  to  the  E.  behind  the  Baths  of  Diocletian 
and  the  church  of  S.  Maria  Maggiore,  enclosing  the  Quirinal,  Viminal, 
and  a  part  of  the  Esquiline.  According  to  the  new  division  of  the 
city  by  Augustus,  this  quarter  comprised  two  districts,  the  Alta 
Semita  (Quirinal)  and  the  ^Jxquiliae  (Esquiline).  The  building  of 
Aurelian*8  wall  shows  that  this  quarter  was  afterwards  extended. 
According  to  the  mediaeval  division  these  districts  formed  a  single 
region  only,  named  the  Rione  Monti,  the  most  spacious  of  the  four- 
teen quarters  in  the  city,  as  it  extended  from  the  Porta  Pia  to  the 
now  closed  Porta  Metro  via,  below  the  Lateran,  and  to  the  Forum 
Romanum.  Its  inhabitants,  called  Montigiani,  differ,  like  those  of 
Trastevere,  in  some  of  their  characteristics  from  the  other  Romans. 
Pius  IV.  constructed  the  long  main  street  from  the  Piazza  del 
Quirinale  to  the  Porta  Pia  (Via  del  Quirinale  and  Via  Venti  8et- 
tenibre).  The  second  main  street,  intersecting  this  one  and  leading 
from  the  Pincio  to  S.  Maria  Maggiore  (Via  Sistirui  and  Via  Quattro 
Fontane),  was  made  by  Sixtus  V.,  who  also  provided  the  hill  with 
water.  With  the  exception  of  these  inhabited  quarters  almost  the 
entire  E.  part  of  Rome  was  until  lately  occupied  by  vineyards  and 
gardens.  But  the  selection  of  the  city  as  the  capital  of  the  kingdom 
of  Italy  gave  a  strong  impulse  to  its  extension,  and  a  new  quarter 
has  sprung  up  here  near  the  station,  which  already  rivals  the  older 
districts  in  business  activity  and  prosperity.  The  main  artery  of 
traffic  here  is  the  Via  Nazionale,  which  runs  from  the  Piazza  delle 
Terme  along  the  ridge  of  the  Quirinal  to  the  Piazza  Venezia ,  a 
distance  of  nearly  a  mile.  Beyond  the  Piazza  Yenezia  it  is  continued 
by  the  Corso  Vittorio  Emanuele  (p.  197). 

On  the  E.  side  of  the  Piazza  dbllb  Terme  (PI.  I,  25)  is  the 
handsome  Sailway  Station,  constructed  by  Miri^re  and  BiancM 
in  1872.  Opposite  the  arrival-platform  begins  the  wide  Via  Cavour, 
leading  to  the  Piazza  dell'  Esquilino  and  the  Forum  (see  p.  176). 
The  main  front  of  the  station  faces  the  Thermae  of  Diocletian.  The 
open  space  here,  now  called  the  ^Piazza  del  Cinque  Cento',  is 
embellished  with  a  Monument  to  the  500  Italian  soldiers  who  were 
surprised  and  slain  at  Dogali  by  the  Abyssinians  in  1886.  A  small 
obelisk  found  at  the  church  of  S.  Maria  sopra  Minerva  in  1882  has 
been  incorporated  in  this  monument.  Adjacent  is  a  copious  fountain, 
"-^d  by  the  Acqua  Marcia,  which  has  been  recently  restored.   In 

evening  the  piazza  is  lighted  by  electricity. 


8,  Maria  degli  Angeli.         ROME.       II,  Eastern  Quarter.    167 

The  TheniUB  of  Siocletiaii  (PL  I,  25),  which  give  name  to  the 
piazza,  were  the  most  extensive  thermae  in  Rome,  and  were  construct- 
ed by  Maxlmian  and  Diocletian  at  the  beginning  of  the  4th  century. 
The  principal  building  was  enclosed  by  a  wall,  the  outline  of  the 
round  central  portion  ('exedra')  of  which,  Is  preserved  by  the  new 
houses  at  the  beginning  of  the  Via  Nazlonale  (p.  169).  The  corners 
of  the  main  building  were  occupied  by  two  circular  structures,  one 
of  which  is  now  the  church  of  S.  Bernardo  (p.  169),  and  the  other 
belongs  to  a  prison.  The  circumference  of  the  baths  is  said  to  have 
been  about  2000  yds.,  or  half  as  much  as  that  of  the  Baths  of  Oara- 
calla  (p.  255),  and  the  number  of  daily  bathers  3000.  The  front 
faced  the  £.,  and  the  circular  part,  mentioned  above,  was  at  the 
back.  Tradition  ascribes  the  execution  of  the  work  to  condemned 
Christians,  in  memory  of  whom  a  church,  no  longer  existing,  was 
erected  here  as  early  as  the  5th  century. 

Pius  IV.  entrusted  Michael  Angelo  with  the  task  of  converting 
part  of  the  Therms  into  a  Carthusian  Convent.  A  large  vaulted 
hall  was  accordingly  converted  into  the  church  of  ""S.  Maria  degli 
Angeli  (PI.  I,  25),  which  was  consecrated  in  1561.  The  present 
transept  was  then  the  nave ,  the  principal  portal  was  in  the  narrow 
end  on  the  right,  and  the  high-altar  placed  on  the  left.  In  1749  Van- 
vitelli  entirely  disfigured  the  church  by  converting  the  nave  into  the 
transept,  blocking  up  the  portal,  and  other  injudicious  alterations. 

A  small  RoTimDA  is  first  entered.  The  first  tomb  on  the  right  is  that  of 
the  painter  Carlo  Maratta  (d.  1713).  The  first  tomb  on  the  left  is  that  of 
Salvator  Rosa  (d.  1673).  In  the  Chapel ,  Christ  appearing  to  Mary  Magda- 
lene, an  altar-piece  by  Arrigo  Fiamingo. 

We  next  enter  the  great  Tkamsbpv.  The  niche  on  the  right  in  the  passage 
contains  a  colossal  statue  of  St.  Bruno,  by  Houdan;  in  the  chapel  on  the  left, 
the  *DeUvery  of  the  Keys,  an  altar-piece  by  Muziano.  The  transept  (formerly 
the  nave)  is  100  yds.  long,  29  yds.  wide,  and  90  ft.  high.  Of  the  l6  columns, 
each  40  ft.  in  height ,  eight  are  antique ,  of  oriental  granite ,  which  were 
barbarously  painted  by  Vanvitelli,  and  the  others  were  disengaged  from 
the  brick  wall  when  the  church  was  restored.  —  Most  of  the  large 
pictures  here  and  in  the  tribune  were  brought  from  St.  Peter's,  where  they 
were  replaced  by  copies  in  mosaic.  In  the  right  half  (on  the  pavement  the  me- 
ridian of  Borne,  laid  down  in  1703):  on  the  right,  Crucifixion  of  St.  Peter  by 
Ricdolini;  Fall  of  Simon  Magus,  after  F,  Fann*  (original  in  St.  Peter's);  on 
the  left,  *St.  Jerome  among  the  hermits,  Muziano  (landscape  by  BriT)  \  Miracles 
of  St.  Peter,  Baglioni.  At  the  narrow  end:  chapel  of  B.  Niccold  Albergati. 
In  the  left  half:  on  the  left,  Mass  of  St.  Baail  with  the  Emperor  Yalens, 
Subltyra*;  Fall  of  Simon  Magus,  Pomp.  Baiioni;  on  the  right,  Immaculate 
Conception,  P.  Bianchi;  Resuscitation  of  Tabitha,  P.  Costanzi.  At  the  nar- 
row end :  chapel  of  St.  Bruno. 

In  the  TsiBCMB  (one  of  the  monks  acts  as  guide  here,  Va  ^•)\  right, 
BomanelU,  Mary's  first  visit  to  the  Temple ;  "DomenichinOy  Martyrdom  of  St. 
Sebastian  (fresco) ;  left,  PomaraneiOj  Death  of  Ananias  and  Sapphira  \  Ma- 
ratta y  Baptism  of  Christ.  The  choir  contains  two  monuments  (L  Pius  IV., 
r.  Ant.  Serbelloni),  designed  by  Michael  Angelo. 

The  remaining  buildings  are  still  partly  occupied  by  the  Carthus- 
ians and  partly  by  various  charitable  and  educational  institutions. 
A  good  view  is  afforded  by  the  roof  of  the  chnreh,  to  which  visitors 
may  ascend  with  the  permission  of  the  Prior. 


168   II,  Eastern  Quarter,      ROME.  Museo  d.  Terme, 

Passing  through  the  arch  with  a  cross,  to  the  right  of  the  church, 
and  then  through  the  door  to  the  left  in  the  court,  with  the  inscrip- 
tion 'Ospedale  Margherita  per  i  Poveri  Oiechi',  we  reach  the  new 
•MxjBBo  DBLLE  Tebme,  which  occupies  several  small  rooms  detached 
from  the  convent-court  and  part  of  the  cloisters  (adm.,  see  p.  124}. 

The  following  are  among  tbe  chief  treasures  of  this  collection.  ^Female 
figure ,  a  replica  of  the  Barberini  Juno  (p.  309) ,  found  in  1878  on  the 
Palatine  (admirable  in  the  treatment  of  the  drapery,  but  inferior  in 
general  eflfect  to  other  reproductions  of  the  same  type).  —  *Youthful  Faun, 
with  deer-skin,  from  Hadrian's  Villa.  —  *Nude  bronze  figure  of  a  youth 
leaning  on  a  stajQf,  with  portrait- features  pointing  to  the  Hellenic  epoch 
(found,  like  the  following,  in  building  the  new  theatre  in  the  Via  Kazionale). 
—  **Bronze  figure  of  a  pugilist,  evidently  represented  as  conversing  with 
a  comrade  or  an  umpire.  The  realism  of  this  repulsive  figure,  extending 
to  the  marks  of  injury  received  in  fighting,  is  masterly  in  execution.  — 
*Bacchus,  a  youthful  figure  in  bronze,  with  inlaid  silver  ornamentation, 
found  in  the  Tiber  in  sinking  the  foundations  of  the  Ponte  Garibaldi.  — 
Sleeping  Hermaphrodite,  fou^  in  building  the  Teatro  Gostanzi.  —  *Mural 
paintings  and  stucco  ornamentation,  from  the  house  of  a  Roman  citizen, 
found  in  the  Tiber  works  at  the  garden  of  the  Villa  Fames'ina  (p.  323). 

The  central  court,  laid  out  as  a  garden,  contains  the  larger  sculptures 
and  architectural  fragments.  The  large  cypresses  here,  said  to  have  been 
planted  by  Michael  Angelo,  were  blown  down  in  1888. 

Adjoining  the  Piazza  delle  Terme  is  the  Piaxza  S.  Bernardo,  with 
the  FoNTANONB  dbll'  AcauA  Felice  (PI.  1, 22),  erected  by  Domen- 
ico  Fontana  under  Sixtus  V.  The  badly-executed  copy  of  the  Moses 
of  Michael  Angelo  is  by  Proapero  Bresciano,  who  is  said  to  have  died 
of  vexation  on  account  of  his  failure ;  at  the  sides  Aaron  and  Gideon 
by  Oiov.  Batt.  della  Porta  and  Flam.  Vacca;  in  front  four  modern 
lions  (originals  in  the  Vatican).  The  Acqua  Felice  was  conducted 
hither  in  1583  from  Colonna  in  the  Alban  Mts.,  a  distance  of  13  M., 
by  order  of  Sixtus  V.  (Felice  Peretti). 

The  Via  Vbnti  Sbttbmbeb  ,  the  name  of  which  refers  to  the 
entry  of  the  Italians  in  1870,  unites  the  Porta  Pia  (p.  341)  with  the 
Quirinal ,  ending  at  the  four  fountains  of  the  Via  Quattro  Fontane 
(p.  170).  In  this  street ,  opposite  the  Acqua  Felice ,  stands  the 
church  of  S.  Makia  della  Vittoria  (PI.  I,  23),  so  called  from  an 
image  of  the  Virgin  which  is  said  to  have  been  instrumental  in 
gaining  the  victory  for  the  imperial  troops  at  the  battle  of  the  'White 
Hiir  near  Prague,  afterwards  deposited  here,  but  burned  in  1833.  The 
church,  with  the  exception  of  the  facade,  was  erected  by  C.  Madema, 

In  the  2nd  Chapel  on  the  right,  an  altar-piece  (Mary  giving  the  Infant 
Christ  to  St.  Francis)  and  frescoes  by  Domeniehino.  In  the  left  transept  the 
notorious  group  of  St.  Theresa  by  Bernini  (covered-,  6  s.).  In  the  3rd  Chapel  on 
the  left,  the  Trinity  by  Guercino^  and  a  Crucifixion  attributed  to  Cfuido  Reni, 

In  the  Via  Venti  Settembre,  to  the  right ,  nearer  the  Porta  Pia, 
is  the  Finance  Office  (PI.  I,  26),  built  by  Canevari. 

A  little  to  the  S.  W.  of  S.  Maria  della  Vittoria,  also  in  the  Piazza 

S.  Bernardo,  is  the  ancient  church  of  S.  Susanna  (PL  I,  22,  23), 

altered  to  its  present  form  in  1600  by  C.  Madema,  Paintings  on  the 

lateral  walls  from  the  history  of  Susanna,  by  Baldassare  Croce ;  those 

♦he  tribune  by  Cesare  Nebbia.  —  Opposite,  and  standing  a  Uttle 


ViaNatkmale.  ROME.      JJ.  Ea$tem  QuaHer.    169 

baek,  is  the  church  of  S.  Bbbnabdo  (PI.  I,  22),  «  circular  edifice, 
originally  one  of  the  corners  of  the  Thermie  of  Diocletian  (p.  167), 
and  converted  into  a  church  at  the  end  of  the  16th  century.  The  vault- 
ing is  ancient,  but  like  the  Pantheon  was  once  open.  —  The  Via 
Torino  leads  hence  to  the  Via  Nazionale  (see  below). 

On  the  E.  side  of  the  station,  opposite  the  departure-platform,  the 
largest  and  best-preserved  part  of  the  Wall  of  Berrius  (PI.  I,  25,  28),  which 
protected  the  city  on  this  undefended  side,  has  been  exposed  to  view. 
The  wall,  which  is  supported  by  a  strong  embankment,  with  its  broad 
moat  and  numerous  towers,  might  until  recently  be  traced  to  the  arch 
of  Gallienus  (p.  179) ;  but  the  only  parts  now  extant  are  a  fragment  in 
the  Piazza  Manfredo  Fanti  and  another  by  the  so-called  Auditorium  of  Kee- 
cenas  on  the  Via  Merulana  (see  p.  181). 

Towards  the  K.E. ,  passing  the  new  buildings  now  springing  up  in 
this  quarter,  we  reach  (10  min.)  the  Oampo  Militare  (PL  I,  29,  S2),  the 
camp  of  the  Praetorians  of  imperial  Rome,  originally  established  by  Tiberius, 
but  destroyed  by  Constantine  so  far  as  it  lay  without  the  town -wall, 
from  which  it  projects  in  a  quadrangular  form.  At  the  end  to  the  left, 
and  on  the  side,  traces  of  gates  are  still  distinguished;  the  wall  was 
skirted  by  a  passage,  under  which  are  several  small  chambers.  The  Gampo, 
which  has  been  enclosed  by  a  wall,  is  again  devoted  to  military  purposes. 

Opposite  the  entrance  of  the  church  of  S.  Maria  degli  Angeli 
(p.  167),  and  through  the  middle  of  the  circular  wall  of  the  Ther- 
m»,  runs  the  broad  Via  Nanonale  (PI.  1, 22 ;  II,  19, 16),  now  one  of 
the  busiest  streets  of  the  city,  and  during  tii6  season  as  thronged 
with  passengers  and  vehicles  as  the  Corso  itself  (Tramway,  No.  1, 
see  p.  3  of  Appendix).  On  the  right  the  Via  Torino  leads  to  8.  Ber- 
nardo (see  above).  In  the  Via  Nazionale  stands  the  Hdtel  Quirmal 
and,  farther  on ,  the  new  American  Episcopal  Church  of  SU  Pa%d^ 
a  Gothic  structure  by  SUreety  with  chimes  (p.  119).  The  most  im- 
portant cross-street  is  the  Via  Agoatino  DepreU$  (Via  QwUtro  For^ 
tane) ,  which  leads  on  the  right  to  the  Pal.  Barberini  (p.  170)  and 
on  the  left  to  S.  Maria  Maggiore  (p.  176). 

To  the  left  in  the  Via  Nazionale  (Jfo.  154)  is  the  GdUeria  Tene- 
rani  (Wed.,  1-4;  at  other  times,  fee),  a  complete  collection  of  the 
original  models  of  the  sculptor  P.  Tenerani  (d.  1869).  —  To  the  right 
is  the  small  church  of  8,  VitalCj  on  a  site  considerably  lower  than 
the  new  street-level ;  and  farther  on  the  handsome  Palaz%o  dclU 
BdU  Arti,  built  as  an  exhibition-building  in  1880-83  by  Piacen- 
tinl,  and  the  Palaszo  Huffer,  Farther  on,  to  the  left,  are  the  new 
building  of  the  Banca  Bomana  and  the  gardens  of  the  ViUa  Aldo- 
brandini. 

At  the  beginning  of  the  Via  del  Quirinale  (p.  173) ,  the  Via 
Nazionale  expands  Into  a  triangular  piazza,  in  the  middle  of  which, 
within  a  railing,  is  a  fragment  of  the  Servian  Wall  (see  above),  ex- 
cavated in  1875.  Another  fragment,  with  a  well-preserved  gateway, 
has  been  built  into  the  PaL  AntonelU^  on  the  right  (No.  158;  stair- 
case on  the  right  of  the  court).  To  the  S.,  behind  the  17th  cent, 
church  of -Sf.  Caterina  di  8iena{F\.  11,  19,  14),  rises  the  Torre  delle 
MiUsue  (PI.  II,  19,  6),  erected  about  1200  by  the  sons  of  Petru- 


170  //.  Eastern  Quarter.        ROME.  Pal,  Barhenni. 

Alexins,  commonly  called  Torre  di  Neronej  l)ecanse  Nero  is  said  to 
have  witnessed  the  conflagration  of  Rome  from  this  point  (no  ad-^ 
mission).  —  To  the  right ,  at  the  corner  of  the  Via  Magnanapoli, 
is  the  chnrch  of  8S,  Domenieo  e  Sisto  (PI.  II,  19, 15),  with  its  lofty 
flight  of  steps,  hnilt  by  Yincenzo  della  Greca  about  1640. 

The  Via  Magnanapoli  is  prolonged  by  the  Via  8.  Lorenzo  in  Panispema, 
leading  to  8.  Maria  Maggiore  (comp.  p.  176).  At  the  beginning  of  this 
street,  to  the  left,  is  the  chnrch  of  B.  Agata  in  Suburra  (PI.  II,  22), 
dating  from  the  5th  cent.,  but  restored  in  1633,  and  now  possessing  12 
granite  columns  only  of  the  original  edifice.  It  belongs  to  the  adjacent 
seminary  for  Irish  priests.  The  left  aisle  contains  the  MmufMnt  of  Daniel 
O^CotmeU  (d.  1847 ^  who  bequeathed  his  heart  to  this  church),  with  a 
relief  by  Benzoni ,  erected  in  1856.  To  the  right  of  the  entrance  is  the 
tomb  of  John  Laacaris,  author  of  the  first  modern  Greek  grammar  (d.  1535). 

From  the  above-mentioned  triangular  space  the  Via  Nazionale 
descends  the  slopes  of  the  Quirinal  (95  ft.)  in  a  wide  curve.  The 
flight  of  steps  on  the  left  descends  to  Trajan's  Forum  (p.  240). 
Farther  on,  to  the  left,  is  a  mediaeval  tower  of  the  Colonna,  with  im- 
mured fragments  from  the  Forum  of  Trajan.  At  the  next  corner,  to 
the  left,  stands  a  new  Waldensiarh  Church  j  and  to  the  right  the 
new  Teatro  Drammatico,  We  then  skirt  the  S.  facade  of  the  Pal. 
Colonna  (p.  163)  and  proceed  between  the  Via  della  Pilotta  (p.  152) 
and  the  Piazza  SS.  ApostoU  (p.  163)  to  the  Piazza  di  Venezia 
(p.  162).  

The  Via  Agostino  Defbetib  (PI.  I,  22),  mentioned  at  p.  169, 
hitherto  named  the  Via  Quattro  Fontanel  forms  a  continuation  of 
the  Via  Sistina  (p.  150),  like  which  it  owes  its  construction  to 
Sixtus  V.  Turning  from  the  Via  Nazionale  to  the  right  into  the 
N.  W.  part  of  this  street  (which  runs  to  the  S.E.  to  S.  Maria  Maggiore ; 
see  p.  176),  we  soon  reach  (5  min.)  the  four  fountains,  from  which 
it  took  its  former  name,  at  the  point  of  intersection  with  the  Via  del 
Quirlnale  (p.  173)  and  the  Via  Venti  Settembre  (p.  168).  To  the 
left  is  the  small  church  of  8,  Carlo  or  S.  Carlino  (PI.  I,  22,  2),  built 
by  Borromini  in  the  most  extravagantly  *baroque'  style;  to  the 
right ,  in  the  Via  Venti  Settembre ,  is  the  Pal.  Albani,  originally 
built  by  Dom.  Fontana,  and  afterwards  inhabited  hy  Cardinal  Al. 
Albani,  the  friend  of  Winckelmann.  [Hence  to  the  Porta  Pla  (p.  341) 
we  take  about  20  min.  more,  passing  the  new  War  Office ,  the 
churches  mentioned  at  pp.  167, 168,  and  the  Acqua  Felice  (p.  168).] 

The  continuation  of  the  street,  leading  to  the  Piazza  Barberini, 
has  retained  the  name  of  Via  Quattbo  Fontanb  (PI.  I,  22).  At 
the  end  of  it,  to  the  right,  at  the  corner  of  the  Piazza  Barberini, 
lies  the  handsome  — 

*  Palazzo  Barberini  (PI.  I,  22),  begun  by  Madema  under  Ur- 
ban Vm.,  and  completed  by  Bernini  (p.  lix).  The  court,  laid  out  as 
a  garden,  contains  a  marble  statue  of  2%ort;aW««n,  by  E.Wolff,  after 
a  work  by  the  master  himself,  erected  here,  near  his  studio,  by  his 
pupils  and  friends.  —  The  principal  staircase  is  to  the  left  under 


Pias%a  Barberini.  ROME.       JI.  Eastern  Quarter.   171 

the  arcades;  built  Into  it  is  a  Greek  *Toml)-relief ;  on  tlie  landing 
of  the  first  floor,  a  *Lion  in  high-relief,  from  Tivoli.  A  number 
of  mediocre  ancient  sculptures  are  distributed  throughout  the  courts 
and  other  parts  of  the  building.  —  At  the  right  end  of  the  arcades 
a  winding  staircase  (13  steps ,  then  to  the  right)  ascends  to  the 
Galleria  Barberini  (admission,  see  p.  124;  catalogues  for  the  use 
of  visitors).  This  is  the  gallery  of  disappointment.  In  Raphael's 
Fomarina  we  expect  to  find  a  beauty  radiant  with  the  charms  of 
youth,  whereas  her  features  present  an  almost  haggard  appearance, 
to  which  the  ill-preserved  condition  of  the  picture  further  con- 
tributes. In  Quido  RenVs  Beatrice  Cenci  we  hope  to  see  a 
countenance  Judith-like,  and  characterised  by  stern  resolye,  in- 
stead of  which  we  encounter  a  pale,  delicate  face.  Lastly,  when 
we  inspect  Vurer^s  Christ  among  the  Scribes,  we  are  almost  tempted 
to  doubt  its  authenticity ;  the  numerous  heads  are  ungrouped,  some 
of  them  resemble  caricatures,  and  it  is  in  the  execution  of  the 
hands  alone  that  the  workmanship  of  the  great  master  is  apparent. 

I.  Rook:  16.  Pomarancio^  Magdalene ^  20.  Parmeggianino^  Betrothal  nf 
St.  Catharine.  —  II.  Booh:  33.  After  Raphael^  Madonna;  36.  Innocsnto  da 
Jmola,  Madonna;  38.  Titian,  Cardinal  Bembo,  painted  about  1540  but  re- 
touched; 53.  Francia(y)^  Madonna  with  St.  Jerome;  59.  Sodoma,  Madonna; 
64.  Giov.  Bellini  (?),  Madonna ;  68.  MengSy  Portrait  of  his  daughter ;  69.  Pon- 
tormo  (after  Morelli),  Pygmalion;  72.  Francia,  Madonna;  TB.  ifcwacdoC?), 
Portrait  of  himself.  —  III.  Boon :  *1Q.  Titian  (?  C.  A  C.  ascribe  it  to  Palma 
Veechio),  ^La  Schiava%  female  portrait;  79.  CI,  Lorram,  Caatel  Gandolfo;  81. 
Bronzino,  Portrait;  ^82.  LHtrer^  Christ  among  the  doctors,  painted  at  Venice 
in  five  days  in  1506  (*opu8  quinque  diemm');  *86.  Raphael,  Portrait  of  the  so- 
called  Fomarina ,  so  frequently  copied,  unfortunately  marred  by  restoration ; 
86.  8.  Oaetano,  Lucrezia  Cenci,  stepmother  of  Beatrice;  87.  ^aniah  School, 
Anna  Colonna ;  '^88.  Outdo  Reni,  Beatrice  Cenci  (p.  202) ;  90.  N.  Poussin,  Death 
of  Germanicus;  92.  Claude  Lorrain,  Wharf;  94.  And.  del  Sarto,  Holy  Family. 

Ascending  the  spiral  staircase  60  steps  farther ,  we  turn  to  the 
right  into  the  Principal  Saloon,  with  frescoes  by  Pietro  da  Cortona, 
A  small  door  to  the  right  leads  hence  into  the  Sculpture  Saloon, 
containing ,  among  a  number  of  ancient  and  modern  works,  an  ad- 
mirable *Statue  by  a  Greek  master,  near  the  wall  opposite  the  en- 
trance, representing  a  woman  with  one  arm  extended.  It  was  formerly 
supposed  to  be  a  nymph,  a  Dido,  or  a  Laodamia ;  but  it  more  pro- 
bably represents  a  suppliant  for  protection  at  an  altar,  grasping  a 
twig  (now  broken  off)  in  the  right  hand. 

On  the  highest  floor  is  the  Biblioteca  Barberina  (Thurs.  9-2) 
which  contains  7000  MSS.,  including  those  of  numerous  Greek  and 
Latin  authors,  of  Dante,  etc.,  a  number  of  ancient  bronze  cistas 
from  Palestrina ,  miniatures  by  Giulio  Clovio  (a  pupil  of  Raphael), 
etc.   Librarian,  the  AbbS  Pieralisi. 

TheViaQuattroFontane,  like  the  ViaSistina(;p.  150)  and  the  Via 
del  Tritone  (p.  154),  ends  in  the  Piazza  Babbbbini  (PI.  I,  19, 
22).  In  the  centre  the  *Fontana  del  Tritone,  by  Bernini,  a  Triton 
blowing  on  a  conch.  Ascending  the  Piazza,  we  come  to  the  Via  d' 
S.  Nicola  di  Tolentino,  with  several  new  hotels,  which  leads  to  ' 


172  //.  Eastern  QuarUt,      ROME.  Villa  Ludoviai. 

ohuroh  of  that  name,  and  then,  under  the  name  of  Via  S.  Susanna, 
turns  to  the  right  to  the  Fontana  dell'  Aoqua  Felice  and  the  Piazza 
delle  Terme  (p.  166).  —  The  second  street  to  the  left,  on  the  N. 
side  of  the  Piazza  Barherini,  is  the  Via  di  8.  BasiliOy  which  leads 
to  the  Villa  Ludovisi  (see  helow) ,  and  through  the  Porta  Salara  to 
the  Villa  Alhani  (p.  838;  1  M.). 

To  the  left  of  the  Piazza  Barberini  rises  the  Piazza  de'  Cappuo- 
cini,  in  which  is  situated  the  church  of  8.  Maria  della  Concesione 
(PI.  I,  23),  or  dei  Cappuceini,  founded  in  1624  by  Card.  Barberini. 

In  the  iNTSBiOB,  over  the  door,  a  copy  of  OioUo's  Kavicella  (in  the  ves- 
tibule of  St.  Peter's,  p.  281),  by  Beretta.  1st  Chapel  on  the  right :  *St.  Michael, 
a  famous  work  by  Ouido  Rent;  in  the  8rd,  remains  of  frescoes  by  Domen- 
iehino.  Orer  the  high -altar  a  copy  of  an  Ascension  by  Lanfraneo,  now 
destroyed.  Beneath  a  stone  in  front  of  the  steps  to  the  choir  lies  the 
founder  of  the  church,  Card.  Barberini  ('hie  jacet  pulvis  cinis  et  nihil')  ^  on 
the  left  the  tomb  of  Alex.  Sobiesky  (d.  1714),  son  of  John  III.  of  Poland. 
Last  chapel  on  the  left:  Altar-piece  by  Sacehif  in  the  first,  one  by  Pietro 
da  Cortona. 

Beneath  the  church  are  four  Bobial  Vadlts  (shown  by  one  of  the 
monks),  decorated  in  a  ghastly  manner  with  the  bones  of  about  4000 
departed  Capuchins.  Each  vault  contains  a  tomb  with  earth  from  Jeru- 
salem. In  the  case  of  a  new  interment,  the  bones  which  have  been  long- 
est undisturbed  are  used  in  the  manner  indicated.  The  vaults  are  illu- 
minated on  2nd  Nov.  (All  Souls  Day),  after  Ave  Maria. 

A  little  to  the  N.W.  is  8.  laidoro  (PI.  I,  20),  founded  in  1622. 

Behind,  in  the  Corso  di  Porta  Princiana  is  the  VUla  Malta,  occu- 
pied by  Lewis  I.  of  Bavaria,  before  his  accession.  Opposite  is  the 
entrance  to  the  Aurora  Casino  of  the  old  Villa  Ludovisi  (see  below). 
—  The  Porta  Piruiiana  (PI.  1, 21,  24),  after  having  been  walled  up 
for  centuries ,  was  re-opened  in  1888  to  facilitate  communication 
with  the  new  quarter  outside  the  Porta  Salara. 


Leaving  the  Piazza  Barberini,  and  following  the  Via  di  S.  Ba- 
silic (see  above),  we  reach  (5  min.)  a  corner  from  which  the  street 
to  the  right  leads  to  the  gate,  and  that  to  the  left  to  the  entrance 
of  the  former  — 

Villa  LudOYiti  (PI.  I,  23),  the  gardens  of  which  have  fallen  a 
prey  to  the  extension  of  the  town.  The  villa  was  erected  in  the  first 
half  of  the  17th  cent,  by  Card.  Ludovisi,  nephew  of  Gregory  XV., 
and  was  afterwards  inherited  by  the  Prjnce«  of  Piombino,  who  sold  the 
greater  part  of  it  in  1885.  The  magnificent  '^Collection  of  Arwient 
Sculptures  contained  in  one  of  the  Casinos,  is  to  be  transferred  to  a 
new  building  erected  for  it  close  by.  The  two  Casinos,  however, 
have  been  retained ,  though  that  with  the  gallery  of  statues  will 
only  remain  until  a  museum  has  been  prepared  to  shelter  its  con- 
tents (the  latter  may  therefore  be  temporarily  inaccessible).  From 
the  gateway  (1/2  fi-  on  leaving)  we  proceed  to  the  right  to  the  — 

I.  Casino  ,  containing  a  *Collection  of  valuable  ancient  sculp- 
tures. 

Vestibule:  1,  3,  7,  8.  Hermw;  by  the  entrance-wall,  to  the  right,  20. 
Head  of  Juno,  very  ancient  j  18.  Candelabrum  in  the  form  of  a  twisted 


Piatxa  del  Quirinale.  ROME.      JI.  Eaaiem  Quarter,   173 

treet  15.  Sitiing  statve  of  a  Roman,  by  Zman.  To  the  left  of  the  entrance: 
25.  Female  draped  figure :  31.  Tragic  mask,  mouth  of  a  founUdn  in  rosso 
antlco.  —  Saloon  :  *28.  Group  of  a  barbarian ,  who ,  having  killed  his 
wife,  plunges  the  sword  into  his  own  breast  (right  arm  improperly  restored), 
a  work  of  the  Pergamenian  school  (the  *Dying  Qaul'  in  the  (3apitol  also 
belongs  to  this  group ;  see  Introd.  p.  xxxiii).  To  the  right  of  the  entrance : 
*56.  Warrior  reposing  riCars?),  probably  destined  originally  to  adorn  the 
paproach  to  a  door*,  51.  Statue  of  Athene  from  Antioch;  47.  Oast  of  the 
statue  of  .£schines  at  liaples  \  46.  Bust ,  name  unknown  x  above  it ,  *45. 
Head  of  a  Medusa,  of  the  noblest  type;  43.  Rape  of  Proserpme,  by  BwMni; 
above  it ,  42.  Judgment  of  Paris^a  relief,  the  right  side  restored  accord- 
ing to  Raphael's  design;  **41.  The  so-called  *Juno  Ludovisl\  the  most 
celebrated,  and  one  of  the  most  beautiful  heads  of  Juno  \  SO.  Xerenry,  in 
the  same  position  as  the  so-called  Germanicus  in  Paris.  Left  of  the  ent- 
rance: *1.  Mars  reposing,  of  the  school  of  Lysippus:  *7.  Theseus  and 
iCthra  (or  Telemachus  and  Penelope  commonly  called  Orestes  and  Eleetra^, 
by  MMOaoi^  pupil  of  Stephanus  (p.  zxxvi)*,  *9.  Youthful  Satyr;  14. 
Dionysus  with  a  satyr;  15.  Head  of  Juno;  21.  Bronze  head  of  Marcus 
Aurelius. 

The  Casiiio  dbll'  AnnoRA ,  to  the  W.,  which  on  the  ground-floor 
contains  a  vigorous  ceiling-fresco  of  *Anrora  by  Outretno^  and  on  the  first 
floor  a  *Fama  by  the  same,  is  seldom  open  to  visitors.  The  entrance  is 
in  the  (Torso  di  Porta  Pinciana,  opposite  the  Villa  Malta  (p.  172). 

The  prolongations  of  the  Yla  dl  S.  Basilic  (p.  172)  are  the  Via 
Sallustiaha  and  the  Yia  di  Porta  Salara,  which  lead  in  8  min. 
fifom  the  Villa  Lndovisi  to  the  Porta  Salara  (p.  838),  Here  in  an- 
cient times  lay  the  magnificent  Gardens  of8aUust,  the  historian, 
■which  afterwards  became  the  property  of  the  emperors. 

"We  now  enter  the  Via  bel  Quibinalb  at  the  four  fountains  of 
the  Via  Agostino  Depretis  (p.  170).  To  the  right  are  buildings 
connected  with  the  royal  palace ;  to  the  left  the  church  of  S,  An- 
drea,  by  Bernini.  In  a  few  minutes  more  we  reach  the  *Piazza 
DEL  Quibinalb  (PI.  11,  19),  recently  extended  and  levelled,  in 
the  centre  of  which  is  a  Fountain  with  an  antique  granite  basin. 
Adjacent  to  the  fountain  are  an  Ohelisk^  48  ft.  high,  which  once 
stood  in  front  of  the  mausoleum  of  Augustus  and  was  erected 
here  in  1787 ,  and  the  two  colossal  marble  **Sor86  Tamers  from 
which  the  piazza  formerly  derived  its  name  (Piazza  di  Monte  Ga- 
▼allo).  These  admirable  groups  once  stood  in  front,  probably  at 
the  entrance,  of  the  Therms  of  Constantine  (p.  174),  which  were 
situated  here.  They  are  frequently  mentioned  in  history,  and  have 
never  been  buried  nor  concealed  from  view.  The  inscriptions  on  the 
pedestals ,  Opus  Fhidiae  and  Opm  Praxitelis  are  apocryphal ,  the 
groups  being  works  of  the  imperial  age  (prob.  4th  cent.) ,  copied 
from  originals  of  the  school  of  Lysippus.  In  the  middle  ages  these 
were  supposed  to  be  the  names  of  two  philosophers,  who,  having  di- 
vined the  thoughts  of  Tiberius ,  were  honoured  by  the  erection  of 
these  monuments  in  recognition  of  their  wisdom. 

Opposite  the  Royal  Palace,  on  the  left,  is  the  Pal.  of  the  Con- 
ndtaj  erected  under  Clement  XII.  by  Del  Fuga ,  formerly  the  seat 
of  a  tribunal  of  that  name,  charged  with  the  internal  administration 
of  the  Papal  States.  It  is  now  occupied  by  the  offices  of  the  MinUter 


174  JL  Eastern  Quarter,       BOME.  Palazzo  Regio, 

of  the  Exterior.  On  the  S.W.  side  of  the  piazza,  behind  the  obelisk, 
stands  the  Palazzo  delta  Dataria^  erected  by  Paul  V.  Farther  on,  to 
the  left,  is  the  Pal.  Rospigliosi  (see  below). 

The  piazza  commands  a  line  •Vihw  of  the  town,  with  the 
dome  of  St.  Peter's  in  the  backgronnd.  During  the  excavations 
preparatory  to  the  construction  of  the  steps  and  the  road  extensive 
fragments  of  the  walls  of  the  Therms  of  Constantine  were  found, 
and  below  them  older  walls  of  solid  blocks,  belonging  apparently  to 
the  walls  of  Servius  Tullius.  The  new  Via  delta  Dataria  descends 
straight  to  the  Corso,  and  the  first  transverse  street  to  the  right,  the 
Via  di  S.  Vincenzo,  leads  to  the  Fontana  Trevi  (p.  161). 

The  Palazzo  Begio,  formerly  Apostolieo  at  Quirinale  (PI.  1, 19), 
begun  in  1574  under  Gregory  XIII.  by  Flaminio  Ponzio^  continued 
under  Sixtus  V.  and  Clement  VIII.  by  Fontana  j  and  completed 
under  Paul  V.  by  Madema,  has  frequently  been  occupied  by  the 
popes  in  summer  on  account  of  its  lofty  and  healthful  situation. 
The  conclaves  of  the  cardinals  were  at  one  time  held  here ,  and  the 
name  of  the  newly-elected  pope  was  proclaimed  from  the  balcony  of 
the  facade  towards  Monte  Cavallo.  Pius  VII.  died  here  in  1823. 
After  20th  Sept.  1870,  the  palace  was  taken  possession  of  by  the 
Italian  government,  and  being  now  the  residence  of  the  king,  the 
greater  part  is  seldom  shown  to  the  public. 

From  the  principal  entrance  we  pass  between  the  sentinels,  and  ascend 
the  broad  staircase  to  the  left  at  the  end  of  the  vestibule.  At  the  top  of 
the  staircase  we  write  onr  names  in  a  book,  and  obtain  an  escort  (1  fr.). 
Adjacent  to  the  Sala  Bbgia,  with  frescoes  by  Lan/raneo  and  Saraceni,  is 
the  Gappblla  Paolina,  erected  by  Carlo  Madema^  and  decorated  with  gilded 
stucco-work  and  copies  in  grisaille  of  Baphaers  Apostles  in  88.  Vincenzo 
ed  Anastasio  alle  Tre  Fontane  (p.  364)  and  with  tapestry  of  the  18th  cen- 
tury. To  the  right  lies  a  suite  of  Dbawino  and  BBOBPTioiir  Booms,  newly 
fitted  up,  and  adorned  with  pictures  and  tapestry,  chiefly  modem.  The 
reception-room  of  the  ambassadors,  beyond  the  throne-room,  contains  a 
portrait  of  the  Emperor  William  I.,  by  Karl  Arnold^  presented  in  1874.  In 
the  10th  room,  mosaics  on  the  floor  from  Hadrian's  villa.  In  the  14th,  a 
*'Ceiling-painting  by  F.  Overbeck  (1859),  to  commemorate  the  flight  of  Pius  IX. 
in  1848:  Christ  eluding  the  Jews  who  endeavoured  to  cast  him  over  a  preci- 
pice (Luke  iv.  28,  29).  In  the  15th,  views  from  the  Vatican.  Towards  the 
garden  ^are  the  Botal  Guest-Chambebs,  once  occupied  by  Napoleon  I.^ 
Francis  I.  of  Austria,  and  in  1861  by  Francis  II.  of  Naples.  The  frieze 
of  the  former  audience-chamber  here  is  a  cast  of  T?iorvaldsen's  ^Triumphal 
Procession  of  Alex,  the  Great,  ordered  by  Napoleon  I.  for  this  saloon.  After 
1815  the  original  became  the  property  of  the  Marchese  Sommariva,  and  is 
now  in  the  Villa  Carlotta  near  Cadenabbia  on  the  Lake  of  Como,  formerly 
his  residence.  In  the  small  Chapel  deir  Annunziata  an  ^Annunciation,  an 
altar-piece  by  Chtido  Rent.  —  In  the  Coubt  a  staircase  ascends  to  the  right 
under  the  ai*cades;  on  the  landing,  ^'Christ  surrounded  by  angels,  a  fresco  by 
Melozzo  da  Forli  (p.  89),  transferred  thither  in  1711  from  SS.  Apostoli. 

The  Garden ,  which  is  rarely  shown,  was  tastefully  laid  out  by 
G.  Madema.  It  contains  rare  plants  and  several  antiques,  and  com- 
mands a  fine  view.  —  [Omnibus  from  the  Piazza  del  Quirinale  to 
S.  Agnese  Fuori,  see  p.  2  of  the  Appx.] 

The  •Palazzo  EospigUosi  (PI.  II,  19),  erected  in  1603  by  Card. 
Sevpio  Borghese,  nephew  of  Paul  Y.,  on  the  ruins  of  the  Thermas 


8,  Silvesiro  dl  Quirinale.     ROME.       JJ.  EasUm  QuaHer.   175 

of  Constantine)  afterwards  became  the  property  of  the  princes  Ros- 
pigliosi,  relations  of  Clement  IK.,  of  Pistoja.  The  palace  contains 
frescoes  from  the  Baths  of  Constantino ,  a  beautiful  CL  Lorram 
(Temple  of  Yenus),  and  other  treasures  of  art,  but  is  only  shown 
by  special  permission  of  the  prince.  The  S.E.  corner  of  the  palace 
has  been  removed  to  make  way  for  the  new  Via  Nazionale  (p.  169). 
Admission  to  the  Ca$ino,  see  p.  124  (Va  fr.)* 

We  enter  the  coart  by  a  gate  in  the  Via  del  Quirinale  and  then  aa- 
cend  the  steps  to  the  left.    Several  small  statues  in  the  Qardbn. 

Along  the  external  wall  of  the  Casino  are  placed  ancient  sarcophagus' 
reliefs  (Hunt  of  Meleager,  Bape  of  Proserpine,  etc.)*  By  the  door  to  the 
right  we  enter  the  — 

PuHGiPAL  Hall.  **  Ceiling -painting  by  Guido  Beni:  Aurora  strewing 
flowers  before  the  chariot  of  the  god  of  the  sun,  who  is  surrounded  by 
dancing  Horse,  the  master^s  finest  work.  The  colouring  deserves  special 
notice.  The  strongest  light  is  thrown  upon  the  figure  of  Apollo,  whose 
hair  and  flesh  are  of  golden  hue.  Of  a  corresponding  tint  are  the  yellowish- 
red  robes  of  the  nymphs  nearest  to  Apollo.  The  colours  are  then  gradually 
shaded  off  from  blue  to  white,  and  from  green  to  white,  while  the  dun- 
coloured  horses  accord  with  the  clouda  in  the  background  (p.  Ilx).  Op- 
posite the  entrance  is  a  mirror,  in  which  the  painting  may  be  conveniently 
inspected.  —  On  the  frieze,  landscapes  by  Paul  Brilf  and  on  the  ends  of 
the  sides.  Triumph  of  Fauna  and  Cupid  (from  Petrarch),  by  Ttmpetta, 
Right  wall :  Statue  of  Athene  Tritogeneia  with  a  Triton  *,  *Van  Dyck^  Portrait. 

Boom  on  the  Right.  In  the  centre  a  bronze  steed  from  the  Thermee 
of  Constantine.  Opposite  the  entrance,  Domeniehino^  Fall  of  man.  Left 
wall:  *Lorenzo  Lotto,  Vanita.  Right  wall:  *Duteh  School,  Portrait;  Do- 
meniehino,  Venus  and  Cupid  •,  *Luea  Signorelli,  *Holy  Family.  Entrance- wall : 
If.  Carracei(^)^  Samson.  — Roou  to  thb  Left:  entrance-wall,  over  the 
door,  PMsignanOy  Pieta;  Ouido  Reniy  Andromeda;  Portrait  of  JV:.  Poutsin 
(at  the  age  of  56),  a  copy  of  the  original  in  the  Louvre.  Left  wall :  Dan. 
da  Volterra,  Bearing  of  the  Cross.  In  the  comer  a  bronze  bust  of  Sept. 
Severua.  On  these  two  walls  and  the  following:  Christ  and  the  Apostles, 
thirteen  pictures,  attributed  to  RuberUy  probably  only  partly  by  him ;  Domen- 
iehino,  Triumph  of  David. 

No.  12 ,  opposite  the  Pal.  Rospigliosi ,  is  the  entrance  to  the 
garden  of  the  Pal.  Colonna  (p.  163).  In  the  Via  del  Quirinale, 
farther  on,  to  the  right,  is  the  church  of  — 

8.  8ilvMtro  ftl  Quirinale  (PI.  n,  19),  erected  at  the  close  of  the 
16th  cent. ,  and  with  the  adjacent  monastery  belonging  to  the  frater- 
nity of  St.  Vincent  de  Paul  since  1770. 

In  the  DoMS  four  oval  frescoes  by  Domenichino :  David  dancing  before 
the  Ark,  Solomon  and  the  Queen  of  Sheba,  Judith,  Esther  and  Ahasuerus. 
In  the  2nd  Chapel  to  the  left,  two  landscapes  by  PoUdoro  Caravaggio  and 
his  assistant  Maturino:  Betrothal  of  the  Infant  Christ  with  St.  Catharine, 
and  Christ  appearing  as  the  gardener  to  Mary  Magdalene. 

The  Via  del  Quirinale  ends,  as  mentioned  at  p.  169 ,  at  the  Via 
Nazionale. 

The  S.E.  Pabt  of  thb  Via  Aoostino  Dbpbbtis  (PI.  I,  22,  II, 
26 ;  p.  170)  leads  from  the  Via  Nazionale  (p.  169)  directly  to  the 
choir  of  S.  Maria  Maggiore.  We  turn  to  the  right  before  reaching 
the  piazza  in  front  of  the  latter,  enter  the  Via  Urbana,  and  in  a  few 
paces  reach  — 

8.  Pudeniiaaa  (PI.  II,  25;    open  till  9  a.m.;  custodian,  Via 


176  II,  Eastern  Quarter.      ROME.  8,  Maria  Maggiore, 

Qnattro  Fontane  81 ,  to  be  found  from  1  to  4) ,  traditionally  the 
oldest  clmrch  in  Rome ,  erected  on  the  spot  where  St.  Pudens  and 
his  daughters  Praxedis  and  Pudentiana,  who  entertained  St.  Peter, 
are  said  to  have  lived.  The  church ,  the  earliest  record  of  which 
dates  from  499,  has  been  frequently  restored ;  it  was  much  altered 
in  1598 ,  and  has  recently  been  modernised  in  very  bad  taste.  In 
the  facade,  lately  adorned  with  mosaics  (St.  Peter  with  SS.  Pudens 
and  Pudentiana;  on  the  left  Pius  I.,  on  the  right  Gregory  VII.),  is 
an  ancient  portal  borne  by  columns ,  which  has  also  been  restored. 
Pleasing  campanile  of  the  9th  century.    Chief  festival  on  19th  May. 

Intbbiob.  The  nave  and  aisles  are  of  unequal  length.  In  the  pillars 
are  still  to  be  seen  the  ancient  marble  columns  which  originally  supported 
the  wall.  The  *Mo8aics  in  the  Tribunk  (4th  cent.),  Christ  with  S.  Praxedis 
and  S.  Pudentiana  and  the  Apostles,  and  above  them  the  emblems  of 
the  Evangelists  on  each  side  of  the  cross,  are  among  the  finest  in  Kome 
(p.  xlv ;  several  of  those  on  the  right  are  modern).  The  Domb  above  the 
high-altar  was  painted  by  Pomarancio.  The  Aisles  contain  remains  of  an 
ancient  mosaic  pavement.  In  the  left  aisle  is  the  Cappblla  Oabtaki,  over 
the  altar  of  which  is  an  Adoration  of  the  Ma^,  a  relief  in  marble  by  OM- 
vieri.  At  the  extremity  of  this  aisle  is  an  altar  with  relics  of  the  table  at 
which  Peter  is  said  finst  to  have  read  mass.  Above  it  Christ  and  Peter,  a 
group  in  marble  by  O.  B.  della  Porta. 

Below  the  church  are  ancient  vaults  in  a  good  style  of  architecture, 
which  the  custodian  shows  if  desired. 

On  the  summit  of  the  Viminal,  not  far  off,  stands  the  church  of 
S.  Xorenso  in  Fanispema  (PL  n,  22),  on  the  spot  where  St.  Lawrence  is 
said  to  have  suffered  martyrdom,  an  old  edifice,  but  frequently  restored.  — 
Hence  to  the  Via  Nazionale,  see  p.  170. 

In  the  Piazza  dbll'  EsauiuNO,  the  square  in  front  of  the  choir 
of  S.  Maria  Maggiore,  stands  one  of  the  two  OhtUsks  which  formerly 
rose  in  front  of  the  mausoleum  of  Augustus,  48  ft.  in  height  (the 
other  is  on  the  Quirinal,  p.  173).  It  was  erected  here  by  Sixtus  V. 
in  1587.  —  The  piazza  is  intersected  by  the  broad  Via  Cavour 
(p  166),  which  is  carried  through  the  valley  between  the  Esquiline 
and  Yiminal  to  the  Forum  Romanum. 

The  facade  of  the  church  overlooks  the  Piazza  S.  Maria  Maogio- 
BB,  which  is  embellished  with  a  handsome  Column  from  the  basilica 
of  Constantino,  16  ft.  in  circumference,  and  46  ft.  in  height,  placed 
here  and  crowned  with  a  bronze  figure  of  the  Virgin  by  Paul  V. 

**S.  Xaxia  Maggiore  (VI.  II,  25),  also  named  Basilica  Liheriana, 
or  8.  Maria  ad  Nives,  or  8.  Maria  ad  Praesepe,  from  the  manger 
which  it  contains,  derives  its  usual  name  from  its  being  the  largest 
of  the  eighty  churches  in  Rome  dedicated  to  the  Virgin.  It  is  also 
one  of  the  oldest  churches  at  Rome,  and  Indeed  in  Christendom. 
This  is  one  of  the  five  patriarchal  churches  (p.  135),  and  has  a  spe- 
cial 'jubilee  entrance*.  The  principal  festivals  are  on  Christmas 
Day,  5th  Aug.,  and  the  Assumption  (loth  Aug.).  According  to 
a  legend  which  cannot  be  traced  farther  back  than  the  13th  cent., 
the  Virgin  appeared  simultaneously  to  the  devout  Roman  patrician 
Johannes  and  to  Pope  Liberius  (352-66)  in  their  dreams,  com- 
manding them  to  erect  a  church  to  her  on  the  spot  where  tliey 


8,  Maria  Maggiore.  ROME.       //.  Eaatem  Quarter.    177 

should  find  a  deposit  of  snow  on  the  following  morning  (5th  Aug.). 
The  BasUiea  Liherianay  which  they  are  said  to  have  huilt  in  obed- 
ience to  this  vision ,  was  re-erected  by  Sixtns  III.  (432-40),  who 
named  the  chnrch  8.  Maria  Mater  Dei ,  shortly  after  the  Council  of 
Ephesus  had  sanctioned  this  appellation  of  the  Virgin  (430).  Of 
this  edifice  the  nave  with  its  ancient  marble  columns  and  mosaics 
is  still  preserved.  In  the  12th  cent,  the  church  was  farther  altered 
in  the  mediaeval  style.  Eugene  III.  added  a  new  porch,  Nicholas  lY. 
a  new  tribune  adorned  with  mosaics ,  and  Gregory  XI.  gave  the 
campanile  its  present  form  and  its  pointed  roof.  About  the  end  of 
the  15th  cent,  began  a  new  period  in  the  history  of  the  church, 
when  the  irregularities  of  the  medisval  additions  were  removed, 
and  symmetrical  lines  were  formed  by  the  erection  of  accessory 
buildings  and  straight  walls.  The  two  large  side-chapels,  covered 
with  domes,  were  added  by  Sixtus  Y.  in  1586  and  Paul  Y.  in  1611. 
The  exterior  of  the  tribune  was  remodelled  by  Clement  X.,  and 
the  final  restoration  was  entrusted  by  Benedict  XIY.  to  Fuga, ' 

The  FoQade,  designed  by  Fuga  in  1743,  consists  of  a  porch  with 
a  loggia  above  it,  opening  towards  the  piazza  in  three  arches.  The 
five  portals  in  this  porch  correspond  with  four  entrances  to  the 
church  (the  last  of  which  on  the  left,  the  Porta  Santa ,  is  now 
built  up),  and  with  a  niche  on  the  right.  To  the  right  is  a  statue 
of  Philip  lY.  of  Spain.  The  loggia  (staircase  to  the  left  in  the 
vestibule ;  one  of  the  vergers  opens  the  door),  from  which  the  pope 
formerly  pronounced  his  benediction  on  15th  Aug.,  contains  mo- 
saics from  a  facade  of  the  13th  cent.,  restored  in  1825. 

Above,  in  the  centre,  Christ)  on  the  left  the  Virgin,  SS.  Panl,  John, 
and  James  \  on  the  right  SS.  Peter,  Andrew,  Philip,  and  John  the  Baptist. 
Below,  on  the  left,  the  vision  ox  Pope  Liberius  and  the  Patrician  Jo- 
hannes \  on  the  right,  the  meeting  of  the  two,  and  the  tracing  of  the  site 
of  the  chnrch  on  the  newly-fallen  snow. 

The  Interior,  dating  from  the  pontificate  of  Sixtns  III.,  93  yds.  long 
and  19  yds.  wide,  and  subsequently  enlarged,  produces  a  rich  and 
imposing  effect.  The  pavement  of  the  Navb  dates  from  the  12th  cent, 
(p.  xlvii)  and  the  handsome  ceiling  was  executed  from  designs  by  Oiul.  da 
Sangallo.  The  architrave,  adorned  with  mosaic,  is  supported  by  42  Ionic 
columns,  S3  in  marble  and  4  in  granite,  above  which,  and  on  the  chancel 
arch,  Kn**  Mosaics  of  the  6th  cent.,  in  the  ancient  style  (p.  xlvi;  good  light 
eariy  in  the  morning).  Those  on  the  arch  represent  events  from  the  Life  of 
Mary,  Annunciation,  Infancy  of  Christ,  Slaughter  of  the  Innocents,  etc.  \  left 
wall,  history  of  Abraham  and  Jacob;  right  wall,  Moses  and  Joshua  (several 
of  the  pictures  were  restored  in  1825).  In  front  of  the  chancel  arch  is 
the  HighrAltar^  consisting  of  an  ancient  sarcophagus  of  porphyry,  said  to 
have  been  the  tomb  of  the  Patrician  Johannes,  and  containing  the  remains 
of  St.  Matthew  and  other  relics ;  the  canopy  is  borne  by  four  columns  of 
porphyry.  In  the  apse  of  the  Tkibunb  are  *  Mosaics  by  JaeobuM  Torriii 
(1292) :  Coronation  of  the  Virgin,  with  saints,  near  whom  ai-e  Pope  Nicho- 
las IV.  and  Card.  Jac.  Colonna  (comp.  p.  xlviii). 

At  the  beginning  of  the  nave  are  the  tombs  of  Nicholas  IV.  (d.  1292) 
on  the  left,  and  Clement  IX.  (d.  1669)  on  the  right,  erected  by  Sixtus  V.  and 
Clement  X.  respectively.  Bight  Aislk:  First  chapel:  Baptistery  with  fine 
ancient  font  of  porphyry.  Farther  on  is  the  Cap.  del  Crocefisso  with  10  col- 
umns of  porphyry,  containing  five  boards  from  the  ^Manger  of  the  Infant 
Christ*  (whence  termed  Cappella  del  Presepe).  —  In  the  Eight  Transept  ip 

Baedbkbr.    Italy  II.    10th  Edition.  12 


178  II.  Eastern  Quartet,        ROME.  8,  Prassede, 

the  sumptuous  ^Sibtinb  Chapkl,  constructed  by  Fontana,  and  of  late  gor- 
geously restored ;  in  the  niche  on  the  left,  an  altar-piece  (St.  Jerome)  by 
Rihera;  on  the  right,  occupying  the  whole  wall,  the  monument  of  Sixtus  V., 
with  a  statue  of  the  Pope  by  Valsoldo ;  on  the  left,  monument  of  Pius  V. 
by  Leonardo  da  Sarzana.  Over' the  altar,  a  canopy  in  gilded  bronze  re> 
presents  angels  bearing  the  church ;  in  the  ^Confessio'  under  the  staircase- 
a  statue  of  S.  Gaetano,  by  Bernini  y  and  by  the  altar  a  relief  of  the  Holy 
Family,  by  Ceeehino  da  Pietratanta  (1480).  —  At  the  end  of  the  right  aisle, 
the  (3k)thic  monument  of  Card.  Consalvi  (Gunsalvus,  d.  1299)  by  Oiov.  Cosmos. 
Left  Aisle.  1st  Chapel  (of  theCesi):  Martyrdom  of  St.  Catharine,  altar- 
piece  by  Oirol.  da  Sermoneta;  on  the  right  and  left  two  bronze  statues  to 
the  memory  of  cardinals  of  the  family.  2nd  Chapel  (of  the  Pallavicini-Sforza), 
said  to  have  been  designed  by  Hich.  Angelo :  Assumption  of  Mary,  altar- 
piece  by  Qir.  Sermoneta.  — In  the  Left  Transept,  opposite  the  Sistine  Chapel, 
is  the  BoBGHESB  Chapel,  constructed  by  Flaminio  Ponzio  in  1611,  and  also 
covered  with  a  dome.  ()ver  the  altar,  which  is  gorgeously  decorated  with 
lapis  lazuli  and  agate ,  is  an  ancient  and  miraculous  picture  of  the  Virgin 
(almost  black),  painted  according  to  tradition  by  St.  Luke,  which  was  car- 
'  ried  by  Gregory  I.  as  early  as  590  in  solemn  procession  through  the  city, 
and  again  by  the  clergy  during  the  cholera  in  1837  and  in  the  war  of 
1860.  The  frescoes  in  the  large  arches  are  by  Quido  Beni^  LanfraneOy 
Cigoliy  etc.  The  monuments  of  the  Popes  (1.)  Paul  V.  (Cuuillo  Borghese, 
d.  1621)  and  (r.)  Clement  VIU.  (Aldobrandini,  d.  1605)  are  by  pupils  of  Ber- 
nini.   The  crypt  contains  tombs  of  the  Borghese  family. 

In  the  right  corner  of  the  Piazza  S.  Maria  Maggiore  is  a  side- 
entrance  to  the  church  of  — 

*B.  Prassede  (PI.  II,  25),  erected  by  Paschalis  I.  in  822,  and  dedi- 
cated to  St.  Praxedis,  the  daughter  of  St.  Pudens  with  whom  Peter 
lodged  at  Rome,  and  the  sister  of  S.  Pudentiana.  It  was  restored  by 
Nicholas  V.  about  1450,  again  in  1832,  and  finally  in  1869.  The 
church  is  generally  entered  by  the  side-door. 

Interior.  The  nave  is  separated  from  the  aisles  by  16  granite  columns 
(six  others,  bearing  arches,  having  been  replaced  by  pillars).  The  *  Mosaics 
0th  cent.;  p.  zlvi)  deserve  special  notice.  On  the  triumphal  arch  the  new 
Jerusalem  guarded  by  angels,  Christ  in  the  centre,  towards  whom  the  saved 
are  hastening  \  on  the  arch  of  the  tribune  the  Lamb,  at  the  sides  the  seven 
candlesticks  and  the  symbols  of  the  Evangelists ;  lower  down  the  twenty- 
four  elders  (interesting  as  showing  the  mode  in  which  the  art  accommo- 
dated itself  to  the  spaces  allotted  to  it  \  thus ,  in  order  to  follow  the  curve 
of  the  arch,  the  arms  of  the  foremost  elders  in  the  middle  and  upper  rows 
gradually  increase  in  length) ;  in  the  round  part  of  the  apse,  Christ  sur- 
rounded with  saints  (on  the  left  Paul,  Praxedis,  and  Pope  Paschalis  with 
the  church;  on  the  right  Peter,  Pudentiana,  and  Zeno).  On  either  side 
of  the  tribune  are  galleries.  —  Bight  Aisle.  The  3rd  chapel  is  the  Chapel  of 
the  Column  (\6.<iiQ&  admitted  on  the  Sundays  of  Lent  only;  the  sacristan 
opens  the  door  when  desired).  At  the  entrance  are  two  columns  of  black 
granite  with  ancient  entablature.  The  interior  is  entirely  covered  with 
mosaics  on  gold  ground  (about  the  10th  cent.),  whence  the  chapel  is  some- 
times called  Orto  del  Paradiso,  On  the  vaulting  a  medallion  with  head  of 
Christ,  supported  by  four  angels.  Above  the  altar  a  Madonna  between  the 
saints  Praxedis  and  Pudentiana.  To  the  right  in  a  niche,  the  column  at 
which  Christ  is  said  to  have  been  scourged.  The  4th  chapel  contains  the 
tomb  of  Card.  Cetti  (d.  1474).  At  the  extremity  of  the  right  aisle  the  Cap*  del 
Crocefisso  contains  the  tomb  of  a  French  cardinal  (d.  1286).  —  In  the  Left 
Aisle  by  the  entrance-wall  is  a  stone-slab,  on  which  St.  Praxedis  is  said  to 
have  slept.  The  2nd  Cap.  di  S.  Carlo  Borromeo  contains  a  chair  and  table 
once  used  by  the  saint.  The  3rd  Cap.  Agiati  contains  paintings  by  the  Cav. 
d*Arpino.  —  The  marble  spout  of  a  fountain  in  the  nave  indicates  the 
spot  where  St.  Praxedis  collected  the  blood  of  the  martyrs. 

CoNFESSio  (keys  kept  by  the  sacristan)  contains  ancient  sarcophagi 


8.  Bihiana.  ROME.        //.  Eastern  Quarter.   179 

witb  the  bones  of  the  sister  saints  Praxedis  and  Pudentiana  on  the  right, 
and  those  of  martyrs  on  the  left,  ^he  altar  is  decorated  with  fine  mosaic 
of  the  13th  century.  Above  it  an  ancient  fresco  of  the  Madonna  between  the 
sisters.  —  The  Sacristy  contains  a  Scourging  by  Oiulio  Rtmumo. 

To  the  S.  and  S.E.  of  the  Piazza  S.  Maria  Maggioie  run  two 
new  thoroughfares',  the  Via  Merulana,  on  the  right,  leading  to 
the  Lateran  (p.  267),  and  the  Via  Ga&lo  Albbbto  ,  on  the  left. 
In  the  latter,  to  the  left,  is  the  church  of  8.  Antonio  Abhate,  with 
a  portal  of  the  13th  cent. ;  interior  uninteresting.  S.  Antonio  is 
the  tutelary  saint  of  animals ,  and  in  front  of  the  church  from  17th 
to  23rd  Jan.,  domestic  animals  of  every  kind  used  to  be  blessed  and 
sprinkled  with  holy  water. 

A  cross-street  leads  to  the  right  from  the  Yia  €arlo  Alberto  to 
the  church  of  8.  Vito  and  the  Arch  of  OaUienus  (PI.  II. ;  25,  28).  . 
This  honorary  arch  was  erected  in  262  in  honour  of  the  Emp.  Gal- 
lienus  'on  account  of  his  bravery ,  surpassed  only  by  his  piety'  by 
a  certain  M.  Aurelius  Victor.  The  architecture  is  simple,  but  in  the 
degraded  style  of  the  age. 

The  Via  Mazzini  and  Via  Rattazzl  lead  to  the  left  from  the  Via 
Carlo  Alberto  to  th'e  Piazza  Manfredo  Fantii,  in  which  stands  the 
handsome  Aqaariam  (PI.  II,  28),  built  from  a  design  by  E,  Bemieh 
in  1885  (adm.  from  9.30  a.m.,  1  fr. ;  director.  Prof,  Vinciguerray 

The  Via  Carlo  Alberto  ends  at  the  large  Piazza  Vittoeio  Ema- 
NTJBLB  (PI.,  II,  29),  which  is  embellished  with  flower-beds.  Here, 
on  the  left,  are  considerable  remains  of  a  water-tower  of  the  Aqua 
Julia  (PL  II,  28),  in  the  niches  of  which  the  so-called  trophies  of 
Marius,  now  on  the  balustrade  of  the  Capitol,  were  formerly  placed 
(p.  210).  The  ruin,  called  Trofei  di  Mario ^  has  been  partly  restored, 
and  is  under  the  care  of  a  *guardia  degli  scavf.  —  At  the  N.  angle 
of  the  piazza  rises  the  church  of  8.  Eusehio,  re-erected  in  the  18th 
cent.,  with  the  exception  of  the  campanile.  The  ceiling-painting, 
the  glory  of  St.  Eusebius ,  is  one  of  the  earliest  works  of  Raphael 
Mengs;  the  high-altar-piece  is  by  Bcdd.  Croce, 

Several  new  streets,  not  yet  completed,  lead  from  the  Piazza 
Vittorio  Emanuele  to  the  church  of  S.  Bibiana  fPl.  II,  31),  conse- 
crated in  470,  and  rebuilt  for  the  last  time  in  1625  by  Bernini.  It 
contains  eight  antique  columns ;  above  these  are  frescoes  from  the 
life  of  the  saint,  on  the  right  by  Ciampelli,  on  the  left  by  Pietro 
da  Cortona  (modernised).  The  statue  of  St.  Bibiana  on  the  high- 
altar  is  by  Bernini,  To  the  left  by  the  entrance  is  the  stump  of  a 
column,  at  which  the  saint  is  said  to  have  been  scourged  to  death. 
—  The  Via  di  8,  Bibiana  leads  to  the  new  Porta  di  8.  Lorenzo  and 
the  basilica  of  that  name,  which  may  be  conveniently  visited  at  this 
juncture  (see  p.  343).  We  may  return  by  tramway-line  No.  2  (p.  3 
of  the  Appx.). 

The  wide  Vialb  Pbincipbssa  Mabohbbita  leads  hence  to  the 
Piazza  Quglielmo  Pepe  (with  remains  of  the  above-mentioned  Aqua 
Julia)  and  the  (10  min.)  Railway  Station  (p.  166).    On  the  right 

12  ♦ 


180  JJ.  EaaUm  Quarter,      ROME.  Porta  Maggiore. 

It  leads  in  5  min.  to  the  so-called  Temple  of  Hinerva  Kediea 
(PI.  II,  32),  the  ruin  of  an  ancient  NymphsBum  in  the  form  of  a 
decagon,  55  yds.  in  ciicumference,  with  deep  niches  in  the  walls, 
and  originally  covered  with  marble  below  and  stucco  aboTO.  This 
must  have  belonged  to  some  splendid  bath-establishment,  as  many 
andent  statues  have  been  found  in  the  vicinity.  One  of  these,  the 
Minerva  Giustiniani  of  the  Braccio  Nuovo  in  the  Vatican  (p.  316), 
has  given  rise  to  the  otherwise  unfounded  appellation  of  'Temple 
of  Minerva'.  In  the  middle  ages  the  ruin  was  called  Le  QaUuzzt 
a  name  which  has  been  conjectured  to  be  a  corruption  of  (the  Thermas 
of)  'Gains  and  Lucius  Caesar',  of  whose  existence,  however,  there 
is  no  other  hint.  The  vaulting  existed  down  to  1828.  The  build- 
ing, which  is  architecturally  interesting ,  dates  from  about  the  3rd 
cent,  after  Christ. 

The  dusty  and  unfinished  Via  Conte  Verde ,  the  middle  street 
running,  from  the  S.E.  side  of  the  Piazza  Yittorio  Emanuele,  leads 
to  the  church  of  S.  Croce  in  Oerusalemme  (see  below);  the  Via 
Emanuele  Filiberto,  the  street  to  the  right,  leads  to  the  Lateran 
(p.  267);  and  the  Yia  Principe  Euobnio,  on  the  left,  to  the  Porta 
Maggiore. 

The  *  Porta  ICaggioxe  (PI.  n,  35)  was  originally  an  archway 
belonging  to  the  Aqua  Claudia,  above  which  the  Anio  Novus  flowed 
through  a  second  conduit.  The  inscriptions  record  the  construction 
of  both  aqueducts  by  the  Emp.  Claudius,  A.D.  52,  the  Claudia, 
45  M.  in  length,  bringing  water  from  the  neighbourhood  of  Subiaco, 
and  the  Anio  Novus  coming  from  the  sources  of  the  river  of  that 
name,  a  distance  of  62  M. ;  and  also  their  restoration  by  Yespasian 
in  71,  and  by  Titus  in  81.  Aurelian  converted  the  monument  into 
one  of  the  gates  of  his  city-wall;  and  the  Colonnas  used  it  in  the 
middle  ages  as  the  nucleus  of  a  fortification.  The  gate  derives  its 
name  either  from  its  imposing  dimensions ,  or  from  the  church  of 
that  name.  It  was  purged  of  the  later  additions  by  Gregory  XYI. 
—  Two  roads  diverged  hence :  to  the  left  the  Via  Praenestina^  and 
to  the  right  the  Via  Labicana^  now  named  Via  CasUina, 

Between  the  two  roads,  outside  the  gate,  on  the  removal  of  the 
fortifications  of  Honorius,  which  have  been  re-erected  by  the  wall 
to  the  right,  was  discovered  the  *Monument  of  the  Baker  Ewrysaces^ 
dating  from  the  close  of  the  republic ;  it  is  erected  in  imitation  of 
grain-measures  laid  alternately  in  vertical  and  horizontal  rows. 

The  monument  was  erected  by  the  baker  himself;  and  the  principal 
inscription,  repeated  several  times,  is  to  the  effect  that  —  *This  is  the 
monument  of  Marcus  Vergilius  Eurysaces,  a  public  purveyor  of  bread  and 
an  officiar.  Some  of  the  reliefs  represent  grinding,  baking,  and  other 
parts  of  his  trade,  and  others  refer  to  his  post  of  purveyor  to  the  city. 

From  this  point  to  the  Amphitheatrum  Castrense  and  the  Porta 
S.  Giovanni,  see  p  273,  to  the  Campagna,  see  p.  345. 

From  the  Porta  Maggiore  a  road  leads  to  (5  min.)  S.  Croce  in 
Gerusalemme,  passing  under  the  arch  of  the  Claudian  aqueduct,  and 


S,  Croce  in  Gerusalemme,    ROME.       II,  Ea9tem  Quarter.    181 

skirting  the  wall  on  the  inside.  From  S.  Maria  Maggiore  to  this 
church  by  the  Via  Conte  Verde  is  a  walk  of  20  minutes. 

8.  Croce  in  Gemsalemme  (PI.  II,  36),  one  of  the  seven  pil- 
grimage-churches, once  named  Basilica  Sessoriana^  because  the 
Sessoriumj  perhaps  an  ancient  court  of  judicature,  formerly  stood 
here,  is  said  to  have  been  erected  by  St.  Helena  in  honour  of  her 
discovery  of  the  Cross.  As  early  as  433  a  Council  met  here.  The 
church  was  rebuilt  by  Lucius  II.  in  1144,  and  was  modernised 
under  Benedict  XIV.  in  1743,  by  Qregorini,  who  added  the  poor 
facade. 

INTSBIOR.  The  nave  was  originally  borne  by  12  antique  columns  of 
granite,  of  which  8  only  are  now  visible.  An  ancient  sarcophagus  of  basaJt 
below  the  high-altar  contains  the  relics  of  SS.  Anastasius  and  Geesarias. 
In  the  tribune  are  modernised  ^Frescoes  of  the  Invention  of  the  Cross,  as- 
cribed to  PintuHcchio  (according  to  G.  £  G.,  by  Fiorenzo  di  Lorenzo).  The 
church   contains  numerous  relics,  including   the  ^Inscription  on  the  Gro88\ 

To  the  left  of  the  tribune  a  staircase  descends  to  the  Crypt^  where  on 
the  left  is  an  altar  with  a  marble  relief  (Pietk) ;  at  the  sides  are  statues 
of  Peter  and  Paul  of  the  12th  century.  On  the  right  the  chapel  of  St.  Helena 
(to  which  ladies  are  admitted  on  20th  March  only).  On  the  vaulting  are 
"^Mosaies ,  after  Bald.  Peruzzi ,  representing  the  Four  Evangelists.  In  the 
centre,  Ghrist.  In  the  arch  over  the  entrance,  on  the  left  St.  Helena,  right 
St.  Sylvester;  over  the  altar,  on  the  left  St.  Peter,  on  the  right  St.  Paul. 
The  altar-statue  of  St.  Helena  is  an  exact  copy  of  the  Barberini  Juno  in  the 
Sala  Botonda  of  the  Vatican  (p.  306),  with  a  cross  for  the  sceptre  in  the 
right  hand,  and  a  nail  of  the  cross  for  the  vase  in  the  left. 

The  greater  part  of  the  old  Cistercian  monastery  formerly  belong- 
ing to  the  church  is  now  used  as  a  barrack. 

On  the  other  side  of  S.  Croce  is  an  apse  with  arched  windows 
and  the  beginning  of  adjoining  walls,  which  are  supposed  to  have 
belonged  to  a  Temple  of  Venus  and  Cupid ,  or  a  Nymphaeum  of 
Alexander  Severus,  or  to  the  Sessorium  mentioned  above. 

From  S.  Croce  to  the  Lateran  is  a  dusty  and  shadeless  walk  of 
5  min.  (p.  266).  

From  S.  Maria  Maggiore  the  Via  Mkeulana  (PI.  II,  26,  29,  30 ; 
omnibus  No.  7  and  tramway  No.  3,  see  pp.  1,  3  of  Appx.)  leads  to 
the  right  to  the  Lateran  (in  1/4  hr.;  p.  265). 

The  first  cross -street  to  the  right  is  the  Via  di  8.  Martino, 
which,  under  different  names ,  leads  through  a  well-peopled  quarter 
to  the  Forum.  To  the  left  is  the  Via  di  S.  VitOj  in  which  stands  S, 
Alfonso  d^  Liguori ,  a  Gothic  church  built  by  Wigley  in  1856,  at 
the  cost  of  a  Mr.  Douglas.  At  the  end  of  the  street  are  the  church  of 
S.  Vito  and  the  Arch  of  Oallienus  (see  p.  179).  The  next  cross- 
streets  to  the  right  are  the  broad  new  Via  dello  Statuto,  which 
unites  with  the  Via  Cavour ,  and  the  Via  di  S.  Pietro  in  Vincoli 
(see  below). 

In  this  neighbourhood,  but  scarcely  accessible  on  account  of  the  n  w 
streets  in  progress,  are  the  so-called  Sett©  Sale  (PI.  II,  26),  consisting  of 
seven,  or  rather  nine,  parallel  vaulted  chambers,  which  appear  to  have 
been  used  as  reservoirs  for  the  Thermae  of  Titus  (p.  237). 


182  i/.  Eastern  QuarUr.       ROME.  S.  Martino  ai  MontL 

Farther  on  in  the  Via  Merulana  j  to  the  right ,  is  the  new  and 
unfinished  Palazzo  Field.  Adjacent  is  a  small  triangular  space, 
where  a  building  in  ^opus  reticulatum'  was  discovered  in  1874.  It 
is  supposed  to  have  belonged  to  the  Gardens  of  Maecenas  which  lay 
here.  The  oblong  chamber,  now  roofed  in,  has  a  number  of  steps 
rising  at  the  N.  end,  like  the  seats  in  an  amphitheatre.  The  walls 
were  richly  decorated  with  paintings,  which  are  now  rapidly  fading. 
It  is  used  as  a  storehouse  for  newly  discovered  sculptures  and  in- 
scriptions and  contains  nothing  of  general  interest.  Outside  the  S. 
and  E.  walls  are  seen  fragments  of  the  Servian  wall  (p.  169).  Adm. 
on  Thurs.,  9-11  and  2-5. 

Still  farther  on  in  the  Via  Merulana,  at  the  comer  of  the  Via  La- 
bi cana  (by  which  we  may  reach  S.  Olemente  and  the  Therms  of 
Titus  in  5  min. ;  see  p.  237),  is  the  small  church  of  8.  Pietro  Mar- 
cellino,  founded  at  a  very  early  period  and  entirely  renewed  under 
Benedict  XIV.  Opposite  is  the  imposing  new  House  of  the  Francis- 
cans ,  built  in  1886-87.  We  then  reach  the  Piazza  del  Laterano 
Cp.  366). 

From  the  Via  Merulana  diverges  the  Via  di  S.  Pibtro  in  Vin- 
coLi  to  the  W. ,  leading  to  the  church  of  —  ' 

S.  Martino  ai  Monti  (Pi.  II,  26),  erected  by  Symmachus  about 
the  year  500,  adjacent  to  the  Baths  of  Trajan  and  an  old  church  of 
Pope  Sylvester .  It  was  rebuilt  in  844  by  Sergius  II.  and  Leo  IV. ,  and 
handsomely  modernised  about  1650.    Principal  festival,  11th  Nov. 

The  iNTEBioB,  a  basilica  with  a  roof  of  straight  beams,  contains  24  an- 
tique columns.  In  the  S.  aisle  six  ^Frescoes  by  0,  PouMin^  from  the  life  of 
Elijah,  the  patron  of  the  order  (marred  by  restoration).  In  the  "S.  aisle 
six  smaller  *Frescoes.  Also  two  pictures  representing  the  interior  of  the 
old  churches  of  the  Lateran  and  of  St.  Peter.  —  The  Psbsbttbbidm  is  eleven 
steps  higher;  below  is  the  Gbtpt.  From  the  latter  we  enter  a  lai^e  vault, 
probably  once  belonging  to  Thermee,  but  at  an  early  period  converted  into  a 
church.  The  vaulting  bears  traces  of  ancient  painting.  This  is  supposed  to 
be  the  site  of  Pope  Sylvester's  church,  of  the  period  of  Gonstantine. 

In  5  min.  more  we  reach  the  church  of  *S.  Pietro  in  Tineoli 
(PI.  II,  23 ;  150  ft.  above  the  sea-level),  also  named  Basilica  Eu- 
doxiana  after  Eudoxia ,  wife  of  Valentinian  III.,  who  founded  the 
church  about  the  year  442,  as  a  receptacle  for  the  chains  of  St. 
Peter  which  had  been  presented  by  her  to  Pope  Leo  I.  It  was 
restored  by  Pelagius  I.  and  Hadrian  I.,  the  vestibule  added  by  Baccio 
Pintelli(?),  and  the  whole  is  now  modernised.  Admission  before 
11  a.m.  and  after  3  p.m.;  when  closed,  visitors  ring  at  the  ad- 
jacent door  to  the  left.  No.  4  (1/2  ^0- 

Ihtebiob.  The  nave  and  aisles  are  separated  by  20  antique  Doric 
columns.  To  the  left  of  the  entrance  is  the  monument  of  the  Florentine 
painters  Pietro  and  Antonio  Pollajuolo  (d.  1498).  The  fresco  above  it, 
representing  the  plague  of  680,  is  attributed  to  the  latter  master.  The 
Left  Aisle  contains  the  monument  (in  the  corner)  of  the  learned  Card.  Nico- 
laus  Gusanus  (from  Cues  on  the  Moselle,  d.  1465).  Above  it  a  relief:  Peter 
with  keys  and  chains,  on  the  left  the  donor  (Kic.  Gusanus),  right  an  angel. 
—  On  the  3rd  altar  to  the  left  a  mosaic  of  the  7th  cent,  with  St.  Sebastian. 


8.  Pieiro  in  VincolL  ROME.       //.  Eastern  Quarter,    183 

At  the  end  of  the  Bight  Aislb  is  the  monument  of  Pope  Julius  II.  (p.  71)  with 
the  **  Statue  of  Moses  hy  Michael  Angela^  one  of  his  most  famous  works.  The 
monument  was  originally  destined  for  St.  Peter's,  and  intended  to  be  a  most 
imposing  work,  consisting  of  upwards  of  90  statues.  Owing  to  various  ad- 
verse circumstances  the  portion  preserved  here  was  alone  completed.  (Two 
statues  destined  for  this  monument  are  at  the  Louvre.)  The  statues  of  Hoses 
(who  is  represented  by  mediaeval  Christian  artists  with  horns  owing  to 
an  erroneous  translation  of  Exodus  xxxiv.  86),  Bachel,  and  Leah  (as 
symbols,  on  the  left  of  meditative,  on  the  right  of  active  life)  alone  were 
executed  by  the  great  master,  and  even  these  were  not  entirely  his  own 
workmanship.  The  grouping  only  of  the  remainder  was  from  his  design. 
The  figure  of  the  pope  (who  is  not  interred  here)  by  Mcuo  del  Boseo  is  a 
failure-,  the  prophet  and  the  sibyl  at  the  side  are  by  Ma/,  da  Montelupo.  — 
To  the  right  of  the  choir  is  St.  Margaret,  an  altar-piece  by  Ouereino.  — 
The  Choir  contains  an  ancient  marble  seat  from  a  bath,  converted  into 
an  episcopal  throne.  A  cabinet  under  the  high-altar,  with  bronze  *Doors 
(by  the  Pollajttolif  1477),  contains  the  chains  of  St.  Peter,  which  are  ex- 
hibited to  the  pious  on  1st  August. 

The  adjacent  monastery  of  the  Oanonlci  Regolari  is  now  the  seat 
of  the  physical  and  mathematical  faculty  of  the  university.  The 
handsome  old  monastery-conrt,  by  OiuUano  da  SangaUo,  planted 
with  orange-trees ,  is  embellished  with  a  fountain  by  Antonio  da 
SangdLlo.  (Entrance  by  No.  5,  to  the  right  of  the  church.)  —  Op- 
posite the  facade  of  the  church  is  the  Collegium  Maroniticum,  with 
an  old  tower  commanding  a  fine  yiew. 

Proceeding  to  the  left,  and  then,  where  the  street  divides*,  to 
the  left  again,  we  reach  the  Thermae  of  Titus  (p.  237)  in  5  minutes. 
—  The  street  in  a  straight  direction  descends  to  the  BaaUiea  of  Con- 
atantine  (p.  232),  which  is  conveniently  visited  after  the  church 
of  S.  Pietro.  To  the  right  of  S.  Pietro  in  Vincoli  is  the  church 
of  8.  Francesco  di  Paola,  with  a  monastery,  now  the  B»  Jsyituto 
Tecnieo, 

III.  Borne  on  the  Tiber  (Left  Bank). 

That  part  of  the  city  which  extends  to  the  W.  from  the  Corso  as 
far  as  the  river  was  uninhabited  in  the  most  ancient  times  {Campus 
Martiu8)y  but  was  gradually  covered  with  buildings  as  Rome  ex- 
tended her  sway,  and  as  far  back  as  the  Republic,  but  more  parti- 
cularly in  the  reign  of  Augustus,  it  became  the  site  of  many  palatial 
edifices,  and  the  new  town  of  ancient  Rome.  This  quarter,  which 
is  now  densely  peopled,  and  was  till  quite  lately  in  the  main  med- 
iaeval in  character,  consists  of  a  network  of  narrow  and  dirty  streets 
and  lanes ,  enlivened  by  the  busy  traffic  of  the  lower  classes ,  and 
containing  many  highly  interesting  churches  and  palaces  of  the 
middle  ages  and  the  Renaissance.  The  present  government  has 
undertaken  the  task  of  improving  this  quarter  by  the  construction 
of  new  and  broad  streets.  The  following  description  begins  with 
the  N.  side. 

From  the  Piazza  del  Popolo  the  broad  Via  di  Ripbtta  (PI.  I, 
15,  14),  with  its  prolongation  the  Via  della  Scrofa,  leads  to  the  S. 
in  16  min.  to  |S.  Luigi  de'  Frances!  and  the  Piazza  Navona  (Cirr 


184   III,  Left  Bank.  ROME.     Mausoleum  of  Augustus 

Agonale).  On  the  right ,  4  min.  from  the  Piazza  del  Popolo ,  is  a 
modern  building  with  a  central  part  in  the  shape  of  a  horseshoe  (11 
Ferro  di  Cavallo),  erected  by  Gregory  XVI.,  and  now  containing 
the  Direzione  Centrale  del  Lotto y  and  studios  belonging  to  the  Aeca- 
demia  di  Belle  Arti,  or  di  8,  Luca  (p.  238). 

In  the  Via  de'  Ponteflci,  a  cross-street  to  the  left,  is  the  entrance 
(No.  57;  on  the  right)  to  the  ICausoleam  of  AuguBtufl  (Tl.  I,  17), 
erected  by  that  emperor  as  a  burial-place  for  himself  and  his  family, 
and  in  which  most  of  his  successors  down  to  Nerva  were  interred. 
On  a  huge  substructure ,  which  contained  the  mortuary  chambers, 
arose  a  mound  of  earth  in  the  form  of  terraces ,  embellished  with 
cypresses,  surmounted  by  a  statue  of 'the  emperor,  and  environed 
with  a  park.  In  the  middle  ages  it  was  converted  into  a  fortress  by 
the  Oolonnas ;  and  a  theatre  (Anfiteatro  Vmberto  L)  is  now  fitted  up 
within  its  precincts.  A  few  of  the  tomb-chambers  are  still  preserved. 
Fee  V2  ^r-    Generally  closed  at  midday. 

To  the  left  in  the  Via  di  Ripetta  we  next  reach  the  church  of 
8,  Rocco  (PI.  I,  14) ,  erected  in  1657  by  De  Rossi ,  with  a  facade 
added  by  Valadier  in  1834.  Immediately  beyond  it ,  on  the  right, 
Is  the  Harbour  of  the  Ripetta^  constructed  by  Clement  XI.  in  1707; 
the  picturesque  curving  flights  of  steps  (built  in  1704  with  stones 
from  the  Colosseum)  have  lost  greatly  in  effect  from  the  construction 
of  the  Ponte  di  Ripetta ,  a  new  iron  bridge  leading  to  the  Prati  di 
Castello  (p.  275).  To  the  left  is  the  end  of  the  Palazzo  Borghese 
(see  below). 

A  ^little  farther  on,  the  street  takes  the  name  of  Via  dblla 
SoBOPA  (PI.  I,  3 ;  II,  3),  which  it  retains  as  far  as  the  Piazza  of 
S.  Lulgi  de'  Frances!  (see  pp.  189  et  seq.). 


The  Via  della  Scrofa  is  soon  intersected  (about  9  min.  from  the 
Piazza  del  Popolo)  by  an  important  street ,  the  Via  della  Fokta- 
NELLA  (PI.  I,  16),  which  diverges  from  the  Corso  opposite  the  Via 
Condotti.  At  the  Via  della  Scrofa  it  assumes  the  name  of  Via  del 
Clementinoj  beyond  which  it  is  continued,  as  the  Via  di  Monte 
Brianzo  and  the  Via  Tordinona,  to  the  Ponte  S.  Angelo.  The  church 
of  S.  Trinity  de'  Monti  (p.  149)  is  visible  the  greater  part  of  the  way, 
forming  the  termination  of  the  street.  In  the  Piazza  Nicosia ,  ad- 
joining the  Via  del  Clementine ,  is  the  new  Palazzo  Qalitzin  (PI.  I, 
13,  23),  an  imitation  of  the  Pal.  Giraud  (p.  276).  In  the  Via  Tor- 
dinona the  houses  on  the  river-side  have  recently  been  levelled 
with  the  ground.  A  spacious  quay  named  the  Lungo  Tevere^  and 
a  new  bridge  named  the  Ponte  limber  to  are  in  progress. 

Turning  to  the  left  from  the  Via  della  Scrofa  into  the  Via  della 
Fontanella,  we  reach  the  Piazza  Borghbsb,  with  the  celebrated  — 

*PalaK>o  Borghese  (PI.  I,  16),  begun  by  order  of  Card.  Deza 


Palazzo  Bofghese.  ROME.  III.  Left  Batik,    185 

in  1590  by  the  architect  Mart.  Lunghi  the  Elder,  and  completed  by 
Flammio  Ponzio  by  order  of  Paul  V.,  through  whom  it  came  into 
the  possession  of  the  Borghese  family.  The  principal  facade  is 
towards  the  Via  della  Fontanella;  the  more  imposing  lateral  facade 
is  towards  the  Piazza  Borghese.  On  the  gronnd-floor  and  first  floor 
the  *Goi7BT  is  surronnded  by  arcades  resting  on  clustered  granite 
columns  (permessi  for  the  Gallery  obtained  to  the  left).  Below 
these  are  three  ancient  colossal  statues  (a  Muse ,  an  Apollo  Musa- 
getes,  and  a  portrait-statue) ;  and  at  the  end  of  the  right  passage 
a  fragment  of  the  statue  of  an  Amazon.  Behind  lies  the  small 
garden,  containing  three  rococo  fountains  by  Rainaldi,  and  some 
trifling  antiquities.  In  the  centre  of  the  left  side  of  the  arcades  is 
the  entrance  to  the  **0all6ria  Borghese  (admission,  see  p.  122; 
catalogues  for  the  use  of  visitors) ,  hitherto  the  most  important  in 
Rome  next  to  that  of  the  Vatican,  but  much  weakened  in  1888  by 
the  removal  of  several  of  its  greatest  treasures.  Other  changes  may 
be  expected.  The  following  account  refers  to  the  collection  as  it 
was  in  summer,  1889.  —  Among  the  works  which  have  been  removed 
were  several  paintings  of  the  Oldeb  School,  but  the  15th  century, 
through  the  gallery  was  founded  at  a  time  when  the  works  of  that 
period  were  not  generally  appreciated ,  is  still  better  represented 
here  than  in  the  other  private  galleries  of  Rome.  Among  these 
are  an  admirable  Holy  Family  ascribed  to  Lorenzo  di  Credi  (Room  I, 
No.  54)  and  two  good  specimens  of  the  Milanese  School  of  Leo- 
nardo da  Vinci  (Christ  imparting  his  blessing,  a  small  work  by 
Marco  d'Oggionno,  I.  Room,  No.  33;  Christ  bearing  his  Cross,  by 
Solario,  II.  Room,  No.  42). 

Among  the  works  ascribed  to  Rafhabl  the  Entombment  (II. 
Room,  No.  38)  alone  is  authentic.  The  picture  is  not  well  pre- 
served, and  is  perhaps  not  entirely  by  Raphael's  own  hand.  The 
impression  produced  by  it  is  disappointing,  the  composition  seems 
too  studied,  and  the  colouring  cold  (p.  liii).  The  predelle  belong- 
ing to  it  are  in  the  Vatican  (p.  301).  The  Fomarina  (II.  Room, 
No.  65),  the  Madonna  d'Alba  (II,  39),  Pope  Julius  H.  (H,  18), 
and  others  ascribed  to  Raphael  are  copies ;  the  unknown  Cardinal 
(H,  21)  is  by  a  somewhat  later  Florentine  master,  who  for  the 
colouring  of  the  gown  has  used  a  different  kind  of  red  from  Ra- 
phael. It  is  quite  as  improbable  that  the  so-called  Portrait  of 
Cesare  Borgia  (II,  26)  was  executed  by  Raphael.  Cesare  Borgia 
died  in  1507,  whereas  the  costume  of  the  portrait  is  in  the  style 
of  the  middle  of  that  century.  The  painter  of  this  unknown  per- 
sonage was  perhaps  Angelo  Bronzino.  The  IX.  Room  contains 
several  Frescoes  transferred  hither  from  the  Villa  of  Raphael,  and 
ascribed  to  that  master ;  but  they  are  unlike  his  workmanship,  both 
in  composition  and  execution. 

The  School  op  Fbbsara  of  the  16th  cent,  is  copiously  and 
well  represented.  A  fine  example  of  Mazzolinfs  richness  of  colour- 


186   ///.  Left  Bank.  ROME.  Falazto  Borghese, 

ing  is  his  Adoration  of  the  Magi  (II,  ^9).  Doaso  DossVs  Giice 
(III,  1 1)  conducts  lis  into  a  world  of  fancy,  similar  to  that  depicted 
by  Ariosto  in  his  Orlando.  Lastly  there  are  several  excellent  works 
by  Oarofalo,  the  Raphael  of  Ferrara  (II,  9 :  Descent  from  the  Cross). 

The  CoLOURiSTs  op  thb  XVI.  Cent,  will  not  fail  to  attract  the 
visitor.  To  Sodoma  the  gallery  is  indebted  for  a  PietJi  (I,  7)  and 
a  Holy  Family  (II,  44),  in  which  the  head  of  the  Madonna  is  radiant 
with  beauty.  At  a  comparatively  recent  period  (1824)  an  important 
work  by  Correggio  was  secured  for  the  gallery.  It  represents  Danae 
with  Cupids  sharpening  their  arrows  (III,  40).  The  figure  of  Danae 
is  rather  graceful  than  strictly  beautiful,  but  the  Cupids  are  very 
charming,  and  the  chiaroscuro  masterly.  —  A  whole  room  is  de- 
voted to  the  Venetian  Sohool.  TitianU  so-called  Earthly  and 
Heavenly  Love  (X,  21)  is  one  of  those  creations  which  produces 
an  indelible  impression  on  the  beholder.  The  picture  rivets  the 
attention  like  a  poetical  dream,  and  after  the  eye  has  feasted  on  the 
charms  of  the  colouring  the  composition  still  captivates  the  imagi- 
nation. The  Arming  of  Cupid  (X,  2)  is  one  of  the  finest  mytho- 
logical works  by  the  same  master.  Bonifacio  is  another  master  who 
supplies  us  with  examples  of  the  richness  of  colouring  of  the  Ve- 
netian School  (XI,  16,  being  the  finest).  Oiorgione ,  on  the  other 
hand,  is  not  fairly  represented  by  the  only  specimen  of  his  handi- 
work which  the  gallery  possesses  (X,  13). 

As  it  is  generally  the  case  in  the  Roman  galleries,  the  painters 
of  the  later  revival  of  art,  the  adherents  of  the  Carra^ici  and  the 
Naturalists,  figure  very  numerously  here.  Domenichind^s  Diana 
(V,  15)  contains  a  number  of  nymphs  with  lifelike  heads,  and 
an  excellent  background  of  landscape;  and  AlbanVs  Elements  (V, 
11-14)  are  superb  decorative  pictures.  On  the  other  hand ,  the 
works  of  Caravaggio,  the  chief  of  the  naturalists  (V,  26),  are  re- 
pulsive. The  pictures  by  German  and  Netherlandish  masters  in 
the  Xn.  Room  are  unimportant.  —  The  apartments  are  artistically 
decorated. 

I.  Room.  *Decoration8  in  grisaille  and  gold,  by  Carlo  Villani. 
Left:  *1.  Sandro  Botticelli ^  Madonna;  2.  Sodoma,  Pieti,  unfor- 
tunately darkened  by  age ;  3,  5,  6,  7.  Pinturicchio  (?),  History  of 
Joseph,  panel-pictures  such  as  were  used  in  Florence  for  the  doors 
of  cupboards,  the  lids  and  sides  of  *cassoni',  etc. ;  8.  Luini  (a  copy), 
Vaniti;  *13.  Solario  (?),  Ecce  Homo;  *^.  School  of  Leonardo, 
Madonna;  16.  Piero  di  Cosimo,  Madonna  with  the  Child,  St.  John, 
and  angels;  iS,  Perugino,  St.  Sebastian;  19.  /Sfodomo(?),  Leda 
and  the  swan ,  an  excellent  copy  of  a  celebrated  picture  by  Leo- 
nardo; 21.  Mazzolino,  Madonna;  24.  Portrait  of  Petrarch;  32. 
Luini  (a  copy) ,  St.  Agatha ;  *33.  Marco  da  Oggionno ,  Youthful 
Christ ;  34.  Perugino,  Madonna  (a  copy),  *35.  Ridolfo  Qhirlandajo 
(according  to  Passavant,  by  Timoteo  della  Vite),  Portrait  of  a  boy, 
erroneously  called  a  portrait  of  Raphael  by  himself;  42.  *  Andrea 


Palatto  Borghese  ROME.  III.  Left  Bank,    187 

Solario ,  Christ  bearing  tbe  Cross ;  43.  Fr»  Francia  (?),  Madonna ; 
•53.  Ant.  PoUajuolo,  The  Nativity;  *54.  Lorenzo  di  Credi  (?), 
Holy  Family,  a  work  of  the  highest  rank  5  55.  Fr,  Francia  (?),  St. 
An^Lony ;  57.  Fr.  Francia^  Madonna ;  67.  Garofalo  (?)y  Adoration  of 
the  Child. 

II.  Room.  6.  Oarofalo,  Madonna  with  St.  Joseph  and  St. 
Michael;  *9.  Oarofalo,  Christ  mourned  over  by  his  friends;  18. 
Raphael  J  Portrait  of  Julius  IT.,  an  admirable -copy ;  19.  Perugino 
Portrait  of  a  woman  (copy);  *21.  Raphael  (?),  Portrait  of  a  car- 
dinal; 22.  Copy  after  Raphael^  John  in  the  wilderness;  ♦26.  Ra- 
phael (?)y  Portrait  of  Casar  Borgia  (?) ;  29.  Giulio  Romano  (?  more 
likely  Bald.  Pemtzi) ,  Venus ;  30.  (?)  Portrait  of  a  woman ;  34. 
Andrea  delSarto  (?),  Madonna;  *38.  Raphael^  Entombment  (1507), 
his  last  work  before  going  to  Rome ,  ordered  by  Atalanta  Baglioni 
for  her  chapel  in  S.  Francesco  de*  Conventuali  at  Perugia  (p.  53), 
afterwards  purchased  by  Paul  Y. ;  39.  Raphael ,  Madonna  di  Casa 
d'Alba ,  an  old  copy ;  40.  Fra  Bartolommeo ,  Holy  Family ;  *44. 
Sodomay  Holy  Family ;  53.  Raphael  (?),  Portrait  of  Perugino ;  *54. 
Antonello  da  Messina ,  Portrait ;  55,  56,  Oarofalo ,  Madonna  and 
saints ;  59.  Matzoliniy  Adoration  of  the  Magi ;  60.  Oarofalo^  Ma- 
donna; *65.  Portrait  of  the  so-called  Fornarina,  a  good  copy  of 
RaphaeVs  original  in  the  Pal.  Barberini  (p.  171),  perhaps  by  Sasso- 
ferrato. 

III.  Room.  1.  Oarofalo ,  Madonna;  *11.  Dosso  Dossi^  The 
Sorceress  Circe;  13.  Solario  (?),  Mater  Dolorosa;  14.  Sofonisha 
Anguissola ,  Portrait  of  a  woman ;  22.  School  of  Raphael ,  Holy 
Family;  24.  Andrea  del  Sario  (?)y  Madonna  with  angels;  *28.  Ma- 
donna with  the  Child  and  St.  John ,  by  the  same  (?) ;  35.  Andr. 
del  Sarto  (?),  Venus  with  two  Cupids ;  *40.  Correggio ,  Danae,  one 
of  his  finest  easel-pieces;  41.  Luca  Cambiasi,  Venus  and  Cupid 
on  dolphins  (unfinished);  42.  Bronzino  (?)^  Portrait  of  Cosimo  de' 
Medici ;  46.  Mary  Magdalene,  after  Correggio' 8  original  at  Dresden ; 
47.  Ann,  Carrodici^  St.  Francis ;  *48.  Sebast,  del  Piomboy  Scourging 
of  Christ  (the  same  piece  is  in  S.  Pietro  in  Montorio  as  a  fresco, 
p.  328) ;  49.  And,  del  Sarto  (?),  Mary  Magdalene. 

IV.  Room.  *2.  Domenichino,  Cumiean  Sibyl ;  4.  Lod,  Carraeci, 
Head;  10.  Cav,  d'Arpino,  Rape  of  Europa;  14.  Sch,  of  the  Carracci, 
Entombment;  *15.  Guido  Cagnacci,  Sibyl;  21.  Ag,  Carracci^ 
Entombment;  33.  Luca  Giordano ^  Martyrdom  of  St.  Ignatius; 
Carlo  Dolcij  36.  Madonna,  37.  Mater  Dolorosa,  34.  Head  of  Christ ; 
38.  Sasaoferrato,  Madonna. 

V.  Room.  *11,  12,  13,  14.  Francesco  Albania  The  Four  Ele- 
ment, landscapes  vrith  mythological  accessories ;  *15.  Domenichino, 
Diana  and  her  Nymphs  practising  with  their  bows;  25.  Fed. 
Zuccaro,  Christ  bewailed  by  angels;  26.  Caravaggio,  Madonna  with 
St.  Anna  and  the  Child  Jesus;  27.  Varotari  (il  Padovanino), 
Venus ;  28.  Cav,  d^Arpino,  Battle. 


ISS   III.  Left  Bank.  ROME.  Palazzo  Borghese. 

VI.  Room.  1.  Valentiriy  Return  of  the  Prodigal  Son ;  •S.  Andrea 
Saechi,  Orario  Qiustiniani ;  5.  Ouercino,  Return  of  the  Prodigal; 
7.  Pietro  da  Cortona^  Giuseppe  Ghislieri;  8,  10.  Caravaggio^ 
David;  11.  Saroecio,  Flight  of  JEneas  from  Troy;  *13.  Titian^ 
Three  periods  of  life,  a  copy  by  Saasoferrato  (original  in  London); 
18.  Sassoferrato y  Madonna;  24,  25.  Landscapes  in  the  style  of 
Poussin ;  36.  Caravaggio,  Boy  'with  fruit. 

VII.  Room.  The  lower  part  of  the  wall  is  adorned  with  mirrors, 
on  which  Cupids  (by  Cirofern)  and  garlands  (by  Mario  de'  I%orf) 
are  painted.  Above,  in  small  niches,  are  16  ancient  portrait-busts, 
some  freely  restored.  In  the  centre  is  a  table  of  mosaic  composed 
of  stones  some  of  which  are  extremely  rare. 

Vin.  Room  ,  containing  a  number  of  small  objects  of  art.  13. 
Mareello  Provenzale^  Madonna;  68.  P.  Bril  (?),  Orpheus  with  the 
animals  in  a  landscape;  73.  Vanni^  The  Graces;  *76.  Female  head, 
a  silver-point  drawing  of  the  School  of  Leonardo ;  *83.  View  of 
the  Villa  Borghese  in  the  17th  century.  —  To  the  left  a  passage 
adorned  with  landscape-frescoes  leads  to  the  — 

IX.  Room.  Three  *Frescoes  (under  glass)  from  the  so-called 
Villa  of  Raphael,  which  formerly  stood  within  the  grounds  of  the 
Villa  Borghese,  and  was  removed  in  1849  (p.  334):  1.  Marriage 
of  Alexander  and  Roxana,  from  a  drawing  in  the  Albertina  in 
Vienna,  which  bears  the  name  of  Raphael;  2.  Nuptials  of  Vertum- 
nus  and  Pomona,  of  inferior  value;  3.  The  so-called  ^Bersaglio 
de*  Dei*  (shooting  contest  of  the  gods),  from  a  drawing  in  the  Brera 
at  Milan  ascribed  by  Raphael  to  Mich.  Angelo ;  this  obscure  com- 
position is  perhaps  borrowed  from  Luclan  (Nigrinus ,  0.  36).  All 
three  were  probably  executed  by  Raphael's  pupils.  —  Returning  to 
the  mirror-room,  and  leaving  it  by  the  door  to  the  left  in  the  oppo- 
site wall,  we  enter  the  — 

X.  Room.  Opposite  the  entrance :  1.  Moroni,  Portrait;  ^2.  Ti- 
tian ,  Cupid  equipped  by  Venus  and  the  Graces  (c.  1560) ;  4.  8ch» 
of  Titian,  or  of  Oiorgione,  Judith,  said  to  have  the  features  of 
Titian's  wife;  6,  Sch.  ofFerrara,  Cupid  and  Psyche;  *9.  Lor.  Lotto 
Portrait;  13.  Oiorgione  (or  school  of  Ferrara?),  David  with  the 
head  of  Goliath;  14.  Paolo  Veronese,  John  the  Baptist  preaching 
repentance;  *16.  Titian,  St.  Dominic;  20.  Paolo  Veronese,  Venus 
with  satyr  and  amorettl.  —  •*21.  Titian,  *Amor  sagro  e  profane* 
or  rather  *  Artless  and  Sated  Love*,  one  of  Titlan*s  greatest  works, 
representing  a  favourite  allegory  of  16th  cent,  painters ;  to  the  right 
is  the  charming  figure  of  Artless  Love,  to  the  left  Sated  Love  (see 
also  p.  186).  —  22.  Leonello  Spada,  Concert ;  26.  School  of  Palma 
Veechio,  Portrait ;  30.  Leandro  Bassano ,  The  Trinity ;  ♦36.  Qiov, 
Bellini  (?),  Madonna,  an  early  work. 

XI.  Room.  2.  Paolo  Veronese  (7)^  St.  Anthony  about  to  preach 
to  the  fishes;   5.  Patma  Veechio,  Lucretia;  14.  Andr.  Sehiavor^, 

~t  Supper;   15.  Bonifacio  Junr,,  Christ  among   his  disciples; 


S.  AgosUno.  ROME.  III.  Left  Batik.    189 

*16.  Bonifacio  y  Return  of  the  Prodigal ;  17.  Titian  y  Samson  (le- 
touched);  18.  Bonifacio^  Christ  and  the  adulteress;  19.  Palma 
Vecchio  (?),  Madonna;  •32.  Palma  Vecehio,  Holy  Family;  33.  Por- 
denoney  Family-portraits. 

XU.  Room.  Dutch  and  German  masters.  1.  VanDyckf?),  Cruci- 
fixion ;  *7.  Entombment ,  by  the  same  (?) ;  8.  i).  Teniers,  Genre 
picture;  9.  A.  Brouwer(?),  Genre  picture;  10.  Dutch  School  (Pietcr 
Codde),  Soldiers;  11.  LeDuc^  Conversation-piece;  ib.  Brabant 
8ch, ,  Mary's  visit  to  Elizabeth;  17.  Qherardo  deUa  NotU  (Hont'^ 
horatjy  Lot  and  his  daughters;  26.  Durer  (?),  Portrait  (said  to  be 
of  Duke  Louis  VL  of  Bavaria);  27.  VanDycki?)^  Portrait;  44. 
Lucas  Cranachy  Venus  and  Cupid. 

Among  the  pictures  formerly  in  the  Gallery,  which  have  now  been 
removed  to  the  Prince's  private  rooms,  the  following  may  be  mentioned: 
Al.  Allori,  Risen  Christ;  several  portraits  by  Oiov.  Bellini;  Lor,  di  Credi, 
Madonna  with  the  flower-glass;  Fr.  Franeia^  St.  Stephen;  Quereinoy  Fe- 
male half-figure,  and  a  Mater  Dolorosa  ^  Outdo  Reni,  St.  Joseph ;  School  of 
Leonardo  da  Vinei^  Madonna;  Lor.  Lotto ,  Madonna  with  SS.  Onuphrius 
and  Augustine;  Perugino^  Portrait  of  himself ;  K*era,  St.  Stanislaus  with 
the  Child  Jesus  ;  Qiulio  Romano  and  his  scholars,  frescoes  from  the  Villa 
Lante;  SassoferratOy  Madonna;  Titian^  Portrait  of  himself. 

Following  the  Via  della  Scrofa  (p.  184)  from  the  Palazzo 
Borghese  and  after  5  min.  taking  the  fourth  cross-street  to  the 
right  (in  front,  straight  on,  is  S.  Luigi  de'  Frances!,  p.  193),  we 
reach  the  Piazza  di  S.  Aqostino. 

•S.  Agostino  (PL  I,  13),  erected  by  Baceio  Pintelli(f}  in  1483 
by  order  of  Card.  d'Estouteville,  the  protector  of  the  Augustinians, 
on  the  site  of  an  old  oratorium,  was  the  first  Roman  church  with 
a  dome.  The  facade  and  the  spacious  flight  of  steps  are  said  to  have 
been  constructed  of  stones  from  the  Colosseum.  The  interior,  in 
the  form  of  a  Latin  cross,  was  restored  in  1750,  and  again  in 
1860,  when  it  was  adorned  with  frescoes  by  Oagliardi. 

Intebios.  On  the  entrance -wall  a  *  Madonna  and  Child,  in  marble, 
by  Jacopo  TatH,  sumamed  Jae.  Sansovino  after  his  master  Andrea  Sanso- 
vino,  surrounded  by.  numerous  votive  offerings.  In  the  IsT  Chapxl  on  tiie 
right ,  St.  Catharine  by  Venusii ;  in  the  2nd  ,  NuccVe  free  copy  of  the  lost 
Madonna  della  Rosa  of  Raphael ;  in  the  4th,  *  Christ  delivering  the  keys  to 
Peter,  a  group  by  Cotignola.  By  the  5th  Chapel  is  the  monument  (the  second 
to  the  left)  of  the  learned  Onofrio  Panvinio  (d.  1568).  Adjoining  the  door 
of  the  sacristy  is  the  monument  of  the  learned  Cardinal  Noris.  —  The 
Right  Tbaksept  contains  the  chapel  of  St.  Augustine  with  an  altar-piece 
by  Ouercino:  St.  Augustine  between  John  the  Baptist  and  Paul  the  Hennit. 

The  Hian  Altar  was  decorated  by  Bernini ;  the  image  of  the  Madonna  is 
said  to  have  been  painted  by  St.  Luke,  and  brought  from  the  church  of  St. 
Sophia  at  Constantinople.  In  the  chapel  on  the  left  of  this  are  preserved 
the  remains  of  St.  Monica,  mother  of  Augustine;  altar-piece  by  Oottardi. 

The  2nd  Chapel  in  the  Left  Aisle  contains  a  ^Group  in  marble  (St.  Anna, 
Mary,  and  Jesus)  by  Andrea  Samovino  (1512).  In  the  4th,  St.  ApoUonia, 
altar-piece  by  Muziano.  In  the  Nave,  on  the  3rd  pillar  to  the  left,  *RaphaeVs 
Prophet  Isaiah,  holding  a  scroll  with  the  words  from  Is.  xxvi,  2,  painted 
in  1512,  but  unfortunately  retouched  by  Dan.  da  Volterra^  and  now  much 
iiyured.  In  the  execution  of  this  work  the  great  master  is  said  to  have 
been  influenced  by  that  of  M.  Angelo  in  the  Sistine  Chapel. 

To  the  right  of  the  church  ig  the  entrance  to  the  BiblioUca 


190  in.  Left  Bank.  ROME.  Palazto  Lanceloiii. 

Angelica,  consisting  of  upwards  of  100,000  vols,  and  2945  MSS., 
(adm.,  see  p.  116). 

Proceeding  from  the  Piazza  S.  Agostlno  straight  through  the 
archway,  we  reach  the  Piazza  S.  Apollinabe  (PL  I,  13),  in  which 
are  situated  the  Seminario  RomanOj  a  kind  of  grammar-school,  and 
8,  ApoUinare,  an  old  church,  rehuilt  in  1552  and  1750,  and  owing 
its  present  form  to  Fuga.  To  the  left,  over  the  altar  in  the  inner 
vestibule,  is  a  Madonna  by  Perugino  (?).  —  Opposite  the  church  is 
the  Pal.  Altempsj  of  the  16th  cent.,  completed  by  the  elder  Lunghl, 
possessing  a  handsome  double  court  with  arcades,  the  lateral  colon- 
nades of  which  are  built  up,  and  containing  a  few  ancient  statues. 

From  the  Piazza  S.  Apollinare  the  Via  Agonale  leads  to  the  S. 
to  the  Piazza  Navona  (see  below).  In  a  straight  direction  we  reach 
the  Piazza  di  Tor  Sanguigna ,  whence  the  narrow  Via  de  Coronari 
and  the  Via  di  Panleo  lead  to  the  (10  min.)  Ponte  San  Angelo. 

The  Via  della  Maschera  d^OrOj  No.  7  in  which  is  adorned  with 
a  frieze  with  paintings  from  the  myth  Of  Niobe  by  Polidoro  da  Cara- 
vaggio  (much  damaged) ,  leads  to  the  Palazzo  Lanoelotti  (PI.  I, 
13,  i),  erected  under  Sixtus  V.  by  F.  da  Volterra,  and  completed 
by  C.  Madema,  with  a  portal  by  Domenichino.  The  court  contains 
ancient  statues  and  reliefs.  In  the  private  apartments  of  Prince 
Lancelotti,  shown  by  special  permission  only,  stands  the  celebrated 
**Di8cu8  Thrower  y  found  on  the  Esquiline  in  1761 ,  a  marble  copy 
of  the  bronze  statue  by  Myron  (p.  305). 


The  *  Piazza  Kayona  (PI.  II,  13),  now  officially  named  Cireo 
Agonale,  occupies,  as  its  form  still  indicates,  the  Circus  or  Stadium 
of  Domitian.  The  name  *Navona',  which  was  used  in  the  middle 
ages,  is  said  to  be  derived  from  the  agones ,  or  contests  which  took 
place  in  the  circus.  It  is  embellished  with  three  Fountains.  That 
on  the  N.  side,  by  Leon,  della  Bitta  and  Oreg.  Zappolk,  erected  in 
1878,  represents  Neptune  in  conflict  with  a  sea- monster  (polypus); 
round  the  central  group  are  Nereids  and  sea-horses.  Not  far  from 
it ,  in  the  centre  of  a  large  ancient  basin  of  Pentelic  marble,  rises  a 
fountain  erected  by  Bernini  under  Innocent  X. ;  at  the  corners  of  the 
lofty  mass  of  rock ,  the  different  parts  of  which  represent  the  four 
quarters  of  the  globe,  are  placed  the  gods  of  the  four  largest  rivers, 
the  Danube ,  Ganges,  Nile,  and  Rio  della  Plata,  executed  by  pupils 
of  Bernini.  The  whole  is  surmounted  by  an.obelisk,  'which  was  ori- 
ginally erected  in  honour  of  Domitian  in  the  Circus  of  Maxentius 
(p.  352).  The  third  fountain,  at  the  S.  end  of  the  piazza,  is  adorned 
with  masks,  Tritons,  and  the  statue  of  a  Moor  by  Bernini. 

On  the  W.  side  of  the  Piazza  Navona  stands  the  church  of 
8.  Agnese;  the  interior,  in  the  form  of  a  Greek  cross,  and  the 
campanili,  are  by  C.  Rinaldi,  and  the  tasteless  facade  by  Borromini. 
The  Romans  used  to  maintain  that  the  Nile  on  the  great  fountain 
veiled  his  head  in  order  to  avoid  seeing  this  facade. 


8,  Maria  delV  Anima.         ROME.'  ///.  Left  Bank.    191 

Over  the  principal  door  is  the  monument  of  Innocent  X.  by  Maini; 
to  tbe  left,  in  the  chapel  of  the  transept,  is  a  statue  of  St.  Sebastian,  adapted 
from  an  ancient  statue  by  Maini.  Beneath  the  dome  are  8  columns  of  'cot- 
tanello'.  The  old  church  was  in  the  side-vaults  of  the  Circus  where  the 
saint  Bu£fered  martyrdom.  Two  subterranean  chapels  with  ancient  vaulting 
still  remain ,  one  of  them  containing  a  good  relief  of  the  Martyrdom  ot 
St.  Agnes  by  Algordi  (descent  by  a  stair). 

To  the  left  of  the  church  is  the  Pcdazzo  Pamphtljf  also  erected 
by  Rinaldi,  now  the  property  of  Prince  Doria.  Opposite  to  it  is  the 
national  church  of  the  Spaniards,  S.  Oiacomo  degli  Spagnuoli  (PI.  II, 
13,  23),  erected  In  1450,  and  recently  restored. 

On  the  S.  side  of  the  piazza  is  the  Pal.  Braschi ,  with  the  Pas- 
qnino  (see  p.  201).  A  little  to  the  £.  lie  the  Pal.  Madama  and 
the  Pantheon  (pp.  192,  193). 

The  Via  di  S,  Agnese^  to  the  right  of  the  church,  leads  to  the 
Via  deW  Anima  on  the  right,  where  on  the  left  side  is  situated  *S. 
KaiiA  deU'  Anima  (PI.  U,  13 ;  open  till  8V2  a-m.,  on  holidays  tUl 
noon ;  when  closed,  visitors  go  round  the  church  by  the  Yicolo  della 
Pace  on  the  right,  and  ring  at  the  door  of  the  Hospice,  opposite 
S.  Maria  della  Pace).  The  name  is  derived  from  a  small  marble- 
group  in  the  tympanum  of  the  portal :  a  Madonna  invoked  by  two 
souls  in  purgatory.  This  is  the  German  national  church  and  was 
erected  in  1500-14.  Handsome  fa^de  by  Oiuliano  da  Sangallo. 
Part  of  the  interior  is  said  to  have  been  designed  by  Bramante. 

The  Interior  has  lately  been  thoroughly  restored.  The  central  window 
of  the  entrance-wall  formerly  contained  stained  glass  by  William  0/  Marseilles^ 
now  modem.  The  modem  fresco^  of  saints  on  the  ceiling  are  by  L.  Beits 
(1875-82),  and  the  stained-glass  window  over  the  chief  portal  was  designed 
by  him.  —  Right  Aisle.  1st  Chapel :  *St.  Benno  receiving  from  a  fisherman  the 
keys  of  the  cathedral  at  Meissen  (Saxony),  which  had  been  recovered  from 
the  stomach  of  a  fish,  altar-piece  by  Carlo  Saraceni.  2nd  Chapel :  Holy  Fam- 
ily, altar-piece  by  Oimignani;  left,  monument  and  bust  of  Card.  Slusius. 
4th  Chapel :  altered  copy  of  Michael  Angela's  Pietik  in  St.  Peter's ,  by  Ifanni 
di  Baeeio  Bigio.  —  Lxrr  Aisle.  Ist  Chapel :  *  Martyrdom  of  St.  Lambert, 
C.  Saraceni. .  3rd  Chapel:  frescoes  from  the  life  of  St.  Barbara,  Mich.  Coxcie. 
4th  Chapel :  altar-piece  (Entombment)  and  frescoes  by  Salviati. 

Choib.  Over  the  high-altar,  *Holy  Family  with  saints,  by  0,  BomanOy 
damaged  by  inundations;  on  the  right,  "Monument  of  Hadrian  VI.  of  Utrecht 
(preceptor  of  Charles  V.,  d.l523),  with  figures  of  justice,  prudence,  strength, 
and  temperance,  designed  hy  Baldassare  Peruxzi ,  executed  by  Michelangiolo 
8anese  and  Niccolb  Tribolo;  opposite  to  it,  that  of  a  Duke  of  Cleve-Jiilich- 
Berg  (d.  1575)  by  Egidius  cS  Biviire  and  Nicolaus  of  Arras.  A  relief  in  the 
ante-chamber  of  the  sacristy  (at  the  end  of  the  N.  aisle)  represents  the  in- 
vestiture of  this  prince  by  Gregory  XIII.  In  the  church,  at  the  entrance 
to  the  sacristy,  is  the  tomb  of  the  learned  Lucas  Holstein  of  Hamburg, 
librarian  of  the  Vatican  (d.  1661). 

The  Qerman  Hospice  connected  with  the  church  was  under 
Austrian  management  from  1815  to  1863.  Opposite  the  hospital 
rises  the  church  of  — 

*S.  Karia  della  Pace  (PL  H,  I,  13,  3),  erected  by  Sixtus  IV. 
(1484)  and  Innocent  VIH.,  restored  by  Alexander  VII.,  and  pro- 
vided by  Pieiro  da  Cortona  with  a  facade  and  semicircular  portico. 
The  church  consists  of  a  domed  octagon,  with  a  short  nave. 


192  III.  Left  Bank,  '  ROME.  S.  Maria  deUa  Pace, 

Over  the  let  Chapel  on  the  right  are  **RaphaeV8  Sibyls :  to 
the  left  the  Sibyl  of  CumaB ;  on  the  arch  above,  the  Persian ;  then 
the  Phrygian ,  and  the  aged  Sibyl  of  Tibur ,  receiving  from  angels 
and  recording  revelations  regarding  the  Saviour.  They  vrere  painted 
in  1514  by  order  of  Agostino  Ohigi,  'who  erected  the  chapel,  and 
skilfully  freed  from  'restorations'  by  Palmar oli  in  1816  (best  light, 
10-11  a.m. ;  see  also  p.  Ivi). 

*With  perfect  mastery  of  the  art  of  utilising  the  space  at  his  com- 
mand, a  talent  admirably  illustrated  in  the  Stanze,  Raphael  has  here  filled 
up  the  segment  of  the  arch  so  simply  and  naturally  that  the  spectator  is 
apt  to  overlook  the  consummate  skilfulness  of  the  grouping.  Equally 
characteristic  of  Raphael  are  the  rhythm  of  the  composition,  the  display 
of  spirited  contrasts ,  and  the  delicate  gradations  and  judicious  denoue- 
ment of  passionate  emotions  \  while  the  gracefulness  of  the  female  forms 
and  the  sprightly  heauty  of  the  angel-boys  are  specially  Raphaelesque. 
Michael  Angelo''s  Sibyls  are  justly  extolled  as  creations  of  a  sublime 
imagination,  striking  the  spectator  with  their  supernatural  majesty;,  but 
these  female  figures  of  Raphael  are  pre-eminently  human  and  lovaDle\ 

In  the  lunette  above  the  Sibyls  are  the  Prophets  by  Timoteo  Viti 
(p.  97):  on  the  right  Jonah  and  Joshua,  on  the  left  Daniel  and  David. 

At  the  sides  of  the  1st  Chapel  on  the  left  are  ^Monuments  of 
the  Ponzetti  family,  of  1506  and  1509  (which  should  be  compared 
with  the  heavy  decorations  of  the  2nd  chapel  on  the  right,  executed 
half-a-century  later).  *Altar-piece  in  fresco  by  Bald,  Peruzzi: 
Madonna  between  St.  Brigitta  and  St.  Catharine,  in  front  the  donor 
Card.  Ponzetti  kneeling  (1516).  The  vaulting  above  contains  scenes 
from  the  Old  and  New  Testament ,  in  three  rows ,  also  by  Peruzzi, 
—  To  the  left,  under  the  Dome,  is  the  entrance  to  the  sacristy  and 
court  (see  below).  Over  the  first  altar  on  the  left,  Adoration  of  the 
Shepherds,  by  Sermoneta;  above  it,  the  Death  of  Mary,  by  Afo- 
randa.  The  second  altar,  with  handsome  marble- work,  partly 
gilded,  is  of  1490.  The  high-altar  is  adorned  with  an  ancient  and 
highly  revered  Madonna ;  on  the  vaulting  are  pleasing  *putti'  by 
Albani,  Over  the  adjacent  altar  to  the  right.  Baptism  of  Christ,  by 
Sermoneta,  Over  the  niche  ,  Mary's  first  visit  to  the  Temple ,  by 
Bald,  Peruzzi  (retouched).  —  Newly-married  couples  usually  at- 
tend their  first  mass  in  this  church. 

The  *MoNA8TBRY  CouBT,  coustructed  by  Bramanie  (p.  li)  by 
order  of  Card.  Caraffa  in  1504,  is  interesting.  On  the  ground-floor 
are  arcades ,  above  which  runs  a  series  of  columns.  By  the  right 
wall,  the  tomb  of  Bishop  Boccaccio  (d.  1437).  Entrance  through  the 
church,  or  by  Via  Arco  della  Pace  o.  ^ 

From  the  portal  of  the  church  the  Via  della  Pace  and  the  Via  in 
Parione  lead  straight  to  the  busy  Via  del  Oovemo  Veechio  (p.  201). 

The  Via  del  Salvatore  leads  to  the  E.  from  the  Piazza  Navona 
to  the  Piazza  Madama,  where,  in  front  of  us,  rises  the  facade  of 
the  Palasso  Kadama  (PL  II,  13),  so  called  from  Margaret  of  Parma, 
daughter  of  Charles  V. ,  by  whom  it  was  once  occupied.  Previously 
and  subsequently  it  belonged  to  the  Medicis,  afterwards  grand-dukes 


8.  Luigi  d£  FranctsL  ROME.  ///.  Left  Bank,   193 

of  Tuscany,  l)y  whose  orders  Maroeelli  altered  it  to  its  present  form 
in  1642.  The  Italian  Senate  now  meets  in  this  palace.  One  en- 
trance is  from  the  Piazza  S.  Luigi,  the  other  from  the  Piazza  Madama. 
The  vestibule,  court,  and  staircase  contain  antique  statues,  sarco- 
phagi, reliefs,  and  busts.  The  large  hall  was  adorned  by  Maaeari  in 
1888  with  frescoes  representing  Appius  Claudius  C»cu8,  Regulus, 
Cicero,  and  Catiline. 

Passing  the  left  side  of  the  palace  (to  the  right  to  the  Piazza  S. 
Eustachio,  p.  197),  we  reach  the  Piazza  di  S.  Luioi  db'  Fbancesi, 
to  the  right  in  which  rises  S.  Luigi  de*  FranceBi  (PI.  II,  13),  the 
national  church  of  the  French ,  consecrated  in  1589,  having  been 
built  on  the  site  of  several  earlier  churches.  Fagade  by  Oiac.  deUa 
Porta.  It  is  one  of  the  best  buildings  of  its  period,  and  the  interior 
also  is  judiciously  decorated.  Some  of  the  pictures  are  badly  lighted. 

Right  Aisle.  1st  Chapel :  St.  John,  altar-piece  by  0.  B.  Naldini.  On  the 
opposite  pillar  is  a  monument  to  French  soldiers  who  fell  at  the  siege  of 
Rome  in  1849.  2nd  Chapel:  ^Trescoes  from  the  life  of  St.  Cecilia,  one  of  the 
most  admirable  works  of  Dameniehino  (p.  lix) ;  on  the  right  the  saint  distributee 
clothing  to  the  poor ;  in  the  lunette  above,  she  and  her  betrothed  are  crowned 
by  an  angel ;  on  the  left  the  saint  suffers  martyrdom  with  the  blessing  of 
the  Pope;  above,  she  is  urged  to  participate  in  a  heathen  sacrifice;  on  the 
ceiling,  admission  of  the  saint  into  heaven ;  altar-piece,  a  copy  of  RaphaeVs 
St.  Cecilia  (in  Bologna)  by  Guido  Reni.  4th  Chapel,  of  St.  Remigius :  altar- 
piece,  the  Oath  of  Clovis,by  Oiac.  del  Conte;  frescoes  on  the  right,  Campaign 
of  Clovis,  by  Oirol.  Sicciolante  (da  Sermoneta) ;  on  the  left,  Baptism  of  Clovis, 
by  Pellegrino  da  Bologna.  5th  Chapel,  del  Crocifisso:  on  the  left  the  monument 
of  the  painter  Gudrin  (d.  1833),  on  the  right  that  of  Agincourt  (d.  1814),  the 
writer  on  art.  —  Over  the  high-altar :  *A8Sumption,  by  Franc.  Bastano. 

Left  Aisle.  1st  Chapel:  St.  Sebastian,  altar-piece  hjMasiei;  on  the  right 
and  left  modern  frescoes ;  by  the  first  pillar  on  the  right  the  monument  of 
Claude  Lorrain ,  erected  in  1836.  3rd  Chapel ,  of  St.  Louis :  altar-piece  by 
Plautilla  Bricciy  who  is  said  to  have  designed  the  architecture  also ;  picture 
on  the  left  by  Oimignani.  5th  Chapel,  of  St.  Matthew :  altar-piece  and  pic- 
tures on  the  right  and  left  by  Caravaggio,  on  the  left  the  Evangelist^s 
vocation  to  the  apostleship,  on  the  right  his  death. 

From  the  Piazza  S.  Luigi  to  the  N.  to  the  Via  della  Scrofa  and 
S.  Agostino,  see  p.  189.  In  a  straight  direction  we  proceed  through 
the  Via  Oiustiniani  to  the  Piazza  i>bl  Pantheon  (PI.  II,  16).  Above 
the  large  Fountain,  erected  by  Lunghi  under  Gregory  XIII.,  was 
placed  the  upper  end  of  a  broken  obelisk  by  order  of  Clement  XI. 
This  piazza  generally  presents  a  busy  scene  (comp.  p.  122). 

On  the  S.  side  of  the  piazza  rises  the  church  of  8.  Maria  Botonda^ 
or  the  **FaiLtheon,  the  only  ancient  edifice  at  Rome  which  is  still 
in  perfect  preservation  as  regards  the  walls  and  the  vaulting. 
The  original  statues  and  architectural  decorations  have  long  since 
been  replaced  by  modern  and  inferior  works,  but  the  huge  circular 
structure  with  its  vast  colonnade  still  presents  a  strikingly  imposing 
appearance.  The  walls ,  constructed  of  admirable  brickwork,  20  ft. 
in  thickness,  were  originally  covered  with  marble  and  stucco.  The 
ground  in  the  environs  has  gradually  been  so  much  raised  that  the 
pavement  of  the  temple,  to  which  five  steps  formerly  ascended,  now 
lies  below  the  level  of  the  piazza.    Excavations  made  in  1875  in 

Basdbioes.    Italy  II.    10th  Edition.  13 


19A  III.  Left  Batik.  ROME.  Pantheon. 

front  of  the  edifice  ,  wblch  led  to  the  discovery  of  two  flue  marble 
reliefs,  have  heen  filled  up  again  as  they  interfered  with  the  street 
traffic. 

The  PoBTico  (36  yds.  wide,  14  yds.  deep)  is  borne  by  16 
Corinthian  colnmns  of  granite,  13  ft.  in  circumference,  and  39 
ft.  in  height;  the  tympanum  formerly  contained  reliefs,  and  the 
roof  was  embellished  by  statues.  Eight  of  the  columns  are  in  front  ; 
the  others  form  three  colonnades,  originally  vaulted  over,  termi- 
nating in  niches,  in  which  stood  the  colossal  statues  of  Augustus  and 
his  son-in-law  M.  Agrippa.  The  latter,  according  to  the  inscription 
on  the  frieze  (M.  Agrippa  L.  F.  Cos.  tertium  fecit) ,  caused  the  edi- 
fice to  be  erected  B.C.  27.  Pope  Urban  VIII.  (Barberini)  removed 
the  brazen  tubes  on  which  the  roof  rested,  and  caused  them  to  be 
converted  into  columns  for  the  canopy  of  the  high-altar  of  St.  Peter's 
and  cannons  for  the  defence  of  the  castle  of  S.  Angelo.  This  Van- 
dalism gave  rise  to  the  epigram  of  Pasquin,  ^Quod  non  feeerunt 
harbari^  feeerunt  Barberini.  The  two  campanili,  the  'ass's  ears',  as 
they  were  derisively  termed,  erected  by  Bernini  under  the  same 
pope,  were  removed  in  1883.  —  The  central  colonnade  leads  to  the 
Entrance,  with  its  ancient  door  strongly  secured  by  bronze  plates, 
in  order  to  diminish  the  weight  of  which  the  upper  portion  is  re- 
placed by  a  railing. 

The  Intebiob,  lighted  by  a  single  aperture  in  the  centre  of  the 
dome,  produces  so  beautiful  an  effect  that  it  was  currently  believed 
at  an  early  period  that  the  temple  derived  the  name  of  Pantheon, 
which  was  applied  to  it  as  early  as  A.D.  59,  from  its  resemblance  to 
the  vault  of  heaven  (comp.  p.  xxxvi).  The  height  and  diameter  of 
the  dome  are  equal,  being  each  140  ft.  The  diameter  of  the  open- 
ing is  30  ft.  The  surface  of  the  walls  is  broken  by  7  large  niches, 
in  which  stood  the  statues  of  the  gods,  including,  as  has  been  ascer- 
tained, those  of  Mars,  Venus,  and  Csesar.  The  architrave  is  borne 
by  fluted  columns  of  giallo  antico  or  pavonazzetto  in  couples ,  the 
shafts  being  26  ft.  in  height.  Above  the  latter,  and  corresponding 
with  the  niches ,  formerly  rose  a  series  of  round  arches ,  borne  by 
Caryatides ,  but  they  appear  to  have  been  removed  during  a  very 
early  restoration  of  the  edifice.  The  white  marble,  porphyry,  and 
serpentine  decorations  of  the  Attica  or  Attic  story  remained  in  part 
till  1747,  when  they  were  barbarously  covered  with  whitewash. 
The  coffered  ceiling  of  the  vault ,  which  consists  of  concrete,  was 
decorated  with  gold-leaf,  and  the  whole  roof  was  covered  with  gilded 
bronze  tiles,  which  the  Emp.  Constans  II.  removed  to  Constanti- 
nople in  655.  Under  Gregory  III.  these  tiles  were  replaced  by  lead.  The 
building  has  frequently  been  restored,  as,  for  example,  by  Domitian, 
Trajan,  Septimius  Severus,  and  Caracalla.  The  names  of  the  last 
two  are  recorded  by  an  inscription  on  the  architrave  of  the  portico. 

In  609  the  Pantheon  was  consecrated  by  Pope  Boniface  IV.  as  a 
Christian  church,  under  the  name  of  S.  Maria  ad  Martyres  (p.  368), 


ParUheon.  ROME.  ///.  Left  Batik.    195 

and  in  commemoration  of  the  event  the  festival  of  All  Saints  was 
instituted  (13th  May,  hut  afterwards  celebrated  on  ist  Nov.).  A 
palace,  a  cathedral-chapter ,  and  a  cardinal's  title  were  afterwards 
attached  to  the  church,  which  is  generally  known  as  8.  Mafia 
Botonda,  or  La  Botonda. 

In  the  second  recess  to  the  right  of  the  high-altar  is  the  burial  vault 
of  King  Victor  Emmanuel  II.  (d.  Jan.  9, 1878).  In  the  first  Chapel  to  the  left 
of  the  high-altar  stands  the  simple  monument  of  Card.  Consalvi  (hurled  in 
S.  Marcello,  p.  157),  by  Thorvaldten. 

To  the  left  of  the  3rd  altar  is  Raphael' t  Tonib  (b.  6th  Apr.,  1483^  d.  6th 
Apr.,  1520).  On  the  wall  is  the  graceful  epigram  composed  by  Card.  Bembo:  — 
Ille  hie  est  Raphael,  timuU  quo  tospite  vinci 
Rerum  magna  parens^  el  moriente  mori. 
The  Italian  translation  runs  thus:  — 

^Questi  i  quel  Raffaele^  cui  vivo  vinta 
Esser  temea  Natura^  e  morto  e»Unta\ 

A  lengthy  inscription  beside  it  announces  that  Raphaers  remains  were 
placed  in  a  new  sarcophagus  in  1833.  The  statue  of  the  Madonna  on  the 
altar,  by  Lorenzetto,  was  executed  in  accordance  with  Raphaers  last  will. 

The  Pantheon  is  also  the  last  resting-place  of  Ann.  Carracci ,  Taddeo 
Zucchero,  Bald.  Peruzzi,  Ferino  del  Vaga,  Oioy.  da  Udine,  and  other 
celebrated  artists.  The  altars  and  recesses  are  adorned  with  paintings 
and  sculptures  of  the  18th  century. 

A  visit  to  the  interior  by  moonlight  is  recommended,  but  for  this,  as  for 
the  ascent  of  the  dome,  a  special  permesso  must  be  obtained. 

At  the  hack  of  the  Pantheon  He  the  ruins  of  the  Thermae  of 
Agrippa,  which,  however,  have  no  connection  with  it.  A  large  part  of 
these  baths  was  exhumed  in  1881-2;  and  the  rear  wall  of  a  large  hall, 
with  recesses,  was  brought  to  light  In  the  Yia  della  Palomhella.  A 
fluted  column  and  a  finely  executed  frieze  (shells  and  dolphins)  have 
been  found  and  placed  in  position.  Along  the  E.  side  of  the  Pan- 
theon extended  a  kind  of  colonnade,  of  which  considerable  remains 
are  extant. 

From  the  Piazza  of  the  Pantheon  the  Via  de'  Paatini  leads  towards 
the  E.  to  the  Piazza  di  Pietra  (p.  156);  or  we  may  turn  to  the  left 
(N.) ,  cross  the  Piazza  Capranica ,  with  the  smaU  theatre  of  that 
name,  and  reach  Monte  Citorio  (p.  155);  or,  lastly,  we  may  follow 
the  Via  del  SeminariOj  also  towards  the  B.,  to  S.  Ignazio  (p.  155). 

Behind  the  Pantheon  lies  the  Piazza  della  Minekya  (PI.  II, 
16),  where  the  church  of  S.  Maria  sopra  Minerva  lies  on  the  left, 
and  the  Hotel  de  la  Minerve  opposite  to  us.  In  the  centre  of  the 
piazza  is  a  marble  elephant,  on  the  back  of  which  a  small  ancient 
Obelisk  was  placed  by  Bernini  in  1667  (p.  196). 

*S.  Maria  sopra  Hinerva,  erected  on  the  ruins  of  a  temple  of 
Minerva  founded  by  Domitian,  the  only  ancient  Gothic  church  at 
Rome,  was  prohably  begun  about  1285  by  the  builders  of  S.  Maria 
Novella  at  Florence  (p.  xlviii).  It  was  restored  and  re-decorated 
with  painting  in  1848-55,  and  contains  several  valuable  works  of  art. 

Interior.    By  the  entrance- wall,  on  the  right,  the  tomb  of  the  Florentine 
knight  Diotisalvi  (d.  1482).  —  Lbpt  Aislb.  On  the  left,  the  tomb  of  the  Floren- 
tine Franc.  Tomabuoni,  by  Jiino  da  Fiesole ;  above  it  the  monument  of  Card. 
Giac.  Tebaldi  (d.  1466).     To  the  right  of  the  altar  in  the  3rd  €hapel ,  * 
Sebastian,  by  Mno  da  Fie3ole(f).    Over  the  altar:    head  of  Christ,  by 

13* 


196  III.  Left  Batik,  HOME.     S.  Maria  sopra  Minerva. 

rugino.  In  the  6th  Chapel  is  (r.)  the  monument  of  the  Princess  Lante,  by 
Tenerani.  —  Right  Aiblb.  By  the  pillar  between  the  3rd  and  4th  chapels  is  an 
egress  (generally  closed)  with  an  ancient  Greek  sarcophagus  (Hercules  taming 
the  lion).  In  the  4th  Chapel,  the  'Annunciation,  a  picture  on  a  golden  ground 
(in  the  foreground  Card.  Qiov.  a  Torrecremata  recommending  three  poor  girls 
to  the  Virgin),  painted  to  commemorate  the  foundation  of  the  charitable  in- 
stitution of  S.  Annunziata  and  erroneously  attributed  to  Fra  Angelico ;  on  the 
left  the  tomb  of  Urban  VII.  (d.  159()),  by  Anibr.  Buonvicino.  The  5th  Chapel  (Al- 
dobrandini)  contains  paintings  hyAlberti;  over  the  altar  the  Last  Supper  by 
Baroeeio ;  monuments  of  the  parents  of  Clement  VIII.  by  Oiac.  delta  Porta. 
—  RiOHT  Tbanskpt.  a  small  chapel  on  the  right  is  first  observed,  containing 
a  wooden  crucifix  attributed  to  Oiotto;  then  the  *Carafia  Chapel  (recently 
restored),  with  a  handsome  balustrade ,  painted  by  Filippino  Lippi ;  on  the 
right  Thomas  Aquinas,  surrounded  by  allegorical  figures,  defending  the 
Catholic  religion  against  heretics*,  in  the  lunette,  St.  Thomas  and  the 
Miracle  of  the  Cross  j  on  the  wall  at  the  back,  the  Assumption  of  the  '^r- 
gin*,  altar-fresco,  the  Annunciation,  with  a  portrait  of  the  donor  Card. 
Carafia;  sibyls  on  the  vaulting  by  Rafaellino  del  Oarho;  on  the  left  the 
monument  of  Paul  IV.  (d.  1559),  designed  by  Pirro  Ligorio  ^  executed  by 
Oiac.  and  Tom.  Casignola.  By  the  wall,  adjacent  to  the  latter,  the  *Tomb  of 
Bishop  Guiliel.  Durantus  (d.  1296),  with  a  Madonna  in  mosaic  by  Johannes 
CosmaSy  one  of  the  best  works  of  that  period.  The  first  chapel  by  the  choir 
contains  an  altar-piece  by  C.  Maratta.  The  second  is  the  Cappella  del  Rosario  \ 
altar-piece  groundlessly  attributed  to  Fra  Angelieo;  on  the  right  the  tomb  of 
Card.  Capranica  (about  1470).  —  The  Choib  contains  the  large  monuments  of 
the  two  Medicis,  (1.)  LeoX.  and  (r.)  Clement  VII.,  designed  hy  Ant.  da  San 
Oallo;  that  of  Leo  executed  by  Raffaele  da  Monte  Lupo^  that  of  Clement  by 
Qiov.  di  BaecioBigio;  on  the  pavement  the  tombstone  of  the  celebrated  scho- 
lar Pietro  Bembo  (d.  1547). 

In  front  of  the  high-altar,  to  the  left,  is  Michel  Angelo's  •*Chri8t  with 
the  Cross,  which  was  ordered  by  Metelio  Vari  and  P.  Castellan  in  1514, 
and  erected  in  1521.  Pietro  Urbano^  an  assistant  of  the  great  master,  was 
entrusted  with  the  touching  up  of  the  work  after  its  erection,  but  as  he 
acquitted  himself  badly  of  his  task,  the  finishing  strokes  were  given  to  it 
by  Roderigo  Fritti.  The  nudity  of  the  figure  is  justified  by  the  master's 
intention  to  pourtray  the  Risen  Christ,  but  it  is  now  marred  by  a  bronze 
drapery ;  the  right  foot  also  is  protected  against  the  kisses  of  the  devout 
by  a  bronze  shoe  (comp.  p.  li). 

On  the  left  by  the  choir  is  a  passage  to  the  Via  S.  Ignazio;  on  the  wall 
the  tombstone  (first  on  the  left)  of  Fra  Beato  Angelico  da  Fiesole,  who  died 
in  the  neighbouring  monastery  in  1455,  with  his  portrait  and  the  inscrip- 
tion :  Hie  jacet  Venerabilis  pictor  Prater  Joannes  de  Florentia  Ordinis  prae- 
dicatorum  14  LV.  —  In  the  Lbvt  Transbpt  is  the  Chapel  of  S.  Domenico, 
with  8  black  columns,  and  the  monument  of  Benedict  XIII.  (d.  ildO)  by  P. 
Bracci.    A<\jacent,  to  the  right,  is  the  entrance  to  the  sacristy. 

The  adjoining  Dominican  monastery,  formerly  the  residence  of 
the  chief  of  the  order,  now  contains  the  offices  of  the  Minister  of 
Education  and  the  Bibliotheca  Casanatensis  (entrance  to  the  left  by 
the  church,  first  door  to  the  right  beyond  the  court;  adm.  see 
p.  116).  The  library  is  the  largest  in  Rome  after  that  of  the  Vatican, 
consisting  of  200,000  vols,  and  1000  MSS. 

The  space  between  the  Piazza  del  Collegio  Romano  and  the  Piazza 
S.  Ignazio  was  occupied  in  antiquity  by  a  famous  Temple  of  Jaw, 
and  the  excavations  on  this  site  have  brought  numerous  remains 
of  antiquity  to  light.  Among  these  are  the  lions,  sphinxes,  and  ca- 
nopi  in  the  Capitoline  Museum  (p.  216),  and  the  obelisks  now  in  the 
Piazza  della  Rotonda(p.  193),  the  Piazza  della  Minerva  (p.  195),  and 
the  Piazza  t'ermini  (p.  166). 


Oesii.  ROME.  III.  Left  Batik,    197 

The  Via  de'  StaderaH  leads  to  the  right  from  the  Piazza  Ma- 
dama  (p.  193),  passing  the  palace,  to  the  Piazza  S.  Exjstachio. 
Heie  stands  the  — 

Uniyenitli  della  Sapienza  (PI.  II,  13,  25 ;  entrance  Via  della 
Sapienza71),  founded  in  1303  by  Boniface  YIII.,  and  after  a  rapid 
decline  re-established  by  Eugene  IV.  It  attained  its  greatest  pros- 
perity under  Leo  X.,  and  under  Leo  XII.  and  Gregory  XYI.  possessed 
five  faculties,  but  there  are  now  four  only  (law,  medicine,  physical 
science,  and  philology).  It  contains  soTeral  natural  history  collec- 
tions and  the  Biblioteca  AUssandrina,  a  library  of  more  than  10,000 
vols.,  which  is  open  daily  (p.  116).  The  present  building  was  de- 
signed by  Oiac,  della  Porta.  The  church  (8.  Jvo),  with  its  grotesque 
spiral  tower,  was  designed  by  Borromini  in  the  form  of  a  bee,  in 
honour  of  Urban  VIII.,  in  whose  armorial  bearings  that  insect  figures. 

The  Via  deUa  Palambella  leads  hence  in  a  straight  direction  to 
the  Pantheon  (p.  193)  ;  the  Via  deUa  ValU,  to  the  right,  leads  to 
8,  Andrea  and  the  Corso  Vittorio  Emanuele  (see  below).  • 

The  wide  Corso  Vittorio  Emanuele  (PL  II,  16,  13,  10),  re- 
cently constructed  through  the  most  closely  built  quarters  of  med- 
isBval  Rome,  is  a  continuation  of  the  Via  Nazionale,  described  at  pp. 
169,  170,  and  facilitates  communication  between  the  Piazza  Ve- 
nezia  (p.  162),  in  the  centre  of  the  city,  and  the  Ponte  S.  Angelo. 
On  the  left  is  the  main  facade  of  the  Pal.  di  Venezia  (p.  162),  and 
on  the  right  rise  the  Palazzi  Bonaparte  (p.  162),  Doria  (p.  158),  and 
Orazioli.  We  next  reach  the  Pal.  Altierij  with  its  extensive  facade, 
erected  in  1670,  bounding  the  N.  side  of  the  small  Piazza  dbl 
Gbsu  (PI.  II,  16),  which  is  called  after  the  church  of  that  name. 

♦Ges4 ,  the  principal  church  of  the  Jesuits,  is  one  of  the  most 
gorgeous  in  Rome.  It  was  built  by  Vignola  and  Oiac.  della  Porta 
by  order  of  Card.  Alessandro  Farnese,  in  1568-77.    Comp.  p.  Iviii. 

In  the  Nave  is  a  *Ceiliiig-painting  by  Baciecio^  by  whom  the  dome  and 
tribune  were  also  painted,  one  of  the  best  and  most  lifelike  of  the  rococo 
works  of  that  period.  The  walls  were  covered  with  valuable  marble  at 
the  cost  of  the  Principe  Aless.  Torionia  in  1860.  On  the  high  -  altar,  with 
its  four  columns  of  giallo  antico :  Christ  in  the  Temple,  by  CapalH ;  on  the 
left  the  monument  of  Card.  Bellarmino  with  figures  of  Religion  and  Faith, 
in  relief  i  on  the  right  the  monument  of  P.  Pignatelli,  with  Love  and  Hop6. 
—  In  the  Tbansept,  to  the  left:  *Altar  of  St.  Ignatius  with  a  picture  by 
Pozzij  under  which  a  silver-plated  relief,  representing  St.  Ignatius  sur- 
rounded by  angels,  is  said  to  be  concealed.  The  original  silver  statue  of  the 
saint,  by  Le  Orosy  which  was  formerly  here,  is  said  to  have  been  removed 
on  the  suppression  of  the  order  in  the  eighteenth  century.  The  columns  are 
of  lapis  lazuli  and  gilded  bronze  \  on  the  architrave  above  are  two  statues : 
God  the  Father,  by  B.  Ludovisiy  and  Christ,  by  L.  Ottoniy  behind  which, 
encircled  by  a  halo  of  rays ,  is  the  emblematic  Dove.  Between  these  the 
globe  of  the  earth,  consisting  of  a  single  block  of  lapis  lazuli  (said  to  be 
the  largest  in  existence).  Beneath  the  altar,  in  a  sarcophagus  of  gilded 
bronze,  repose  the  remains  of  the  saint.  On  the  right  and  left  are  groups 
in  marble 5  on  the  right  the  Christian  Religion,  at  the  sight  of  which 
heretics  shrink,  by  Le  Grog}  on  the  left  Faith  with  the  Cup  and  Host,  which 
a  heathen  king  is  in  the  act  of  adoring,  by  Thiodon.  Opposite,  in  the  tran- 
sept, on  the  right,  the  altar  of  St.  Francis  Xavier. 


198   III.  Uft  Bank.  ROME.        8.  Andrea  deUa  VdUe. 

The  church  presents  a  most  imposing  sight  on  31  st  Dec.,  on  the 
festival  of  St.  Ignatius,  on  31  st  July,  and  during  the  Quarant'ore  (two  last 
days  of  the  Carnival) ,  on  which  occasions  it  is  brilliantly  illuminated  in 
the  evening.  During  Advent  and  Lent,  and  generally  at  other  seasons  also, 
sermons  are  preached  here  at  11  a.  m.,  often  by  priests  of  great  ability. 

Adjoining  the  church  is  the  former  Casa  Professa  of  the  Jesuits, 
now  a  barrack ,  adjacent  to  which ,  Via  di  AracoBll  1  A ,  is  the  en- 
trance to  the  rooms  of  St.  Ignatius  (Mon.,  Wed.,  Frid.,  9-11).  On 
the  opposite  side  of  the  street  Is  the  Palaazo Bolognetti(l?l.  I,  l6,  d). 

—  Passing  the  monastery,  and  foUowing  the  Via  di  Aracaliy  we  reach 
(5  min.)  the  Piazza  di  AracoBll ,  at  the  foot  of  the  Capitol  (p.  208). 

—  From  the  opposite  angle  of  the  Piazza  del  Gesti,  the  Via  del  Oeait 
leads  to  the  right  in  5  min.  to  the  Piazza  della  Minerva  (p.  195). 

The  lofty  dome  in  front  of  us  in  the  Oorso  Vittorio  Emanuele  he- 
longs  to  the  church  of  S.  Andrea  della  Yalle  (see  helow).  A  few 
hundred  paces  to  the  W.  of  the  Piazza  Gesii  the  Gorso  is  crossed  hy 
the  Via  di  Tor  Argentina,  leading  on  the  right  to  the  Pantheon 
(p.  193)  and  on  the  left  to  the  new  Ponte  Garihaldi  (p.  202). 

The  small  Via  dkl  Sudabio  (PI.  II,  13),  diverging  from  the  Corso  to 
the  left  at  this  point,  first  passes  the  Teatro  Argentina  on  the  left,  and 
then,  at  the  corner  on  the  right  (So.  13),  the  Palazzo  Yidoni,  formerly 
CaffarelU  and  Stoppani^  originally  designed  by  Raphael.  Charles  Y.  re- 
sided here  in  153d  as  the  guest  of  the  Caffarelli.  On  the  staircase  is  the 
so-called  Abbate  Luigi,  a  Roman  figure  in  a  toga,  formerly  placed  at  the 
N.  angle  of  the  palace,  facing  S.  Andrea  della  Valle,  and  used  as  the 
bearer  of  lampoons  and  pasquinades  (comp.  p.  163).  In  one  of  the  rooms 
is  the  CaUndariitm  Praenettinum  of  Yerrius  Flaccus,  being  five  months  of 
a  Roman  calendar  found  by  Card.  Stoppani  at  Palestrina.  Admission  not 
easily  obtaiAfid. 

Farther  on  in  the  Oorso  Vittorio  Emanuele  is  the  church  of  *S, 
Andrea  della  Valle  (PL  II,  13),  hegun  by  P.  Olivieri  in  1591  on 
the  site  of  several  earlier  churches,  and  completed  hy  C.  Madtma. 
Facade  designed  hy  Carlo  Rainaldi.  The  interior  is  well  propor- 
tioned, but  part  of  it  has  been  whitewashed.  See  p.  lyiii. 

On  the  right  the  ^2nd  Chapel  (Stbozzi)  contains  copies  in  bronze  of  the 
Pietk  (in  St.  Peter's)  and  the  Rachel  and  Leah  (in  S.  Pietro  in  Yinc.)  of 
Michael  Angelo,  by  whom  this  chapel  itself  was  perhaps  designed.  —  On 
the  left  the  1st  Chapel  (Babbbbini)  is  adorned  with  several  marble  statues 
of  the  school  of  Bernini:  St.  Martha  by  MoccM,  John  the  Baptist  by 
Pietro  Bernini,  1S.a.Tj  Magdalene  by  Stati  da  Bracciano,  and  St.  John  by 
Buonvidno.  —  At  the  end  of  the  Nave  are  the  monuments  of  the  two 
popes  of  the  Piccolomini  family,  brought  here  from  the  old  church  of 
St.  Peter;  on  the  left  that  of  Pius  II.  (d.  1464),  by  Nic.  della  Guardia  and 
Pietro  Paolo  da  Todi-,  on  the  right  that  of  Pius  III.  (d.  1503),  executed 
somewhat  later.  — In  the  Domb:  Glory  of  Paradise,  by  Lanfraneo;  be- 
low, the  *Evangelist8  by  Domenichino,  one  of  his  finest  works.  By  the  same 
master,  "•Paintings  on  the  vaulting  of  the  apse.  In  front,  between  the  trans- 
verse ribs:  John  the  Baptist,  St.  John,  and  St.  Andrew  pointing  to  Christ 
(Gospel  of  St.  John,  I.  3d)  \  in  the  vaulting  itself,  on  the  lef^  the  Scourging  of 
St.  Andrew  \  then  the  Vocation  of  Peter  and  Andrew  by  Christ  \  on  the  right, 
St.  Andrew  beholds  and  reveres  the  cross  to  which  he  is  about  to  be  affixed  \ 
below  are  six  female  figures  representing  the  virtues  (p.  lix).  The  large 
lower  frescoes  by  CtOalbrest  (martyrdom  of  the  saint)  are  of  no  great  value. 

Opposite  this  church  opens  the  small  Piazza  deUa  Valle ,  con- 
taining the  Palazzo  Capranica,  which  is  occupied  by  the  Prussian 


Pal.  deUa  Caneelleria,       ROME.  IIL  Left  Bank,    199 

enToy  to  the  YatlGaD.  The  Via  della  Voile  leads  to  the  Piazza  S. 
Eustachio  (p.  197). 

No.  141  in  the  Goiso  Yitt.  Emanuele,  to  the  right,  is  the 
Palano  MassIiiul  alle  Colonne  (PI.  II,  13,  ii^,  a  fine  stractuie 
by  Baldassare  Peruzzij  who,  however,  died  in  1536  hefore  its  com- 
pletion. The  arc-shaped  facade  was  skilfully  adapted  to  the  curve 
of  the  originally  narrow  street,  but  has  lost  its  effect  by  the  con- 
struction of  the  wide  Gorso.  The  glimpse  obtained  of  the  double 
court  is  strikingly  picturesque.  On  the  second  floor  is  the  Chapel 
of  8.  Filippo  Neri  (open  on  16th  March)],  who  is  said  to  have  here 
resuscitated  a  child  of  the  family. 

In  1467,  within  the  buildings  connected  with  this  palace,  the  Germans 
Pannartz  and  Sehweinheim^  who  daring  the  two  previous  years  had  found  an 
asylum  in  the  monastery  of  Subiaco  (p.  381),  established  the  first  printing- 
office  in  Rome,  from  which  they  issued  Cicero's  epistles  and  other  works, 
furnished  with  the  name  of  the  printers  and  the  words  */n  aedibus  Petri 
de  MaximW.  —  The  Massimi  family  claims  descent  from  the  ancient  Fabii 
Haximi,  and  their  armorial  bearings  have  the  motto  ''Oun^ando  re»tituU\ 

Farther  on  is  the  small  Piazza  di  S.  PantaZiEO  (PI.  II,  13), 
containing  (right)  the  small  church  of  that  name,  with  a  facade 
erected  by  Valadier  in  1806.  The  Via  Cuccagna,  to  the  right,  ends 
at  the  Piazza  Navona  (p.  190).  For  the  Via  di  8,  Pantaleo,  also 
diverging  to  the  right  from  the  Gorso,  and  its  continuation  the  Via 
del  Ooverno  VecchiOj  see  p.  201. 

On  the  left  side  of  the  Gorso  Yitt.  Emanuele,  at  the  point  where 
the  Via  BauUari  diverges  to  the  Palazzo  Faruese  (p.  205),  is  the 
little  Palaszo  Linotta  or  Palazetto  Famese^  of  which  Bald.  Perutni 
is  said  to  have  been  the  architect.  Tasteful  but  sadly  dilapidated 
court  and  staircase.  —  The  Gorso  here  bends  a  little  to  the  N.W. 
and  discloses  a  view  of  the  dome  of  St.  Peter's. 

To  the  left  lies  the  long  and  narrow  Piazza  dblla  Gancbllbbia 
(PI.  II,  13),  with  the  palace  of  that  name  and  the  church  of  S.  Lo- 
renzo in  Damaso. 

The  *Palaizo  della  Gancelleria  (PL  II,  13),  an  edifice  of  ma- 
jestic simplicity,  designed  by  Bramante  in  strict  conformity  with  the 
ancient  orders  of  architecture,  is  one  of  the  finest  palaces  in  Rome 
(p.  li).  The  elegant  Fa9adb  is  constructed  of  blocks  of  travertine 
from  the  Golosseum.  The  chief  portal,  in  an  inharmonious  baroque 
style,  was  added  by  Domemco  Foniana,  It  leads  into  the  •Goijbt, 
in  two  stories ,  surrounded  by  arcades.  The  columns  originally  be- 
longed to  the  ancient  basilica  of  S.  Lorenzo,  from  which  they  were 
removed  by  Bramante  (see  p.  200).  The  graceful  capitals  are  deco- 
rated with  roses,  a  flower  which  belonged  to  the  armorial  bearings 
of  the  founder  Gard.  Riario.  To  the  right  is  an  archway  leading  to 
the  church  of  S.  Lorenzo.  This  is  the  only  palace  In  the  interior  of 
the  city  which  the  Italian  government  still  permits  to  be  occupied 
by  the  ecclesiastical  authorities. 

The  N.  part  of  the  Gancelleria  is  occupied  by  the  church  of  S.  Lo- 
renio  in  Damaso,  which  has  the  above-mentioned  facade  in  commo" 


200  ///.  Left  Batik.  ROME.  Chksa  l^uova. 

with  the  palace.  The  handsome  portal  is  by  Vignola.  The  church 
was  originally  founded  by  Damasus  I.  (ca.  370)  near  the  Theatre  of 
Pompey,  but  it  was  taken  down  in  1495  at  the  instance  of  Card, 
Riario  and  rebuilt  here  from  a  design  by  Bramanie.  The  internal 
decoration  is  quite  modern,  dating  from  the  time  of  Pius  VII.  (1820) 
and  Pius  IX.  At  the  end  of  the  right  aisle  is  the  tomb  of  the  papal 
minister  Count  Rossi,  who  was  assassinated  on  the  staircase  of  the 
Palazzo  della  Cancelleria  in  1848  (bust  by  Tenerani). 

From  the  Cancellaria  to  the  Campo  di  Fiorif  see  p.  204. 

We  continue  to  follow  the  Oorso  Vitt.  Emanuele.  At  the  corner 
of  the  second  street  to  the  right  is  the  Palazzo  Sora^  formerly  erron- 
eously ascribed  to  Bramante,  and  frequently  altered.  —  To  the  light 
stands  the  — 

Chiesa  Nnova  (PI.  II,  10),  or  8.  Maria  in  Vallicellaj  erected  by 
S.  Filippo  Neri  (about  1550-1605)  for  the  order  of  Oratorians  found- 
ed by  him.  Architecture  by  Oiov.  MatUo  da  CUth  di  CaatellOy  in- 
terior by  Mart,  Lunghi  the  Elder,  fa^de  by  Rughesi. 

The  Interior ,  which  is  dark  and  unfavourable  for  pictures ,  is  richly 
decorated.  The  admirable  stucco-work  is  by  Cos.  Faniello  and  Creole 
Ferraia.  The  ceiling  of  the  Nave,  the  dome,  and  the  tribune  are  painted 
by  Pietro  da  Cortona.  —  On  the  right,  Ist  Chapel,  Crucifixion,  Scip.  Oae- 
tctno ;  3rd  Chapel ,  deir  Ascensione ,  altar-piece  by  Muziano.  —  On  the  left, 
2nd  Chapel,  Adoration  of  the  Magi,  Ces.  Nebhia;  3rd  Chapel,  Nativity, 
Durante  AWerii ;  4th  Chapel,  Visit  of  Elizabeth,  Baroccio.  —  Left  Transept: 
Presentation  in  the  Temple,  Baroccio;  Peter  and  Paul,  statues  in  marble, 
by  VaUoldo.  Here  also,  adjoining  the  tribune,  is  the  small  and  sumptuous 
Chapsl  of  S.  Filipfo  Nbbi,  beneath  the  altar  of  which  his  remains  repose. 
Above  is  the  portrait  of  the  saint  in  mosaic,  after  the  original  of  Quicio 
Rem  preserved  in  the  adjoining  monastery.  —  Over  the  High  Altar,  with 
its  four  columns  of  porta  santa,  a  Madonna  by  Rubens ;  on  the  right  *'SS.  Ore* 
gory,  Maurus,  and  Papia,  on  the  left  "^SS.  Kerens  and  Achilleus,  also  by 
Ru^ens^  who  painted  these  pictures  during  his  second  stay  in  Rome  in  1606 
for  this  church ,  which  was  then  the  most  fashionable  in  the  city.  —  Right 
Transept.  On  the  right ,  Coronation  of  Mary,  Cav.  d'  Arpino  \  SS.  John 
the  Baptist  and  John  the  Evangelist,  statues  in  marble  by  Flaminio  Vacca, 

The  Sacristy  (entered  from  the  left  transept)  was  constructed  by  Maru- 
eelli.  On  the  vaulting :  Angel  with  instruments  of  torture,  by  Pietro  da  Cor- 
Hona.    Colossal  statue  of  the  saint  by  Algardi. 

On  26th  May,  the  festival  of  the  saint,  and  after  Ave  Maria  every 
Sunday  from  1st  Nov.  to  Palm  Sunday,  concerts  of  sacred  music,  to  which 
men  only  are  admitted,  are  given  in  the  adjoining  Oraiorium^  which 
derives  its  name  from  the  oratories  fitted  up  by  S.  Filippo  Neri.  The 
saint  was  fond  of  music  and  advocated  a  cheerful  form  of  divine  service. 

The  adjoining  Monastery ,  erected  by  Btyrromini,  is  of  irregular 
shape,  but  remarkably  massive  in  its  construction.  It  contains  a 
room  once  occupied  by  the  saint,  with  various  relics.  The  Corte  di 
Appello,  the  Tribunate  Civile  e  Correzionale,  and  the  Tribunale  di 
Commereio  are  now  established  here.  —  The  valuable  Bibliotheca 
Vallicellana,  founded  by  S.  Filippo  Neri,  and  gradually  enriched  by 
rare  MSS.,  now  belongs  to  the  ^Societl^  Romana  di  Storia  Patria* 
and  is  accessible  without  special  permission  (p.  116;  entr.  in  the 
court,  to  the  left  at  the  top  of  the  great  staircase). 

Farther  on,  to  the  left,  lies  the  small  Piazza  Sfouza  (PI.  II,  10), 


Palazzo  BraschU  ROME.  ///.  Left  Bank.   201 

with  the  Bohemian  Hospital ,  the  facade  of  which  is  adorned  with 
sgraffiti.  —  The  Corso  Vitt. Emanuele  is  being  continued  to  S.Gio- 
vanni de*  Fiorentlni  (p.  207).  In  the  meantime  we  may  follow  the 
Via  de'  Banchi  Vecchi,  to  the  right,  to  the  Ponte  S.  Angelo  (p.  274). 


From  the  Piazza  S.  Pantaleo  (p.  199)  the  Via  S.  Pantaleo  (PI. 
II,  13)  runs  towards  the  N.W.  No.  9  in  this  street,  on  the  right,  is 
the  spacious  Palazzo  BraBohi,  erected  by  MoreUi  at  the  end  of  last 
century,  and  now  occupied  by  the  Minister  of  the  Interior,  It  con- 
tains a  fine  marble  ^Staircase  and  a  few  ancient  statues.  The  back 
of  the  building  looks  towards  the  Piazza  Navona  (p.  190). 

Passing  the  palace,  we  reach  the  Piazza  del  Pasquino  (Pl.  II, 
13),  which  derives  its  name  from  an  ancient  group  of  statuary  placed 
at  the  obtuse  angle  of  the  Pal.  Braschi.  This  was  an  admirable, 
but  now  sadly  mutilated  work  of  a  good  period  of  art,  and  Is  said 
to  have  been  called  Pasquino  as  early  as  the  end  of  the  15th  cent, 
after  a  tailor  of  that  name  who  lived  in  the  vicinity  and  was 
notorious  for  his  lampooning  propensities.  It  was  once  the  custom 
to  affix  satires  and  ebullitions  of  malice  to  this  statue,  the  answers 
to  which  used  to  be  attached  to  the  Marforio  (p.  162, 216),  and  to 
refer  them  to  the  slanderous  tailor,  whose  name  is  perpetuated  in 
the  word  'pasquinade'.  Compositions  of  this  kind  have  been  much 
in  vogue  at  Rome  ever  since  that  period,  sometimes  vying  with  the 
best  satires  of  antiquity.  The  group  represents  Menelaus  with  the 
body  of  Patroclus,  looking  around  for  succour  in  the  tumult  of  battle. 
Duplicates  of  the  group  are  in  the  Loggia  de'  Lanzi  and  the  Palazzo 
Pitti  at  Florence,  and  there  are  fragments  in  the  Vatican  (p.  309). 

We  follow  the  Via  del  Govbbno  Vbcchio,  in  which,  on  the 
right,  is  the  Pal.  del  Oovemo  Veechio  (PI.  II,  13,  2(?),  which  for  a 
time  was  occupied  by  the  law  and  police  courts.  No.  124,  opposite, 
is  an  elegant  little  house  in  Bramante's  style,  built  in  1500  for  the 
papal  secretary  J.  P.  Turcius. 

We  next  pass  the  back  of  the  Philippine  Convent  (now  a  court- 
house, p.  200)  and  cross  the  Piasaui  delV  Orologio^  whence  the  Via 
Monte  Giordano  leads  to  the  Palazzo  OabrieUi ,  with  a  pretty  foun- 
tain in  its  court.  [Thence  the  Via  di  Panico  leads  to  the  Ponte  S. 
Angelo.] 

The  Via  del  Govern©  Veechio  now  takes  the  name  of  Via  de 
Banchi  Nuovi  and  ends  at  the  Via  del  Banco  di  S.  Spirito,  through 
which  we  may  proceed  to  the  Ponte  S.  Angelo  (p.  274;  12  min. 
from  the  Piazza  S.  Pantaleo). 

From  the  Oorso  Vitt.  Emanuele  the  important  Via  di  Tob  Ab- 
QBNTiNA,  mentioned  at  p.  198,  leads  to  the  S.  to  the  Tiber.  Fol- 
lowing it  from  the  Via  Nazionale  we  reach  in  6  min.  the  piazza  and 
church  of  S.  Carlo  a'  Catinari  (PI.  II,  14),  built  by  Rosati  in  161? 


202  Jll,  Left  Bank,  ROME.  PaloAzo  Mattel. 

in  hononx  of  S.  Carlo  Boriomeo,  in  the  form  of  a  Greek  cross,  with 
a  dome. 

Ist  Chapel  on  the  right :  Annunciation ,  by  Lanfranco.  In  the  spaces 
below  the  dome  are  the  four  cardinal  virtues ,  by  Domenichino.  In  the 
transept  to  the  right,  Death  of  St.  Anna,  Andrea  Saeehi.  Over  the  high- 
altar,  Card.  Borromeo  in  the  procession  of  the  plague  at  Milan,  P.  da 
Gortona ;  tribune  decorated  by  Lanfraneo.    The  other  paintings  are  inferior. 

Through  the  Via  Giubbonari  to  Pompey^t  Theatric  see  p.  205. 

Beyond  S.  Carlo  a'  Catinari  the  Yla  dl  Tor  Argentina  (hitherto 
here  called  the  Via  di  MortelUi)  leads  to  the  S.  to  the  new  Ponte 
Oaribaldi  (p.  330).  Two  side-streets  lead  to  the  E.  to  the  Pal. 
Cenei'Bolognem  (PI.  U,  14,  17)  and  to  the  old  Ghetto  (see  p.  203). 
The  Pal.  Cenci  was  the  home  of  ill-fated  Beatrice  Cenci,  who  was 
executed  in  1599  for  the  murder  of  her  father,  a  man  of  execrable 
character.  Her  portrait  in  the  Pal.  Barberini  (p.  171)  is  frequently 
copied  by  Roman  artists. 

The  Via  dei  Falegnami  runs  to  the  E.  from  S.  Carlo  a'  Catinari 
to  the  small  Piazza  Ta&tabuoa  (PI.  II,  17),  named  after  the  grace- 
ful *Fontana  delle  Tartarughe  (tortoises),  erected  by  Qiac.  della 
Porta  in  1585,  and  embellished  with  bronze  figures  of  four  youths, 
hy  the  Florentine  Taddeo  Landini,  This  is  the  most  charming  foun- 
tain in  Rome ;  the  design  was  formerly  attributed  to  Raphael. 

Farther  on,  to  the  left,  is  the  Palazzo  Mattel  (PI.  II,  17,  27), 
originally  an  aggregate  of  separate  buildings  which  occupied  the  block 
between  S.  Caterina  de'  Funari  and  Via  Paganica.  Of  these  the 
handsomest  is  the  present  so-called  palace  (principal  entrance,  Yia 
di  S.  Caterina  de' Funari  32;  side-entrance.  No.  31),  erected  in  1616 
by  Carlo  Madema,  and  one  of  his  finest  productions. 

In  the  passages  of  the  entrance,  in  the  arcades,  and  along  the 
sides  of  the  Godbt,  a  great  number  of  ancient  reliefs  are  built  into  the 
walls.  In  the  court  are  (r.)  Mars  with  Bhea  Silvia,  and  Apollo  with  the 
Muses )  and  (1.)  the  Galydonian  hunt  and  Rape  oi  Proserpine.  In  the 
portico.  Sacrifice  of  Mithras,  Apollo  with  the  Muses,  and  a  Bacchanalian 
procession,  all  from  sarcophagi.  The  statues  in  the  court  and  niches  on 
the  staircase,  some  of  them  much  modernised,  are  of  no  great  value.  The 
stucco  decorations  of  the  ceiling  on  the  staircases  are  well  executed. 

Farther  on ,  in  the  Yia  de'  Falegnami ,  we  observe  on  the  left, 
within  the  ancient  Circus  Fiaminius ,  the  church  of  S.  Caterina  de' 
Fnnari  (PI.  n,  17),  erected  in  1564  by  Qiac.  deUa  Porta,  with  a 
singular-looking  tower.  It  contains  a  few  unimportant  pictures  by 
A.  Carracci  (1st  chapel  on  the  right),  Narmi,  Venusti,  Muziano,  and 
Agresti.  The  name  of  the  church  is  derived  from  the  rope-makers 
who  in  the  middle  ages  plied  their  vocation  within  the  circus.  The 
adjoining  Augustine  nunnery  contains  a  girls'  school. 

The  Yia  de'  Falegnami  ends  at  the  Palazso  BighetU.  (Strozzi,  PI. 
II ,  17,  16) ,  where  the  Yia  Delflni  leads  to  the  left  to  the  Yia  di 
Aracosli  (p.  163),  while  the  street  to  the  right  leads  to  the  Piazza 
Campitelli.  Here,  on  the  right,  is  S.  Maria  in  Campitelli  (PI.  II, 
17),  erected  by  Rainaldi  under  Alexander  YII.  for  the  reception  of 
a  miraculous  image  of  the  Yirgin,  to  which  the  cessation  of  the  plague 


Portico  of  Oeiavia  ROME.  JIL  Left  Bank.    203 

in  1656  was  ascribed.    A  smaller  church  of  the  same  name,  men- 
tioned in  the  13th  cent.,  formerly  stood  on  this  site. 

The  IiTTBBiOB,  with  its  handsome  projecting  columns,  is  effectiye.  >• 
Beneath  the  canopy  over  the  Hioh-Altab  is  placed  the  miraculous  Ma- 
donna. In  the  2nd  Chapel  on  the  right,  the  Gift  of  Tongues,  by  Luea  Gior- 
dano; in  the  1st  Chapel  on  the  left,  two  monuments  resting  on  lione  of 
rosso  antico.    In  the  S.  transept  is  the  tomb  of  Card.  Pacca  by  Pettrieh. 

From  the  S.E.  end  of  the  Piazza  Gampitelli  the  Via  di  Tor  de* 
Specehij  skirting  the  foot  of  the  Capitol,  leads  to  the  left  to  the 
Piazza  Aracosli  (p.  209),  while  the  Via  Montanara  rans  to  the  right 
to  the  small  but  busy  Piazza  Moittanaba  {PI.  II,  17),  much  fre- 
quented by  the  country-people,  especially  on  Sundays  (tramway  to 
S.  Paolo  Fuori,  see  Appx.). 

In  the  Piazza  Montanara ,  to  the  right ,  stands  the  Theatre  of 
Marcelliu  (PI.  II,  17,  5),  which  was  begun  by  Csesar,  and  com- 
pleted in  B.C.  13  by  Augustus,  who  named  it  after  his  nephew,  the 
son  of  Octavia.  Twelve  arches  of  the  outer  wall  are  now  occupied 
by  smiths  and  other  artizans  as  workshops.  The  lower  story,  partly 
filled  up,  is  in  the  Doric,  the  second  in  the  Ionic  style,  above  which, 
as  in  the  Colosseum,  a  third  probably  rose  in  the  Corinthian  order. 
It  is  said  to  have  accommodated  20,000  spectators.  The  stage  lay 
towards  the  Tiber.  In  the  11th  cent,  the  theatre  was  used  by  Pier- 
leone  as  a  fortress.  To  his  descendants  succeeded  the  Savellij  whose 
palace  stands  on  a  lofty  mound  of  debris  within  the  theatre.  In  1712 
the  palace  was  purchased  by  the  Orsinij  and  in  1816-23  was  occupied 
by  the  historian  Niebuhr,  when  Prussian  ambassador.  —  From  the 
Piazza  Montanara  the  busy  Via  Bocca  delta  Verith  leads  to  8.  Maria 
in  Cosmedin  (p.  249). 

To  the  W.  of  the  Theatre  of  Marcellus ,  extending  as  far  as  the 
Pal.  Cenci,  lay  the  Ghetto  (PI.  II,  17),  the  quarter  allotted  by 
Paul  rv.  to  the  Jews  ,  who  in  ancient  and  medi»val  times  occupied 
a  quarter  in  Trastevere.  The  quarter,  which  was  formerly  closed 
by  gates,  was,  however,  entirely  pulled  down  in  1887.  Along  the 
N.  edge  of  it  runs  the  Via  della  Pescaria,  in  which,  immediately 
to  the  N.W.  of  the  Pal.  Orsini  and  the  Theatre  of  Marcellus,  are  the 
interesting  remains  of  the  Portico  of  Octavia  (PL  II,  17,  i5),  erect- 
ed by  Augustus  on  the  site  of  a  similar  structure  of  Metellus  (B.  C. 
149),  and  dedicated  to  his  sister.  Under  Titus  it  was  destroyed  by 
a  fire  which  raged  in  this  quarter  of  the  city,  but  it  was  restored  by 
Sept.  Severus  and  Caracalla  in  203,  as  the  inscription  records.  The 
principal  entrance  consisted  of  a  vestibule  with  eight  Corinthian 
columns,  of  which  two  in  the  inner,  and  three  in  the  outer  row  are 
still  standing.  To  the  right  and  left  of  this  were  double  rows  of  14 
columns  each,  while  there  were  at  least  40  columns  in  a  row  at  the 
sides.  The  entire  colonnade ,  with  its  300  columns,  enclosed  an 
oblong  space,  within  which  stood  temples  of  Jupiter  Stator  and 
Juno.  Columns  from  this  structure  are  frequently  seen  built  into 
other  edifices.    It  was  adorned  with  many  admirable  works  of  art 


204  ///.  Ltfl  Bank,  ROME.  8.  Bartolomeo. 

which  fonned  part  of  the  Macedonian  hooty,  and  it  was  here  that 
the  Medici  Venus  was  found.  In  770  the  church  of  8,  Angelo  in 
Pesearia  was  huilt  on  the  ruins  of  the  colonnade  hy  Stephen  m., 
but,  having  heen  frequently  restored,  it  has  lost  its  medisval  char- 
acter. A  papal  bull,  issued  in  1584,  formerly  compelled  the  Jews 
to  hear  sermons  here  on  their  Sabbath ,  when  the  Old  Testament 
was  expounded  to  them  in  accordance  with  the  doctrines  of  the 
church. 

The  new  street  to  the  S.  of  the  Portico  of  Octavia  and  to  the  W. 
of  the  Pal.  Orsini  leads  to  the  Ponte  de'  dnattro  Capi  (PI.  II,  17), 
the  oldest  bridge  now  in  Rome,  built  in  B.C.  62  by  L.  Fdbriciu8j  as 
the  inscription  records.  The  name  is  derived  from  the  four-headed 
figures  on  the  balustrades.  It  is  now,  however,  sometimes  called 
the  Ponte  Fabricio.  Fine  view. 

On  the  island  (Isola  JHberina  or  di  8.  Bartolomeo)  to  which  the 
bridge  leads  is  a  small  piazza,  embellished  in  1869  with  a  monument 
to  SS.  John,  Francis,  Bartholomew,  and  Paulinus.  Here,  perhaps 
on  the  site  of  an  ancient  temple  of  JBsculapius,  is  situated  the 
church  of  — 

8.  Bartolomeo  (PI.  II ,  18) ,  erected  about  the  year  1000  by 
the  Emp.  Otho  III.  in  honour  of  St.  Adalbert  of  Gnesen,  and  er- 
roneously named  S.  Bartolomeo.  The  emperor  had  desired  the 
Beneventans  to  send  him  the  relics  of  St.  Bartholomew,  but  received 
those  of  St.  Paulinus  of  Nola  in  their  stead.  The  present  church, 
with  the  exception  of  the  campanile,  is  modernised  and  uninterest- 
ing; facade  by  Lunghi,  1625. 

The  Iktbsiob  contains  fourteen  ancient  colamnsi  in  the  choir, 
remains  of  an  early  mosaic.  In  the  centre  of  the  steps  leading  to  the 
presbyterium  is  the  month  of  a  fountain  of  the  i2th  cent.,  on  which  a 
figure  of  Christ  with  a  book  in  his  hand,  and  the  heads  of  two  side- 
figures  are  alone  distinguishable. 

In  the  small  Garden  of  the  Monasteby  (visitors  ring  at  the  entrance 
to  the  right  by  the  church)  is  seen  part  of  the  ancient  bulwark  of  travertine 
which  gave  the  island  the  appearance  of  a  ship.  An  obelisk  represented 
the  mast.  The  figure  of  a  snake  hewn  on  the  bow  of  the  ship  is  a 
reminiscence  of  the  story  that  the  Romans,  when  sorely  afilicted  by  the 
plague,  sent  for  ^sculapius  from  Epidaurus  in  B.C.  293,  and  that  a 
snake,  a  reptile  sacred  to  the  god,  concealed  itself  in  the  vessel,  and  on 
reaching  the  harbour  escaped  to  this  island,  which  was  dedicated  to 
iBsculapius  in  consequence.  That  the  god  was  worshipped  here  has  been 
proved  by  the  discovery  in  the  island  of  limbs  in  terracotta,  which  were 
presented  by  sick  persons  as  votive  offerings. 

The  island  was  connected  with  Trastevere  by  the  ancient  Pons 
Cestius  (Oratianus;  PI.  II,  18),  which  was  built  by  Augustus,  and 
restored  by  the  Emperors  Valentinian  and  Gratian.  This  bridge  is 
now  being  rebuilt,  and  the  traffic  is  served  by  a  temporary  wooden 
structure  at  the  S.  end  of  the  island  (p.  331). 


To  the  S.  of  the  Pal.  della  Gancelleria  (p.  199)  lies  the  Piazza 
Oampo  di  FioBT!  (PI.  II,  13),  an  important  centre  of  business,  espe- 


Palaxxo  Famese,  ROME.  III.  Left  Bank,   205 

cially  since  the  vegetable-market,  with  the  picturesque  country- 
people  who  frequent  it  in  the  morning,  was  transferred  hither  from 
the  Piazza  Navona.  Heretics  and  criminals  used  to  be  put  to  death 
here.  Among  the  former  was  the  celebrated  philosopher  and  free- 
thinker Giordano  Bruno,  whose  death  in  this  square  on  Feb.  17th, 
1600,  is  now  commemorated  by  a  monument  erected  in  1889. 

Between  the  Piazza  Campo  di  Fiore  and  S.  Andrea  Valle  once  lay  the 
Theatre  of  Pompey  (PI.  II,  13, 14).  In  this  piazza  is  the  Pal.  P(o  or  Righetti 
(entrance,  Via  del  Biscino  95),  in  the  court  of  which  a  bronze  statue  of 
Hercules  (p.  306)  and  substructures  of  the  theatre  were  discovered  In  1864. 
Numerous  fragments  of  the  ancient  walls  are  incorporated  in  the  modern 
building.  The  semicircular  bend  of  the  street  by  8.  Maria  di  OroUapinta 
(PI.  II,  13,  5)  distinctly  shows  the  form  of  the  ancient  theatre.  The  Via 
de'  Giubbonari  leads  hence  to  8.  Carlo  a*  Catinari  (p.  201). 

From  the  Campo  di  Fiore  three  parallel  streets  lead  to  the  S."W. 
to  the  Piazza  Fabnbsb,  adorned  with  two  fountains.  Here  is  sit- 
uated the  — 

*Palazzo  Famese  (PI.  11, 14),  one  of  the  finest  palaces  at  Rome, 
begun  by  Card.  Alex.  Farnese,  afterwards  Pope  Paul  III.  (1534-45), 
firom  designs  by  Ant,  da  Sangallo  the  Younger  (p.  Ivii),  continued 
after  his  death  (1546)  under  the  direction  of  Michael  Angelo  (who 
designed  the  beautiful  cornicing),  and  completed  by  the  construc- 
tion of  the  loggia  at  the  back,  towards  the  Tiber ,  by  Oiac.  delta 
Porta  in  1580.  The  building  materials  were  taken  partly  from  the 
Colosseum,  and  partly  from  the  Theatre  of  Marcellus.  This  palace  was 
inherited  by  the  kings  of  Naples,  and  from  1862  to  1870  was  occu- 
pied by  Francis  11. .  It  was  purchased  in  1874  by  the  French  govern- 
ment, whose  embassy  to  the  papal  court  is  now  established  here ;  on 
the  second  floor  is  the  *Ecole  de  Rome',  or  French  archsBological  in- 
stitution, founded  in  1875.  The  triple  *Colonnade  of  the  entrance 
and  the  two  halls  of  the  court  were  designed  by  Sangallo,  in  imi- 
tation of  the  Theatre  of  Marcellus.  The  court  contains  two  ancient 
sarcophagi  (that  to  the  right  from  the  tomb  of  Caecilia  Metella, 
p.  349).  The  celebrated  antiquities  once  in  this  palace  (Farnese  Bull, 
Hercules,  Flora)  are  now  in  the  Museum  of  Naples. 

A  room  on  the  1st  floor  (no  admission)  contains  TFbkscobs  by  Annibale 
Carracd ,  his  finest  work,  consisting  of  mythological  scenes  with  rich  ar- 
chitectural painting,  executed  in  eight  years  by  him,  his  brother  Lodovieo^ 
DomenichinOy  and  other  masters.  —  The  old  banquet-hall  has  a  ^Gelling 
in  carved  wood,  designed  by  Michael  Angelo. 

From  the  Piazza  Farnese  a  line  of  streets ,  called  the  Via  di 
MoNSEKKATO  and  Via  de'  BancU  Vecchi,  leads  to  the  N.W.  to  the 
Ponte  S.  Angelo  (p.  274).  On  the  left  is  8.  Maria  di  Monserrato 
(PI.  II,  10,  3\  the  national  Spanish  church,  with  a  hospice.  It  was 
erected  in  1495  by  Ant,  da  Sangallo  the  Elder ^  and  afterwards  restored . 
The  altar-piece  of  the  first  chapel  on  the  right  is  by  Ann.  Carracci. 

To  the  S.E.  of  the  Piazza  Farnese  the  Vicolo  de'  Venti  leads  to 
the  Piazza  di  Capo  di  Febbo.    Here,  on  the  right,  rises  the  — 

Palazzo  Spada  alia  Begola  (PI.  II,  14),  erected  in  the  ponti- 
ficate of  Paul  III.  about  1540  by  Card.  Capodiferro,  in  imitation  of 


206  III.  Left  Batik.  ROME.      Pal,  Spada  alia  Regola. 

house  built  by  Raphael  for  himself.  Since  1640  the  palace  has 
belonged  to  the  Spada  family.  It  contains  an  interesting  collection 
of  antiquities  and  pictures,  but  is  now  inaccessible  to  all  except  those 
provided  with  an  influential  introduction. 

The  most  important  Antiquities  are  collected  in  a  *Ha8eo\  Opposite 
the  entrance-wall :  sitting  *8tatue  of  Aristotle,  a  copy  of  a  celebrated  Greek 
work ;  right  arm  and  left  leg  modern.  Then  eight  fine  ^Beliefs,  found  in  1620 
in  S.  Agnese  Fuori  le  Mura,  where  they  formed  part  of  the  pavement,  with 
their  faces  downwards.  Beyond  the  Aristotle,  to  the  left,  65.  Deedalus  and 
Fasiphae;  right,  72.  Paris  as  a  cowherd.  Window- wall:  66.  Wounded  Ado- 
nis •,  67.  Ulysses  and  Diomedes  carrying  off  the  Palladium.  Entrance-wall : 
Endymion  ^  Perseus  and  Andromeda ,  casts  from  the  originals  in  the  Gapi- 
toline  museum.  Left  wall :  68.  Paris  taking  leave  of  CBnone ;  69.  Hypsipyle 
finds  Opheltes,  who  had  been  entrusted  to  her,  killed  by  a  snake;  70.  Am- 
phion  and  Zethus ;  71.  Bellerophon  watering  Pegasus.  Also  several  busts, 
dmall  statues,  etc. 

From  the  court  a  staircase  to  the  right  ascends  to  the  Uppbb  Floob. 
In  the  Akte-Chambke  is  a  Colossal  Statue  of  Pompey,  found  in  the  ponti- 
ficate of  Julius  ni.  (1550)  in  digging  the  foundations  of  a  house  in  the  Vi- 
colo  de'  Leutari.  The  body  was  in  the  ground  of  one  proprietor,  and  the 
legs  in  that  of  another.  As  both  parties  claimed  the  statue,  the  judge  or- 
dered it  to  be  divided;  but  the  pope  prevented  this  by  purchasing  it  for 
500  scudi ,  and  presented  it  to  Cardinal  Capodiferro.  The  head ,  though 
of  a  separate  block,  belongs  to  the  original  statue.  The  workmanship  is 
mediocre. 

We  now  traverse  a  room  adorned  with  unimportant  frescoes  to  the 
Picture  Oallery.  I.  Boom,  beginning  opposite  the  entrance :  3.  Bolognese  School ^ 
Madonna  5  7, 12.  French  School^  Portraits  \  10.  Camuceini^  Card.  Patrizi  \  22.  Co- 
ravaggiOy  Portrait;  40.  Scipio  Oaetano-,  Julius  ni.  —  II.  Boom:  1.  Seb.  del 
PiothbOy  Astronomer ;  6.  Baudin,  Still-life ;  9.  Brueghel^  Landscape ;  10.  Ouido 
Reni^  Judith;  12.  O.  Poussiriy  Landscape;  16.  And.  del  Sarto,  Visitation  of 
Elizabeth  (seriously  damaged) ;  43.  Leonardo  da  Vinci  (a  copy  of  the  original 
in  England),  Christ  and  the  scribes.  —  III.  Boou :  2.  Caravaggio^  St.  Anna  and 
the  Virgin ;  4.  Raphael^  John  the  Baptist,  a  copy ;  15.  Brueghel^  Landscape ;  24. 
QuercinOy  Dido*s  death ;  26.  BaciceiOy  Design  of  the  ceUing-painting  in  (>esu 
(p.  197);  29.  Salvator  Rosa,  Landscape;  31.  Titian^  Portrait;  *40.  Moroni,  Por- 
trait; 48,  *49.  Marco  Palmeztano,  Gk)d  the  Father,  and  Bearing  the  Cross;  51. 
Titian^T),  Card.  Paolo  Spada;  60,  70.  Salv.  Rosa,  Landscapes;  63.  Guido  Reni, 
Abduction  of  Helen ;  67.  Borgognone ,  Cavalry-skirmish.  —  IV.  Boom  :  4. 
Ouido  Reni  (ascribed  to  Giulio  Bomano),  Card.  Bernardo  Spada;  9.  After 
Titian,  Paul  in. ;  10.  German  School,  Portrait  (1511);  15.  Caravaggio,  Laugh- 
ing angers  head ;  18.  German  School,  Portrait ;  26.  Ger.  Hontlwrst,  Christ 
in  the  garden;  30.  Caravaggio,  St.  Cecilia:  31.  Maratta,  Card.  Fabricius 
Spada;  44.  Andr.  del  SartoiJ),  Madonna;  54.  French  School,  Portrait. 

Pursuing  the  same  direction  beyond  the  Piazza  Capo  di  Ferro, 
we  next  reach  the  small  Piazza  de'  Pellegbini.  On  the  left  is  the 
back  of  the  Pal.  Santacroce,  now  a  Monte  di  Pieth  (PI.  II,  14),  or 
pawn-office,  founded  ip  1539,  and  established  here  in  1604.  (Some 
of  the  numerous  pictures  pledged  here  are  of  considerable  value.)  On 
the  right  is  the  church  of  S.  Trinith  d£  Pellegrini,  erected  in  1614; 
the  high-altar  is  adorned  with  a  Trinity,  by  Ouido  Reni.  The  neigh- 
bouring hospital  for  convalescents  and  pilgrims  contains  488  beds, 
and  can  provide  dinner  for  944  persons  at  one  time.  Italian  pil- 
grims are  entertained  here  at  Easter  for  three  days,  and  foreigners 
for  four. 

"Tie  YiA  db'  Pbttinabi  (PI.  II,  14)  leads  from  the  Piazza  de 


ini  to  the  Ponte  Sisto  (see  p.  32' 


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S.Oiov.de'Fiorentini.         ROME.  III.  Left  Bank.   207 

From  the  Ponte  Sisto  towards  the  N.W.,  parallel  with  the  river, 
mns  the  Via  dbl  Fontawonb,  prolonged  by  the  Via  Qiulia  (PI.  II, 
14,  10),  which  was  built  by  Julius  11.,  leading  in  12  min.  to  the 
Ponte  S.  Angelo.  To  the  left  in  the  Via  del  Fontanone,  is  the  Pal. 
Falconieri ,  built  by  Borromini ,  with  hermffi  on  the  facade  in  a  ba- 
roque stylo,  terminating  in  colossal  falcons'  heads ;  the  court  affords 
a  good  view  of  the  opposite  bank  of  the  Tiber,  the  Villa  Fameslna, 
andtheJaniculum.  IntheVicolodellaLunetta,  the  next  cross-street 
to  the  left,  is  the  church  of  S.  Eligio  degli  Orefiei,  a  graceful  little 
circular  structure,  built  in  1509  from  a  design  by  Raphael  and  re- 
newed in  1601.  Farther  on  in  theViaGiulia,  on  the  same  side,  the 
Carceri  Nuoviy  a  prison  founded  by  Innocent  X. ;  then  No.  66,  the 
Pal.  Saechetti  (PL  11 ,  10) ,  originally  erected  by  Antonio  da  San- 
gallo  the  Younger  as  his  private  residence.  The  courses  of  rough 
rustica  masonry  in  the  lower  stories  of  the  houses  on  the  left  side 
of  the  street,  formed  the  beginning  of  a  large  court  of  justice,  pro- 
jected by  Julius  II.  and  designed  by  Bramante,  but  never  carried  out. 

At  the  end  of  the  street,  on  the  left,  is  S.  CUoyanni  de'  Fioren- 
tini  (Pi.  II,  10),  the  handsome  national  church  of  the  Florentines. 
The  building  was  begun,  by  desire  of  LeoX.,  from  a  design  by  Jae. 
Sansovino  (which  was  preferred  to  competing  plans  of  Raphael, 
Sangallo  the  Younger,  and  Peruzzi) ;  and  the  difficult  task  of  com- 
pleting the  substructures  on  the  river  was  executed  by  Sangallo, 
Michael  AngelOy  and  on  his  death,  Oiac,  della  Porta  were  afterwards 
engaged  in  the  work ,  and  the  facade  was  added  by  Aless.  Oalilei 
in  1725.  The  only  object  of  interest  in  the  church  is  a  picture  by 
8alv.  Rosa  in  the  chapel  of  the  right  transept  (SS.  Cosmas  and 
Damianus  at  the  stake). 

Near  the  church  a  Chain  Bridge  (1  soldo),  constructed  in  1863, 
crosses  the  river  to  the  Lungara  (p.  322).  The  Via  Paola  leads  from 
the  church  to  the  Ponte  S.  Angelo  (p.  274). 


IV.   Ancient  Rome. 

This  part  of  onr  description  of  Borne  embraces  the  sonthern  portion 
of  the  city ,  beginning  with  the  Capitol ,  and  extending  eastwards  as  far 
as  the  Lateran:  i.  e.  the  hills  of  the  Capitoline,  Palatine,  Aventine,  Ceelins, 
and  the  8.  slope  of  the  Esqniline.  This  was  the  moat  important  quarter 
of  the  Bepnblican  and  Imperial  city,  bat  lay  waste  and  deserted  from  the 
early  part  of  the  middle  ages  down  to  onr  own  times.  Recently  it  has 
lost  mnch  of  its  characteristic  aspect  owing  to  the  construction  of  new 
quarters,  consisting  mainly  of  tenement  honsea  of  the  most  Philistine 
appearance.  A  considerable  part  of  it,  however,  extending  from  the  Forum 
Romanum  and  the  Fora  of  the  Emperors  to  the  Circus  Haximus,  the 
Thermee  of  Caracalla,  and  the  Porta  S.  Sebastian©,  is  to  be  protected, 
under  the  name  of  Paaeggiata  Areheologica,  from  the  hand  of  the  modem 
restorer.  A  number  of  ancient  churches,  which  are  extremely  interesting 
to  students  of  Christian  architecture ,  as  well  as  the  imposing  collections 
of  the  Capitol  and  Lateran,  also  attract  numerous  visitors. 


208   IV.  Ancient  Rome.         ROME.  The  Capitol. 

The  Capitol. 

This  is  the  smallest ,  hut  histoTically  the  most  important  of  the 
hills  of  Rome.  It  was  originally  merely  the  S.  spur  of  the  Quirinal, 
from  which  it  was  separated  hy  a  slight  depression,  hut  this  hollow 
was  greatly  enlarged  in  eonsequence  of  the  building  operations  of 
Trajan.  The  Capitol  consists  of  three  distinct  parts:  (1)  the  N. 
summit  with  the  church  and  monastery  of  Aracoeli  (164  ft.);  (2)  the 
depression  in  the  middle  with  the  piazza  of  the  Capitol  (98  ft.) ; 
and  (3)  the  S.W.  point  with  the  Pal.  Caffarelli  (156  ft.).  It  was  on 
this  piazza,  the  Area  Capitolina,  that  Romulus  is  said  to  have  found- 
ed his  asylum;  it  was  here  that  popular  assemblies  were  after- 
wards held;  and  it  was  here,  in  the  year  B.  C.  133,  on  the  occasion 
of  the  suppression  of  the  revolt  of  Tiberius  Gracchus,  that  the  blood 
of  the  citizens  flowed  for  the  first  time  in  civil  warfare.  One  of  the 
peaks  of  the  hill  was  occupied  by  the  Arx ,  or  citadel ,  with  the 
temple  of  Juno  Moneta ,  while  the  other  was  the  site  of  the  great 
Temple  of  Jupiter,  The  temple  was  built  by  Tarquinius  Superbus, 
the  last  of  the  kings,  and  consecrated  in  B.C.  509,  the  first  year  of 
the  Republic.  It  was  800  ft.  in  circumference,  and  possessed  a 
triple  colonnade  and  three  cellffl,  that  of  Jupiter  being  in  the  middle, 
and  one  for  Juno  and  Minerva  on  each  side.  In  the  year  B.C.  83, 
during  the  civil  war,  the  temple  was  burned  down,  and  the  same 
fate  overtook  it  in  A.D.  69,  on  the  occasion  of  the  struggle  between 
Vespasian  and  Vitellius.  This  most  sacred  shrine  of  ancient  Rome 
was  magnificently  restored  by  Domitian ,  and  was  preserved  down 
to  the  year  455 ,  when  it  was  plundered  by  the  Vandals  and  rob- 
bed of  its  gilded  bronze  tiles.  After  that  period  there  is  no  trace 
of  it  in  history. 

For  nearly  500  years  after  the  time  of  Cassiodorus,  the  min- 
ister and  chronicler  of  Theodoric  the  Great  (6th  cent.),  there  is 
no  mention  of  the  Capitol  in  the  annals  of  Rome.  The  hill  was 
in  the  possession  of  the  monastery  of  AracoBli ,  and  the  name  of 
Monte  CaprinOj  or  hill  of  goats,  which  was  applied  to  the  S.E. 
height,  bears  testimony  to  its  desertion.  The  glorious  traditions, 
however,  which  attached  to  this  spot,  gave  rise  to  a  renewal  of 
its  importance  on  the  revival  of  a  spirit  of  municipal  indepen- 
dence at  Rome.  In  the  lith  century  it  again  became  the  centre 
of  the  civic  administration.  The  prefect  of  the  city  resided  here ; 
among  the  ruins  of  the  venerable  citadel  the  nobility  and  the  citi- 
zens held  their  public  assemblies ;  and  in  1341  Petrarch  was  crown- 
ed as  a  poet  in  the  great  senate-hall  here.  The  hill  could  originally 
be  approached  from  the  Forum  only,  the  N.W.  side  being  precipi- 
tous and  inaccessible,  but  in  1348  the  latter  side  was  connected  for 
the  first  time  with  the  new  quarter  of  the  city  by  the  construction 
of  the  flight  of  steps  of  Aracoeli,  which  was  almost  the  only  public 
work  executed  at  Rome  during  the  exile  of  the  papal  court  at  Avig- 
non.   About  1389  Boniface  IX.  converted  the  palace  of  the  senate 


The  Capitol,  ROME.  IV,  Ancient  Rome,   209 

into  a  kind  of  fortiess,  bnt  its  present  form  dates  from  the  16th  cen- 
tury. Two  new  approaches  from  the  city  having  been  constructed 
in  1536,  the  Capitol  has  since  formed  a  kind  of  termination  of  the 
modern  part  of  the  city  in  the  direction  of  the  ruins  of  ancient  Borne. 

From  the  Piazza  Ajblaccbli  (PI.  II,  17)  three  approaches  lead  to 
the  Capitoline  Hill,  that  in  the  centre  being  the  principal  ascent  for 
pedestrians.  On  the  left  a  lofty  Flight  op  Steps  (124),  constructed 
in  1348,  ascends  to  the  principal  entrance  of  the  church  of  S.  Maria 
in  Aracoeli  (generally  closed,  see  below).  —  On  the  right  the  Via 
BELLE  Tub  Pile,  recently  converted  into  a  handsome  drive  (on  which 
occasion  remains  of  the  ancient  Servian  wall ,  enclosing  the  hill  in 
the  direction  of  the  Campus  Martius,  and  now  seen  behind  the  rail- 
ings to  the  left,  were  brought  to  light),  leads  past  the  entrance  of 
the  Pal.  Caffafellij  which  was  erected  in  the  16th  cent,  by  Ascanio 
Caffarelli,  a  former  page  of  Charles  Y.,  and  is  now  the  residence  of 
the  German  ambassador.  The  principal  approach  and  the  Via  delle 
Tre  Pile  lead  to  the  Piazza  del  Campidoglio,  see  p.  210. 

*8.  Kaxia  in  Araooali  (PI.  II,  20),  a  very  ancient  church,  is  men- 
tioned in  the  9th  cent,  as  8.  Maria  de  Capitolio.  The  present  name, 
derived  from  a  well-known  legend  (see  p.  210),  dates  from  the  14th 
century.  The  church,  of  which  the  Roman  senate  formerly  enjoyed 
the  patronage,  has  given  a  title  to  a  cardinal  since  the  time  of  Leo  X. 
The  facade  is  unfinished. 

Visitors  generally  approacli  the  cliurch  from  the  Piazza  of  the  Capitol 
by  the  staircase  to  the  left,  at  the  back  of  the  Capitoline  Masenm,  and 
on  the  first  landing  turn  to  the  left.  Over  the  door  an  ancient  mosaic, 
the  Madonna  between  two  angels. 

The  Isterior  is  disfigured  by  modem  additions.  The  naye  is  borne  by 
22  ancient  columns,  chiefly  of  granite,  varying  greatly  in  style  and  dimen- 
sions. The  3rd  on  the  left  bears  the  inscription  ^A  cubiculo  Augustoruni .  The 
rich  ceiling  was  executed  to  commemorate  the  victory  of  Lepanto  in  1571. 

By  the  wall  of  the  principal  Entbanoe,  to  the  left,  is  the  tomb  of 
the  astronomer  Lodovico  Grato  (1531) ,  with  a  figure  of  Christ  by  Andrea 
Sansovino;  on  the  right  the 'Monument  of  Card.  Librettus  or  De  Alibrettis 
(a  member  of  the  celebrated  French  family  of  d'Albret^  1465),  with  partly- 
preserved  painting.  BiOHT  Aislb,  Ist  Chapel :  'Frescoes  from  the  life  of 
St.  Bernardino  of  Siena ,  by  Pinturieehio,  restored  by  Camuedm.  Frescoes 
on  the  ceiling  attributed  to  Franc,  da  Cittd  di  Castello  and  L.  Signorelli. 
The  5th  Chapel  (of  St.  Matthew)  contains  good  pictures  by  Muziano.  —  LsFt 
AiSLB.  In  the  2nd  Chapel  a  manger  (presepe)  is  fitted  up  at  Christmas, 
i.e.,  a  gorgeous  representation  of  the  Nativity  in  life-size,  with  the  richly 
decorated  image  of  II  Santo  Bambino^  or  Holy  Child,  which  forms  the 
principal  treasure  of  the  church.  Th.is  image  is  believed  to  protect  per- 
sons in  imminent  danger,  is  frequently  invoked  and  revered,  and  is  some- 
times conveyed  to  the  houses  of  the  sick,  on  which  occasions  passers-by  kneel 
on  its  approach.  During  the  week  after  Christmas,  from  3  to  4  o'clock 
daily,  a  number  of  children  from  5  to  10  years  of  age  address  their  pe- 
titions to  the  bambino.  At  the  end  of  the  left  aisle  a  tomb-relief  of  Msgr. 
CrivcUi  by  Donatello  (much  damaged). 

Transept.  On  the  right  and  left,  by  the  pillars  of  the  nave ,  are  two 
*Ambones  from  the  old  choir,  by  Laurentiut  and  Jacobus  Cosmos.  The  Chapel 
on  the  right  belongs  to  the  Savelli;  on  the  right  and  left  (the  latter  origi- 
nally an  ancient  sarcophagus)  are  monuments  of  the  family,  of  the  IStb 
cent,  (of  the  parents  and  a  brother  of  Honorius  IV.).  The  left  transept 
contains  a  rectangular  canopy,  borne  by  8  columns  of  alabaster,  caller 

Babdekkr.    Italy  II.    10th  Edition.  14 


210  IV,  Ancient  Eome.         ROME.  The  CapitoL 

ike  Cappblla  Santa  ,  or  di  S.  Elena.  Beneath  the  altar ,  which  was 
destroyed  during  the  French  Revolution,  but  was  restored  in  1835,  the 
remains  of  S.  Helena  are  said  to  repose  in  an  ancient  sarcophagus  of 
porphyry.  The  present  altar  also  encloses  an  ancient  altar,  bearing  the 
inscription  Ara  Primogeniti  Dei,  which  is  said  to  have  been  erected  by 
Augustus.  According  to  a  legend  of  the  12th  cent.,  this  was  the  spot 
where  the  Sibyl  of  Tibur  appeared  to  the  emperor,  whom  the  senate 
proposed  to  elevate  to  the  rank  of  a  god,  and  revealed  to  him  a  vision 
of  the  Virgin  and  her  Son.  Hence  the  name ,  'Church  of  the  Altar  of 
Heaven\  At  the  end  of  the  N.  transept  is  the  monument  of  Mattheeus  of 
Aquasparta  (d.  1302),  the  general  of  the  Franciscans,  mentioned  by  Dante. 

Choik.  To  the  left,  the  *Tomb  of  Giov.  Batt.  SaveUi  (d.  1498).  From 
1512  to  1565  the  high-altar  was  adorned  with  the  Madonna  of  Foligno  by 
Raphael,  ordered  for  this  church,  afterwards  at  Foligno  (p.  79),  and  now  in 
the  Vatican.  The  donor,  Sigismondo  Oonti  da  Foligno,  is  interred  here.  The 
present  altar-piece  is  an  ancient  picture  of  the  Madonna,  ascribed  to  St.  Luke. 

The  Franciscan  monastery  belonging  to  the  church  was  pulled 
down  in  1888  to  make  room  for  the  large  Monument  of  Victor  Emma- 
nuel IL,  which  occupies  the  N.  end  of  the  Capitol. 

The  Central  Approach,  ascending  in  low  steps  paved  with 
asphalte  ('la  cordonnata'),  leads  to  the  Piazza  del  Campidoglio.  At 
the  foot  of  the  steps  are  copies  of  the  Pigyptian  Lions  mentioned  at 
p.  216,  and  at  the  top  a  group  of  the  horse-taming  Dioscuri  (Castor 
and  Pollux),  which  are  said  once  to  have  adorned  the  theatre  of 
Pompey.  In  the  pleasure-grounds  to  the  left  is  a  bronze  statue  of 
Cola  di  Rienzi,  by  Masini.  The  pedestal,  formed  of  ancient  archi-' 
tectural  and  inscribed  fragments ,  is  intended  to  suggest  Rienzi's 
antiquarian  studies. 

The  design  of  the  present  *Piazza  del  Campidoglio^  or  Square 
of  the  Capitol  (PI.  II,  20),  is  due  to  Michael  Angelo,  and  its  execu- 
tion was  begun  in  1536  by  Paul  III.  (comp.  p.  224).  The  palaces 
of  the  Conservator!  and  Senators  were  already  in  existence,  but 
their  facades  were  altered.  Michael  Angelo  caused  the  open  space 
towards  the  slope  of  the  hill  to  be  widened,  so  as  to  impart  to  the 
piazza  an  appearance  of  greater  size.  —  On  the  balustrade  in  front, 
at  the  sides  of  the  Dioscuri,  are  the  so-called  Trophies  of  Marius^ 
from  the  water-tower  of  that  name  of  the  Aqua  Julia  (p.  179), 
and  the  statues  of  the  Emp.  Constantino  and  his  son  Constans  from 
the  Thermae  of  Constantino  (p.  174),  on  the  Quirinal.  On  the  right 
Is  the  first  ancient  milestone  of  the  Via  Appia,  and  on  the  left  the 
seyenth  milestone  of  the  same  road,  found  at  Torricola  in  1660. 

In  the  centre  of  the  piazza  rises  the  admirable  "^Equestrian  Statue 
of  Marcus  Aurelius  (IQi-iSi)  J  in  bronze,  once  gilded,  and  originally 
placed  in  the  forum  near  the  arch  of  Sept.  Severus.  In  1187  it  was 
erected  near  the  Lateran,  and,  as  the  inscription  records,  transferred 
hither  in  1538.  It  owes  its  excellent  preservation  to  the  popular 
belief  that  it  was  a  statue  of  Constantino,  the  first  Christian  emperor 
(see  pp.  133,  xxxviii).  The  pedestal  is  said  to  have  been  designed 
by  Michael  Angelo.  Owing  to  its  moderate  height ,  the  head  of  the 
statue  is  distinctly  visible ,  whereas  modern  figures  of  the  kind  are 
often  perched  so  high  as  to  be  almost  indistinguishable. 


The  Capitol.  ROME.         IV,  Ancient  Rome.   211 

Beyond  this  monument  rises  the  Palaszo  del  Senatore  (PI.  II, 
20,  2),  which  was  re-erected  by  Boniface  IX.  in  1389  on  the  site 
of  the  ancient  Tabularium,  and  provided  with  its  handsome  flight 
of  steps  by  Michael  Angelo,  under  whose  directions  it  is  probable 
that  the  facade  was  constructed  by  Oiac.  delta  Porta.  The  river- 
gods  which  adorn  it  are  the  Tiber  (right)  and  Nile  (left).  In  the 
centre  a  fountain,  above  which  is  a  sitting  statue  of  Rome  from 
Gori  (comp.  p.  386).  The  palace  contains  a  spacious  senate -hall, 
the  offices  of  the  civic  administration,  and  an  observatory.  The  Cam- 
panile was  erected  by  Gregory  XIII.  in  1572,  to  replace  an  older 
one,  probably  belonging  (like  the  four  corner-towers,  one  of  which 
towards  the  Forum,  on  the  left,  is  still  recognisable)  to  the  edifice  of 
Boniface.  The  roof  of  the  tower,  which  is  adorned  with  a  standing 
figure  of  Roma,  commands  an  extensive  view  (entrance,  see  p.  221). 

The  two  palaces  at  the  sides  were  erected  in  the  17th  cent,  by 
Oiacomo  del  Duea,  with  some  deviations  from  the  plans  of  Michael 
Angelo.  On  the  right  is  the  Palace  of  the  Conservatori  (PI.  i), 
or  town-^council,  with  its  collections  (see  below ;  a  fire-engine  station 
on  the  ground-floor),  and  opposite  is  the  Capitoline  Museum  (PI.  12; 
p.  216).  —  The  flights  of  steps  and  colonnades  on  the  E.  side  of 
these  palaces  were  erected  by  Vignola  (ca.  1550) ;  that  to  the  left  by 
the  museum  leads  to  the  church  of  S.  Maria  in  AracoBli  (p.  209); 
that  to  the  right,  on  the  opposite  side,  to  Monte  Gaprino  (p.  221). 

On  the  right  of  the  Palace  of  the  Senators  runs  the  Via  del 
CampidogliOy  and  on  the  left  the  Via  deW  Arco  di  Settimio  Severo 
(p.  237),  both  descending  to  the  Forum. 

GOLLECTIONS    OP   THE  GaPITOL. 

These  are  contained  in  the  two  side-palaces  just  mentioned, 
and  are  open  daily,  under  the  conditions  mentioned  at  p.  123. 

A.  ^Palace  of  the  Conservatori. 

(Comp.  man,  p.  216). 
The  principal  door  leads  from  the  Piazza  del  Campidoglio  into 
the  GouBT.  By  the  right  wall  of  the  court  are  the  hands  and  limbs 
of  a  colossal  figure  in  marble.  In  the  middle  is  the  cinerary  urn  of 
Agrippina,  wife  of  Germanicus,  which  In  the  middle  ages  was  em- 
ployed as  a  measure  for  com ;  inscription ,  Osaa  Agrippinae  M. 
Agrippae  f.  divi  Augusti  neptis  uxoris  Oermaniei  Caesaria  Matris 
C.  Caesaris  Aug.  Oermaniei  principia.  By  the  left  wall  are  alto- 
reliefs  of  Roman  provinces,  interspersed  with  barbaric  trophies  and 
weapons,  which  once  adorned  the  lower  part  of  the  Temple  of 
Neptune  mentioned  at  p.  155;  also  a  colossal  head,  perhaps  of 
Domitian.  —  In  the  centre  of  the  colonnade  opposite  the  entrance, 
a  statue  of  Roma ;  at  the  sides  statues  of  barbarians  in  grey  marble. 
To  the  left,  in  the  comer,  a  colossal  bronze  head ;  right  an  antique 

14« 


212   IV.  Ancient  Home.         ROME.  The  Capitol. 

group,  *Horee  torn  by  a  lion,  said  to  have  been  restored  by  Michael 
Angelo. 

In  the  Enteance-Hall  farther  on ,  opposite  the  staircase,  30. 
Modern  'columna  rostrata',  with  the  genuine  fragment  of  an  in- 
scription in  honour  of  C.  Duilius,  the  victor  of  Mylae,  B.C.  260, 
placed  here  in  the  reign  of  Claudius  and  composed  in  a  purposely 
antiquated  style.  Belowthe  window  is  a  statue  of  Charles  of  An- 
jou.  King  of  Sicily  (formerly  in  the  large  Hall  of  the  Capitol),  who 
was  Senator  of  Rome  in  1263-66,  1268-78,  and  1281-84.  On  each 
side  of  the  Staibcasb  are  Roman  inscriptions  built  into  the  wall, 
most  of  which  were  found  on  the  Esquiline.  —  On  the  landing  of 
the  staircase  is  a  list  of  streets  in  the  1st,  10th,  12th,  13th,  and 
14th  regions  of  ancient  Rome,  dating  from  136  A.D.  Built  into  the 
walls  are  four  •Reliefs  from  a  triumphal  arch  of  M.  Aurelius,  found 
near  S.  Martina  in  the  Forum :  on  the  right,  44.  Sacrifice  in  front 
of  the  Capitoline  temple ;  on  the  long  wall,  43.  Entry  of  the  em- 
peror; 42.  Pardon  of  conquered  enemies;  41.  His  reception  by 
Roma  at  the  triumphal  gate.  On  the  walls  are  ancient  inscriptions. 
—  On  the  left,  above  the  second  landing.  No.  43.  Relief,  Curtius 
on  horseback  leaping  into  the  gulf  (15th  or  16th  cent).  Opposite, 
inscription  referring  to  Frederick  H.'s  victory  over  the  Milanese.  — 
In  the  passage  above,  two  reliefs  from  the  triumphal  arch  of  M.  Aur- 
elius (p.  163),  which  was  removed  in  1653  by  order  of  Alexan- 
der VII.,  representing  an  oration  of  Marcus  Aurelius  and  the  apo- 
theosis of  Faustina.  On  the  left  is  the  entrance  to  the  Collections 
described  below. 

We  traverse  two  Rooms  with  modern  lists  of  Roman  magistrates, 
and  enter  a  long  Cobbidob  containing  the  so-called  Pbotomoteca, 
founded  by  Pius  VH.,  a  collection  of  busts  of  celebrated  Italians, 
including  poets  (such  as  Dante,  Petrarch,  and  Ariosto),  scholars, 
painters,  architects,  and  sculptors.  At  the  end  of  the  corridor  is  a 
monument  to  Canova.  Several  eminent  foreigners  have  also  been 
admitted :  (1.)  Winckelmann,  (r.)  Poussin  and  Raphael  Mengs.  On 
the  walls  are  several  old  plans  and  views  of  Rome.  —  The  second 
door  to  the  right  in  this  passage  is  the  entrance  to  the  New  Capi- 
toline Museum  (see  below),  while  the  last  door  but  two  leads  to 
the  picture-gallery  (p.  214),  and  the  last  but  one  leads  up  two  steps 
to  the  7th,  6th,  and  5th  rooms  of  the  New  Capitoline  Museum. 

The  *New  Capitoline  Collection  contains  chiefly  the  bronzes 
and  the  yield  of  recent  excavations. 

I.  Room  op  the  Bbonze  Utensils.  Bronze  Chariot j  -with  repre- 
sentations In  relief ;  *Bronze  Seat,  with  a  footstool,  adorned  with 
inlaid  silver  work,  found  at  the  ancient  Amiternum ;  Litter,  partly 
inlaid  with  silver.  Along  the  walls  are  smaller  bronzes,  Including 
a  Hermaphrodite,  from  whose  back  springs  an  arabesque,  designed 
as  a  bearer.    The  door  in  front  of  us  leads  to  the  — 


The  Capitol.  ROME.  IV.  Ancient  Rome,   213 

II.  Room,  which  contains  the  Collection  of  Coins.  —  The  door 
to  the  left  leads  into  the  large  octagonal  — 

III.  DoMB  Saloon,  lighted  from  ahove,  and  constructed  of  iron 
and  wood  in  the  Pompelan  style,  by  Yespignani.  In  the  Vestihule, 
to  the  right:  2.  Tombstone  of  Q.  Sulpicius  Maximua,  a  boy  of  IIV2 
years ,  who ,  according  to  the  Latin  inscription ,  worked  himself  to 
death  after  having  gained  the  prize  over  52  competitors  for  extem- 
porising in  Greek  verses ,  quotations  from  which  are  inscribed  on 
each  side  of  the  statuette  of  the  youthful  poet.  To  the  left :  8.  Sit- 
ting figure  of  Terra  Mater  (Mother  Earth),  in  a  small  temple  with  in- 
scription. —  Opposite  the  entrance  is  a  beautiful  fountain- spout 
in  the  form  of  a  drinking-horn,  found  in  the  garden  of  MaBcenas 
fp.  182).  18.  Youthful  athlete  pouring  oil  into  his  left  hand ;  14, 
16.  Tritons,  forming  part  of  the  following  group.  •IS.  Half-figure 
of  the  Emperor  Commodua,  with  the  attributes  of  Hercules ;  the 
marble  still  displays  its  fine  original  polish ;  the  pedestal  is  formed 
by  two  Amazons  (one  only  preserved)  bearing  a  shield  enclosed  by 
comucopiae,  below  which  is  a  celestial  globe.  19.  Figure  of  Bonus 
Eventus,  with  a  cornucopia.  21.  Large  Sarcophagus  fromVicovaro 
(p.  380),  with  hunting  scenes.  24.  Terpsichore;  25,  27.  Well-pre- 
served youthful  portrait-heads,  found  together  on  the  Esquiline ; 
*26.  Venus  in  the  act  of  loosening  her  hair  (both  arms  missing). 
Then,  two  interesting  statues  of  a  post-Constantine  period,  each 
holding  aloft  a  cloth  in  the  right  hand  as  the  signal  for  starting  in 
the  chariot-race.  Graceful  seated  figure  of  a  young  girl.  33.  Statue 
of  Claudia  Justa,  with  attributes  of  Fortune ;  Replica  of  the  so- 
called  Eros  of  Praxiteles  (Vatican  Gallery,  p.  308),  wrongly  re- 
stored as  a  lyre-player;  in  a  niche  behind  it,  to  the  right,  interest- 
ing •Relief,  representing  Vulcan  and  three  Cyclopes  making  the 
shield  of  Achilles ;  *36.  Head  of  a  Centaur  (probably  Chiron) ;  38, 
42.  Athletes ;  *46.  Marsyas  bound  to  a  tree  (the  tree,  hands,  and 
feet  modem  restorations).  Opposite,  •69.  Head  of  an  Amazon.  In 
the  middle,  between  the  pillars:  62-60.  Caryatides  in  the  archaic 
style;  two  large  vases,  the  one  with  spirited  Bacchic  represen- 
tations particularly  fine.  35.  Infant  Hercules  with  the  lion's  skin, 
club,  and  quiver,  in  his  left  hand  the  apples  of  the  Hesperides ; 
10.  Old  woman  carrying  off  a  lamb. 

IV.  Gallebt.  To  the  right:  46.  Colossal  bust  of  Maecenas; 
•75,  Fighting  Hercules,  with  a  portrait-head ;  several  fine  ancient 

Greek  tombstones  with  female  figures ;  70.  ColossaV  **  ■  *  ' ^ 

with  a  Tyrrhenian  sandal  adorned  with  a  pleasing 

Tritons,  Cupids,  and  Dolphins.  —  On  the  walls  ol 

Priest's  boy  with  a  sucking-pig  for  sacrifice.    125.  ] 

Mercury)  playing  with  a  tortoise  (fountain-figure! 

vase,  richly  adorned  with  acanthus  leaves;  123.  ti  2!|^| " 

dog.  On  the  sarcophagus  to  the  right  are  several  !  g  c 

Atthis  (under  glass)  shows  traces  of  painting  and  g 


214   IV,  Ancient  Rome.         ROME.  The  Capitol. 

Anaereon^  tlie  poet,  found  in  the  gardens  of  GaBsar,  outside  the 
Porta  Portese.  Adjacent,  a  torso  of  Athena,  modelled  after  the  Par- 
thenos  of  Phidias ;  fragment  of  a  marble  shield  with  battle-scenes. 
To  the  left,  130.  Silenus  in  a  crouching  attitude,  a  fountain-figure. 
We  traverse  the  corridor  of  the  Protomoteca  (passing  the  monu- 
ment of  Canova  on  the  right),  and  enter  the  — 

V.  KooM  OP  THE  Tbbkacottas,  chiofly  common  domestic  utensils 
(pitchers,  lamps,  jars,  etc.)  and  terracotta  reliefs  used  as  mural  de- 
corations. In  the  corner  to  the  left  is  a  seated  female  figure.  Reliefs 
with  landscapes  (views  of  the  Nile)  and  mythological  scenes  (Her- 
cules and  Telephus),  showing  traces  of  colouring.  Near  the  exit  are 
an  ivory  diptych  and  a  stilus, 

YI.  Room  op  the  Bbonzbs.  At  the  entrance,  ^Priest's  Boy  (Ca- 
millus) ;  Ephesian  Diana,  on  a  trilateral  altar.  By  the  window,  the 
so-called  *Capitoline  Wolf,  with  Romulus  and  Remus;  possibly 
the  same  which  the  sedlles  Gneius  and  Quintus  Ogulnius  erected  in 
B.  G.  296,  though  more  probably  of  an  early  mediSBval  origin.  An 
injury  on  the  right  hind-leg  is  supposed  to  have  been  caused  by 
lightning,  by  which,  according  to  Gicero,  the  figure  was  struck  in 
B.C.  65,  in  the  consulate  of  Manlius  and  Gotta;  the  twins  are  mod- 
ern. This  work,  with  other  bronzes,  stood  near  the  Lateran  as  early 
as  the  9th  century.  36.  Small  three-bodied -ffccatc.  The* Thorn 
Extractor  J  a  boy  removing  a  thorn  from  his  foot.  Gilded  Statue  of 
Herctdes,  A  Horse,  sadly  mutilated,  but  of  excellent  workmanship, 
found  in  1849,  together  with  the  fragments  of  a  Bull,  Then  a  Co- 
lossal Hand  and  a  Colossal  Foot,  found  near  the  Pyramid  of  Gestius 
(eomp.  p.  252).  To  the  left  of  the  exit,  an  expressive  *Bronze 
Head,  said  to  be  that  of  C.  Junius  Brutus,  who  expelled  the  kings 
and  became  the  first  consul ;  eyes  of  coloured  stone.  Vase,  found  near 
Anzio,  presented  by  King  Mithridates  to  a  gymnasium  (foot  and 
handles  modern). 

Vn.  Room  op  the  Etruscan  Tbrbacottas,  or  the  so-called 
Museo  Italico,  a  collection  of  vases,  terracottas  (including  two  sar- 
cophagi with  figures  on  the  lids),  bronzes,  and  various  anticagllas 
from  Etruria  and  Latium.  Under  glass :  Silver  cover  of  a  cist  with 
archaic  figures  of  animals,  found  at  Palestrina. 

On  quitting  this  collection  we  pass  through  the  first  door  on  the 
right  in  the  corridor  and  ascend  to  the  — 

Picture  Oallery  (Tinacoteca'),  founded  by  Benedict  XIV.  In 
a  straight  direction  we  enter  the  first  saloon.  The  names  of  the 
artists  and  the  subjects  are  attached  to  the  pictures. 

I.  FiKST  Saloon.    Entrance-wall,  to  the  right  of  the  door:  *S9.  Rubens, 

Romulus  and  Remus.    Right  wall :  146.  Giorgione,  Holy  Family  j  6.  Roma- 

nelli,  St.  Cecilia;  7.  Pietro  da  Cortona,  Triumph  of  Dionysus j  65.  Oaro/alo, 

iJtfadonna  and  saints ;  127.  Lorenzo  di  Credi,  Madonna  and  Child;  13.  Ouer- 

j    wo,  John  the  Baptist;  14.  H.  Poussin,  Flora  (copy  of  the  picture  in  the 

"^vre);  16.  Cfuido  Reni,  M.  Magdalene;  20.  Domenichino^  Cumsean  Sibyl. 

a  Heri-w  wall :   142.  AWani,  Nativity  of  the  Virgin ;   26.  Tintoretto^  M.  Mag- 

as  a  beai210.  Oaud.lFerrari,  Madonna ;  27.  Fra  Bartolommeo  (?),  Presentetion 


The  Capitol,  ROME.         IV.  Ancient  Rome.    215 

in  the  Temple j  30.  Oarofalo,  Holy  Family;  34.  Guereino,  Persian  Sibyl ^ 
70.  Paolo  Veronese^  Madonna  and  saints  (copy);  above,  Lo  Spagna^  Two 
saints  (fresco).  Left  window-wall :  9.  AU>ani,  Magdalene  \  52.  S.  Botticelli^ 
Madonna  and  saints ;  65.  Aff.  Carraeci^  Holy  Family ;  196.  Cola  delV  Ama- 
trieey  Assumption;  61.  School  of  Raphael^  Holy  Family;  195.  Paolo  Vero- 
nese, Ascension;  54.  Oaro/alo,  Coronation  of  St.  Catharine;  2.  Ouido  Reni, 
A  glorified  spirit  (unfinished).  Entrance-wall :  91.  O.  Reni,  Sketch  for  "No.  3; 
76.  P.  Caravaggio^  Meleager ;  78.  Fr.  Francia^  Madonna  (1613).  On  the  right 
window-wall,  above:  Ten  frescoes  attributed  to  Lo  Spizgna^  representing 
Apollo  and  the  Muses,  formerly  at  La  Magliana  (p.  393). 

II.  Saloon.  Entrance-wall :  Pietro  da  Cortona,  58.  Sacrifice  of  Iphi- 
geneia,  190.  Alexander  and  Darius.  Right  wall:  47.  P.  da  Cortona, 
Rape  of  the  Sabine  women;  116.  Ouido  Reni,  St.  Sebastian;  117.  Ouerdno, 
Cleopatra  and  Octavian;  119.  Lod.  Carraceiy  St.  Sebastian;  128.  Caravaggio, 
Fortune-telling  gipsy.  Short  wall :  ^143.  Guereino,  St.  Petronella  raised  from 
her  tomb  and  shown  to  her  bridegroom.  Left  wall:  154.  Paolo  Veronese, 
Magdalene;  41.  If.  Poutsin,  Orpheus;  169.  Cignani,  Madonna;  164.  (?aro- 
falo,  Madonna ;  180.  Titian,  Christ  and  the  adulteress ;  *224.  Paolo  Veronese, 
Rape  of  Europa. 

III.  Room.  '132.  Oiov.  Bellini,  Portrait;  87.  St.  Nicholas,  by  the 
same ;  124.  Paris  Bordone  (catalogued  as  Titian),  Baptism  of  Christ ;  136. 
Gentile  Bellini  (7),  Petrarch;  129.  Giov.  Bellini,  Portrait;  49.  Domenichino, 
Landscape  with  Hercules;  103.  Domenichino,  St.  Barbara;  66.  Bronzino, 
Portrait  of  a  lady;  137.  Domenichino,  Landscape  with  St.  Sebastian;  98. 
School  of  Bellini,  Holy  Family.  Right  wall :  222.  Bassano,  Christ  in  the 
house  of  the  Pharisee;  also  a  few  good  landscapes. 

IV.  Room.  80.  Velazquez,  Portrait;  *100.  Fo»  2>ycjfc,  Portraits  ofThos. 
Killegrew  and  Henry  Carew  ;  *134.  Portrait  of  Michael  Angelo,  probably 
by  himself;  *106.  Van  Dyok,  Two  portraits;  *^i.  Guido  Reni,  Portrait  of 
himself;  Garofalo,  161.  Annunciation,  201.  Transfiguration,  204.  Ador- 
ation of  the  Magi ;  223.  Paolo  Veronese,  Madonna  with   angels. 

The  Sale  del  Conservatori  (i.e.  of  the  town-councillors)  contain 
frescoes  and  other  works  of  art,  chiefly  of  the  end  of  the  16th  century. 

We  pass  through  a  Corridor,  containing  a  collection  of  porcelain  pre- 
sented by  Conte  CSini,  and  the  old  Chapbl,  containing  an  altar-piece  (Va- 
donna)  by  Agostino  dPIngegno ,  formerly  ascribed  to  Pinturicchio.  We 
then  reach  the  I.  Room,  the  walls  of  which  are  frescoed  by  Sodoma  with 
scenes  from  the  Punic  Wars.  —  II.  Room  (to  the  right) :  Frescoes  by  Lau- 
reti ;  statues  of  the  generals  Slarcantonio  Golonna,  Alexander  Farnese,  Ro- 
splgliosi,  Aldobrandini,  and  Barberini.  ~  Laboe  Saloon,  with  frescoes  by 
the  Cavaliere  d'^Arpino,  representing  the  Combat  of  the  Horatii  and  the 
Curiatii,  and  other  scenes  from  the  period  of  the  Kings ;  it  also  contains  a 
bronze  statue  of  Innocent  X.  by  Algardi^  and  a  marble  statue  of  Urban 
VIII.  by  Bernini.  —  We  now  return  through  R.  II.  into  the  IV.  Room. 
Scenes  from  the  Cimbrian  war,  and  several  antique  busts.  —  V.  Room: 
Fragments  of  the  *Fasti  Consulares,  or  lists  of  Roman  consuls,  found  in  the 
16th  cent,  (and  smaller  frafnnents  in  1818  and  1872),  between  the  temples 
of  Castor  and  Faustina.  They  were  originally  exhibited  in  the  Regia,  or 
official  residence  of  the  Pontifex  Maximus  (p.  231).  The  busts  of  B.  Bor- 
ghesi  (hy  Tadolini)  and  W.  Senzen  (by  Kopf),  two  scholars  who  explained 
the  Fasti,  were  placed  here  in  1888.  The  ancient  hermse  with  modern  in- 
scriptions are  unimportant.  —  VI.  Room.  Several  antiques:  jug  in  the 
form  of  a  female  head  in  bronze;  two  ducks;  head  of  Medusa,  by  Bernini. 
—  VII.  Room,  a  small  room,  with  relics  of  Garibaldi,  weapons,  garlands, 
banners,  letters,  etc.  —  VIII.  Room,  formerly  the  assembly-hall  of  the 
Senate.  The  frieze,  representing  scenes  from  the  life  of  Scipio  Africanus,  is 
attributed  to  Ann.  Carracci.  On  the  walls  is  tapestry  woven  at  S.  Michele. 
Bust  of  Michael  Angelo,  attributed  to  himself.  Also  busts  in  marble  of 
Victor  Emmanuel,  Cavour,  and  Mazzini. 


216  IV.  Ancient  Rome.         ROME.  The  Capitol, 

B.  **Capitoline  Hnsenm. 

This  museum  was  founded  by  Innocent  X.,  and  extended  by 
Clement  XII.,  Benedict  XIV.,  Clement  XUI.,  and  Pius  YI.  The 
works  carried  off  by  the  French  were  restored  with  few  exceptions 
to  Pius  VII.  The  collection  is  much  smaller  than  that  of  the  Vatican, 
but  is  rich  in  admirable  works.  Catalogue ,  prepared  for  the  Com- 
missione  Archeologica  Municipale  in  1882,  sold  at  the  entrance  (3  fr.). 

a.  Ground  Floor. 

CouBT  (Cortile).  Above  the  fountain  in  the  centre  is  the 
*Marforio,  a  colossal  river-  god  holding  a  shell,  probably  repre- 
.  sei^ng  the  Rhine  or  Danube,  erected  in  the  middle  ages  in  the 
Via  di  Marforio  opposite  the  Career  Mamertinus,  where  it  was  em- 
ployed as  a  vehicle  for  the  sarcastic  answers  to  the  interrogatories 
of  Pasquino  (see  p.  201).  Among  the  other  sculptures ,  most  of 
which  are  unimportant,  are  the  two  ^Egyptian  Lions  of  basalt  (form- 
erly at  the  foot  of  the  steps  of  the  Capitol),  two  Oranite  Columns 
with  reliefs,  and  two  large  Canopi  (dog-faced  baboons),  all  from  the 
Temple  of  Isis  (p.  195). 

CoBBiDOR  (PI.  4),  to  the  left  of  the  entrance:  3.  Colossal 
Minerva;  5.  Bacchante;  below.  Sarcophagus  with  Bacchanalian  re- 
presentation ,  purposely  mutilated.  —  On  the  left,  at  the  end,  is 
the  entrance  to  the  — 

I.  Room  (PI.  1).  Sarcophagus  with  a  lion-hunt.  In  the  centre 
Is  an  altar  with  a  sacrificial  relief,  erected  by  the  superintendents 
of  a  Roman  district  (Vicus  iEsculati),  found  in  1888  near  the  Ponte 
Garibaldi.  On  the  walls  are  several  ancient  mosaics,  one  of  which 
(No.  27)  seems  to  represent  a  vessel  leaving  port  (found  on  the 
Quirinal  in  1878).  Above  the  door  of  the  2nd  room :  20.  Cupids 
binding  a  lion,  with  Hercules  in  female  attire  spinning  in  the  back- 
ground. By  the  door,  under  glass,  is  a  mosaic  representing  the  ris- 
ing of  the  Nile.  —  The  two  following  rooms  (PI.  2,  3)  contain  in- 
scriptions, sarcophagi,  etc.,  of  little  general  interest. 

We  return  to  the  Corbidor  (PI.  4).  To  the  left :  several  med- 
iocre female  draped  statues.  —  To  the  right  of  the  principal  en- 
trance: (right)  25.  Diana;  24.  Hercules;  23.  Luna;  21.  Mercury; 
(left)  14.  Cyclopean  Polyphemus  with  one  of  his  victims  (erroneously 
restored);  (left)  15.  Hadrian  as  a  priest;  (right)  20.  Jupiter;  below. 
Sarcophagus  with  the  Calydonian  Hunt ;  (right)  19.  Colossal  Mars 
(legs  modem) ;  17.  Hercules  with  the  Hydra,  found  in  the  16th  cent, 
near  S.  Agnese  in  the  Via  Nomentana  and  restored  by  Algardi  (the 
parts  originally  missing,  the  Hydra  and  leg  of  Hercules,  were  after- 
wards discovered  and  are  now  exhibited  beside  the  restored  group). 
—  Adjacent,  to  the  right,  is  the  entrance  to  three  rooms  containing 
inscriptions  and  several  interesting  sarcophagi. 

I.  Room  (PI.  5).  In  the  centre :  Ara,  which  stood  in  the  market- 


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The  Capitol.  HOME.  IV,  Ancient  Rome.   217 

place  of  Albano  till  1743,  with  archaic  representation  of  the  ex- 
ploits of  Hercules.  Also  a  few  insignificant  busts.  —  II.  Room 
(PI.  6).  *5.  Sarcophagus  with  battle  between  the  Romans  and 
Gauls ;  the  commander  of  the  latter  commits  suicide  (perhaps  Ane- 
roestus,  defeated  B.C.  225  near  Pisa);  (left)  11.  Cippus  of  T.  Sta- 
tilius  Aper,  the  architect  (^mensor  aedificiorum'Jy  with  a  wild  boar 
(aper)  at  his  feet  and  a  measuring  wand  and  other  instruments  at 
the  sides.  On  the  walls  are  inscriptions.  —  III.  Room  (PI.  7). 
Large  ^Sarcophagus  (formerly  supposed  to  be  that  of  Alex.  Seyerus 
and  his  mother  Mammaea) ,  with  scenes  from  the  life  of  Achilles. 
Achilles  among  the  daughters  of  Lycomedes,  (left)  farewell  of  Dei- 
damia,  (right)  arming  of  Achilles;  at  the  back,  Priam  begging  for 
the  body  of  Hector  (found  in  1594  with  the  Portland  Vase  of  the 
British  Museum  on  the  Mte.  del  Grano,  near  the  Porta  Furba, 
p.  347).  Left  of  the  door :  15.  Sitting  statue  of  Pluto.  —  We  now 
return  to  the  hall,  and  ascend  the  staircase  to  the  — 

b.  FiEST  Floor. 

Staircase  (PI.  8).  Into  the  walls  are  built  the  fragments  of 
the  marble  Plan  of  Rome,  an  important  topographic  relic,  executed 
under  Sept.  Severus,  found  in  the  16th  cent,  near  SS.  Cosma  e  Da- 
miano  (p.  281).  Portions  of  the  pieces  found  have  been  lost ,  but 
supplemented  from  the  extant  drawings  (these  parts  are  indicated 
by  asterisks).  On  the  landing  of  the  stair  are  two  female  statues, 
groundlessly  designated  as  Pudicitia  and  Juno  Lanuvina. 

I.  Room  op  the  Dying  Gladiator.  In  the  centre :  1.  ** Vying 
Oladiator,  found  at  Rome  in  the  16th  cent,  and  originally  preserved 
in  the  Villa  Ludovisi.  The  trifling  restorations  (right  arm  and  part 
of  the  base)  are  said  to  have  been  made  by  Michael  Angelo. 

The  dying  warrior,  recogDized  as  a  Gaul  by  his  twisted  collar,  short 
hair,  and  mustache,  is  sitting  on  his  shield,  while  the  blood  pours  from 
his  wounded  breast  \  he  has  evidently  inflicted  the  fatal  blow  himself, 
having  previously  broken  the  crooked  horn  which  lies  on  his  shield.  He 
lias  preferred  death  to  captivity,  and  exhibits  the  same  dignity  of  char- 
acter as  the  Barbarian  in  the  group  now  in  the  Villa  Ludovisi  (p.  173), 
which  was  probably  found  at  the  same  time  (comp.  p.  xxxiv).  The  visitor 
will  readily  recall  the  exquisite  lines  by  Byron :  Childe  Harold,  Canto  iv.,  140. 

7.  (right  of  the  door)  Apollo  with  lyre.  Right  wall :  *6.  Head  of 
Dionysus,  erroneously  taken  for  a  woman's  (Ariadne's) ;  4.  Ama- 
zon; 3.  Alexander  the  Great;  2.  Demeter.  Wall  opposite  the  en- 
trance: 16.  Head  of  M.  Jun.  Brutus,  the  *tu  quoque  Brute'  of  Csb- 
sar;  15.  Priestess  of  Isis;  14.  Flora  from  the  villa  of  Hadrian.  Left 
wall :  *12.  Antinous  from  Hadrian's  villa  (p.  xxxvil);  below,  Tomb- 
stone erected  by  a  freedman  of  Tiberius  to  his  wife,"  with  elegant 
Greek  and  Latin  verses  and  tasteful  ornamentation.  •lO.  Satyr  of 
Praxiteles^  the  best  of  the  extant  copies  (p.  xxxii). 

This  is  the  figure  which  suggesled  the  title  of  Nathaniel  Hawthorne's 
romance,  The  Marbie  Faun  (see  p.  128),  in  the  opening  pages  of  which  oc- 
curs a  fine  description  of  the  statue. 


218   IV.  Ancient  Rome.         ROME.  The  Capitol. 

9.  Girl  protectiug  a  dove;  instead  of  the  modern  snake,  there  was 
probably  a  dog ,  or  some  other  animal  in  the  original.  Entrance- 
wall:  8.  Zeno,  found  in  1701  in  a  villa  of  Antoninus  Pius  at  Civitk 
Lavinia. 

II.  Stanza  del  Fatjno.  On  the  walls  reliefs,  Inscriptions,  etc. , 
among  them  the  Lex  Regia  of  Vespasian  (black  tablet  of  bronze  on 
the  entrance-wall),  whence  Cola  di  Rienzi,  *the  last  of  the  Tribunes', 
once  demonstrated  to  the  people  the  might  and  liberty  of  ancient 
Home.  In  the  centre,  1.  Satyr  (Fauno)  in  rosso  antico,  raising  a 
bunch  of  grapes  to  his  mouth ,  from  Hadrian's  villa ,  placed  on  a 
remarkable  altar,  dedicated  to  Serapis.  Window-wall:  26.  Colossal 
head  of  Bacchus,  on  a  circular  arawith  a  rostrum,  and  the  inscription 
ara  tranquillitatis ,  found  together  with  the  Ara  Yentorum  and  the 
Ara  Neptuni  at  the  harbour  of  Anzio  (p.  397),  where  they  were  em- 
ployed by  sailors  for  offering  sacrifices.  Wall  of  egress :  4.  Head 
of  Mercury  (?);  3.  Sarcophagus  with  relief  of  Diana  and  Endymion ; 
*6.  Head  of  Juno  Sospita ;  8.  Boy  with  mask  of  Silenus.  Right  wall : 
10,  Minerva;  12.  Mars.  Entrance- wall :  15.  Bust  of  Hercules ;  16. 
Boy  struggling  with  a  goose,  copy  of  a  statue  by  BoethoSj  excavated 
near  the  Lateran  in  1741 ;  *18.  Sarcophagus  with  battle  of  Ama- 
zons, and,  on  its  left  corner,  21.  Head  of  Ariadne  crowned  with  ivy. 

III.  Labge  Saloon.  In  the  centre:  1.  -^sculapius,  in  nero  an- 
tico, on  an  altar  representing  a  sacrifice.  *2,  4.  Two  Centaurs  in 
bigio  morato,  by  Aristeas  and  Papias,  found  in  Hadrian's  villa  in 
1736 ;  3.  Colossal  basaltic  statue  of  the  youthful  Hercules,  found 
on  the  Aventine ;  it  stands  on  a  beautiful  altar  of  Jupiter ,  embel- 
lished with  representations  of  his  birth,  education,  etc. ;  5.  Ju- 
piter, in  nero  antico,  or  black  marble,  found  at  Anzio,  on  an 
altar  adorned  with  Mercury,  Apollo ,  and  Diana ,  in  the  archaic 
style.  —  Window- wall  to  the  left  of  the  entrance :  29.  Portrait- 
statue  restored  as  Hygieia;  31.  Apollo  with  lyre;  32.  M.  Aurelius; 
33.  Amazon;  34.  Mars  and  Venus,  with  portrait-features;  36. 
Athena.  —  Wall  of  egress :  6.  Satyr;  7.  Apollo;  8.  Minerva;  9.  Co- 
lossal bust  of  Trajan  with  civic  crown.  —  Right  wall :  13.  Hadrian 
as  Mars,  found  nearCeprano.  In  the  niche:  *17.  Athena,  archaistic 
statue.  19.  Amazon;  20.  Apollo;  21.  Mercury;  22.  Old  nurse, 
probably  from  a  group  of  the  Children  of  Niobe ;  24.  Ceres  (?).  — 
Entrance-wall :  25.  Colossal  bust  of  Antoninus  Pius ;  27.  Hunter 
with  a  hare ;  28.  Harpocrates,  god  of  silence,  from  Hadrian's  Villa. 

IV.  Room  op  the  Philosophees.  On  the  wall  valuable  *ReliefSj 
six  from  the  frieze  of  a  temple  of  Neptune,  with  sacrificial  imple- 
ments and  parts  of  ships  (Nos.  99, 100  102, 104, 105, 107).  —In  the 
centre  (No.  98)  the  sitting  consular  *Statue  of  Marcus  Claudius  Mar- 
cellus  (?),  conqueror  of  Syracuse,  B.  C.  212,  from  the  Giustiniani 
collection ,  formerly  in  the  Museo  Chiaramonti.  Also  93  *Bu8t8  of 
Celebrated  Characters  of  Antiquity,  to  some  of  which  arbitrary  names 
are  affixed.    1.  Virgil  (?);  4,  *5,  6.  Socrates;  9.  Aristides  the  ora- 


Tk€  Capitol,  ROME.  IV.  Ancient  Rome.    219 

tor;  10.  Seiieca(?);  13.  LysiasC?);  16.  Marcus  Agrippa ;  19.  Theo- 
phrastuB;  20.  Marcus  Aurelius;  21.  Diogenes  the  Cynic;  22.  So- 
phocles (not  Archimedes) ;  23.  Thales ;  24.  Asclepiades ;  25.  Theon ; 
27.  Pythagoras ;  28.  Alexander  the  Great  (?) ;  30.  Aristophanes  (?) ; 
31.  Demosthenes;  33,  34.  Sophocles;  35.  Alcibiades  (?  certainly 
not  Persius) ;  37.  Hippocrates ;  38.  Aratus  (?) ;  39,  40.  Democritus 
of  Ahdera ;  41, 42, 43.  Euripides ;  44,  45,  *46.  Homer ;  47.  Epimen- 
ides;  48.  Ou.  Domitius  Oorbulo,  general  under  Claudius  and  Nero; 
♦49.  Scipio  Africanus,  recognisable  by  the  wound  on  his  head 
which  he  received  when  a  youth  at  the  battle  of  Ticinus,  whilst 
saving  his  father's  life ;  52.  Cato  of  Utica  (?) ;  54.  Minerva ;  55.  Cleo- 
patra (?);  *59.  Arminius(?),  erroneously  named  Cecrops;  60.  Thu- 
cydides(?);  61.  ^schines ;  62.  Metrodorus;  63.  Epicurus  and  Me- 
trodorus;  64.  Epicurus;  68,  69.  Masinissa;  70.  Antisthenes;  72, 
73.  Julian  the  Apostate;  75.  Cicero;  76.  Terence,  according  to 
others  C.  Asinius  Pollio ;  ^82.  iEschylus  (?).  The  names  of  the 
basts  by  the  window-wall  are  unknown. 

V.  Room  op  thb  Busts  op  thb  Empbbobs.  Reliefs  by  the 
entrance-wall:  ♦92.  Endymion  asleep,  beside  him  the  watchful 
dog ;  ♦89.  Perseus  liberates  Andromeda  (these  two  belong  to  the 
eight  reliefs  in  the  Pal.  Spada,  p.  206).  Above  the  window  are 
other  sarcophagus -reliefs.  —  The  collection  of  the  emperors' 
busts  is  one  of  the  most  complete  in  existence;  the  names  are 
tor  the  most  part  verified  by  coins  (comp.  p.  xxxv).  In  the  centre  : 
♦84.  Sitting  female  statue,  believed  to  be  Agrippina,  daughter  of  M. 
Agrippa,  wife  of  Germanicus  and  mother  of  Caligula.  The  number- 
ing of  the  busts  commences  in  the  upper  row ,  to  the  left  of  the 
entrance-door.  1.  Julius  Cassar;  2.  Augustus;  3.  Marcellus,  nephew 
of  the  latter  (?);  4,  5.  Tiberius;  6.  Drusus  the  elder;  7.  Drusus, 
son  of  Tiberius ;  8.  Antonia,  wife  of  the  elder  Drusus ,  mother  of 
Germanicus  and  Claudius ;  9.  Germanicus ;  10.  Agrippina,  his  wife; 
♦11.  Caligula,  in  basalt;  12.  Claudius,  son  of  Drusus;  13.  Messa- 
lina ,  fifth  wife  of  Claudius  ;  14.  Agrippina  the  younger,  daughter 
of  Germanicus,  mother  of  Nero;  15.  Nero;  17.  Poppsa,  Nero's  sec- 
ond wife;  18.  Galba;  19.  Otho;  20.  Vitellius (?) ;  21.  Vespasian; 
22.  Titus;  23.  Julia,  his  daughter;  24.  Domitian;  26.  Nerva  (mod- 
ern?); 27.  Trajan;  28.  Plotina,  his  wife;  29.  Martiana,  his  sister; 
30.  Matidia,  her  daughter;  31,  32.  Hadrian;  33.  Sabina,  his  wife; 
34.  iElius  Csesar,  his  adopted  son;  35.  Antoninus  Pius;  36. 
Faustina  the  elder,  his  wife ;  37.  M.  Aurelius  as  a  boy ;  38.  I4. 
Aurelius,  more  advanced  in  life ;  39.  Faustina  the  younger,  daugh- 
ter of  Antoninus,  wife  of  Aurelius;  41.  Lucius  Verus;  43.  Com- 
modus;  45.  Pertinax;  50,  51.  Septim.  Severus;  53.  Caracalla;  57. 
Heliogabalus ;  60.  Alex.  Severus;  ^62.  Maximin;  63.  Maximus, 
son  of  Maximin ;  64.  Gordian  Afr. ;  65.  Gordian ;  76.  Gallienus; 
80.  Diocletian  (?) ;  82.  Julian  the  Apostate  (probably  a  Greek 
philosopher;  the  inscription  is  mediaeval).  We  next  enter  the  — 


220   JV.  Ancient  Rome,  ROME.  The  Capitol, 

VI.  CoBEiDOB.  At  the  left  end :  Beautiful  marble  vase  on  an 
arclialBtic  •Puteal  with  the  12  gods :  Jupiter,  Juno,  Minerva,  Her- 
cules, Apollo,  Diana,  Mars,  Venus,  Vesta,  Mercury ^  Neptune, 
and  Vulcan.  By  the  window  to  the  left :  *33.  Bust  of  Caligula ; 
Then,  the  back  of  the  visitor  being  turned  to  the  window:  (1.) 
30.  Trajan;  (1.)  *29.  Pallas,  found  at  Velletri,  exactly  corres- 
ponding to  the  statue  (No.  1 14)  in  the  Braccio  Nuovo  of  the  Va- 
tican; (!•)  28.  M.  Aurelius,  as  a  boy;  (l.)*35.  Head  of  Silenus; 
(1.)  26.  Augustus ;  (1.)  25.  Jupiter,  on  a  cippus  with  relief:  Claudia 
Quinta  drawing  a  boat  containing  the  image  of  the  Magna  Mater  up 
the  Tiber;  (r.)38.  Venus;  (r.)  42.  iFemale  draped  statue.  (The 
door  opposite  leads  to  the  Venus  room.)  Left,  21.  Head  of  Apollo ; 
(r.)  43.  Antinous;  (l.)20.  Psyche;  (r.)  46.  Selene;  below,  ♦Sar- 
cophagus with  representation  of  the  birth  and  education  of  Bac- 
chus. Here  and  in  the  following  compartments,  on  the  right,  are 
immured  the  inscriptions  from  the  columbarium  of  the  freedmen  of 
Livia  (found  in  1726  near  the  church  of  Domine  Quo  Vadis).  Right : 
48.  Child  of  Niobe;  (1.)  15.  Venus;  (r.)  49.  Juno;  (1.)  14.  Marble 
vessel  with  Bacchanalian  scenes;  (r.)  50.  Copy  of  the  discus- 
thrower  of  Myron  (Pal.  Lancelotti,  p.  190),  incorrectly  restored  as 
a  warrior;  (1.)  12.  Flute-playing  Satyr;  (r.)  52.  Muse;  (1.)  10. 
Octagonal  cinerary  urn  with  Cupids  in  the  attitudes  of  celebrated 
statues;  54.  Venus,  with  portrait-head ;  below,  (r.)  Sarcophagus 
with  the  rape  of  Proserpine  and  the  child  B[ercules  with  the 
snakes;  (1.)  Archaistic  relief,  a  lute-player (?);  (1.)  8.  Old  woman 
intoxicated ;  (r.)  58.  Sitting  draped  statue.  Opposite  the  entrance 
to  the  Room  of  the  Doves :  (1.)  *5.  Cupid  bending  his  bow  (after 
Lysippus) ;  (r.)  60.  Flute-playing  Satyr ;  (1.)  3.  Recumbent  lion ; 
(r.)  61.  Silenus;  (r.)  62.  Septimlus  Serverus;  (1.)  by  the  window, 
63.  Roman  matron  (perhaps  the  elder  Faustina) ;  64.  M.  Aurelius. 

VII.  Room  op  thb  Dovbs  ,  so  called  from  the  *Mosaic  on  the 
right  wall :  Doves  on  a  Fountain-basin ,  found  in  Hadrian's  Villa 
near  Tibur  (p.  375),  copy  of  a  celebrated  work  by  Sosus  of  Perga- 
mum,  mentioned  by  Pliny.  Below  it,  a  sarcophagus :  13.  Prome- 
theus forming  man ,  whom  Minerva  inspires  with  life,  in  a  style 
showing  the  transition  to  the  Christian  period  of  art.  Farther  on, 
by  the  right  wall,  a  mosaic  with  several  masks.  Under  them :  *37. 
Sarcophagus  with  Selene  and  Endymion.  On  the  narrow  wall  are 
several  fine  Roman  portrait-busts.  By  the  left  wall,  in  the  2nd 
window,  83.  the  Ilian  Tablet^  a  small  relief  in  palombino ,  a  soft 
kind  of  marble ,  with  the  destruction  of  Troy  and  flight  of  -^neas 
in  the  centre ,  and  many  other  incidents  from  the  legends  of  the 
Trojan  war,  explained  by  Greek  inscriptions,  probably  designed 
for  purposes  of  instruction,  found  near  BovillaB.  83a.  Fragment  of 
a  representation  of  the  shield  of  Achilles ,  inscribed  on  the  back 
as  the  work  of  Theodores,  found  in  1882  near  S.  Maria  della  Vit- 
toria  on  the  Esquiline;    on  the  broad  margin  of  the  marble  are 


The  Capitol.  ROME.         IV.  Ancient  Rome.   221 

seven ty-flve  lines  from  Homer's  description  of  the  shield  in  Book 
XVIII.  of  the  Iliad.  83b.  Fragment  of  another  representation  of  the 
same  subject. 

VIII.  Room  of  Vbntjs.  Adjoining  the  gallery  is  the  Venus 
Room,  which  contains  the  **Capitoline  Venus^  unquestionably  the 
workmanship  of  a  Greek  chisel ,  and  the  most  admirable  of  all  the 
existing  copies  of  the  Aphrodite  of  Cnidus  by  Praxiteles  (p.  xxxii), 
the  perfect  type  of  feminine  grace.  The  statue  was  found  almost 
uninjured  in  a  carefully  walled-up  niche  between  the  Viminal  and 
Quirinal.  —  Left ,  Leda  with  the  swan ,  a  mediocre  work ;  right, 
♦Cupid  and  Psyche,  found  on  the  Aventine. 


On  the  S.  height  of  the  Capitol,  called  the  .Monte  Caprino 
(to  which  a  flight  of  steps  ascends  to  the  right  at  the  back  of  the 
Palace  of  the  Conservatori,  comp.  p.  211),  stands  the  so-called 
Casa  Tarpeia  with  the  Protestant  hospital  and  the  new  German 
Archaeological  Institute ,  erected  in  1874-76  byLaspeyres,  at  the 
cost  of  the  German  government.  In  the  garden  (custodian,  Monte 
Caprino  25)  is  shown  the  Rupe  Tarpeia,  or  Tarpeian  Rock.  If 
this  really  be  the  rock  from  which  the  condemned  used  to  be  thrown 
by  the  ancient  Romans,  its  height  and  abruptness  must  have  been 
greatly  diminished  since  that  period ;  and  as,  moreover,  it  is  by  no 
means  certain  that  it  was  situated  here,  a  visit  to  the  spot  may  well 
be  omitted.  Ancient  substructures  of  solid  stone,  which  were  dis- 
covered in  the  garden  of  the  Pal.  Caffarelli  (p.  209)  in  1866,  be- 
long to  the  temple  of  the  Capitoline  Jupiter  (p.  208). 

The  imposing  ruins  on  which  the  Senatorial  Palace  has  been 
erected  (entrance  by  the  gate  in  the  Via  del  Campidoglio ,  comp. 
p.  211 ;  we  then  enter  the  door  to  the  right  with  the  superscription 
*Tabulario  e  Torre  Capitolina' ;  fee  50  pf.;  rules  as  to  admission  the 
same  as  in  the  case  of  the  Capitoline  collections,  p.  212)  belonged  to 
the  *Tabiilariam ,  erected  in  B.C.  78  by  the  consul  Q.  Lutatius 
Catulus  for  the  reception  of  the  state  archives,  and  resting  on  the 
massive  substructures  which  surround  the  hill.  It  consisted  of  a 
fivefold  series  of  vaults,  the  last  of  which  opened  towards  the 
Forum  in  the  form  of  a  colonnade  with  half-columns  in  the  Doric 
style,  which  are  still  visible.  The  vaults  were  used  in  the  middle 
ages  as  a  public  salt  magazine,  and  the  stones  have  been  much 
corroded  by  the  action  of  the  salt.  From  this  point  there  is  a  beauti- 
ful •View  of  the  Forum.  The  rooms  contain  architectural  fragments 
from  the  neighbouring  temples  and  other  buildings,  and  a  valuable 
collection  of  amphorae  (lower  floor)  found  on  the  Esquiline  within 
the  last  few  years.  An  ancient  flight  of  steps,  now  partly  restored, 
descended  hence  to  the  Forum,  where,  to  the  left  of  the  temple  of 
Vespasian,  the  archway  where  it  Issued  is  observed.  From  the  colon- 
nade we  may  ascend  to  the  left  through  the  door  marked  'Torr^ 


222   JV,  Ancient  Rome,         ROME.  Forum  Romanum. 

Capitolina'  to  the  top  (261  steps)  of  the  Campanile  of  the  Palazzo 
del  Senatore  (p.  211). 

The  Eonixn  Roman wm. 

(Comp.  Sketch- Plan.) 

In  the  most  ancient  times  the  Capitol  and  Palatine  were  sep- 
arated by  a  deep  and  marshy  valley.  The  pavement  hy  the  col- 
umn of  Phocas  lies  38  ft.  above  the  level  of  the  sea,  and  22  ft. 
above  the  level  of  the  Tiber,  but  was  nevertheless  frequently  in- 
vaded by  inundations.  In  consequence  of  the  lowness  of  this 
valley ,  it  was ,  as  may  well  be  supposed ,  a  difficult  and  tedious 
task  to  raise  the  level  and  drain  the  marsh.  For  this  purpose  Tar- 
quinius  Priscus,  the  fifth  of  the  kings,  is  said  to  have  constructed 
the  Cloaca  Maxima,  which  still  renders  good  service  (p.  248);  and 
several  canalicolae ,  or  tributary  drains  which  fell  into  the  main 
channel,  have  recently  been  discovered.  Tradition  makes  this  hoi-  i 
low  the  scene  of  the  conflict  of  the  Romans  under  Romulus  against  ' 
the  Sabines  under  Titus  Tatius  after  the  rape  of  the  Sabine  women.  i 
After  the  hostile  tribes  were  amalgamated  into  a  single  state,  they 
chose  the  Forum  as  its  centre ,  and  it  was  here  that  some  of  the  ^ 
most  famous  scenes  in  the  history  of  the  Roman  Republic  were  , 
enacted.  On  the  N.  side  (S.  Adriano)  lay  the  Curia  Ho stilia ,  or  ^ 
council-hall ,  which  is  said  to  have  been  erected  by  King  Tullus 
Hostilins ;  while  on  the  S.  side,  at  the  foot  of  the  Palatine,  rose  the 
Temple  of  Vesta  (S.  Maria  Liberatrice) ,  with  its  eternal  fire  ,  and 
the  Regia,  or  dwelling  of  the  Pontifex  Maximus ,  the  president  of 
the  Roman  hierarchy.  The  Comitium,  or  open  space  in  the  centre, 
was  the  place  where  popular  assemblies  were  wont  to  be  held.  The 
Forum  was  bounded  by  streets ,  the  most  important  of  which  was 
the  Sacra  Via  ascending  to  the  Capitol.  In  the  Forum  and  its  en- 
virons building  operations  and  various  changes  have  been  taking 
place  at  intervals  for  upwards  of  two  thousand  years,  and  it  is  there- 
fore not  to  be  wondered  at  that  a  number  of  topographical  questions 
regarding  it  are  still  unsolved,  and  that  the  Imagination  of  scholars 
has  indulged  in  the  most  extravagant  flights  with  regard  to  this 
spot  more  than  any  other  in  Rome.  It  is ,  however ,  ascertained 
that  the  Forum  extended  from  the  foot  of  the  Capitol ,  sloping 
downwards  towards  the  E. ,  although  it  has  sometimes  been  erron- 
eously supposed  that  It  extended  from  N.  to  S.  The  Basilica 
Julia  marks  the  S.  boundary  of  the  Rbpublican  Forum,  and  the 
E.  boundary  was  probably  near  the  prolongation  of  the  Via  di  San 
Lorenzo,  as  private  houses  only  have  been  discovered  beyond.  Along 
the  sides  of  the  Forum  were  ranged  the  tabemae  veteres  and  novae,  or 
shops,  which  were  originally  occupied  by  butchers  and  other  crafts- 
men ,  and  afterwards  by  money-changers  and  goldsmiths.  In  the 
courseoftime  a  number  of  temples,  public  buildings,  andmonuments 


^^aes^^^ss^mmi 


rORUM     ROMAN UM 


Ba  si 


A^ 


ti!'niEmijr7,-nn 


M      O      N      S  P      A     L      A     T     r     N      r 


Viifn«r  t  h  iht  i  Lclpkif . 


Forum  Romanvm.  ROME.  IV.  Ancient  Rome,   223 

were  erected  here.  Of  those  still  existing  the  most  ancient  is  the 
Career  Mamertinus  (p.  237),  or  well-house,  situated  on  the  slope  of 
the  Capitol,  the  foundation  of  which  reaches  hack  to  the  period  of  the 
kings.  Soon  after  the  temple  of  the  Capitoline  Jupiter  (p.  *208),  were 
founded  the  Temples  of  Saturn  (B.C.  491)  and  Castor  and  Pollux 
(484).  The  Temple  of  Concord  (366)  commemorates  the  termination 
of  the  protracted  struggle  between  the  patricians  and  the  plebeians. 
At  the  period  of  the  Samnite  War ,  which  resulted  in  the  exten- 
sion of  Rome's  supremacy  over  the  whole  of  Italy,  we  are  informed 
that  the  Forum  underwent  many  embellishments.  At  last ,  how- 
ever, as  it  was  only  150  yds.  in  length,  its  area  became  too  confined 
for  the  Important  and  multifarious  business  transacted  within  its 
precincts ;  for  it  was  not  used  for  political  and  commercial  pur- 
poses only,  but  for  the  celebration  of  the  funerals  of  the  nobility, 
for  the  gladiator  combats  which  were  introduced  about  the  year 
264,  and  on  other  public  occasions.  The  first  expedient  for  gaining 
space  was  the  erection  of  basilicas,  or  quadrangular  courts  sur- 
rounded by  colonnades,  adjoining  the  Forum,  with  a  view  to  draw 
off  a  portion  of  the  traffic.  In  184  Cato  erected  the  Basilica  Porcia 
on  the  N.  side;  in  179  followed  the  Basilica  Mmilia^  and  in  169 
the  Basilica  Sempronia.  The  task  was  prosecuted  with  the  utmost 
energy  by  Casas  ,  who  extended  the  Forum  by  the  addition  of  the 
Forum  Julium  (pp.  237,  239),  and  appears  to  have  projected  a  cut- 
ting through  the  hill  which  connected  the  Capitol  with  the  Qui- 
rinal  in  order  to  facilitate  communication  with  the  new  quarter 
which  was  rapidly  springing  up  in  the  Campus  Martins.  He  also 
restored  the  Curia  Hostilia,  and  erected  the  spacious  Basilica  Julia 
on  the  S.  side  of  the  Forum.  Augustus  proceeded  to  carry  out  the 
plans  of  his  uncle,  and  to  that  emperor  is  chiefly  due  the  arrange- 
ment of  the  Forum  which  the  present  excavations  are  bringing  to 
light.  All  the  edifices  of  the  Republic  were  restored  by  him  and 
his  successors ,  whose  energetic  building  operations  extended  over 
the  first  four  centuries  of  the  Christian  era.  They  thus  endeav- 
oured, as  it  would  appear,  to  compensate  their  subjects  by  ex- 
ternal magnificence  for  the  loss  of  liberty  they  had  sustained. 
Five  new  fora ,  constructed  between  the  time  of  Caesar  and  that  of 
Trajan,  adjoined  each  other  on  the  N.  side  of  the  old  Forum,  thus 
connecting  the  central  point  of  the  original  city  with  the  palatial 
buildings  of  the  Campus  Martins.  By  these  new  fora  the  Forum  of 
the  Republic  would  have  been  well  nigh  eclipsed,  but  for  the  glor- 
ious traditions  connected  with  it ,  to  commemorate  which  it  was 
profusely  adorned  with  gilded  bronzes  and  rare  marbles ,  with 
columns ,  triumphal  arches  ,  statues ,  and  works  of  art ,  while  its 
history  was  recorded  by  innumerable  inscriptions. 

These  ancient  buildings  were  restored  for  the  last  time  in  the  reign 
of  King  Theodoric,  in  the  first  half  of  the  6th  century,  and  the  last  new 
monument  erected  in  the  Forum  was  the  Column  of  Phoeas ,  dating  from 
608,  but  the  rudeness  of  the  architecture  distinctly  hetrays   the  degraded 


224   IV,  Ancient  Rome,         ROME.  Forum  Romanum, 

tftste  of  the  period.  As  early  indeed  as  the  first  half  of  the  6th  cent,  had  begun 
tlie  war  of  extermination  waged  by  the  Middle  Aobs  against  paganism.  An- 
cient temples  were  transformed  into  churches,  such  as  those  of  S.  Giuseppe, 
S.  Luca,  S.  Adriano,  8.  Lorenzo,  SS.  Cosma  e  Damiano,  S.  Francesca,  and 
S.  Maria  Liberatrice.  These  were  afterwards  frequently  altered  and  restored, 
while  others  of  the  same  class  have  entirely  disappeared.  Interspersed  with 
these  churches  were  the  towers  and  castles  of  the  Roman  nobility,  erected 
among  the  ruins  of  the  ancient  buildings  in  the  style  best  adapted  for 
the  prosecution  of  their  perpetual  feuds.  In  most  cases,  the  dimensions 
ojf  the  monuments  of  antiquity,  were  far  too  vast  to  admit  of  their  being 
used  for  mediaeval  purposes,  but  another  mode  of  utilising  these  immense 
masses  of  building  materials  readily  suggested  itself.  Throughout  a 
thousand  years  the  edifices  of  ancient  Rome  were  employed  as  quarries, 
from  which  churches  and  secular  buildings  alike  derived  their  columns, 
their  blocks  of  solid  stone,  and,  owing  to  a  still  more  destructive  pro- 
ceeding, their  supplies,  of  lime  also  from  the  burning  of  marble.  The  fact 
that  in  the  Basilica  Julia  alone  there  have  been  discovered  lime-kilns  and 
stone-masons'  yards  at  three  different  places  will  convey  an  idea  of  the  vast 
quantity  of  marble,  bearing  valuable  inscriptions  and  artistic  enrichments, 
which  must  have  been  destroyed  in  this  way  ^  and  it  need  hardly  be  observed 
that  the  bronzes  of  antiquity  were  still  more  eagerly  appropriated  in  an 
a^e  when  metal  of  every  kind  was  scarce.  This  accounts  for  the  miser- 
ably small  number  of  statues  and  inscriptions  which  modern  excavations 
have  yielded.  After  the  systematic  destruction  of  the  Forum,  its  remains 
were  gradually  buried  beneath  the  rubbish  and  debris  of  some  four 
centuries,  so  that  the  ancient  pavement  is  at  places  40  ft.  below  the  present 
level  of  the  ground.  Down  to  the  8th  cent,  the  ancient  level  was  unal- 
tered. In  the  11th  and  12th  centuries  the  Forum  was  thickly  covered 
with  towers  and  fortress  walls,  which  closed  up  the  old  streets,  and  when 
these  were  demolished  about  the  year  1221,  the  ground  appears  for  the 
first  time  to  have  been  covered  with  an  accumulation  of  rubbish.  Fresh 
deposits  were  afterwards  made  when  the  new  buildings  on  the  neigh- 
bouring heights  were  in  course  of  erection.  This  was  particularly  the 
case  in  1536,  when  Paul  III.  constructed  a  triumphal  street  from  the  Porta 
S.  Sebastiano  through  the  arches  of  Gonstantine  and  Titus,  and  around 
the  N.  side  of  the  Capitol  (on  which  occasion  the  new  approaches  to 
the  latter  were  formed,  p.  206).  He  caused  200  houses  between  the 
aj'ches  of  Titus  and  Severus  to  be  demolished,  and  he  constructed  on 
their  site  the  piazza  as  it  stood  until  recently.  The  large  buildings  erect- 
ed by  Sixtus  "V,  probably  also  contributed  to  the  raising  of  the  level  of 
the  ground. 

In  the  middle  ages,  and  down  to  the  present  day,  the  Forum  was 
popularly  known  as  the  Campo  Vaccino.  Its  desolate  area  was  covered 
with  the  teams  of  buffaloes  and  oxen  of  the  peasantry,  and  smiths  and 
carpenters  established  their  workshops  around  it,  while  a  few  isolated 
columns,  protruding  from  the  rubbish,  alone  formed  a  reminiscence  of  its 
departed  glory.  And  thus  it  remained  until  the  19th  century.  As  early 
as  1519  Raphael  had  indeed  formed  a  plan  for  restoring  the  ancient  city, 
and  especially  the  Forum,  by  means  of  extensive  excavations ;  and  during 
his  lifetime,  and  subsequently,  particularly  in  1546-47,  the  work  was 
begun  in  the  neighbourhood  of  the  temple  of  Castor  and  Faustina.  The 
object  in  view,  however,  being  merely  the  discovery  of  monuments  and 
works  of  art,  the  excavations  were  soon  filled  up  again,  and  in  the  17th 
and  18th  centuries  were  entirely  discontinued.  At  length,  during  the  present 
century,  the  plan  was  revived  by  the  modern  spirit  of  investigation.  In 
1803  the  arch  of  Severus,  in  1813  the  column  of  Phocas,  and  in  1816-19 
the  Clivus  Capitolinus  with  its  temples,  were  disinterred  under  the  super- 
intendence of  Carlo  Fea.  In  1835,  and  during  the  republic  in  1848,  part 
of  the  Basilica  Julia  was  excavated  by  Cantna,  but  from  that  year  down 
to  1871  the  work  was  discontinued.  The  Italian  government  resumed  the 
excavations  again  with  considerable  energy  ^  and  by  these  last  operations 
the  Basilica,  the  temples  of  Castor,  Ceesar,  and  Vesta,  the  Atrium  Vestse, 
and  a  great  part  of  the  neighbouring  streets  have  been  brought  to  light, 


Forum  Romanum.  ROME.  JV.  Ancient  Rome.   225 

and  an  admirable  clue  to  tbe  arrangements  of  the  whole  locality  has  thus 
been  obtained.  The  excavations  are  carried  on  under  the  superintendence 
of  Senator  Fiorelli,  but  serious  obstacles  are  presented  to  the  work  by  the 
growing  requirements  of  modern  business.  When  the  demolition  of  the 
houses  between  8.  Adriano  and  S.  Lorenzo  is  effected,  the  undertaking, 
which  was  planned  and  begun  when  the  Renaissance  was  at  its  zenith  and 
has  since  been  so  frequently  resumed,  will  be  finally  and  satisfactorily 
completed,  and  the  most  memorable  spot  in  the  history  of  Europe  will 
at  length  be  fully  brought  to  light  and  purged  of  the  unseemly  accumu* 
lations  of  rubbish  heaped  upon  it  by  the  neglect  of  centuries. 

The  Entbanck  to  the  excavations  (open  in  summer  6-12  and  3-7,  in 
winter  from  8  till  dusk^  no  fee)  adjoins  the  Temple  of  Castor,  near 
S.  Maria  Liberatrice  (comp.  the  Plan).  The  part  of  the  Forum  next  the 
Capitol,  containing  the  Colonnade  of  the  Twelve  Gods  and  the  temples 
of  Vespasian  and  Concordia ,  is  now  enclosed  by  a  railing  and  is  best 
viewed  from  above.  The  street  uniting  the  Via  Bonella  and  Via  della  Con« 
solazione  is  generally  the  scene  of  a  busy  traffic. 

Descending  from  the  piazza  of  the  Capitol  through  the  Via  del 
Campidoglio  to  the  right,  past  the  Senatorial  Palace  (comp.  p.  211), 
we  enjoy  from  the  lower  end  another  good  ♦Survby  of  the  Fobum. 
To  the  left,  below  us,  lie  the  temple  of  Saturn ,  to  which  the  eight 
unfluted  columns  belong,  the  three  columns  of  the  temple  of  Vespa- 
sian, and  the  arch  of  Septimius  Severus.  Farther  off,  partly  hidden 
by  tiie  columns  of  the  temple  of  Saturn,  are  the  column  of  Phocas, 
the  great  Basilica,  the  three  columns  of  the  temple  of  Castor,  and 
the  bare  walls  of  the  temples  of  Testa  and  Cssar.  Beyond  these, 
to  the  left,  are  the  temple  of  Faustina,  now  converted  into  a  church, 
and  the  circular  temple  of  Romulus  with  the  church  of  SS.  Cosma 
e  Damiano,  opposite  which  are  the  remains  of  numerous  brick  shops 
and  houses ;  then  the  huge  arches  of  the  basilica  of  Constantino,  the 
Colosseum ,  the  arch  of  Titus ,  and  to  the  right  the  ruins  and  gar- 
dens of  the  Palatine. 

The  first  building  below  the  Tabularium  (p.  221),  in  the  angle 
formed  with  it  by  the  street ,  is  the  Coloimade  of  the  Twelve  Oodi 
(deorum  consentium),  whose  images  were  erected  here  in  A.D.  367 
by  Vettius  Agorius  Praetextatus,  the  praefectus  urbis,  and  one  of  the 
principal  champions  of  expiring  paganism.  In  1858  the  ruin  was 
much  modernised.  The  chambers  in  the  colonnade  on  the  side  next 
the  Temple  of  Vespasian  are  generally  but  erroneously  called  the 
Schola  Xantha  (a  meeting-place  of  scribes  and  notaries). 

To  the  right  of  the  Colonnade  of  the  Twelve  Gods  the  Tabula- 
rium is  adjoined  by  the  Ruin  of  the  Three  Columns^  or  *  Temple  of 
Vespa4daiL,  erected  under  Domitian,  and  restored  by  Septimius 
Severus.  The  inscription  ran  thus :  ^Divo  Vespasiano  Augusto  8e- 
natus  populusque  Romanus ;  imperatores  Caesares  Severus  et  Antoni- 
nus Pii  Felices  Augusti  restituer(unt)/  A  part  of  the  last  word  only 
is  preserved.  The  columns  and  entablature  display  excellent  work- 
manship. In  front  the  temple  had  6  columns,  49  ft.  high,  and  4^2  ^t* 
thick  at  the  base.  An  egress  of  the  Tabularium  (p.  221)  through 
the  back  of  the  cella  has  evidently  been  built  up. 

Farther  on,  to  the  right,  and  with  its  back  to  the  Tabularium. 

Bakdkkeb.    Italy  II.    10th  Edition.  16 


226  IV.  Ancient  Rome.  ROME.  Forum  Romanum. 

is  the  Temple  of  Conoordia,  fonnded  in  B.C.  366  by  M.  Forius 
Camillus,  and  rebuilt  on  a  larger  scale  by  Tiberius,  B.C.  7.  It  was 
dedicated  to  Concord  to  commemorate  tbe  termination  of  the  pro- 
tracted struggle  between  the  patricians  and  plebeians.  The  CeUa  of 
this  temple  differed  from  the  usual  type  in  having  its  longer  axis 
(130  ft.)  at  right  angles  to  the  longer  axis  of  the  temple ;  it  is  82  ft. 
wide.  The  N.  part  of  the  cella  is  concealed  by  the  ascent  to  Aracceli. 
A  broad  flight  of  steps  ascended  to  the  Pronaos ,  which  lay  20  ft. 
above  the  level  of  the  street  and  was  88  ft.  long  and  46  ft.  wide. 
The  Interior  of  the  temple  was  frequently  used  in  early  times  for 
meetings  of  the  Senate,  and  after  the  restoration  of  Tiberius  it  seems 
to  have  served  chiefly  for  the  exhibition  of  works  of  art. 

The  Sacra  ViOf  or  'Holy  Way*,  forming  the  chief  line  of  com- 
munication between  the  Capitol  and  the  Foium ,  passed  in  front  of 
the  buildings  just  named.  The  ancient  pavement  is  still  well  pre- 
served near  the  Temple  of  Saturn  (see  p.  227)  and  at  some  other  points. 

In  order  to  continue  our  examination  of  the  Forum  we  now  pro- 
ceed to  the  entrance  at  S.  Maria  Liberatrice  (p.  226),  where  a  flight 
of  wooden  steps  descends  to  the  Temple  of  Castor.  The  view  from 
this  point,  reinforced  by  a  reference  to  the  Plan,  will  help  the  visitor 
to  understand  the  arrangement  of  the  Forum. 

The  ^Temple  of  Castor  and  Folloz,  generally  called  the  Temple 
of  Castor  (jEdes  Caatoris  or  Caatorum),  was  dedicated  to  the  twin 
gods  out  of  gratitude  for  the  aid  which  enabled  the  Romans  to  defeat 
the  Latins  at  the  battle  of  Lake  Regillus  in  B.C.  496,  and  in- 
augurated in  484.  It  was  afterwards  rebuilt  by  Tiberius  and  re- 
consecrated in  A.D.  6.  This  was  one  of  the  most  famous  temples  of 
the  Republic,  and  was  often  used  for  meetings  of  the  senate.  The 
remains  consist  of  the  basement  and  a  piece  of  the  stylobate  on  the 
E.  side  ,  with  three  splendid  columns  of  Parian  marble. 

The  basement  of  the  cella  rises  to  a  height  of  22  ft.,  and  was  ap- 
proached by  a  flight  of  18  steps,  with  two  lateral  flights,  of  which  that 
on  the  S.E.  side  only  is  preserved.  The  building  was  mainly  constructed 
of  concrete,  which  was  faced  with  blocks  of  tufa,  and  around  these  were 
placed  the  blocks  of  travertine  which  supported  the  enclosing  colonnade. 
These  blocks,  however,  as  well  as  the  steps  on  the  W.  side,  have  entirely 
disappeared  (although  the  impression  made  by  them  on  the  concrete  is 
still  visible),  and  the  width  of  the  building  has  thus  been  diminished  by 
about  one  half.  On  the  £.  side  stands  a  fragment  of  the  Sttlobatb,  with 
three  columns  of  Parian  marble,  which  are  among  the  finest  of  the  kind 
now  existing  (height  46  ft.,  diameter  5  ft.).  The  Corinthian  capitals  and 
the  architrave  are  both  in  a  very  superior  style  of  workmanship.  The 
temple  had  eight  columns  in  front  and  probably  thirteen  on  each  side. 
Remains  of  the  mosaic  pavement  of  the  Cella  are  still  to  be  seen,  lying 
about  3  ft.  below  the  level  of  the  portico  and  the  surrounding  colonnade. 
This  peculiarity  was  probably  occasioned  by  the  alterations  made  by 
Tiberius. 

Between  the  Temple  of  the  Dioscuri  and  the  Basilica  Julia  runs 
♦he  Vicus  Tuscus,  a  busy  street  leading  to  the  Velabrum  and  the 
Hle-market  on  the  river  (p.  248). 
The  *Baiilioa  Julia  was  founded  by  Caesar  with  a  view  to  enlarge 


FORO      ROMANO 

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Te  m  p  i  o 
di  Satu  rno 


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LATO       SETTER TR lONALE 

Tabulario    Capitolino 


Palazzo    del     Senatore 

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di  Satu  rno 


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dellaConcordia 


Pal.  del 
Senatore 


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L  AT  0      SETTER' TRIO  NAL  E 

Tabulario    Capitolino 


TempTo   ^i   -ST^JUXILP-     .ffJmpiq  Tarn  pic  d&!U 

di  Vespasiano 


Palazzo    del     Sen  at  ore 


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Concordia 


Forum  Romanum.  ROME.  IV.  Ancient  Rome.   227 

the  Forum;  it  was  inaugurated  in  B.C.  46,  after  the  battle  ofThap- 
BUS,  though  still  unfinished.  Augustus  extended  it,  but  did  not 
witness  its  completion,  as  it  was  destroyed  by  a  fire.  The  building 
was  again  twice  injured  by  fire  towards  the  end  of  the  3rd  century. 
It  was  restored  several  times,  the  last  being  in  A.  D.  377.  The 
building  is  mentioned  in  history  for  the  last  time  in  the  7th  cent., 
and  it  was  probably  destroyed  in  the  8th.  After  several  partial  ex- 
cavations, it  was  entirely  extricated  in  1871  and  1882-83. 

The  Gboumd  Plan  of  the  baailica  is  a  rectangle,  about  111  yds.  long 
and  53  yds.  wide.  A  flight  of  six,  and  at  places  nine,  steps  ascended  to 
the  basilica  from  the  street.  Along  the  four  sides  were  doable  aisles 
which  enclosed  a  Cbhtsal  Space,  about  90  yds.  by  17  yds. ,  paved  with 
variegated  African  and  Phrygian  marble,  and  separated  from  the  aisles 
by  iron  railings.  The  greater  part  of  the  pavement  has  been  restored, 
a  few  fragments  of  the  original  only  having  been  preserved.  The  sittings 
of  the  tribunal  of  the  Gentamviri,  in  four  different  sections,  took  place 
here.  TheAiSLSs  were  paved  with  white  marble,  on  which  are  still  seen 
a  number  of  circles,  and  occasionally  writing,  scratched  on  the  surface 
by  visitors.  These  were  used  in  playing  a  game  resembling  draughts,  to 
which  the  ancient  Romans  were  as  devoted  as  the  modern.  The  aisles 
were  separated  by  a  triple  row  of  Cgldmks  ,  of  which  nothing  but  the 
bases  remain ;  the  blocks  of  which  they  consisted  were  used  in  building 
the  Pal.  Giraud  in  the  Borgo  (p.  276)  and  others.  The  brick  pillars  have 
been  reconstructed,  partly  with  the  original  materials.  On  the  W.-side 
the  remains  are  somewhat  more  important,  owing  to  the  fact  that  a 
mediffival  church  was  built  in  this  part  of  the  basilica.  Here,  on  the  side 
next  the  street,  still  stand  marble  pillars  adorned  with  Doric  pilasters, 
while  at  the  back,  facing  the  Gonsolazione,  are  lofty  walls  of  tuffstone 
and  travertine.     Steps  ascended  here  to  the  upper  story. 

The  main  arm  of  the  Cloaca  Maxima^  discovered  in  1872,  runs 
under  the  E.  end  of  the  Basilica  Julia. 

The  Vicus  Jugarius  (street  of  the  yoke-makers)  led  between  the 
Temple  of  Saturn  and  the  Basilica  to  the  Tiber.  Between  the  Rostra 
and  the  Basilica  the  Sacra  Via  was  spanned  by  the  Triumphal  Arch 
of  Tiberius ,  erected  in  A.D.  16  to  commemorate  the  defeat  of  the 
Germanic  tribes  and  the  recovery  of  the  Roman  insignia  lost  at  the 
battle  of  the  Teutoburgian  Forest.  Its  remains  were  scattered  in 
1860  on  the  construction  of  a  modern  street,  which,  however,  has 
since  been  itself  demolished. 

The  ^Temple  of  Saturn,  of  which  eight  granite  columns  are  still 
standing  on  a  high  basement,  was  consecrated  by  the  consuls  Sem- 
pronius  and  Minucius,  B.  C.  497,  and  restored  by  Munatius  Plancus 
(B.C.  44?).  From  the  earliest  times  it  was  the  seat  of  the .^rarium 
Publicum  J  or  public  treasury.  The  inscription,  Senattu  populusque 
Romanus  incendio  eonsumptumrestituit^ieters  to  a  later  restoration, 
undertaken  hastily  and  without  taste.  Of  the  lofty  flight  of  steps  by 
which  the  portico  was  approached  there  are  now  but  scanty  traces. 

In  front  of  the  Temple  of  Saturn  is  a  piece  of  excellent  road- 
paving,  contrasting  markedly  with  the  rest  of  the  paving  in  the  Fo- 
rum, which  is  carelessly  laid  and  of  a  late  period.  On  the  Clivua 
Capitolinua,  or  road  ascending  to  the  Oapitol,  near  the  Arch  of 
Severus,  are  the  remains  of  the  UmbUieus  Vrbis  RomaCj  or  ideal 

15* 


228   IV,  Ancimt  Borne.         ROME.  Forum  Romanum. 

centre  of  tke  city  and  empire.  Traces  haye  also  been  found  of  tlie 
Milliarium  Aureum^  or  central  milestone  of  the  roads  radiating 
from  Rome,  erected  by  Augustas  in  B.C.  28. 

Over  the  Sacra  Via  rises  the  *Txiiuiiplial  Axoh  of  SeptiminB 
SeveraS)  75  ft.  in  height,  82  ft.  in  breadth,  with  three  passages  over 
the  N.  branch  of  the  Sacra  Via.  It  was  erected  in  honour  of  the  em- 
peror and  his  sons  Garacalla  and  Geta  in  A.D.  203,  to  commemorate 
their  victories  over  the  Parthians,  Arabians,  and  Adiabeni,  and  was 
surmounted  by  a  brazen  chariot  with  six  horses,  on  which  stood  Seve- 
rus,  crowned  by  Victory.  Garacalla  afterwards  erased  the  name  of 
his  brother  Geta,  whom  he  had  murdered.  The  gap  thus  made  was 
filled  by  an  addition  to  the  titles  of  Garacalla  and  his  father. 

Above  the  arclies  are  figures  of  Victory,  at  the  sides,  crowded  scenes 
from  the  wars  of  the  emperor.  Side  next  the  Forttm :  (1.),  Raising  of  the 
siege  of  Nisibis  in  the  Parthian  war  5  (r.).  Treaty  with  Armenia,  Siege  of 
Atra.  Side  next  the  Capitol:  (r.).  Siege  and  capture  of  Babylon  ^  (1.), 
Grossing  of  the  Euphrates  and  Tigris,  Conquest  of  Ctesiphon  and  Seleucia. 
On  the  bases  of  the  columns,  Captive  barbarians.  All  these  figures  are 
in  the  degraded  style  of  the  sculpture  of  that  period.  In  the  middle  ages 
the  arch  was  temporarily  converted  by  the  ruling  powers  into  a  kind  of 
castle,  and  was  deeply  imbedded  in  rubbish,  but  it  was  unearthed  by 
Pius  VII.  in  1803. 

Passing  through  the  arch  and  turning  to  the  right,  we  see  be- 
fore us  the  massive  stone  remains  of  the  Bostsay  or  orators'  tribune, 
erected  by  Julius  Gassar.  This  tribune  consisted  of  an  extensive 
raised  platform ,  about  80  ft.  long  and  40  ft.  wide ,  adorned  with 
statues  and  tablets,  and  giving  the  orator  room  to  walk  up  and  down 
during  his  speech.  It  has  been  aptly  compared  to  the  preaching 
stages  in  some  of  the  Roman  and  Neapolitan  churches. 

The  original  tribune  derived  the  name  of  Rostra  from  the  iron  prows 
of  the  war-ships  of  Antium  with  which  it  was  adorned  after  the  capture 
of  that  town  in  B.C.  338.  Its  position  cannot  now  be  definitely  fixed, 
but  was  certainly  nearer  the  Curia  (S.  Adriano).  Csesar  transferred  it  to 
the  end  of  the  Forum  in  the  course  of  his  extensive  building  operations. 
The  holes  in  which  the  iron  prows  were  fastened  are  still  visible  in  the 
massive  blocks  of  hewn  stone. 

The  Rostra  naturally  faced  the  Forum  proper,  the  space  reserved 
for  public  assemblies.  Most  of  this  area  is  still  covered  with  houses, 
but  the  S.W.  corner,  paved  with  slabs  of  limestone,  is  open  to  view. 
Anciently  it  extended  to  the  church  of  S.  Adriano  (p.  238),  occu- 
pying the  site  of  the  Curia  ^  oz  hall  of  the  Senate.  Between  S. 
Adriano  and  the  temple  of  Faustina  lay  the  Sastjiea  .^^mi^t'a ,  the 
site  of  which  is  also  covered  with  modem  houses. 

Opposite  the  Rostra ,  on  a  rude  substructure  of  blocks  of  tufa, 
occupying  part  of  the  place  used  by  the  popular  meetings,  rises  the 
latest  monument  of  antiquity  in  the  Forum,  the  *GoliiiniL  of  Fhocas, 
54  ft.  in  height,  which  was  erected  in  608  in  honour  of  the  tyrant 
Phocaa  of  the  Eastern  Empire,  by  the  exarch  Smaragdus,  having 
been  taken  by  him  from  some  older  building.  It  was  formerly  crowned 
with  a  gilded  statue  of  Phocas.  This  column,  which  long  formed 
the  distinctive  mark  of  the  Forum  (Byron's  'nameless  column  with 


Forum  Romanum,  ROME.         IV.  Ancient  Rome.    229 

a  1)111161  base'),  was  at  length  disinterred  in  1813  at  the  cost  of  the 
Duchess  of  Devonshire. 

Among  the  monuments  now  standing  on  the  pavement  of  the 
Fomm,  the  first  place  in  point  of  artistic  execution  and  preservation 
is  taken  by  a  marble  railing  adorned  with  two  admirable  re- 
liefs (^^Anaglyphd').  These  were  found  in  1872  incorporated  in 
the  foundations  of  a  mediaeval  building.  They  probably  formed 
part  of  the  decoration  of  the  balustrade  of  the  steps  ascending  to 
the  Rostra.  They  represent  events  that  took  place  in  the  Forum  it- 
self, and  their  architectural  backgrounds  are  of  great  assistance  in 
determining  its  appearance  in  antiquity. 

The  First  Belief  (next  the  Capitol)  alludes  to  Trajan^s  *Alimenta\  or 
inatitation  for  poor  children:  on  the  right  is  the  emperor,  in  front  of 
him  is  Italy,  holding  a  child  by  the  hand  fdestroyed) ,  and  another  in 
her  arms  to  which  Trajan  hands  a  4essera%  or  ticket*,  on  the  left  is  a 
magistrate  with  his  lictors,  proclaiming  his  edict  from  the  rostra.  In  the 
background  are  a  Triumphal  Arch  (perhaps  that  of  Augustus,  which  stood 
down  to  the  9th  cent,  near  the  church  of  S.  Martina),  the  Curia  (with  its 
five  Corinthian  columns),  the  Basilica  Emilia,  the  Ficus  Ruminalis  (or 
fig-tree  under  which  the  she-wolf  reposed) ,  and  the  statue  of  Marsyas 
(which  stood  at  the  lower  end  of  the  Forum,  near  the  Temple  of  Castor). 
All  these  were  in  or  near  the  N.E.  part  of  the  Foriun.  —  The  Seoomd 
Belief  represents  the  remission  of  arrears  of  taxes,  the  records  of 
which  are  being  set  on  fire  in  Trajan's  presence.  In  the  background 
are  the  buildings  on  the  N.  and  W.  sides  of  the  Forum:  the  Temple  of 
Concordia  (with  eight  Corinthian  columns),  an  arch  (perhaps  of  the  Ta- 
bularium),  the  Temple  of  Saturn  (with  eight  Ionic  columns),  and  the  Ba- 
silica Julia.  Marsyas  and  the  fig-tree  also  again  occur.  On  the  inner 
sides  are  a  wild  boar,  a  ram,  and  a  bull,  the  yictims  sacrificed  at  the 
public  celebration  of  the  Suovetaurilia. 

The  subjoined  Views  of  the  N.  and  W.  Sides  of  the  Forum  are 
taken  from  a  point  in  front  of  the  Anaglypha.  At  the  top  are  reconstruc- 
tions of  the  ancient  appearance  of  the  Forum ,  and  below  its  present  ap- 
pearance. In  the  former  the  flutings  of  the  columns  haye  been  omitted 
for  the  sake  of  clearness. 

In  the  middle  of  the  square  are  the  remains  of  a  large  pedestal, 
probably  of  the  equestrian  statue  of  an  emperor.  The  eight  square 
pedestals  of  brick,  which  adjoin  the  Forum  on  the  side  next  the  S. 
branch  of  the  Sacra  Via,  were  formerly  lined  with  marble  and  pro- 
bably bore  granite  columns  (fragments  of  which  lie  scattered  about) 
surmounted  with  statues.  The  hasty  construction  points  to  a  late 
origin,  perhaps  in  the  reign  of  Constantino. 

On  the  E.  side  of  the  Forum,  and  facing  the  Capitol,  is  situated 
the  Temple  of  CsBsary  near  which  Cssar  had  erected  a  new  orator- 
ical tribune.  It  was  from  this  tribune,  at  the  funeral  of  the 
murdered  dictator  on  19th  or  20th  March,  B.C.  44,  that  Mark  An- 
tony pronounced  the  celebrated  oration  which  wrought  so  power- 
fully on  the  passions  of  the  excited  populace.  A  funeral  pyre  was 
hastily  improvised,  and  the  unparalleled  honour  accorded  to  the 
illustrious  deceased  of  being  burned  in  view  of  the  most  sacred 
shrines  of  the  city.  A  column  with  the  inscription  *parenti  patriae' 
was  afterwards  erected  here  to  commemorate  the  event.  Augustus 
erected  this  temple  in  honour  of  *Divu8  Julius',  his  deified  uncle 


230  IV.  Ancient  Rome.        ROME.  Atrium  Vesta, 

and  adoptive  father,  and  dedicated  it  to  him  in  B.C.  29,  after  the 
hattle  of  Actinm.  At  the  same  time  he  adorned  the  trihnne  with  the 
prows  of  the  captured  Egyptian  vessels. 

The  foundation  of  the  substractures  of  the  temple,  consisting  of 
concrete,  were  discovered  in  1872,  but  their  covering  of  solid  stone  has 
been  removed.  In  front  of  the  temple  there  are  the  remains  of  a  plat- 
form, still  partly  paved  with  slabs  of  stone,  which  is  believed  to  have 
been  the  above-mentioned  tribune  or  Rostra  ad  Divi  JulH.  Its  present 
form  appears  to  have  resulted  from  subsequent  alterations. 

Between  the  Temple  of  Caesar  and  the  Temple  of  Castor  and 
Pollux  the  remains  of  a  Triumphal  Arch  of  Augustus  were  recently 
found.  This  arch  spanned  the  Sacra  Via  and  formed  the  architectural 
termination  of  the  Forum. 

Farther  on,  to  the  S.£.  of  the  Temple  of  Castor,  near  the  slopes 
of  the  Palatine,  lies  a  group  of  huildings  connected  with  one  of  the 
most  venerahle  cults  of  Rome,  that  of  Vesta.  The  circular  erection 
of  tufa  helonged  to  the  celebrated  Temple  of  Vesta  j  in  which 
the  sacred  fire  was  kept  alight  by  the  Vestal  Virgins.  Numerous 
fragments  of  its  marble  ornamentation  strew  the  ground.  The  work- 
manship of  these  is  somewhat  careless ,  dating  apparently  from  the 
restoration  of  the  temple  in  the  3rd  century  of  our  era.  —  A  small 
and  well-preserved  -^dicwia,  or  shrine  for  the  image  of  a  god, 
erected  according  to  the  inscription  by  the  Senate  and  People  of 
Rome,  was  found  behind  the  temple  in  1882. 

Adjoining  the  ^Edicula  are  a  few  steps  and  a  side-entrance  leading 
to  the  *Atrinm  VestsB,  or  Palace  of  the  Vestal  Virgins,  excavated 
in  1883-84.  The  extant  ruins  are  of  carefully  constructed  brick- 
work, which,  however,  has  almost  entirely  lost  its  marble  facing. 
They  date  from  the  Imperial  period,  probably  from  the  2nd  cent, 
of  our  era.  The  whole  building  falls  into  three  divisions :  a  rect- 
angular colonnaded  court,  corresponding  to  the  Atrium  in  private 
houses ;  the  dwelling-rooms  of  the  Vestals,  grouped  round  a  lofty 
square  apartment,  resembling  the  ordinary  Tabllnum;  and  the 
kitchen  and  offices  to  the  right,  behind  the  Atrium. 

The  GouKT,  224  ft.  long  and  75  ft.  wide,  is  the  most  extensive  part 
of  the  building.  It  was  surrounded  by  a  two-storied  arcade,  with  columns 
of  veined  green  cipollino  marble  below  and  red  breccia  corallina  above. 
The  middle  of  the  court  was  probably  occupied  by  fountains  and  flower- 
beds, in  order  to  make  it  as  pleasant  as  possible  for  the  Vestals,  who  were 
confined  to  their  palace  like  the  inmates  of  a  nunnery.  The  court  was 
also  adorned  with  statues  of  the  Head  Vestals  (  Virffines  Vesicles  Maximae)^ 
of  which  eleven  are  still  preserved  in  whole  or  in  part,  some  showing 
excellent  workmanship.  The  intervention  of  the  Vestal  Virgins  was  often 
very  eflFective  in  procuring  appointments  to  official  and  even  military 
posts,  and  the  inscriptions  on  the  bases  of  some  of  the  statues  show  that 
they  were  erected  by  grateful  relatives  and  other  recipients  of  such  favours. 
The  names  (Numisia  Maximilla,  Terentia  Flavola,  Flavia  Publicia,  Coelia 
Claudiana,  Terentia  Rutilla)  belong  to  the  3rd  and  4th  cent.  (201-364  A.  D.). 
At  the  inner  end  of  the  court  is  a  marble-lined  cistern  for  the  reception 
of  rain->sater,  as  a  venerable  precept  of  their  cult  forbade  the  priestesses 
to  use  water  conveyed  through  artificial  channels. 

The  second  division  of  the  palace  consists  of  the  Dwelling  Rooms. 
In  the  middle  is  a  lofty  square  room  approached  by  steps.    On  each  side 


ig,  Cosma  e  Damiano.      ROME.         IV,  Ancient  Rome.   231 

t  are  tliree  doors  giving  access  to  what  are  supposed  to  be  the  cells 
he  six  priestesses.  There  were  other  apartments  in  the  upper  floor, 
jvhich,  however,  a  part  only,  including  several  bath-rooms,  has  been 
served.  A  wooden  staircase  ascends  from  one  of  the  apartments  on  the 
tide.  Here  also  is  an  exit  leading  to  the  Ifova  Via^  which  diverged 
m  the  Sacra  Via  at  the  Arch  of  Titus  (p.  244). 

The  third  group  of  rooms,  behind  the  Atrium,  to   the  right,  were 
3d  for  DoMKSTio  PusposKs.    A  mill,  a  kitchen,  and  several  storerooms 
. }7  be  here  observed. 

We  now  return  to  the  Temple  of  Vesta  and  continue  our  walk 
along  the  Sacia  Via. 

Between  the  temples  of  Vesta  and  Faustina  are  a  few  fragments 
of  the  marble  walls  of  the  Regia,  or  official  quarters  of  the  Pontifex 
Maximus.  The  Fasti  preseryed  in  the  Capitol  (see  p.  215)  were 
found  here.  At  the  Regia  the  Sacra  Via  was  spanned  by  the  Arch  of 
the  Fabii,  erected  in  B.C.  120  by  Q.Fabius  Maximus,  the  conqueror 
of  the  AUobrogi ,  and  forming  the  S.E.  boundary  of  the  Forum.  A 
few  scattered  fragments  of  its  stone-facing  and  vaulting  have  been 
discovered,  and  may  now  be  seen  opposite  SS.  Gosma  e  Damiano. 
The  exact  site  of  the  arch  cannot  be  identified. 

Farther  on  in  the  Sacra  Via,  on  a  base  16  ft.  above  the  street 
and  formerly  reached  by  a  flight  of  steps,  is  the  *Temple  of  FaastiBat 
of  which  the  portico  (with  ten  columns,  six  of  which  form  the  facade) 
and  part  of  the  ceUa  are  still  standing.  It  was  dedicated  by  An- 
toninus in  141  to  his  wife,  the  eider  Faustina,  and  re-dedicated  to 
that  emperor  himself  after  his  death.  The  first  line  of  the  inscrip- 
tion, Vivo  Antonino  et  divae  Fausiinae  ex  8.6.^  was  then  added. 
In  the  interior  of  the  temple  is  the  church  of  8,  Lorenzo  in  Miranda, 

The  portico  was  excavated  in  1807  and  1810.  The  columns  are  of 
cipollino,  or  marble  of  Euboea,  and  are  46  ft.  in  height.  The  cella  is  of 
peperine,  the  marble  incrustation  of  which  has  entirely  disappeared.  —  The 
year  of  the  foundation  of  the  church  is  unknown,  and  the  earliest  record 
of  it  dates  from  1377.  The  facade  was  erected  in  1602.  The  entrance  is 
at  present  in  the  Via  di  S.  Lorenzo  in  Miranda,  on  the  S.E.  side. 


A  hill,  named  the  Velia  in  ancient  times,  connects  the  Palatine 
and  Esquiline,  its  highest  point  being  marked  by  the  Arch  of  Titus 
(97  ft. ;  p.  233).  The  Sacra  Via  ascends  gradually  towards  the 
S.E.,  and  soon  reaches  — 

*  SS.  Gosma  o  Damiano  (PI.  II,  20,  5  -,  entrance  in  the  Via  di 
Miranda),  built  by  Felix  IV.  (526-30),  having  been  incorporated 
with  an  ancient  circular  temple  erected  by  the  Emp.  Maxentius  to 
his  son  Romulus,  and  sometimes  erroneously  called  a  temple  of  the 
Penates.  Owing  to  the  dampness  of  the  soU ,  Urban  VIII.  raised 
the  leyel  of  the  pavement  so  much  in  1633 ,  that  an  upper  and  a 
lower  church  were  formed. 

The  LowxR  Church,  which  retains  its  old  bronze  doors  with  their  an- 
tique lock,  contains  the  tomb  of  88.  Cosmas,  Damianus,  and  Felix,  an  an- 
cient altar,  remains  of  an  ancient  pavement^  and  somewhat  lower  a  spring, 
said  to  have  been  called  forth  by  St.  Felix. 

Uppbb  Ghukch.  On  the  arch  of  the  choir  and  in  the  tribune  are  inter- 
esting *MoMic$  of  the  6th  cent.,  the  period  of  the  founder,  perhaps  the  most 


232  IV.  Ancient  Rome.        ROME.      Baailiea  of  Conttantifie. 

beaatiful  of  their  kind  at  Borne  (gee  p.  xlvi),  but  freely  restored  about  1660 
(beat  light  towards  evening).  Those  on  the  arch,  which  has  been  shortened 
daring  a  restoration,  represent  the  Lamb  with  the  Book  with  seven  seals, 
according  to  Revelations  iv.  ^  adjoining  these  ihe  seven  candlesticks ,  four 
angels,  and  two  of  the  symbols  (angel  and  eagle)  of  the  Evangelists.  The 
arras  with  wreaths,  below,  belonged  to  two  prophets.  In  the  tribune: 
Christ,  to  whom  the  saints  Gosmas  and  Damianus  are  conducted  by  Peter 
and  Paul;  on  the  left  side  St.  Felix  with  the  church  (new),  on  the  right 
St.  Theodorus.  Beneath ,  Christ  as  the  Lamb ,  towards  whom  the  twelve 
lambs  (Apostles)  turn. 

At  the  back  of  the  church  were  found  the  remains  of  an  ancient 
plan  of  Rome,  other  fragments  of  which  were  discovered  in  1867-68  and  in 
1882  (see  p.  217).  The  ancient  wall  to  which  the  plan  was  affixed  belonged 
to  the  Templum  Sacrae  Urbit^  an  edifice  erected  by  Vespasian  in  A.D. 
78  and  restored  by  Septimins  Severus,  which  seems  to  have  been  used 
as  a  repository  for  the  archives  of  the  censor,  municipal  plans,  registra- 
tion lists,  etc. 

We  next  reach,  on  the  left,  the  three  colossal  arches  of  the  *Ba- 
ailioa  of  GoAStantine  (PI.  II,  20,  23) ,  erected  hy  Maxentius,  but 
afterwards  altered  hy  his  conqueror  Constantine.  The  entrance  ori- 
ginally faced  the  Colosseum,  but  afterwards  the  Sacra  Via.  It  was 
a  basilica  of  three  halls,  with  vaulting  of  vast  span,  which  has  served 
as  a  model  to  modern  architects,  as  in  the  case  of  St.  Peter's,  where 
the  nave-vaulting  is  of  the  same  width. 

The  Ground  Plan  is  rectangular  in  form,  about  100  yds.  long  and 
88  yds.  wide.  The  principal  apse,  opposite  the  entrance  from  the  Colos- 
seum, has  lately  been  extricated  from  rubbish,  but  is  only  partly  preserved. 
After  the  opening  of  the  second  entrance  on  the  side  next  the  Palatine,, 
a  second  apse  was  added.  The  tunnel  vaulting  of  the  S.  aisle  has  been 
preserved^  width  66  ft.,  depth  54  ft.,  height  78  ft.  The  span  of  the  nave 
was  about  80  ft.-,  its  height  112  ft.,  and  its  width  66  ft.  In  front  of  the 
central  pillars  stood  eight  huge  Corinthian  columns  of  white  marble ;  the 
only  one  now  existing  stands  in  front  of  S.  Haria  Maggiore  (p.  176).  The 
entrance  facing  the  Sacra  Via  was  formerly  adorned  with  columns  of  red 
porphyry,  some  of  the  shafts  of  which  have  been  re-erected. 

The  traveller  should  not  omit  to  ascend  to  the  summit  for  the  sake 
of  the  magnificent  ^'^'Panorama  of  ancient  Rome  which  it  commands.  As, 
however,  the  Via  in  Miranda  is  now  inaccessible  from  the  Forum,  we  must 
make  a  detour  to  reach  the  roof;  perhaps  the  best  plan  is  to  ascend  on 
the  way  back  from  the  Colosseum.  Those  who  wish  also  to  visit  the 
interior  follow  the  road  between  the  side  of  S.  Francesca  Romana  and  the 
high  garden-wall,  and  opposite  the  Colosseum  turn  aharply  to  the  left 
and  deacend  the  Via  del  Colosseo.  At  the  corner  here  is  Ko.  61,  a  home 
for  poor  girls  (visitors  ring;  Va  fr.),  from  the  garden  of  which  we  ascend  a 
light  of  steps.  A  window  adjoining  the  stairs  aflPords  the  best  view  of 
Colosseum,  to  the  left  of  which  are  the  Thermae  of  Titus  on  the  Es- 
quiline;  to  the  right  the  circular  S.  Stefano;  nearer,  88.  Giovanni  e  Paolo 
with  the  new  dome,  both  on  the  Ceelius.  Beyond  the  Colosseum  the 
Alban,  and  to  the  left  the  Sabine  Hts.  To  the  S.  the  Palatine  with  the 
ruins  of  the  imperial  palaces  and  two  monasteries,  and  the  opposite  bank 
of  the  Tiber  with  the  Villa  Pamphiy.  Towards  the  W.  the  Capitol-,  to 
the  right  of  it,  between  the  domes  of  two  churches,  Trajan's  Column  is 
visible-,  above  the  latter  Honte  Mario;  farther  to  the  right  the  Torre  di 
Nerone  and  the  Quirinal. 

Adjoining  the  basilica  of  Constantine,  and  partly  occupying  the 
site  of  a  temple  of  Venus  and  Roma  (see  p.  233),  is  the  church  of — 

S.  Eranc6Boa  Bomana  (PI.  II,  231,  containing  the  tomb  of  Fran- 
eesea  d€  Ponziani,  who  died  in  1440  and  was  canonised  In  1608 


Areh  of  Titui.  ROUE.         IV.  Ancient  Rorm,   233 

(festival,  9th  March).  It  occupies  the  site  of  a  much  older  church, 
mentioned  as  S,  Maria  Antiqua  as  early  as  the  8th  cent.,  which  was 
afterwards  repeatedly  altered.  The  most  extensive  restoration  was 
carried  out  hy  Honorlns  III.  about  1216,  after  a  fire.  In  the  later 
middle  ages  it  was  CAlled  8.  Maria  Nova.  The  facade,  by  Carlo 
LombardOj  was  added  about  1612. 

Zaterior.  On  the  right,  2nd  Chapel:  (r.)  Monnment  of  Card.  Vulcani 
(d.  1322)  and  that  of  the  papal  commandant  and  general  Antonio  Rido  (d.  1476). 
3rd  Chapel:  Miracles  of  St.  Benedict,  altar-piece  by  Subleyras.  In  the 
TsiBDHS  mosaics  of  the  12th  cent,  (lately  restored) :  in  the  centre  Madonna, 
(1.)  SS.  John  and  James,  (r.)  Peter  and  Andrew.  Over  the  high-altar  an 
ancient  Madonna,  traditionally  attribnted  to  St.  Luke,  which  is  said  alone 
to  have  escaped  destruction  in  the  conflagration.  To  the  right  of  the  apse : 
monument  of  Oregory  XI.,  who  transferred  the  papal  residence  from  Avignon 
to  Some  (d.  1378),  with  a  relief  by  Olivieri.  Here  on  the  right,  built  into 
the  wall,  are  two  stones  on  which  Peter  and  Paul  are  said  to  have  knelt 
when  they  prayed  for  the  punishment  of  Simon  Magus.  In  the  Confessio  a 
group  of  the  saints  with  an  angel ,  by  Meli.  Under  the  tribune  (closed)  is 
the  tomb  of  the  saint,  and  over  the  altar  a  marble  relief  by  Bernini.  — 
Sacsistt.  On  the  left  wall  a  Madonna  with  four  saints ,  by  Sinibaldo  Ibij 
a  pupil  of  Perugino,  1524. 

Adjoining  the  church,  on  the  summit  of  the  Velia  (p.  231)  and 
at  the  foot  of  the  Palatine,  rises  the  *  Triumphal  Aroh  of  Titus, 
commemorating  the  defeat  of  the  Jews  (A.D.  70),  and  dedicated  to 
him  under  his  successor  Domitian  in  81,  as  the  inscription  on  the 
side  next  the  Colosseum  records :  Senatus  poputuaque  Romanus  divo 
Tito  divi  Vespasiani  filio  Vespaiiano  Aitgwto.  The  arch  is  embel- 
lished with  fine  ♦Reliefs  (p..  xxxyii). 

OuTsipB :  On  the  same  side  as  the  inscription  is  a  sacrificial  procession 
on  the  frieee.  Imsids  :  Titus  crowned  by  Victory  in  a  quadriga  driven  by 
Boma;  opposite,  the  triumphal  procession  with  the  captive  Jews,  table 
with  the  show-bread,  and  candlestick  with  seven  branches.  —  In  the 
middle  ages  the  arch  was  used  as  a  fortress  by  the  Frangipani,  and 
strengthened  with  battlements  and  new  walls.  When  these  were  removed 
in  lft22  under  Pius  YII.,  the  arch  lost  its  support,  and  had  to  be  recon- 
structed, as  stated  by  the  inscription  on  the  other  side.  The  central  part, 
in  marble,  is  therefore  alone  ancient ;  the  restored  parts  are  of  travertine. 

The  street  descends  past  the  remains  of  private  houses  to  the 
Colosseum.  [To  the  right  diverges  the  Via  S.  Bonaventura,  with 
the  convent  of  8.  Bonaventura,-  the  convent- garden,  open  to  gentle- 
men, contains  a  fine  palm  and  commands  a  beautiful  view.]  On 
the  left  is  the  double  apse  of  the  Temple  of  VenuB  and  Boma  (PI. 
II,  20),  erected  by  Hadrian  from  a  plan  by  himself  in  A.D.  135,  and 
restored  after  a  fire  by  Maxentius  in  307.  This  was  one  of  the  most 
superb  temples  in  Rome.  The  gilded  bronze  tiles  were  removed  to 
St.  Peter's  by  Honorius  I.  in  626. 

There  were  evidently  two  temples  under  the  same  roof,  entered  from 
the  sides  next  the  Colosseum  and  next  the  Capitol.  The  cellse  were 
adjacent,  so  that  there  was  a  niche  on  each  side  of  the  central  wall  for 
the  image  of  a  god.  The  older  portion,  with  a  well-nreserved  •Apse,  is 
built  into  the  monastery  of  S.  Francesca  Bomana  (p.  282),  which  is  now 
occupied  by  the  Directors  of  the  Excavations ;  the  other  half  towards  the 
Colosseum  is  open.  The  vestibules  of  the  cell*  had  each  four  columns 
in  front.  Around  each  ran  a  colonnade  of  ten  columns  at  the  ends,  and 
twenty  at  the  sides  Oength  120 yds.,  width  58  yds.).    This  colonnade  - 


234   IV,  Ancient  Borne.        ROME.  The  Coloaseum, 

enclosed  by  a  second,  of  about  200  colnmns,  180  yds.  long,  and  110  yds. 
wide,  and  projecting  as  far  as  the  street,  where  it  was  supported  by 
massive  substmctures.  To  this  colonnade  belonged  the  granite  shafts 
scattered  about  here.    The  cellsB  uere  encrusted  with  the  rarest  marbles. 

Descending  hence  towaids  the  Golossenm,  we  reach  the  so-called 
Meta  SudanSj  the  partly  restored  brick  interior  of  a  magnificent 
fountain  erected  here  hy  Domitian.  To  the  right  we  see  the  Arch 
of  Constantine  (p.  236).  To  the  left  (N.)  we  observe  the  remains 
of  an  extensive  square  Basis  of  masonry.  Here  once  stood  the  gilded 
bronze  Colossal  Statue  of  Nero^  as  god  of  the  sun,  surrounded  with 
rays,  and  about  117  ft.  in  height,  executed  by  Zenodorus  by  order  of 
the  emperor  himself,  to  grace  the  golden  palace  which  he  erected  with 
lavish  splendour  after  the  burning  of  Borne  in  A.D.  64.  The  palace 
fell  to  decay  soon  after  Nero^  death  in  68  (p.  133),  and  the  statue 
was  removed  by  Hadrian  to  this  pedestal.  In  the  space  occupied  by 
an  artificial  lake  in  the  gardens  of  Nero ,  Vespasian  founded  the  — 

*^ColoBBeum  (PI.  II,  24),  originally  called  the  Amphitheatrum 
Flavium ,  the  largest  theatre,  and  one  of  the  most  imposing  struc- 
tures in  the  world ,  completed  by  Titus  in  A.  D.  80.  It  was  in- 
augurated by  gladiatorial  combats ,  continued  during  100  days,  in 
which  5000  wild  animals  were  killed ,  and  naval  contests  were  ex- 
hibited }  and  it  contained  seats  for  87,000  spectators.  The  building 
has  been  known  since  the  8th  cent,  under  its  present  name,  derived 
probably  from  the  colossal  statue  of  Nero  which  once  adorned  it. 

Having  been  injured  by  fire  in  the  reign  of  Macrinus,  it  was  restored 
by  Alexander  Severus.  In  248  the  Emp.  Philip  here  celebrated  the  1000th 
anniversary  of  the  foundation  of  Rome  with  magnificent  games.  In  405 
gladiator-combats  were  abolished  by  Honorius  as  inconsistent  with  the  pre- 
cepts of  Christianity,  but  wild-beast  fights  were  continued  till  the  time  of 
Theodoric  the  Great.  In  the  Middle  Aqbs  the  Colosseum  was  used  by  the 
Roman  barons,  especially  the  Frangipani,  as  a  fortress.  In  1312  the  Anni- 
baldi  were  obliged  to  surrender  it  to  Emp.  Henry  VII.,  who  presented  it 
to  the  Roman  senate  and  people.  In  1332  the  Roman  nobility  again  intro- 
duced bull-fights.  After  this  period,  however,  the  destruction  of  the  Colos- 
seum began,  and  the  stupendous  pile  began  to  be  regarded  as  a  kind  of 
quarry.  In  the  15th  cent.  Paul  II.  here  procured  materials  for  the  con- 
struction of  the  Pal.  di  S.  Harco  (di  Venezia),  Card.  Kiario  for  the  Can- 
celleria,  and  Paul  in.  (1534-49)  for  the  Palazzo  Farnese.  Sixtus  V.  pro- 
posed to  establish  a  cloth-factory  here,  and  Clement  XI.  actually  used  the 
building  for  the  manufacture  of  saltpetre.  Benedict  XIV.  (1740^)  was 
the  first  to  protect  the  edifice  from  farther  demolition  by  consecrating  the 
interior  to  the  Passion  of  Christ,  referring  to  the  frequency  with  which  the 
blood  of  martyrs  had  flowed  there;  and  he  erected  small  chapels  within 
it,  which  were  removed  in  1874.  The  following  popes,  particularly 
Pius  VII.  and  Leo  XII,,  have  averted  the  imminent  danger  of  the  fall  of 
the  ruins  by  the  erection  of  huge  buttresses.  The  steps  in  the  interior  were 
restored  by  Pius  IX. 

The  Colosseum  is  constructed  of  blocks  of  travertine,  originally 
held  together  by  iron  cramps,  and  tufa  and  bricks  have  also  been 
used  in  the  interior.  The  numerous  holes  were  bored  in  the  middle 
ages,  for  the  purpose  of  extracting  the  then  very  valuable  iron. 
According  to  the  most  trustworthy  statistics  the  external  circum- 
ference of  the  elliptical  structure  measures  576  yds.,  or  nearly  one- 
"^ird  of  a  mile,  the  long  diameter  205  yds.,  the  shorter  170  yds., 


The  Coloismm.  ROME.         IV.  Ancient  Rome.   235 

the  arena  93  yds.  by  58  yds.,  and  the  height  156  ft.  Above  the 
arena  rise  the  tiers  of  seats,  intersected  by  steps  and  passages,  most 
of  which  are  now  in  ruins  and  only  partly  accessible. 

The  exterior  of  the  still  preserved  N.E.  portion,  on  the  side 
next  the  Esquiline ,  consists  of  four  stories,  the  three  first  being 
formed  by  arcades,  the  pillars  of  which  are  adorned  with  half-columns 
of  the  Doric,  Ionic,  and  Corinthian  order  in  the  1st,  2nd,  and  3rd 
stories  respectively.  A  wall  with  windows  between  Corinthian 
piasters  forms  the  4th  story.  Statues  were  placed  in  the  arcades  of 
the  2nd  and  3rd  stories,  as  appears  from  the  representations  on 
ancient  coins.  At  the  ends  of  the  diameters  are  the  four  triple 
Principal  Entrances,  those  next  to  the  Esquiline  and  Cselius 
being  destined  for  the  emperor,  the  others  for  the  solemn  proces- 
sion before  the  beginning  of  the  games,  and  for  the  introduction 
of  the  animals  and  machinery.  On  the  side  next  the  Esquiline  are 
seen  traces  of  the  stucco-decorations,  which  were  used  as  models  by 
Giovanni  daUdine,  the  pupil  of  Raphael.  The  arcades  of  the  lowest 
story  served  as  entrances  for  the  spectators,  and  were  furnished  with 
numbers  up  to  Ixxvi  (Nos.  xxiii  to  liT  still  exist),  in  order  to  in- 
dicate the  staircases  to  the  different  seats.  Below,  on  the  exterior, 
are  two  rows  of  arcades ;  inside  a  massive  substructure  for  the  seats. 
Every  fourth  arch  contains  a  staircase. 

Part  of  the  Tiees  op  Seats  is  still  distinguishable ;  the  foremost, 
called  the  Podium ,  was  destined  for  the  emperor,  the  senators,  and 
the  Vestal  Virgins.  The  emperor  occupied  a  raised  seat,  called  the 
Pulvinar,  and  the  others  had  seats  of  honour.  Above  the  Podium 
rose  three  other  classes  of  seats,  the  first  of  which  was  allotted  to  the 
knights.  The  humbler  spectators  occupied  the  last  division ,  in  a 
colonnade ,  on  the  roof  of  which  were  stationed  sailors  of  the  im- 
perial fleet  for  the  purpose  of  stretching  sail-cloth  over  the  whole 
amphitheatre  to  exclude  the  glare  of  sun.  Apertures  are  still  seen 
in  the  external  coping,  with  corbels  below  them ,  for  the  support  of 
the  masts  to  which  the  necessary  ropes  were  attached. 

Under  the  Arena,  and  adjacent  to  the  foundations  of  the  inner 
wall ,  were  chambers  and  dens  for  the  wild  beasts.  More  towards 
the  centre  were  found  a  number  of  walls,  pillars,  and  arches,  partly 
required  for  the  support  of  the  arena ,  and  partly  connected  with 
the  theatrical  apparatus  employed  in  some  of  the  performances. 
Since  1874  one  half  of  the  arena  has  been  disclosed  by  excavations. 
The  precise  uses  of  the  various  chambers  are  not  yet  ascertained. 

Although  one-third  only  of  the  gigantic  structure  remains,  the 
ruins  are  still  stupendously  impressive.  An  architect  of  last  century 
estimated  the  value  of  the  materials  still  existing  at  IY2  million 
scudi,  which  according  to  the  present  value  of  money  would  be  equi- 
valent to  at  least  half  a  million  pounds  sterling.  The  Colossenm  has 
ever  been  a  symbol  of  the  greatness  of  Rome,  and  gave  rise  in  the 
8th  cent,  to  a  prophetic  saying  of  the  pilgrims :  — 


236  17.  Andent  Rome,        BOlffE.  Arch  of  ConatanUne, 

'While  stands  the  Colosseum,  Rome  shall  stand, 

When  falls  the  Golossenm,  Rome  shall  fall, 

And  when  Rome  falls,  with  it  shall  faU  the  World !' 

The  TJPPBB  Stobibs  should  he  risited  by  those  who  desire  to  obtain 
a  distinct  idea  of  the  character  of  the  structure  (custodian  found  at  the 
entrance  next  to  the  Palatine^  gratuities  forbidden).  We  ascend  a  new 
stone  staircase  to  the  first  story.  Of  the  three  arcades  here  we  follow  the 
innermost,  which  affords  a  survey  of  the  interior.  Over  the  entrance  from 
the  Palatine  a  modern  staircase  of  48  steps  ascends  to  the  2nd,  and  then 
to  the  left  to  a  projection  in  the  3rd  story.  The  *Vibw  from  the  restored 
balustrade  to  the  right  in  the  4th  story,  to  which  55  more  steps  ascend, 
is  still  more  extensive.  It  embraces  the  Geelius  with  8.  Stefano  Rotondo 
and  SS.  Giovanni  e  Paolo*,  farther  off,  the  Aventine  with  S.  Balbina,  in 
the  background  8.  Paolo  Fuori;  nearer,  to  the  right,  the  Pyramid  of 
Gestius)  to  the  right  the  Palatine,  with  the  arches  of  the  Aqua  Claudia. 

The  Colosseum  is  profoundly  impressive  by  Moonlight,  or  when 
illuminated  («.^.,  by  Bengal  lights ;  comp.  p.  122).  The  traveller  should 
avail  himself  of  a  fine  moonlight  night  for  the  purpose.  Visitors  may 
enter  the  arena  at  any  hour  of  the  night,  but  a  special  permesso  of  the 
Ministry  is  necessary  for  access  to  tbe  tiers  of  seats.  The  Flora  found 
among  the  ruins  of  the  Colosseum  once  comprised  ^  species,  which  were 
collected  by  an  English  botanist,  but  most  of  them  have  disappeared. 

To  the  S.W.  of  the  Colosseum,  between  the  CsbUus  and  Pala- 
tine, spanning  the  Via  TriumphaUs  which  here  joined  the  Sacra 
Via,  stands  the  — 

•Triumplial  Arch  of  Constantme  (PI.  n,  24),  the  best-preserved 
structure  of  the  kind  in  Rome,  erected  after  the  victory  over  Maxen- 
tius  at  Saxa  Rubra,  near  the  Ponte  Molle,  in  311,  when  Constantine 
declared  himself  in  favour  of  Christianity.  The  inscription  runs  thus : 
Imp.  Caes.  Fl.  Constantino  Maximo  pio  felici  Augtuto  8enatu3  Po- 
ptUusque  Romanus,  quod  inatinctu  divinitatia  mentis  magnitudine 
cum  exercitu  suo  tam  de  tyranno  quam  de  omni  ejus  factione  uno 
tempore  justis  rem  publicam  ultus  est  armis  arcum  triumphis  insignem 
dicavit.  The  arch  has  three  passages.  The  greater  part  of  the  orna- 
mentation and  the  admirable  *ScuiiFTiTREs  were  brought  from  an  arch 
of  Trajan  which  stood  at  the  entrance  to  Trajan's  Forum,  contrast- 
ing strongly  with  the  rude  additions  of  the  time  of  Constantine. 

From  the  Abch  of  Tbajak  :  Above,  the  captive  Dacians  (ancient;  but 
one  of  them,  and  the  heads  and  hands  of  the  others ,  are  new).  Reliefs 
(facing  the  Colosseum,  to  the  left):  1.  Trajan's  entry  into  Rome*,  to  the 
right  of  it,  2.  Prolongation  of  the  Via  Appia;  3.  Trajan  causing  poor 
children  to  be  educated;  4.  Trajan  condemning  a  barbarian.  On  the 
other  side,  to  the  left :  5.  Trajan  crowning  the  Parthian  king  Parthamas- 
pates;  6.  Soldiers  bringing  two  barbarians  before  Trajan;  7.  Trajan 
addressing  the  army;  8.  Trajan  sacrificing.  The  eight  Medalliotu  below 
these  reliefs  represent  sacrifices  and  hunting-scenes ;  on  the  narrow  sides 
two  battles  with  the  Dacians;  below  the  central  arch,  the  vanquished 
imploring  pardon,  and  Trajan  crowned  by  Victory.  —  The  marked  con- 
trast between  the  two  different  periods  of  art  is  exhibited  by  the  smaller 
reliefs  inserted  between  the  medallions,  representing  the  achievements  of 
Constantine  in  war  and  in  peace.  In  1804  Pius  VII.  caused  the  arch  to 
be  thoroughly  es^cavated.  In  the  10th  cent,  it  was  converted  into  a  castle, 
and  afterwards  belonged  to  the  Frangipani. 

On  the  opposite  side,  a  few  hundred  paces  to  the  N.E.  of  the 
Colosseum,  in  the  Via  Labicana,  first  gate  to  the  left  (whence  the 


Thermae  of  Titu8.  ROME.         IV.  Ancient  Rome.   237 

Via  della  Polveriera  ascends  to  the  left  between  walls  in  5  min.  to 
S.  Pietro  in  Vincoli,  p.  182),  are  situated  on  the  Esquiline  the  — 

*TlLeniin  of  Titus  (PI.  II,  26 ;  adm.,  see  p.  124) ;  yisitors  should 
be  careful  not  to  enter  these  ruins  in  a  heated  condition.  Mtecenas 
once  had  a  villa  here,  which  was  afterwards  incorporated  with  the 
golden  palace  of  Nero.  On  the  site  of  the  latter,  in  A.D.  80,  Titus 
hastily  erected  his  sumptuous  ThermflB,  which  were  altered  and 
enlarged  by  Domitian,  Trajan,  and  others.  The  Thermas  themselves, 
though  still  nearly  entire  in  the  16th  cent.,  have  now  almost  vanish- 
ed ;  some  fragments  of  them  are  scattered  over  the  vineyards  be- 
tween the  Via  Labicana  and  the  Via  S.  Pietro  in  Vincoli.  The 
small  part  now  accessible,  excavated  in  1813,  belongs  almost  wholly 
to  Nero's  building. 

The  nine  long  vanlted  parallel  passages  first  entered  belong  to  the 
building  of  Titus  and  formed  together  the  substructure  of  a  large  semi- 
circular Exedra,  such  as  is  found  at  the  Thermee  of  Diocletian,  Caracalla 
(p.  255),  and  others,  l^ero^s  buildings  form  an  angle  of  45*  with  the  axis 
of  the  Thermee.  A  suite  of  seven  rooms  is  first  entered  here ;  to  the  left, 
near  that  in  the  centre,  are  remains  of  a  spring.  The  special  purpose  of 
these  rooms,  which  seem  to  have  had  no  connection  with  the  Thermee, 
cannot  be  definitely  settled.  Their  chief  Interest  lies  in  the  beautiful 
mural  paintings,  which  served  as  models  for  Giovanni  da  TJdine  and  Ra- 
phael in  the  decoration  of  the  loggie.  The  custodian  points  out  the  spot 
where  the  Laocoon  is  said  to  have  been  found,  but  this  famous  group 
was  really  found  at  the  Sette  Sale  (p.  181). 

Fora  of  the  Emperors.     Academy  of  St.  Luke. 

In  the  plain  to  the  N.E.  of  the  Forum  of  the  Republic  lay  the 
Fora  of  the  Emperors ,  which  were  erected  rather  as  monuments  to 
their  founders  and  ornaments  to  the  city  than  for  political  purposes, 
and  were  chiefly  used  for  judicial  proceedings.  The  chief  edifice 
in  these  fora  was  always  a  temple.  The  Forum  Julium ,  the  first 
of  the  kind,  was  begun  by  Caesar  and  completed  by  Augustus ;  the 
second  was  built  by  Augustus.  A  third,  in  front  of  the  Templum 
Sacr»  Urbis  (p.  232),  was  constructed  by  Vespasian.  Between 
this  forum  and  the  first  two  lay  the  Forum  Transitorium  (see 
p.  239),  to  the  N.  of  which  was  that  of  Trajan  (p.  240),  the  most 
magnificent  of  all. 

We  begin  our  inspection  at  the  N.  corner  of  the  Forum  Romanum, 
where  the  Via  delV  Areo  di  Settimio  Severo  (p.  211),  descending 
from  the  Capitol,  unites  with  the  Via  di  Marforio  (p.  163). 

Here,  in  the  Via  di  Marforio,  lies  the  small  church  of  S,  Giu- 
seppe de'  Falegnami  (PI.  II,  20,  3),  which  is  built  over  the  Career 
Kamertinusy  one  of  the  most  ancient  structures  In  Rome  (entr.  from 
the  church ;  light  supplied  by  the  sacristan,  1/2  fr-)*  This  was  ori- 
ginally built  over  a  well,  named  TuUianum,  and  thence  traditionally 
attributed  to  Servius  Tullius,  and  it  was  afterwards  used  as  a  prison. 

It  consists  of  two  chambers,  one  below  the  other,  of  very  ancient 
construction.  The  upper  is  an  irregular  quadrilateral,  which  was  probably 
once  adjoined  by  other  similar  chambers.  An  inscription  on  the  front 
records  a  restoration ,  probably  at  the  beginning  of  tiie  Imperia!* 


238  IV.  Ancient  Rome.         ROlfE.        Accademia  di  8.  Luca. 

The  lower  chamber,  which  was  originally  accessible  only  through  a  hole 
in  the  ceiling,  is  19  ft.  long,  10  ft.  wide,  and  6V2  ft.  high.  The  vaulting 
is  formed  by  the  gradual  projection  of  the  side-walls  until  they  meet.  It 
contains  a  spring,  which,  according  to  the  legend,  St.  Peter,  who  was 
imprisoned  here  under  Xero,  miraculously  caused  to  flow  in  order  to 
baptise  his  jailors.  The  building  has  therefore  been  named  S.  Pietro  in 
Carcere  since  the  15th  century.  In  this  dungeon  perished  Jugurtha  (after 
having  been  deprived  of  food  for  six  days),  Vercingetorix,  and  other  con- 
quered enemies.  Sallust,  in  recording  the  execution  of  Catiline's  confede- 
rates, describes  the  prison  thus:  —  'Est  in  carcere  locus,  quod  Tullianum 
appellatur,  circiter  duodecim  pedes  humi  depressus.  Eum  miniunt  undique  , 
parietes  atque  insuper  camera  lapideis  fornicibus  vincta^  sed  incultu  te- 
nebris  odore  foeda  atque  terribilis  ejus  facies  est."  (In  the  prison  is  a 
chamber  named  the  Tullianum,  about  12  ft.  below  the  surface  of  the  ; 
ground.  This  is  surrounded  by  walls  and  covered  by  a  vaulted  stone  roof;  j 
but  it4  appearance  Is  repulsive  and  terrible  on  account  of  the  neglect, 
darkness,  and  smell.) 

A  little  to  the  E.  the  Via  Bonella  reaches  the  Forum .  At  the 
end  of  it,  to  the  right  and  left,  are  the  churches  of  S.  Adriano  and 
SS.  Martina  eLuca,  both  erected  on  the  sites  of  ancient  bnild- 
ingB.  88,  Martina  e  Luca  (PI.  II,  20,  d)  consists  of  an  upper  and 
lower  church,  the  latter  of  very  ancient  origin,  and  the  former 
erected  in  the  18th  cent,  by  Pietro  da  Cortona.  —  8.  Adriano,  with 
its  unadorned  facade,  was  erected  by  Honorius  I.  in  the  7th  cent, 
and  afterwards  restored.  It  occupies  the  site  of  the  (Turia  Ho«iiiia, 
which  was  subsequently  re-erected  under  the  name  of  Curia  Julia 
by  GsBsar  and  Augustus,  and  was  used  as  an  assembly-hall  by  the 
senate  (comp.  p.  227). 

No.  44,  Via  Bonella,  adjoining  SS.  Martina  e  Luca,  is  the  — 
Aooademia  di  8.  Luca  (PI.  II,  20),  a  school  of  art  founded  in  1577, 
and  re-organised  in  1874.    The  first  director  was  Federigo  Zucchero. 
The  picture-gallery  of  the  Academy  (adm.,  see  p.  122),  a  second- 
rate  collection,  contains  few  works  of  importance. 

We  ascend  the  staircase ,  into  the  walls  of  which  are  built  a  few 
casts  from  Trajan's  Column  (disfigured  with  whitewash).  On  the  first  land- 
ing is  the  entrance  to  the  collection  of  the  competitive  works  of  the  pupils 
(closed):  KesseV*  Discus-thrower  reposing,  in  plaster;  Christ  on  the  Mt.  of 
Olives,  drawing  by  L.  Seitz;  reliefs  by  Thorvaldsen  and  Canova;  Ganymede 
watering  the  eagle,  by  Thorvaldsen,  and  several  casts  from  the  antique. 
We  ascend  another  staircase,  and  ring  at  the  entrance  to  the  — 
Picture  Gallery  (V2  fr.)-  A  small  Ante-Chahbeb  (with  engravings,  etc.) 
leads  to  the  I.  Saloon,  lighted  from  above.  Entrance-wall:  1.  Early  Flemish 
School,  Descent  from  the  Cross.  2.  Carlo  Jtaratia,  Madonna;  on  the  back 
of  this  picture  there  is  a  *Copy,  by  Marc  Antonio,  of  the  first  design  of 
Raphael's  Transfiguration  (figures  nude ;  original  supposed  to  have  been  lost). 
3.  Rubens,  Venus  crowned  by  the  Graces  •,  10.  VanDyek^  Madonna.  —  End- Wall : 
21,  24.  Jos.  Vernet^  Sea-pieces.  —  Wall  facing  the  entrance:  81.  Berehem, 
The  Campagna;  86.  My  tens  ^  Admiral  Eortenaar  (1636);  89.  P.  Veronese, 
Toilette  of  Venus;  40.  Gauli^  Birth  of  John  the  Baptist;  153.  Oiulio  Ro- 
mano, Copy  of  Raphael's  Galatea  in  the  Famesina;  43.  Guido  Rent,  Cu- 
pid. -—  Short  wall:  52.  J.  Vernet,  Sea-piece.  —  The  saloon  is  adjoined  on 
one  side  by  a  Booh,  containing  modern  works,  most  of  them  painted  in 
competition  for  academical  prizes.  To  the  right  of  this  room  is  the  Biblio- 
TEOA  Sabti,  containing  15,000  vols.,  chiefly  relating  to  art,  presented  to 
the  Academy  in  1881  by  A.  8arU,  the  architect.  —  To  the  right  is  a  Small 
Room,  with  portraits  of  artists ,  including  Virglnie  Lebrun  and  Angelica 
Kaufmann  (to  the  left  of  the  entrance). 


a  h.> 

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At  the 

in  and 
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,  with 
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1577, 
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land- 

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back 


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rhem^ 
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f^Kk  CAESi 


PALATIUM-* 


240  IV,  Ancient  Rome.  ROME.  Trajan's  Column. 

of  the  Via  Alessandrina  and  Via  dell  a  Oroce  Bianea,  at  the  E.  cor- 
ner (PI.  II,  20),  is  well  calculated  to  afford  an  idea  of  the  former 
grandeur  of  the  structure. 

The  busy  Via  Alessandrina  leads  hence,  crossing  the  Via  Bo- 
nella  and  the  site  of  the  Forum  of  Augustus  (see  p.  239),  to  the 
Piazza  del  Fobo  Tbajano  (PI.  II,  20, 19). 

The  *Fonim  of  Trajan,  which  adjoined  the  Forum  of  Augustus, 
was  an  aggregate  of  magnificent  edifices,  and  is  said  to  have  been 
designed  by  ApoUodorus  of  Damascus  (111-114).  By  means  of  a 
huge  cutting  between  the  Capitol  and  the  Quirinal,  Trajan  effected 
a  convenient  communication  between  the  Fora  of  the  ancient  city 
and  the  Campus  Martins  (pp.  223, 132).  His  Forum  must  have  meaS' 
ured  about  220  yds.  in  width ,  and  was  probably  of  still  greater 
length ;  and  it  was  considered  the  most  magnificent  in  Rome. 

Ammianns  (16,  10)  thus  describes  it  on  the  occasion  of  the  visit  of 
the  Emp.  Gonstantine  in  356:  —  'Vemm  cum  ad  Trajani  foram  venisset, 
singnlarem  sub  omni  caelo  stracturam,  at  opinamar,  etiam  nnminTiiu 
adsensione  mirabilem,  haerebat  adto'nitus  per  giganteos  contextns  circam- 
ferens  mentem  nee  relatu  effabiles  nee  mrsns  mortalibus  adpetendo8\ 
According  to  a  legend  of  the  7th  cent.,  Gregory  the  Great,  while  admiring 
the  ancient  splendour  of  the  foram  one  day,  and  saddened  by  the  thoaght 
that  so  jast  and  benignant  a  monarch  as  its  foander  should  be  condem- 
ned to  everlasting  perdition,  succeeded  by  his  prayers  in  obtaining .  the 
release  of  Trajan's  soul  from  purgatory.  In  the  10th  cent,  this  forum  lay 
in  ruins,  and  the  church  of  S.  Nicolao  had  been  erected  by  the  column. 
This  was  succeeded  by  other  churches.  In  1687  Siztus  V.  crowned  the 
column  with  a  bronze  statue  of  St.  Peter.  At  length,  in  1812-14,  the 
French  government  caused  two  nunneries  and  other  buildings  to  be  de- 
molished, and  thus  partly  brought  to  light  the  centre  of  the  forum. 

The  total  arrangement  consisted  of  four  parts,  reckoned  f^om 
N.  to  S. :  the  Forum  proper,  the  Basilica,  the  Libraries  (with  Trajan's 
Column  in  the  court),  and  the  Temple.  Hitherto  only  the  second 
and  third,  and  these  but  partially,  have  been  excavated.  The 
Forum  adjoined  that  of  Augustus;  the  principal  entrance,  dignified 
by  a  triumphal  arch,  lay  near  the  modern  Via  del  Priorato.  Part 
of  the  semicircular  wall  which  bounded  it  on  the  E.  may  be  seen 
in  the  court  of  No.  6,  Via  di  Campo  Carleo ;  it  consists  of  two  stories, 
the  chambers  in  the  lower  having  probably  been  used  as  shops. 

In  the  part  already  excavated  (about  120  by  50  yds.)  are  seen 
the  foundations  of  four  rows  of  columns,  belonging  to  the  five-hailed 
Basilica  XJlpia,  which  lay  with  its  sides  towards  the  end  of  the  pre- 
sent piazza.  The  central  hall  was  27  yds.,  and  the  whole  building 
61  yds.  In  width  (these  dimensions  are  about  the  same  as  those  of 
S.  Paolo  Fuori,  p.  352).  The  pavement  consisted  of  slabs  of  rare 
marble.  It  is  uncertain  whether  the  remains  of  granite  columns 
which  have  been  found  and  erected  here  are  in  their  original  po- 
sitions. 

On  the  N.  side  of  the  basilica  rises  ••Trajan's  Column,  con- 
structed entirely  of  marble,  the  shaft  of  which  is  87  ft.  high,  and 
the  whole,  including  the  pedestal  and  statue,  147  ft.;  diameter 
'  1  ft.  below ,  and  10  ft.  at  the  top.    Around  the  column  runs  a 


Forum  of  Nerva.  ROME.        IV.  Ancient  Rome.   239 

n.  Saloon.  81.  Spagnoletto^  St.  Jerome  disputing  with  the  scholars; 
79.  Titian,  Discovery  of  the  guilt  of  Callisto,  inferior  to  the  other  mytho> 
logical  pictures  of  this  master  ^  *78.  Raphael,  Boy  as  garland-bearer,  being 
a  relic  of  a  fresco  in  the  Vatican,  sawn  out  of  the  wall,  and  freely 
retouched;  77.  Owrdno,  Venus  and  Cupid  (al  fresco);  73.  4fter  Titian, 
Tribute-money  (original  in  Dresden);  194.  Salv.  Rota,  Concert  of  cats; 
61.  AfUr  Titian ,  St.  Jerome ;  59.  Titian  (?) ,  Vanitas ;  57.  Barlp  Flemish 
School,  Madonna. 

III.  Saloon.  To  the  right,  91.  Fotutin,  Bacchic  dance;  103.  Ouido 
Cagnaeei,  Lucretia,  an  admirable  work  of  this  master,  a  painter  of  no  great 
note  belonging  to  the  school  of  Guido  Reni;  107.  Paolo  Veronese,  Susanna; 
1()8;  Pellegrini,  Hebe;  109.  Palma  Veeehio,  Susanna.  —  Opposite  the  entrance, 
116.  Ouido  Reni,  Bacchus  and  Ariadne ;  122.  AVbani,  Madonna.  —  Long  wall : 
133.  Guido  Reni^  Fortuna. 

The  two  small  rooms  adjoining  Saloons  II.  and  III.  contain  nothing 
of  moment. 

To  the  N.W.  of  SS.  Martina  e  Luca  and  the  Academy  lay  the  Forum 
of  Cieaar  or  Forum  JuUum,  the  centre  of  which  was  occupied  by  a  Temple 
of  Venus  Oenetrix.  Some  remains  of  the  massive  enclosing  wall ,  of  tufa 
and  travertine,  may  be  seen  in  the  court  of  !N"o.  18,  Via  delle  Marmorelle. 

Beyond  the  intersecting  Via  Alessandrina  (see  p.  240),  the  Via 
Bonella  is  terminated  towards  the  N.  by  an  ancient  wall  with  a  gate- 
way. On  the  inner  side  of  the  latter,  to  the  left,  are  three  hand- 
some and  lofty  •Corinthian  columns  with  entablature,  which  belonged 
to  one  of  the  sides  of  the  Temple  of  Mara  JJltor  in  the  Forum  of 
Angastns  (PI.  II,  20).  The  forum  was  enclosed  by  a  lofty  •Wall  of 
peperino  blocks  (a  grey  volcanic  rock),  part  of  which,  about  160  yds. 
long ,  is  seen  near  the  temple ,  and  still  better  by  passing  through 
the  gateway  (Area  de'  Pantani).  This  wall  was  adjoined  by  the  back 
of  a  temple  erected  by  Augustus  in  B.  0.  2,  in  consequence  of  a 
vow  which  he  made  during  his  war  against  Caesar's  murderers.  The 
forum  is  now  occupied  by  the  nunnery  of  the  Annunziata.  The 
original  level  is  about  16  ft.  below  the  surface.  This  locality  was 
a  gwamp  ('pantano')  in  the  16th  cent.,  whence  the  modern  name. 

The  Arco  de*  Pantani  leads  to  the  Via  di  Tor  de'  Conti,  so 
named  from  a  fortified  tower  erected  to  the  S.E.  of  the  Arco  de' 
Pantani  by  Marchionne  of  Arezzo  in  the  pontificate  of  Innocent  III., 
who  was  a  member  of  the  Roman  family  of  Conti.  The  greater  part 
of  the  tower  was  carried  away  at  the  beginning  of  the  17th  century. 

We  proceed  to  the  right  along  the  outside  of  a  massive  wall  and 
then  turn  to  the  right  into  the  Via  delta  Croce  Bianca,  which  crosses 
the  site  of  the  Forum  of  Kervay  founded  by  Domitian  and  completed 
by  Nerva ,  sometimes  called  the  Forum  Transitorium  from  having 
been  intersected  by  an  important  street.  Here  stood  a  temple  of 
Minerva,  taken  down  by  Paul  V.  in  order  to  obtain  marble  for  the 
decoration  of  the  Fontana  Paolina  on  the  Janiculus,  and  a  small 
temple  of  Janus.  Remains  of  the  external  walls  exist  in  the  so-called 
*Colonnacce,  two  half-buried  Corinthian  columns,  with  entablature 
enriched  with  reliefs  (representing  the  practice  of  the  arts,  weaving, 
etc. ,  which  were  specially  protected  by  the  goddess ;  casts  of  them 
in  the  collection  of  the  French  Academy,  p.  149);  above  them  is 
an  attic  with  a  Minerva.  This  fragment,  situated  at  the  intersecti^ 


242  IV.  Ancient  Rome,         ROME.  The  Palatine. 

tribune  Glodius ,  and  other  celebrated  men  of  the  republican  pe- 
riod possoBsed  houses  here.  Augustus  was  bom  on  the  Palatine, 
and  after  the  battle  of  Actium  he  transferred  his  residence  to  this 
ancient  seat  of  the  kings.  His  palace,  the  Domus  Augusianay  lay 
below  the  Villa  Mills,  near  the  Circus  Maximus ;  and  adjoining  it 
were  a  large  temple  of  Apollo  erected  by  him  and  the  Greek  and 
Latin  library  which  is  so  highly  extolled  in  Roman  literature. 
The  Emp.  Tiberius  built  a  palace  on  the  N.  side  of  the  hill,  per- 
haps near  the  house  in  which  he  was  born  (see  p.  244).  The 
Palatine  did  not  afford  scope  enough  for  the  senseless  extravagance 
of  Nero ,  who  built  himself  the  Golden  House,  extending  from  the 
Palatine  to  the  Esquiline  (p.  132).  The  emperors  of  the  Flavian 
dynasty  once  more  transferred  the  imperial  residence  to  the  Pala- 
tine. Vespasian  began  and  Domitian  completed  the  splendid  palace 
called  the  DomiM  Flavia  (p.  244),  which  lay  in  the  saddle  between 
the  two  summits,  resting  mainly  on  artificial  foundations,  and 
connected  the  buildings  of  Augustus  on  the  one  side  with  those 
of  Tiberius  and  Caligula  on  the  other.  The  Stadium  (p.  246)  was 
erected  at  a  later  period,  perhaps  by  Hadrian.  Septimlus  Seyerus 
extended  the  Flavian  palace  by  erecting  the  Septizoniunij  an  edifice 
seven  stories  high ,  at  the  S.W.  angle  of  the  hill ,  to  improve  the 
view  from  the  Via  Appia ;  part  of  this  building  was  still  standing 
in  the  16th  cent.,  but  it  was  at  length  removed  by  Sixtus  V,  The 
Palatium  participated  in  the  general  decline  of  the  city.  It  was 
inhabited  by  Odoacer  and  Theodorio ,  but  from  the  10th  cent,  on- 
wards the  ruins  were  occupied  by  monasteries,  fortified  towers, 
and  gardens. 

The  first  important  ezcavationB,  directed  by  Bianchiniy  took  place  in 
1728  in  the  Orti  Farnesiani^  or  Farneti  Oardens,  which  were  laid  out  by 
Paul  III.  and  covered  the  whole  of  the  N.B.  part  of  the  hill.  The  Emp. 
of  Russia  began  another  series  of  excavations  in  the  K.W.  corner  in  iSw, 
but  handed  over  the  ground  to  the  city  in  1867.  A  systematic  excavation, 
under  the  able  superintendence  of  the  architect  Comm.  Pietro  BotOy  was 
begun  in  1861,  when  Napoleon  III.  bought  the  Farnese  Gardens,  and  has 
been  continued  by  the  Italian  government,  which  acquired  the  gardens  in 
1870.  Many  interesting  topographical  discoveries  have  been  made,  although 
as  yet  few  works  of  art  have  been  found. 

The  excavations  are  open  to  the  public  daily  (comp.  p.  123).  The 
following  account  of  them  refers  mainly  to  the  best  preserved  remains, 
which  may  he  visited  in  about  2-8  hrs.;  hut  many  other  interesting  points 
may  he  added.  The  imposing  character  of  the  ruins,  coupled  with  the  beau- 
tiful and  varied  views  commanded  by  the  Palatine,  renders  them  well 
worthy  of  repeated  visits.  The  streets,  temples,  houses,  and  palaces  are 
all  indicated  by  notices,  with  references  to  ancient  authorities ;  but  the 
identity  of  many  of  the  localities  is  doubtful,  and  the  names  assigned  to 
them  are  often  merely  coi^jectural.  —  Permission  to  sketch  and  take  mea- 
surements is  given  at  the  'Ufflcio  Tecnico  della  Direzione  Generate  delle 
Antichita'  (Via  in  Miranda  I  D). 

The  present  entrance  is  in  the  Via  S.  Teodoro  (PI.  II,  21),  and 
is  marked  Ingresao  I.  in  the  plan  at  p.  241 ;  but  it  is  intended  to 
transfer  it  to  the  N.  of  S.  Teodoro  (p.  241 ;  'Ingresso  IV  in  the 
Man).     Turning  to  the  right  on  entering ,  we  observe  the  largest 


The  Palatine,  ROME.         IV.  Ancient  Rome,  243 

existing  fragment  of  the  ancient  wall  of  Roma  Quadtata  (p.  241), 
constructed  of  blocks  of  tufa  placed  alternately  length  and  breadth- 
wise, without  mortar.  It  was  originally  40-48  ft.  in  height,  but  is 
now  13  ft.  only.  Behind  it  is  a  grotto,  supposed  to  be  the  Luper- 
col  in  which  the  she-wolf  sought  refuge  when  driven  from  the 
twins  by  the  shepherds.  A  flight  of  steps  ascended  from  the 
grotto  to  the  plateau  of  the  hill.  Farther  on  we  pass  an  altar  of 
travertine,  with  an  ancient  inscription  (^aei  deo  sei  deivae  8acrum\ 
etc.),  dedicated  to  an  unknown  God,  who  had  foretold  the  invasion 
of  the  Gauls  in  B.  C.  390  (*Ajus  Locutius').  We  then  begin  the 
following  round. 

From  the  present  entrance  (*Ingre8so  I.*)  we  ascend  by  the 
zigzag  path  to  the  left,  at  last  by  a  flight  of  steps.  At  the  top  we 
turn  to  the  left.  The  flrst  building,  of  which  only  the  substructures 
and  steps  remain ,  is  believed  to  be  the  temple  of  Jupiter  Victor, 
erected  in  consequence  of  a  vow  made  by  Fabius  Maximus  at  the 
Battle  of  Sentinum ,  B.  C.  295.  It  is  approached  by  26  steps  in 
five  flights.  A  round  pedestal  with  an  inscription,  on  the  4th  landing, 
was  a  votive  offering  of  Domitlus  Calvinus ,  who  triumphed  over 
Spain  in  B.C.  36;  the  upper  half  has  been  destroyed.  At  the  top 
of  the  steps  we  reach  the  nearly  square  substructure  of  the  temple, 
the  great  age  of  which  is  indicated  by  the  stumps  of  peperino 
columns,  once  covered  with  stucco. 

Farther  on ,  in  the  direction  of  the  Oapitol ,  we  observe  considerable 
remains  of  squared  Btone  buildings  of  very  ancient  appearance.  A  flight 
of  steps  iScalae  Caei  T) ,  hewn  in  the  rock  and  defended  by  a  wall  and 
gate,  descends  to  the  Circus  Haximus.  —  The  large  temple  with  the  lofty 
square  substructure  Is  generally  described,  though  on  insufficient  evidence, 
as  the  AuffuraioHmm,  or  place  where  the  auspices  were  consulted.  Others 
take  it  for  the  TempU  of  Victoria, 

We  next  reach  a  *FriYat6  House,  known  as  the  House  of  Livia 
(Domus  Liviae),  which  is  recognisable  by  its  modern  roof.  This 
house,  excavated  in  1869,  the  only  one  of  the  kind  in  the  midst  of 
the  palaces  of  the  emperors,  is  believed  to  have  been  the  house  of 
Tiberius  Claudius  Nero,  the  father  of  Tiberius,  to  which  his  mother 
Livia  also  retired  after  the  death  of  Augustus,  to  marry  whom  she 
had  divorced  her  flrst  husband.  The  entrance  is  at  the  E.  comer. 

A  flight  of  six  steps  descends  to  the  mosaic  pavement  of  the  vaulted 
Vkstibulum,  whence  we  enter  a  quadrangular  Court,  originally  covered, 
adjoining  which  are  three  chambers  opposite  the  entrance.  The  *Jiural 
Paintingt  here  will  bear  comparison  with  the  finest  of  those  discovered  at 
Pompeii.  The  subject  of  the  first  on  the  right  in  the  Cemtbal  Kooh  is  lo 
guarded  by  Argus,  while  Mercury  approaches  to  release  her  •,  the  second  re- 
presents street-scenes ;  on  the  wall  opposite  the  entrance  are  Polyphemus  and 
Galatea.  The  central  pictures  represent  large  windows  whence  a  view  of  my- 
thological scenes  is  obtained.  The  admirable  perspective  is  best  observed  in 
the  picture  of  Galatea  when  seen  from  the  entrance  of  the  Atrium.  The  two 
smaller  sacrificial  scenes  in  the  comers  above  afi'ord  a  good  example  of  an 
ancient  kind  of  picture,  which  like  the  medieeval  altar-triptychs  could  be 
closed  by  two  folding  shutters  or  wings.  By  the  left  wall  are  leaden  water- 
pipes  with  inscriptions  from  which  the  history  of  this  house  has  beer 
gathered.    The  walls  of  the  Boou  on  the  BiaBX  are  adorned  with  magnif 

16* 


244  IV.  Ancient  Rome.        ROME.  The  Palatine. 

cent  ^Garlands  of  flowers  and  fruita,  from  which  maaks  and  other  Baccha- 
nalian objects  depend  between  the  columns ;  the  walls  of  the  B.00H  on  thb 
Lkft  are  divided  into  brown  sections  edged  with  red  and  green,  above 
which  are  light  arabesques  between  winged  figures  on  a  white  ground.  Ad«- 
joining  the  right  side  of  the  court  is  the  TBioLxifiuic,  or  dining-room,  re- 
cognisable by  the  inscription,  with  walls  painted  bright  red.  The  two  large 
central  paintings  represent  landscapes ,  that  on  the  right  the  attributes  of 
Diana  (large  indented  crown,  stages  and  wild  boar's  heads).  On  the  en- 
trance-wall are  two  glass  vases  with  fruits.  —  At  the  back  of  the  house  are 
the  unpretending  Offices  (bedrooms,  storerooms,  etc.). 

We  now  retrace  our  steps  to  the  entrance  of  the  house,  turn  to 
the  left ,  and  ascend  by  a  small  wooden  staircase  to  the  remains  of 
the  Palace  of  Tiberius,  the  site  of  which  is  now  covered  with  gai- 
dens.  A  fine  view  is  obtained  of  the  Capitol,  the  valley  of  the  Ve- 
lahrum,  and  the  Vicus  Tuscus.  The  K.  spur,  where  there  Is  now  a 
small  plantation  of  oaks,  commands  an  excellent  view  of  the  Forum 
and  the  Basilica  of  Constantine.  It  was  from  near  this  spot  that  the 
mad  Caligula  caused  a  bridge  to  be  thrown  over  the  Forum  to  the 
Capitol,  in  order  to  facilitate  his  Intercourse  with  the  Capitoline  Ju- 
piter, whose  representative  on  earth  he  pretended  to  be.  The  im- 
perial buildings  here  completely  covered  an  ancient  paved  street, 
perhaps  the  Clivus  Victoriae.  A  flight  of  steps  descends  to  the  street. 

A  covered  passage  ( Crtfptopoi'iicus),  to  the  IN^.E.  of  the  House  of  Livia, 
has  remains  of  ancient  stucco  ornamentation.  This  is  supposed  to  have 
been  the  scene  of  the  murder  of  Caligula.  Tarious  architeotaral  and 
sculptural  fragments  are  exposed  to  view  here. 

Traversing  the  pleasure-grounds  at  the  back  of  the  former  Casino 
of  the  Farnese  gardens,  we  reach  the  Falatium,  or  Palace j  the  chief 
building  on  the  hill.  Augustus  himself  resided  on  this  spot,  but 
the  sumptuous  palace  (Domus  Flavia),  to  which  the  extant  remains 
belonged,  probably  owed  its  existence  to  his  successors  of  the  1st 
and  2nd  centuries  of  the  present  era.  A  street  led  from  the  Arch 
of  Titus  to  the  Area  Palatii^  an  open  space,  whence  a  magnificent 
flight  of  steps  ascended  to  the  main  entrance. 

On  the  Area  Palatii  were  the  scanty  remains  of  several  buildings,  the 
names  of  which  carry  us  back  to  the  most  ancient  days  of  Rome.  Among 
these  is  the  temple  of  Jupiter  Stator ,  the  foundation  of  which  tradition 
ascribes  to  Romulus ,  and  which  was  situated  near  the  Porta  Mugionig. 
Below  us  in  the  foreground,  near  the  inscription  ''R<nna  (iuadrata*^  are 
some  remains  of  the  wall  of  this,  the  most  ancient  city,  constructed  of 
regularly-hewn  blocks  of  tufa. 

The  extant  remains  of  the  Palatium  belong  entirely  to  the  re- 
ception and  state  apartments  of  the  palace  and  include  no  part  of 
the  private  rooms  of  the  emperors.  The  arrangement  of  the  rooms 
shows  little  resemblance  to  that  of  an  ordinary  Roman  dwelling- 
house,  such  as  those  of  Pompeii.  The  domestic  is  replaced  by  the 
grandiose. 

From  the  vestibule  open  three  large  rooms.  The  one  in  the  middle, 
known  as  the  Tablinum ,  was  the  Aula  Regia,  or  throne-room,  in 
which  the  emperor  granted  audiences.  This  extensive  hall,  39  yds. 
by  49  yds.,  with  its  large  semicircular  apse  which  was  occupied  by 
the  throne,  and  its  six  niches,  alternately  round  and  square,  con- 


Tke  Palathie.  ROME.  IV.  Ancient  Rome.   245 

taining  the  now  empty  pedestals,  was  originally  entirely  covered ; 
bat  an  adequate  idea  of  its  magniflcence  can  hardly  now  be  formed, 
as  it  has  been  deprived  of  its  decorated  ceiling ,  while  the  walls 
have  lost  their  marble  covering,  the  niches  their  columns,  and  the 
pedestals  their  colossal  figures  (now  in  Parma). 

The  room  adjoining  the  Tablinum  on  the  E.  contains  a  small 
square  altar  in  marble  with  figures  of  the  Oenius  Familiaris  and  the 
Lcares.  The  former  stands  in  front  with  covered  head  ;  the  latter  are 
represented  at  the  sides  in  the  conventional  style  of  Pompeian  works 
of  the  kind,  vsdth  boots,  a  short  *chiton',  a  *rhyton'  or  drinking-horn 
in  the  raised  hand,  and  a  ^situla*  or  pitcher  in  the  other.  This  has 
caused  the  room  to  be  erroneously  named  the  Lararium,  or  chapel 
of  the  Lares  or  household  gods.  Behind  are  the  remains  of  a  stair- 
case ascending  to  an  upper  floor. 

To  the  W.  of  the  Tablinum  lies  the  Basilica,  where  the  emperor 
administered  Justice.  The  semicircular  tribune  was  separated  from 
the  space  for  litigants  by  a  marble  screen,  a  fragment  of  which  still 
stands.  This  space  was  flanked  on  each  side  by  a  narrow  colonnade. 
The  unfluted  columns  were  adorned  with  bronze  ornaments,  the 
holes  for  fastening  which  are  still  visible. 

To  the  S.W.  of  the  tablinum  is  the  PerittyUwn,  two-thirds  of 
which  only  have  been  excavated  (one-third  on  the  S.  side  being 
covered  by  the  court  of  the  Villa  Mills,  now  a  nunnery),  a  large 
square  garden,  58  yds.  wide,  originally  surrounded  by  a  colonnade. 
Its  imposing  dimensions  and  a  few  traces  of  its  marble  covering 
(giallo  antico)  now  alone  witness  to  its  ancient  magniflcence.  The 
open  space  in  the  centre  was  doubtless  occupied  by  fountains,  trees, 
and  flowers. 

At  the  N.W.  comer  steps  descend  to  two  subterranean  chambers  con- 
taining traces  of  stncco  decorations  and  painting.  These  belonged  to  a 
private  house  ef  the  republican  period,  over  which  the  imperisJ  palaces 
were  erected. 

f  Opening  on  the  peristyle  along  its  entire  width  was  the  Tricli^ 
niymj  or  dining-hall  (Jovis  Coenatio) ,  whence  the  diners  could  en- 
joy a  view  of  the  fountains  and  trees  in  the  garden.  In  the  semi- 
circular apse  on  the  W.  wall  most  of  the  original  marble  and  por- 
phyry covering  of  the  pavement  still  exists.  The  remains  of  the 
pavement  and  covering  of  the  wall  on  the  N.W.  side  are  more 
scanty.  -—  Adjacent  to  the  latter  is  the  iVympftaetzm,  or  inside  gar- 
den' for  the  hot  season,  containing  an  elliptical  basin,  in  the  centre 
of  which  rises  a  fountain  covered  with  partly-preserved  marble  slabs, 
and  once  used  as  a  stand  for  plants. 

The  other  smaller  chambers,  extending  along  the  N.  side  of  the 
palace,  are  less  interesting ,  and  their  purposes  are  not  yet  ascer- 
tained. The  same  may  be  said  of  those  adjoining  the  back  of  the 
dinlng-hall  on  the  S.W.  We  flrat  enter  a  Colonnade,  with  six  ci- 
poUino  columns  (two  entire,  the  others  in  fragments).  A  view 
obtained,  through  the  broken  pavement,  of  the  original  level 


246   JV.  Ancient  Rome.        ROME.  The  Palatine, 

which  the  empeiors  built.  Farther  on  are  two  other  rooms,  with 
semicircular  terminations  and  niches  in  the  walls,  which  are  erron- 
eously termed  the  Accademia  and  Biblioteca. 

We  now  return  towards  the  main  entrance  and  turn  to  the  left 
at  the  first  bend.  This  road  connects  the  palaces  on  the  S.  side  of 
the  hill  with  those  already  described.  To  the  left  is  the  S.  facade 
of  the  palace  of  Augustus,  including  a  large  'exedra^  in  the  form  of 
a  flat  arch,  on  the  side  next  the  Circus  Maximus.  Into  this  is  built 
the  gardener's  house  below  the  Villa  MiUs,  the  beautiful  cypresses  of 
which  peep  down  from  above.  Beyond  the  house  we  ascend  a  wooden 
staircase  to  an  open  space,  bounded  on  the  E.  and  S.  by  impos- 
ing ruins.  These  belong  to  palaces  which  mainly  owed  their  existence 
to  the  later  emperors,  particularly  to  Septimiua  SeveruSj  after  a 
great  fire  in  191.  The  excavations  begun  here  by  Pius  IX.  have 
unearthed  many  oi  the  lower  chambers  of  these  palaces  and  earlier 
buildings.  The  irregularity  of  the  arrangement  makes  it  impossible 
to  determine  the  uses  of  the  different  rooms  except  in  a  few  cases. 

Turning  to  the  left,  we  reach  the  Stadiiim»  which  separated  the 
buildings  of  Septimius  Severus  from  the  old  palace  of  Augustus 
(^Domus  Augustanaj  the  site  of  which  is  now  again  covered  up;  to 
the  N.E.  lies  the  convent  of  S.  Bonaventura,  p.  233,  and  to  our 
left  rise  the  white  convent-waUs  of  the  Villa  MUls).  Although  not 
mentioned  by  any  known  author ,  there  is  no  doubt  that  this  was 
the  stadium,  or  race-course.  The  length,  185  mHres  (625  Roman 
or  607  Engl,  ft.),  is  precisely  that  of  the  stadium.  The  oblong  space 
originally  occupied  by  the  stadium  was  enclosed  by  a  colonnade, 
consisting  of  pillars  of  masonry  encrusted  with  marble,  with  half- 
columns  in  front  of  them ;  while  it  was  divided  into  two  parallel 
courses  by  means  of  a  wall  running  down  the  middle.  In  the 
centre  the  colonnade  was  adjoined  by  three  chambers  of  the  time  of 
Hadrian,  covered  by  the  imposing  apse  of  a  later  edifice.  The  third 
of  these  still  shows  traces  of  mural  paintings  and  mosaic  pavement. 
In  the  large  central  chamber  the  beginning  of  the  vaulted  ceiling  is 
distinctly  traceable.  Brick-stamps  bearing  the  name  of  Theodoric 
have  been  found ,  and  in  the  time  of  the  later  empire  the  original 
arrangement  seems  to  have  been  entirely  altered.  The  spaces  be- 
tween the  columns  of  the  portico  were  walled  up  with  brick  and  tufa 
and  the  whole  E.  part  of  the  buildings ,  between  the  apse  and  S. 
Bonaventura ,  was  separated  from  the  rest.  In  the  middle  of  the 
plateau  is  a  marble  base  with  figures  of  deities.  Some  of  the 
numerous  architectural  fragments  show  fairly  good  workmanship. 

Ascending  towards  the  S.  from  the  E.  end  of  the  Stadium,  and 
passing  the  back  of  the  apse,  the  lofty  proportions  and  coffered  vault- 
ing of  which  should  be  observed,  we  reach  the  remains  of  the  SeveniB 
Palace  itself.  Rooms  with  heating-apparatus  and  baths  have  been 
recognised  here,  but  the  general  plan  is  not  clear.  Proceeding  be- 
'  -^een  insignificant  ruins,  we  reach  a  point  affording  a  good  view  of 


The  Palatine.  ROME.         IV.  Ancient  Rome.   247 

the  Stadium,  and  then  cross  a  paved  bridge  to  a  Platform  ('Belve- 
dere') supported  hy  tliree  lover  stories,  and  commanding  a  magni- 
ficent *VlBW. 

Towards  the  E.  tower  the  ruins  of  the  Colosseum,  nearer  are  five  arches 
of  the  Aqua  Claudia^  which  supplied  the  Palatine  with  water;  more  to  the 
right  (8.)  are  the  churches  of  8S.  Giovanni  e  Paolo,  the  Lateran,  in  the 
foreground  S.  Gregorio ,  and  above  it  S.  Stefano  Botondo  and  the  new  cas- 
ino of  the  Villa  Hattei.  Still  farther  to  the  right  appear  the  ruins  of  the 
Thermee  of  Caracalla  (the  two  towers  beyond ,  to  the  left,  belong  to  the 
Porta  S.  Sebastiano),  and  S.  Balbina  with  its  lofty  tower;  farther  off,  8.  Saba, 
with  its  two-storied  vestibule,  and  still  more  distant  the  Pyramid  of  Ges- 
tins,  and  in  the  Campagna  S.  Paolo  Fuori  le  Mura ;  then  the  Aventine  with 
its  three  churches  \  on  the  slope  the  white  tombstones  of  the  Jewish  burial- 
ground  on  the  site  of  the  Circus  Maximus,  which  occupied  the  valley  be- 
tween the  Palatine  and  Aventine;  and  laslJy  the  JTaniculum  and  the  dome 
of  St.  Peter's. 

We  recross  the  bridge  and  descend  to  the  right  by  a  modern 
staircase  (60  steps)  on  the  S.  side  of  the  hill  to  the  open  space 
mentioned  at  p.  246 ,  adjoining  the  apse.  Instead  of  passing  the 
gardener's  house,  we  now  descend  to  a  series  of  chambers  on  the 
W.  slope  of  the  Palatine ,  below  the  verandah  of  the  Villa  Mills. 
These  belonged  to  the  — 

Padagoginniy  or  school  for  the  imperial  slaves,  who,  like  those  of 
all  the  wealthier  Romans,  received  a  careful  education.  A  portico  of 
granite  columns,  one  of  which  still  remains,  with  a  marble  entabla- 
ture now  supported  by  pillars  of  masonry,  lay  in  front  of  these  apart- 
ments. The  walls  are  covered  with  names,  sentences,  and  sketches 
(jlfraffiti,  done  with  the  stilus,  or  ancient  substitute  for  a  pen),  show- 
ing the  boyish  piocllvities  of  the  pupils.  The- well-known  caricature 
of  the  Crucified,  now  in  the  Museo  Kircheriano  (p.  156),  was  found 
here.  These  scrawls,  one  of  which  is  'Gorinthus  exit  de  psdagogio', 
furnished  the  clue  to  the  use  and  to  the  ancient  name  of  this 
building. 

On  the  left  wall  of  the  Thikd  Room  is  the  sketch  of  a  mill  driven  by 
an  ass,  under  which  was  written,  Habora  aselle  quomodo  tgo  laboravi  et  pro- 
derit  iibi\  The  figure  of  a  Roman  soldier  is  also  scratched  on  this  wall. 
On  the  posterior  wall  one  of  the  most  conspicuous  names  is  FeUciy  in  large 
letters,  both  Qreek  and  Roman.  —  On  each  side  of  the  central  semicir- 
cular chamber  with  a  square  niche  lies  a  small  irregularly-shaped  chamber ; 
that  on  the  right  is  adorned  with  mural  paintings  (Fortuna,  etc.). 

Proceeding  in  the  same  direction  we  soon  reach  the  exit. 

Yelabmm  and  Forum  Boarinm. 
The  deep-sunken  and  swampy  valley  separating  the  N.  slope  of 
the  Palatine  from  the  Capitol  formed  the  important  link  between 
the  Forum  and  the  Tiber.  It  was  inhabited  even  under  the  kings, 
and  was  known  in  ancient  times  as  the  Vieus  Tuscus  (comp. 
p.  226).  The  direction  of  its  main  street  was  very  nearly  the  same 
as  that  of  the  modern  Yia  S.  Teodoro.  In  this  street ,  behind  the 
church  of  8.  Maria  Liberatriee  (PI.  II,  20),  are  the  remains  of  a  massive 
brick  building,   now  generally  held  to  be  the   Temple  of  Divus 


248   IV.  Ancient  Rome.         ROME.  Velahrum. 

Augustits,  Considerably  lower  the  remains  of  an  old  church  (St.  Sil- 
vester in  Lacu)j  with  9th  cent,  paintings,  have  been  found.  Farther 
to  the  left,  a  little  back  from  the  street,  is  the  low-lying  round 
church  of  S.  Teodoro  (PI.  II,  21 ;  open  on  Frid.  till  9  a.m. ;  festival, 
9th  Nov.).  It  is  first  mentioned  in  the  time  of  Gregory  the  Great, 
and  probably  occupies  the  site  of  a  temple.  In  the  interior  is  a  Christ- 
ian mosaic  of  the  7th  century.  —  A  little  beyond  S.  Teodoro  the 
street  divides.  We  descend  to  the  right  to  the  ancient  Yelabbum,  a 
quarter  prolonged  towards  the  Forum  by  the  Vicus  Tuscus  (p.  247), 
and  towards  the  river  by  the  Forum  Boarium. 

To  the  right  is  S.  Giorgio  in  Yelabro  (PL  II,  21 ;  generally 
closed ;  visitors  knock  at  the  door  to  the  left,  behind  the  Arcus  Ar- 
gentariorum;  festivals,  20th  Jan.  and  23rd  Apr.),  founded  in  the 
ith  cent.,  re-erected  by  Leo  11.  in  682  and  dedicated  to  SS.  George 
and  Sebastian,  and  subsequently  often  restored.  The  portico,  ac- 
cording to  the  metrical  inscription  ,  dates  from  one  of  these  resto- 
rations. (In  the  middle  ages  the  word  Velabrum  was  altered  to 
*velum  aureum'.)  The  interior  is  a  basilica  with  aisles,  16  antique 
columns,  and  an  old  canopy  (p.  xlvil).  The  ftescoes  of  Giotto(?)  which 
are  said  to  have  once  adorned  the  tribuna  have  been  painted  over. 

Adjacent  to  the  church  is  the  small  Arch  of  the  Money-Changera 
(^Arcus  Argentariorum ;  PI.  II,  21,  2),  which,  according  to  the  in- 
scription ,  was  erected  by  the  money-changers  and  merchants  of  the 
Forum  Boarium  in  honour  of  Septimius  Severus  and  his  wife  and 
sons.  The  sadly  damaged  sculptures  represent  victims  and  sacrifi- 
cial utensils.  Farther  on  is  the  so-called  *Jaiiii8  QnAdrifrons  (Area 
di  Qiano;  PI.  11,  21),  an  arched  passage  vnth  four  facades,  of  the 
later  imperial  age ,  and  supposed  to  have  been  erected  in  honour 
of  Constantine  the  Great.    Above  it  once  rose  a  second  story. 

From  this  point  to  the  Tiber  stretched  the  extensive  Forum 
Boarium^  or  cattle-market,  a  very  important  centre  of  business. 

Proceeding  through  the  low  brick  archways  opposite  the  Arcus 
Argentarius ,  and  passing  a  mill ,  we  reach  the  Cloaca  Kazima 
(PI.  li,  18),  constructed  by  the  Tarquinii  for  the  drainage  of  the  Forum 
and  the  adjacent  low  ground.  It  is  the  earliest  known  application  of 
the  arch  in  Rome ,  and  has  defied  the  vicissitudes  of  more  than 
2000  years.  Two-thirds  of  the  depth  are  now  filled  up.  A  basin  was 
formed  here,  into  which  springs  were  conducted  to  produce  a  current 
through  the  Cloaca.  In  the  mill  (25  c.)  is  seen  the  continuation  of 
the  Cloaca  towards  the  Forum,  and  from  the  Ponte  Rotto  its  influx 
into  the  Tiber.  The  Cloaca  is  constructed  of  peperino  with  occasional 
layers  of  travertine,  and  at  the  mouth  of  peperino  entirely. 

Following  the  street  beyond  the  arch  of  Janus,  and  turning  to 
the  left ,  we  reach  the  Piazza  Bocca  della  VekitI  ,  which  partly 
coincides  with  the  Forum  Boarium ;  in  the  centre  is  a  fountain  erected 
in  1715  after  Bizzaccheri'a  design  (group  of  Tritons  by  Morattt). 
To  the  left,  at  the  foot  of  the  Aventine,  is  the  church  of  — 


Round  Temple.  ROME.  IV.  Ancient  Rome.   249 

*S.HaTia  in  Cosmedin  (PI.  II,  18),  gometimes  called  Bocca  deUa 
Veriih  from  the  ancient  mouth  of  a  fountain  to  the  left  in  the  por- 
tico, into  which,  according  to  a  mediaeval  belief,  the  ancient  Romans 
thrust  their  right  hands  when  talting  an  oath.  The  church  occupies 
the  site  of  a  temple,  perhaps  the  Temple  of  Fortune  founded  hy  King 
Serviu8(?),  ten  columns  of  which  are  built  into  the  walls  (three  on  the 
left  side,  the  others  in  the  front  wall).  The  nave  also  is  borne  by 
twenty  ancient  columns.  The  edifice,  which  is  said  to  date  from  the 
3rd  cent. ,  was  rebuilt  in  the  8th  by  Hadrian  I. ,  who  erected  the 
beautiful  campanile  (p.  xlvlii) ,  and  it  has  since  been  frequently 
restored.  It  derives  the  name  *in  Cosmedin'  from  a  square  at  Con- 
stantinople, having  originally  belonged  to  a  Greek  brotherhood, 
and  it  is  also  known  as  8.  Maria  iri  Sehola  Oraeea. 

iNTEBioB.  The  beantifnl  opus  Alexandrinnm  of  the  pavement  merits 
inapeetion.  Id  the  nave  are  preserved  remains  of  the  ancient  choir  ^  on 
the  right  and  left  are  two  handsome  ambonea  and  a  candelabrum  for  Easter 
ceremonies.  Canopy  of  the  high-altar  by  Deodattu  (13th  cent.).  In  the 
apse  a  handsome  episcopal  throne  of  the  same  period,  and  an  old  Madonna. 
The  sacristy  contains  a  mosaic  (Adoration  of  the  Magi),  originally  pre- 
sented to  St.  Peter's  by  John  VII.  in  706.  The  venerable  crypt  is  borne 
by  four  colnmns  of  granite  and  two  of  marble. 

The  Via  delta  Salara  (see  p.  251)  runs  hence  to  the  S.,  towards 
the  Porta  S.  Paolo. 

On  the  opposite  bank  of  the  Tiber,  not  far  fh)m  the  church, 
stands  a  small  and  picturesque  *Bonnd  Temple  (Hercules  Victor  ? 
Mater  Matuta  ?) ,  formerly  called  a  Temple  of  Vesta  (now  8.  Maria 
del  Sole  or  8.  8tefano  delle  Carrozze ;  PI.  II ,  18) ,  consisting  of 
twenty  Corinthian  columns,  covered  by  a  poor  wooden  roof.  The 
ancient  entablature  and  roof  and  one  of  the  columns  next  to  the 
river  have  disappeared. 

A  new  railway-bridge,  connecting  the  Piazza  Bocca  della  Veriti 
with  Trastevere  and  ending  at  the  Lungarina  (p.  331),  is  to  be 
finished  in  1890. 

To  the  N.  of  this  (accessible  at  present  from  the  Via  di  Ponte 
Rotto  only)  is  a  second  small  and  well-preserved  *  Temple  (con- 
verted in  880  into  the  church  of  8.  Maria  Egiziacd),  dating,  as  its 
style  seems  to  indicate,  from  the  close  of  the  Republic.  It  Is  an 
Ionic  pseudoperipteros,  with  4  columns  at  each  end,  and  7  on  each 
side ;  but  those  of  the  portico,  which  is  now  built  up ,  were  alone 
detached,  the  others  being  merely  decorative  half-columns.  The 
edifice  is  built  of  tufa,  with  the  projecting  and  sculptured  parts  of 
travertine,  the  whole  overlaid  with  stucco.  Its  designation  is  un- 
ascertained, and  there  is  no  authority  for  assigning  it  to  Fortuna  Vi- 
rilis.    The  interior  is  uninteresting. 

On  the  other  side  of  the  cross-street  is  the  picturesque  *Hou8e 
of  Creseentius  (PI.  II,  18,  3),  or  Gasa  di  Bienzi,  or  di  Pilato,  b,9 
it  is  commonly  called ,  constructed  of  brick  with  a  singular  admix- 
ture of  antique  fragments.  On  the  side.  Via  del  Ricovero,  a  long 
Inscription  records  that  Hhis  lofty  house  was  erected  by  Nicholas 


250  IV,  Ancient  Rome,  ROME.  Ponte  Rotto, 

son  of  Crescens,  not  from  motives  of  ambition,  but  as  a  reminis- 
cence of  the  ancient  glory  of  Rome\  The  Crescentil  were  the  most 
powerful  noble  family  in  Rome  at  the  close  of  the  10th  cent.,  but 
the  house,  the  oldest  existing  specimen  of  medisval  domestic  archi- 
tecture, is  not  earlier  than  the  11th  or  12th  cent.  (comp.  p.  xMi). 
The  building  was  originally  much  larger,  and  was  intended  to  com- 
mand the  bridge  over  the  Tiber.  —  The  ancient  bridge  which  here 
crossed  the  Tiber  was  the  Pons  jEmilius,  built  in  B.  C.  181.  Its 
position  exposed  it  to  frequent  injury  from  inundations.  After  fre- 
quent restorations,  the  two  arches  next  the  left  bank  fell  in  1598, 
and  the  bridge  was  never  rebuilt;  hence  its  present  name,  Ponte 
Rotto,  In  1853  a  chain-bridge  was  thrown  across  the  gap,  but  this 
has  again  been  removed,  the  above-mentioned  railway-bridge  sup- 
plying its  place. 

In  the  adjacent  Via  di  Boeea  delta  Veritd,  to  the  left,  standing 
back,  is  the  church  of  8.  Nicola  in  Caroere  (PI.  II,  17),  recently 
restored,  containing,  on  the  outer  walls  and  in  the  interior,  ancient 
columns  which  appear  to  have  belonged  to  three  different  temples, 
including  those  of  Spes  and  Juno  Sospita,  Visitors  may  descend 
and  examine  the  foundations  of  these  temples ,  which  have  been 
excavated  (sacristan  with  light  1/2  ^'O*  —  The  Via  di  Bocca  della 
Verity  ends  on  the  N.  at  the  Piazza  Monianara  (p.  203). 


If,  in  proceeding  from  the  Fomm  through  the  Via  di  S.  Teodoro,  we 
leave  the  Janns  Qnadrifrons  (p.  248)  on  the  right,  we  aoon  reach,  in  the  Via 
de^  Fenill,  at  the  corner,  the  church  of  S.  Anastcuia  (PI.  II,  21)  mentioned 
as  early  as  499,  frequently  restored,  and  finally  modernised  during 
last  century.  By  the  buttresses  of  the  interior  the  ancient  columns  are 
still  standing.  In  the  left  aisle  is  the  monument  of  Card.  Angelo  Mai. 
Below  the  church  are  ancient  structures  belonging  to  the  Circus  Haximus, 
and  still  earlier  remains  of  the  walls  of  Roma  Quadrata. 

The  Via  i>b^  Cbbchi  runs  between  the  Palatine  and  Aventine,  where, 
as  its  name  suggests,  was  situated  the  Circus  Maximus ,  which  was  origi- 
nally instituted  by  the  kings ,  afterwards  extended  by  Ciesar  and  furnished 
with  stone  seats,  and  lastly  more  highly  decorated  by  the  emperors.  In 
the  time  of  Pliny  it  was  capable  of  containing  260,000  spectators ,  and 
after  subsequent  extensions  the  number  of  places  was  increased  to  385,000. 
The  last  race  which  took  place  here  was  under  the  auspices  of  King  Totila 
in  549,  at  a  time  when  the  city  was  to  a  great  extent  in  ruins.  In  the 
centre  ran  a  if><na,  or  longitudinal  wall  which  connected  the  mstoe,  or 
goals,  and  determined  the  length  of  the  course.  With  a  few  trifling  ex- 
ceptions, the  walls  of  the  circus  have  entirely  disappeared  \  but  its  form 
is  distinctly  traceable  from  a  higher  point,  such  as  the  Palatine.  The 
Jewish  cemetery  lies  within  the  Circus,  at  the  base  of  the  Aventine  (entr. 
from  the  Vis  deir  Orto  degli  Ebrei,  to  the  left  of  the  Via  di  S.  Sabina). 

The  Aventine.   Honte  Testaooio. 

The  Aventine  (150  ft.),  anciently  the  principal  seat  of  the  Ro- 
man Plebs,  and  afterwards  densely  peopled,  is  now  occupied  by  mon- 
asteries and  vineyards  only.  Like  the  hills  to  the  E.  of  the  city, 
however,  it  will  soon  be  covered  with  the  houses  of  a  new  quarter. 

At  the  base  of  the  hill  is  the  Piazza  Bocca  della  VeritJi  (p.  248), 


The  Aveniine.  ROME.         IV.  Ancient  Rome.   251 

which  we  quit  by  the  Via  dell  a  Salaila  (PI.  II,  18),  continued  by  the 
Via  dblla  Maiimorata(P1.  Ill,  18).  To  the  left,  beyond  S.  Maria  in 
Cosmedin,  a  street  diverges  from  the  Via  della  Salara  to  S.  Prisca 
(p.  264).  About  2min.  farther,  at  the  small  Chapel  of  St,  Anna^  a 
second  street  diverges,  leading  to  the  churches  mentioned  at  pp.  252, 
263.  The  Via  della  Marmorata  reaches  the  Tiber  in  6  min.  from  the 
Piazza  Bocca  della  Verity.  Skirting  the  river  for  about  2  min.,  we 
enjoy  to  the  right  a  pleasing  retrospect  of  the  Capitol;  opposite 
lies  the  harbour  of  Ripa  Grande,  in  front  the  large  Ospizio  dl  S. 
Michele  (p.  332).  We  next  reach  the  Mabmorata  (PI.  Ill,  18,  15), 
the  landing-place  and  dep6t  of  the  unwrought  marble  of  Carrara. 

The  street,  here  generally  known  as  Via  di  Porta  S.  Paolo 
(PI.  Ill,  17),  now  leaves  the  river  and  leads  towards  the  Porta  S. 
Paolo.  The  former  Prati  del  Popolo  BomanOj  between  the  street 
and  the  river,  are  now  occupied  by  a  new  quarter  of  ugly  tenement 
houses. 

After  6  min.  the  road  from  the  churches  on  the  Aventine  de- 
scends from  the  left  (p.  253).  Just  beyond  this  the  street  is  crossed 
by  the  ViaGalvani,  leading  on  the  left  to  S.  Saba,  S.  Prisca  (p.  254), 
and  the  Circus  Maximus  (p.  250),  and  on  the  right  to  the  river,  Mte. 
Testaccio,  and  the  Protestant  Cemetery. 

The  ♦Monte  Testacoio  (PI.  IH,  13)  is  an  isolated  mound, 
115  ft.  in  height,  rising  above  the  Tiber,  and  consisting,  as  the 
name  indicates,  entirely  of  broken  pottery.  It  is  formed  of  the 
large  earthenware  jars  (amphorsB)  from  Spain  and  Africa  which 
were  unpacked  at  the  neighbouring  Emporium.  The  hill  is  now 
honeycombed  with  cellars ,  in  some  of  which  wine  is  sold ,  but  it 
is  now  less  frequented  than  formerly.  —  The  summit,  marked  by  a 
wooden  cross,  commands  a  magniflcent  *PAif  obama  :  — 

To  the  N.,  the  city,  beyond  it  the  mountains  snrronnding  the  crater  of 
Baccano,  then  the  isolated  Soracte  with  its  five  peaks.  To  the  E.  the  Sabine 
Hts.,  in  the  background  the  imposing  Leonessa,  in  the  nearer  chain  H.  Gen- 
naro,  at  its  base  Monticelli,  farther  to  the  right  Tivoli.  Beyond  this  chain 
the  summits  of  M.  Velino  above  the  Lago  Fucino  are  visible.  To  the  S. 
of  Tivoli  appears  Palestrina.  After  a  depression,  above  which  some  of 
the  Volscian  Mts.  rise,  follow  the  Alban  Mts.:  on  the  buttress  farthest 
E.  is  Golonna,  beyond  it  Frascati,  higher  up  Kocca  di  Papa,  M.  Cavo 
with  its  monastery,  below  it  Marino,  finally  to  the  right  Castel  Gandolfo. 
In  the  broad  Campagna  are  the  arches  of  the  Aqua  Claudia  and  the 
Acqua  Felice  towards  the  8.E.,  and  the  tombs  of  the  Via  Appia. 

Halfway  between  the  Via  di  Porta  S.  Paolo  and  Mte.  Testaccio, 
on  the  left,  is  an  iron  gate  marked  S.  P.  Q.  R.,  passing  through 
which  we  reach  the  Protestant  Cemetery  and  the  Pyramid  of  Cestius. 

The  ProteBtant  Cemetery  (PI.  Ill,  16)  is  open  from  7  a.m.  till 
dusk  (custodian  25  c).  The  older  burying-ground,  adjoining  the  Py- 
ramid of  Cestius,  is  now  disused.  In  1825  the  present  burial- 
ground  was  set  apart  for  this  purpose.  It  is  a  retired  spot,  rising 
gently  towards  the  city-wall,  affording  pleasing  views,  and  shaded 
by  lofty  cypresses,  where  numerous  English,  American,  German 
Russian,  and  other  visitors  to  Rome  are  interred. 


252  IV.  Ancient  Rome,         ROME.  Pyramid  of  CestiuB, 

Amongst  many  illnstrionB  names  the  eye  will  fall  with  interest  upon 
that  of  the  poet  Shelley  (d.  1822),  ^cor  cordium\  whose  ashes  were  buried 
here  (near  the  upper,  or  Eastern,  wall).  His  remains  were  burned  in  the 
bay  of  Spezia,  where  they  were  washed  ashore ;  his  heart,  the  only  part 
not  eonsumed  by  the  flames,  is  now  at  Boscombe  in  England.  The  tomb< 
stone  of  John  Keats  (d.  1821) ,  who  also  rests  here,  bears  the  melancholy 
inscription,  *Here  lies  one  whose  name  was  writ  in  water'.  The  graves  of 
J.  A.  Carstens  (d.  1798),  the  painter  (in  the  old  cemetery),  John  Oibson 
(d.  1866),  the  sculptor,  and  several  other  artists  may  also  be  recognized. 

The  •Pyramid  of  Costiua  (PI.  Ill,  16),  originally  in  the  Via 
Ostiensis ,  bnt  enclosed  by  Anrelian  within  the  city-wall ,  Is  the 
tomb  of  Oalns  Cestlus ,  who  died  before  B.  0.  12;  The  Egyptian 
pyramidal  form  was  not  nnfreqnently  adopted  by  the  Romans  in  their 
tombs.  That  of  Cestins  is  built  of  brick  and  covered  with  marble 
blocks;  height  116ft.,  length  of  each  side  of  the  base  98  ft. 

According  to  the  principal  Inscbiption  on  the  E.  and  W.  sides  (^G. 
Cestlus  L.  F.  Pob.  Epulo.  Pr.  Tr.  PI.  VII.  vir  Epulonum'),  the  deceased 
was  prcetor,  tribune  of  the  people,  and  member  of  the  college  of  Septemviri 
Epulones,  or  priests  who  superintended  the  solemn  sacrificial  banquets. 
The  inscription  on  the  E.  side  below  records  that  the  monument  was 
erected  in  330  days  under  the  supervision  of  L.  Pontius  Mela  and  the 
freedman  Pothus.  Alexander  VII.  caused  the  deeply  imbedded  monument 
to  be  extricated  in  1660,  when  the  two  columns  of  white  marble  and  the 
colossal  bronse  foot  now  in  thePalasxo  del  Conservator! (p.  211),  were  found. 
According  to  the  inscription  on  the  pedestal,  the  foot  appears  to  have 
belonged  to  a  colossal  statue  of  Cestius,  —  The  Vault  (19  ft.  long,  13  ft. 
wide,  and  16  ft.  high)  was  originally  accessible  by  ladders  only.  The  present 
entrance  was  made  by  order  of  Alexander  VII.  (key  kept  by  the  custodian 
of  the  Protestant  cemetery).    The  vaulting  shows  traces  of  painting. 

The  Porta  8,  Paolo ,  immediately  to  the  E,  of  the  Pyramid  of 
Cestius ,  is  the  ancient  Porta  Ostiensis,  —  Hence  to  the  Basilica 
of  8.  Paolo  Fuorij  see  p.  352. 

The  second  road  ascending  from  the  Via  Salara  to  the  left,  200 
paces  to  the  S.  of  the  Piazza  Bocca  della  Veritji  (comp.  p.  248),  leads 
to  the  three  Churches  on  the  Aventine(S.  Sabina,  S.  Alessio,  S.  Maria 
Aventina),  situated  close  together  immediately  above  the  river. 

•S.  Sabina  (PI.  Ill,  18),  which  probably  occupies  the  site  of  a 
temple,  was  erected  in  425,  in  the  pontificate  of  Ccslestine  I.,  by 
Petrus,  an  Illyrian  priest,  and  restored  in  the  13th,  15th,  and  16th 
centuries.  Honorins  III.  presented  the  church,  along  with  the  old 
papal  palace  adjoining  it,  to  St.  Dominic,  who  made  it  the  head- 
quarters of  his  Order.  It  is  usually  entered  by  a  side-door;  if  closed, 
visitors  ring  at  the  door  to  the  left,  and  proceed  through  the  mon- 
astery to  the  old  portico,  now  closed,  and  the  principal  portal.  The 
doors  are  adorned  with  scriptural  scenes  carved  in  wood  (5th  cent.  ?). 

The  iNTBBion  (comp.  p.  xlvi),  with  its  twenty-four  ancient  Corinthian 
columns  of  Parian  marble  and  open  roof,  has  retained  the  character  of 
an  early  basilica  almost  unimpaired.  —  Enteance-Wall:  Over  the  door, 
an  ancient  *  Mosaic  (5th  cent.)-,  inscription  with  the  name  of  the  founder; 
on  the  left  a  figure  emblematical  of  the  Ecclesia  ex  Circumcisione  (Jewish 
Christians),  on  the  right  that  of  the  Ecclesia  ex  Gentibus  (Gentile  Christians). 
—  U^AVK.  ()n  the  pavement  in  the  centre  is  the  tomb  of  Hunio  da  Zamora, 
principal  of  the  Dominican  order  (d.  1300),  adorned  with  mosaic.  —  At  the 
end  of  the  Right  Aislb,  in  the  Chapel  of  St.  Dominicus,  the  ^Madonna 


8.  Maria  Aventina.  ROME.         JV,  Aneimt  Rome.   253 

del  Bosario  with  SS.  Dominicus  and  Catherine,  an  altar-piece  by  Sasso- 
/erratOj  regarded  as  his  masterpiece.  The  otherjiaintings  (by  the  Zueeheri 
and  others)  are  of  no  great  value.  —  Festival,  29th  Aug. 

The  small  garden  of  the  fonner  Dominican  Monastery,  adjoining 
the  church,  contains  an  old  orange-tree  said  to  have  been  planted 
by  St.  Dominic.  The  handsome  cloisters  (p.  xM),  with  103  small 
columns,  and  the  large  garden  (fine  view)  belong  to  a  Military 
Hospital  and  are  generally  inaccessible. 

8.  Alessio  (PI.  Ill,  18)  is  an  ancient  church  with  an  entrance- 
court.  The  date  of  its  foundation  is  unknown ,  but  it  was  re-conse- 
crated by  Honorius  III.  after  the  recovery  of  the  relics  of  the  saint 
in  1217.  In  1426  it  came  into  the  possession  of  the  Order  of  St. 
Jerome.  In  the  neighbouring  monastery  a  blind  asylum  (Istituio  d^ 
Cieehi)  has  been  established.  We  enter  the  fore-court,  and,  if  the 
church  is  closed,*ring  at  the  door  on  the  left  (^2  ^r.). 

The  IBTERXOB  was  modernised  in  1760,  and  again  recently.  The  N. 
Aisle  contains  a  well  and  a  wooden  staircase  belonging  to  the  house  of  the 
parents  of  the  saint,  which  formerly  stood  on  this  site.  Two  small  columns 
adorned  with  mosaic  in' the  choir  are,  according  to  the  inscription,  the 
remains  of  a  work  of  19  columns  by  Jacobus  Gosmas  (p.  xlvil). 

A  small  piazza  is  next  reached,  where  the  route  to  Porta  S.  Paolo 
(p.  252)  turns  to  the  left.  The  brown  door  No.  40,  to  the  right  in 
this  piazza ,  with  the  arms  of  the  Grand  Master  of  the  Knights  of 
Malta  above  it,  contains  the  celebrated  ♦Kbt-holb  through  which 
St.  Peter's  is  seen  at  the  end  of  the  principal  avenue  of  the  garden. 
(Visitors  admitted  to  the  garden  on  Wed.  and  Sat.,  9  till  dusk ;  ring.) 

8.  Hazia  Aye&tina,  also  called  del  Friorato  (PI.  lU,  18),  be- 
longs to  the  Maltese  Order,  which  celebrates  its  periodical  festivals 
here.  This  church ,  founded  at  a  very  remote  period,  belonged  for 
two  centuries  to  the  Templars ,  vrhose  symbols  are  still  extant ;  it 
vras  restored  by  Pius  V. ,  and  remodelled  by  the  Grand  Prior  Card. 
Giov.  Batt.  Rezzonico  from  plans  by  Piranesi  in  1765. 

To  the  right  of  the  entrance  is  an  ancient  sarcophagus,  on  which  the 
deceased  (head  unfinished),  surrounded  by  Minerva  and  the  Muses,  is 
represented;  the  remains  of  a  Bishop  Spinelli  were  afterwards  placed  in 
it.  Also  a  statue  of  Piranesi  (d.  i7T8),  and  the  monuments  of  several 
members  of  the  Maltese  Order:  Ghrand  Master  Bic.  Garacciolo  (d.  1S95); 
Gio.  Diedo,  Grand  Prior  of  Venice  and  nephew  of  Pope  Eugene  III. ;  the 
^baillis'  Bart.  Garafa,  Sergio  Seripando,  and  others  of  the  15th  century. 
The  third  recess  to  the  left  contains  a  remarkable  marble  reliquary  of  the 
13th  cent.,  roughly  wrought  after  the  pattern  of  an  antique  funeral-urn. 

Adjoining  the  church  is  the  Villa  Maoistbalb,  or  residence  of 
the  Grand  Masters  of  the  Maltese  Order.  The  2nd  floor  contains  a 
large  saloon,  hung  with  portraits  of  all  the  grand  -  masters  (74) 
from  Frater  Gerhardus  (1113)  down  to  the  present  Grand  Master 
Ceschi.  Several  relics  connected  with  the  Order  are  also  preserved 
here.  The  upper  floor  commands  a  picturesque  *Vibw  of  Rome", 
the  Gampagna,  and  the  mountains.  —  The  garden,  which  contains 
one  of  the  flnest  palm-trees  in  Rome,  affords  a  similar  prospect. 

The  above-named  road  to  the  Porta  S.  Paolo  descends  in  10  min. 
to  the  main  roAd  (p.  251). 


254  IV,  Ancient  Rome.        ROME.  Via  Appia. 

The  Via  Galyani  (see  p.  251)  leads  to  the  left  through  the 
depression  between  the  N.  and  S.  summits  of  the  Aventine  and  in 
5  min'.  reaches  (left)  a  *Fragment  of  the  old  Servian  Wcdlj  about 
30  ft.  high  and  100  ft.  long.  Like  the  wall  mentioned  at  p.  243, 
it  consists  of  large  blocks  of  tufa,  laid  alternately  lengthwise  and 
crosswise.  The  neighbouring  arch  is  of  much  more  recent  date.  The 
remains  show  that  the  wall  was  quite  out  of  use  and  built  over  in 
the  later  days  of  the  Republic. 

A  little  farther  on  the  Via  S.  Prisca  (left)  and  the  Via  di  San 
Saba  (right)  diverge  to  the  churches  of  these  names. 

8.  Prisca  (PI.  Ill,  21 ;  usually  closed),  a  very  ancient  church, 
but  modernised  in  the  17th  cent.,  perhaps  occupies  the  site  of  the 
temple  of  Diana  belonging  to  the  Latin  League ,  and  founded  by 
Servius  Tullius.  The  old  columns  have  been  built  into  the  walls.  — 
About  10  min.  farther  on  the  street  unites  with  the  Via  S.  Sabina, 
which  passes  the  church  of  that  name  (p.  252). 

8.  8aba  (PI.  Ill,  20),  another  church  of  great  antiquity,  was 
almost  entirely  rebuilt  in  1465.  To  the  left  in  the  portico  is  an  an- 
cient sarcophagus  with  a  representation  of  a  wedding  and  Juno 
Pronuba.  The  interior  contains  14  columns,  some  of  granite,  others 
of  marble,  with  mutilated  capitals;  the  walls  of  the  nave  show 
traces  of  paintings.  The  church  belongs  to  the  Collegium  German- 
icum,  and  is  most  easily  seen  on  Thurs.  afternoons.  Festival,  5th  Dec. 

The  Via  Appia  within  the  City. 
Thermae  of  Caracalla.  Tomb  of  the  Scipios.  Columbaria. 

From  the  Arch  of  Constantine  (p.  236)  we  follow  the  Via  di  S. 
GsEGOBio  towards  the  S.,  leading  between  the  Palatine  and  Cselius. 
On  the  right  we  observe  the  handsome  pabn  of  the  convent  of 
S.  Bonaventura  on  the  Palatine  (p.  246),  and  the  arches  of  the  Aqua 
Claudia  (p.  247).  After  5  min.  S.  Gregorio  (p.  258)  lies  on  the  left, 
beyond  which  the  Via  de'  Cerchi  (p.  260)  diverges  to  the  right. 
Near  the  point  where  the  Via  S.  Ghregorio  unites  with  the  Via  di 
PoBTA  S.  Sbbastiano  (PI.  Ill,  24,  26) ,  was  anciently  situated  the 
Porta  Capenaf  or  Capuan  Gate ,  whence  the  Via  Appia  issued.  "We 
follow  the  Via  di  Porta  S.  Sebastiano  to  the  left. 

After  5  min..  at  the  end  of  the  avenue  which  runs  parallel  with  the 
street  on  the  right,  a  road  ascends  on  the  right  to  the  church  of  S.  Balbina 
(PI.  Ill,  23),  situated  on  the  slope  of  the  Aventine,  perhaps  on  the  site 
of  an  ancient  temple,  and  consecrated  by  Gregory  the  Great.  The  roof 
is  still  open,  but  the  church  is  modernised  and  destitute  of  ornament. 
It  contains  a  relief  (Crucifixion)  by  Mino  da  Fiesole  and  a  monument 
by  Johannei  Cosmos.  FestivaJ,  Slst  March.  (Visitors  ring  at  the  gate  on 
the  right  of  the  church.)  The  adjacent  building  is  a  Reformatory  for  young 
criminals.  The  old  tower  commands  a  fine  *View.  —  On  the  way  back  to 
the  road  we  also  obtain  a  pleasing  view  of  the  Palatine  to  the  left,  and  of 
the  Ceelius,  with  the  Villa  Mattei  (p.  259)  and  8.  Stefano  Rotondo. 

After  following  the  Via  di  Porta  S.  Sebastiano  for  about  1/2  M.,  we 
*  ain  a  view  to  the  left  of  the  Villa  Mattei ,  to  which  the  Via  delle 


Via  Appia, 


ROME.         IV,  Ancient  Rome.   255 


Mole  di  S.  Sisto  diverges  to  the  left.  The  road  here  crosses  the 
turbid  streamlet  Marrana,  beyond  which,  to  the  right,  the  Via 
Antonina  leads  to  the  (^/^  M.  from  the  Arch  of  Gonstantine)  ruins 
of  the  — 

*Tlienii8e  of  Caraealla,  or  Antoninianae  (PI.  Ill,  23 ;  adm.,  see 
p.  124).  They  were  begun  in  212  by  Caracalla,  extended  by  Hello- 
gaboLus,  and  completed  by  Alex.  SeventSf  and  they  could  accommo- 
date 1600  bathers  at  once.  The  magnificence  of  these  baths  was 
unparalleled.  Numerous  statues,  including  the  Farnese  Bull, 
Hercules,  and  Flora  at  Naples,  mosaics,  etc.,  have  been  found  here; 
while  the  walls,  bare  as  they  now  are,  and  notwithstanding  the  de- 
struction of  the  roof,  still  bear  testimony  to  the  technical  perfection 
of  the  structure.  The  establishment  was  quadrangular  in  form,  sur- 
rounded by  a  wall,  and  had  its  porticoes,  race-course,  etc. :  length 
240  yds.,  width  124  yds. ;  total  area  of  grounds  360  yds.  in  length, 
by  as  many  in  breadth.  In  the  time  of  the  Emperors  the  act  of  tak- 
ing a  bath  had  become  a  highly  luxurious  and  elaborate  process, 
the  chief  steps  in  which  were  as  follows:  first,  a  hot-air  bath  in  the 
so-called  Tepidaiium;  second,  a  hot-water  bath  in  the  Caldarium; 
next,  a  cold  plunge  in  the  Frigida^ium  or  Piscina  ,*  and  finally,  the 
'rubbing  down*  ox  'shampooing   In  the  drying  room.   The  three 


oo  BO  ooaoaoooooona  0  00000  00  OQ   000000000000000000000000000 

^TimnmninnmiiiTTTiTnHinniHTnnnnHJi 


256  IV.  Ancient  Borne.         ROME.  Via  Appia. 

principal  lOomB,  in  the  main  axis  of  the  building,  have  been  identi- 
fied, but  the  nameB  of  the  others  are  somewhat  arbitrary. 

We  first  enter  in  a  straight  direction  a  spacious  oblong,  once  sur- 
rounded by  columns  (Peristyle)^  and  containing  scanty  remains  of  mosaic 
pavement.  In  the  middle  of  the  long  wall,  where  the  well  is  now,  pro- 
jected a  semicircular  Exedra.  We  then  enter  the  Tepidariumf  a  large 
room  formerly  covered  with  a  slightly  vaulted  roof:  in  the  corners  are 
four  basins  for  luke-warm  water  baths.  —  To  the  left  lies  the  FHgidarium, 
a  large  unroofed  room,  with  a  swimming-basin.  —  To  the  right  is  the 
CkMarium,  a  circular  chamber  with  very  thick  walls,  the  vaulting  of  which 
has  fallen  in.  The  heating  apparatus  and  hot-air  pipes  have  recently  been 
discovered  here.  A  small  flight  of  steps  within  one  of  the  piers  to  the 
right  affords  a  good  survey  of  the  ground-plan.  —  The  smaller  rooms  are 
arranged  symmetrically  on  both  sides  of  the  three  principal  chambers. 
In  the  second  (8J  Peristyle  (where  most  of  the  Mosaic  of  the  Gladiators 
In  the  Lateran  was  discovered)  are  exhibited  architectural  and  sculptural 
fragments,  and  the  remains  of  a  mosaic  pavement  with  sea-monsters.  -^ 
Outside  these  rooms  were  spaces  for  gyomastic  exercises ,  libraries ,  and 
gardens.  Opposite  the  Galdarium,  outside  the  W.  wall,  are  distinct  traces 
of  a  Stadium  for  foot-races.  Other  remains  of  the  Thermae  are  scattered 
throughout  the  neighbouring  vineyards. 

Returning  to  the  Via  di  Porta  S.  Sebastiano ,  we  next  reach  an 
arboretum  (8tmen%aio  ComunaU)  on  the  left;  then,  a  little  beyond 
it,  on  the  right ,  the  ancient  church  of  88.  Ifereo  ed  iboliilleo  (PI. 
Ill,  23,  26 ;  open  in  the  morning),  on  the  site  of  a  temple  of  lisis, 
rebuilt  by  Leo  HI.  about  800,  and  again  by  Card.  Baionius  at  the 
end  of  the  16th  century.   Festival,  12th  May. 

The  INTEBIOB  exhibits  the  characteristics  of  an  early  basilica.  At  the 
end  of  the  nave  is  an  ambo  on  the  left^  supposed  to  be  of  great  age, 
brought  from  S.  Silvestro  in  Capite ;  opposite  is  a  marble  candelabrum  for 
the  Easter-candles,  of  the  15th  century.  Above  the  arch  of  the  tribune  are 
fragments  of  a  mosaic  of  the  time  of  Leo  III. :  Transfiguration,  with  Moses 
and  Blias,  in  front  the  kneeling  Apostles,  on  the  right  the  Annunciation, 
on  the  left  the  Madonna  enthroned  (comp.  p.  xlvi). 

The  opposite  church  of  8.  Siato,  restored  by  Benedict  XIII. ,  is 
uninteresting.  The  monastery  was  dedicated  to  St.  Dominic  by  Ho- 
norius  III.  —  The  Via  deUa  Ferratella  then  diverges  to  the  left  to  the 
Lateran  (p.  265).  —  On  the  right,  a  little  farther  on,  is  8.  Cesareo 
(PI.  Ill,  26;  open  on  Sun.  and  festiyal  mornings),  a  small  but 
curious  church,  mentioned  by  Gregory  the  Great,  and  finally  restored 
by  Clement  VIII. 

Intxbiob.  In  the  centre  of  the  anterior  portion  of  the  church  are  two 
altars,  of  the  close  of  the  16th  cent. ;  at  the  farther  end,  to  the  left,  the  old 
pulpit  with  sculptures ;  Christ  as  the  Lamb,  the  symbols  of  the  Apostles, 
and  sphinxes^  opposite,  a  modem  candelabrum  with  ancient  basis.  The 
inlaid  screen  of  the  Pkbsbttesium,  and  the  decorations  of  the  High  Aitas 
are  mediaeval.    The  tribune  contains  an  ancient  episcopal  throne. 

The  piazza  in  front  of  the  church  is  adorned  with  an  antique 
column.  The  ancient  Via  Latina ,  which  traversed  the  valley  of  the 
Sacco  and  terminated  at  Capua,  diverges  here  to  the  left.  The  old 
Porta  Latina  (PI.  Ill,  28),  5  min.  from  S.  Cesareo,  was  closed 
in  1808.  —  Near  it,  to  the  left,  beyond  the  old  monastery,  is  the 
church  of  -Sf.  Giovanni  a  Porta  Latina  fPl.  Ill,  29),  ^ich  was 
modernised  by  restorations  in  1566,  in  1633,  and  chiefly  by  Card. 
Rasponi  in  1686.   It  contains  four  antique  columns  in  the  portico 


within  the  City,  ROME.         IV,  Ancient  Rome.    257 

and  ten  in  the  interior.  —  To  the  right,  nearer  the  gate,  is  an 
octagonal  chapel  of  1609  (perhaps  designed  by  Bramante),  named 
8.  Oiovanni  in  Oleo  from  the  legend  that  St.  John  was  thrown 
Into  a  cauldron  of  "boiling  oil  at  this  spot,  but  having  come  out 
unhurt  was  then  set  at  liberty. 

Farther  on  in  the  Via  di  Porta  S.  Sebastiano,  on  the  left  by  the 
cypress,  in  the  Vigna  No.  13  (formerly  Vigna  Sassi),  is  the  famous 
Tomb  of  the  fkripioB  (PI.  Ill,  25,  28;  open  10-3,  uninteresting, 
candles  required,  */2  ^^Oj  discovered  in  1780,  but  now  containing  a 
model  only  of  the  ancient  sarcophagus  of  peperino,  which  Pius  VII. 
caused  to  be  removed  with  the  fragments  of  the  others  to  the  Vatican 
(see  p.  311). 

This  sarcophagus  once  contained  the  remains  of  L.  Cornelius  Seipio 
BarbatttSy  Consul  in  B.  G.  298,  the  eldest  member  of  the  family  buried 
here.  The  bones  of  the  hero,  which  were  found  in  good  preservation, 
were  interred  at  Padua  by  Quirini,  a  Venetian,  in  order  to  withdraw  them 
from  the  gaze  of  the  curious.  Here,  too,  were  interred  the  son  of  Seipio 
Barbatus,  Consul  in  259,  many  of  the  younger  Scipios,  the  poet  Enniug^ 
and  several  members  of  other  families  and  freedmen.  The  tomb  was  ori- 
ginally above  the  surface  of  the  earth,  with  a  lofty  threshold;  the  interior 
was  supported  by  walls  hewn  in  the  solid  tufa-rock.  It  was  probably 
injured,  or  at  least  altered,  during  the  imperial  age,  when  freedmen  were 
interred  here  ^  and  as  it  has  since  been  to  some  extent  modernised,  it  is 
hardly  worthy  of  a  visit.  Various  modem  alterations  have  increased  the 
diffloulty  of  realising  its  original  arrangement. 

The  adjacent  Vigna  Codini,  No.  14,  contains  three  *CoIiimbaria 
in  excellent  preservation  (1  fr.}.  These  Columbaria  are  subterranean 
tombs  capable  of  containing  a  great  number  of  cinerary  urns,  and 
derive  their  name  from  the  resemblance  of  the  niches  in  which  the 
urns  stood  to  pigeon-holes.  They  date  from  the  imperial  age,  and  were 
generally  constructed  by  several  persons  in  common,  or  as  a  matter 
of  speculation,  and  each  recess  could  be  purchased  or  inherited. 

Two  of  these  structures  are  very  similar;  steep  steps  descend  into  a 
square  vault,  the  walls  of  which  contain  the  niches  (columbaria^  locult).  The 
low  stone  benches  (podia)  round  the  vault  also  contain  cinerary  urns.  The 
vaulting  of  the  larger  building,  in  which  there  are  more  than  600  urns,  is 
borne  by  a  massive  painted  pier,  also  utilised  for  loculi.  The  names  of  the 
deceased  were  inscribed  over  or  under  the  niches  on  plaster  or  marhle 
tablets,  on  which  their  mode  of  acquisition  of  the  spot  and  other  remarks 
were  occasionally  added.  Each  niche  contained  2,  or  more  rarely  1,  3, 
or  4  oWac,  or  cinerary  urns.  The  nature  of  the  decorations  depended 
of  course  on  the  means  and  taste  of  the  family.  The  smaller  building, 
according  to  the  inscriptions,  was  built  in  A.  D.  10  for  the  Slaves  and 
Freedmen  of  Marcella^  niece  of  Augustus.  The  third  columbarium  (ad- 
mission generally  denied;  additional  fee),  discovered  in  1863,  consists  of 
three  vaulted  passages,  the  walls  of  which  contain  rectangular  niches  of 
various  sizes,  some  of  them  formerly  adorned  with  rare  marbles  and  stucco. 

There  is  another  structure  of  the  same  kind  in  the  same  vigna  as  the 
tomb  of  the  Scipios  (formerly  Vigna  Sassi,  see  above),  to  the  E.,  near  the 
chapel  of  S.  Giovanni  in  Oleo  (see  above).  This  columbarium,  with 
interesting  decorations  in  stucco  and  colours,  is  the  so-called  Tomb  of  the 
Freedmen  of  Octavia.  A  staircase,  partly  modem,  descends  to  a  niche 
decorated  with  plaster,  below  which  is  a  cinerary  urn  with  shells  and 
mosaic.  The  tomb  is  vaulted;  on  the  right  is  an  apse  with  painted  vine- 
wreaths  and  Victories.  The  key  is  kept  by  the  custodian  of  the  church 
(apply  at  the  old  Vigna  Sassi). 

Basdsksb.   Italy  II.   10th  Edition.  17 


258  IV.  Ancimt  Rome,        ROME.  8,  Qregorio  Magna. 

Immediately  within  the  Porta  S.  Sehastiano  (1 Y4  M.  from  the 
Arch  of  Oonstantine)  is  the  Aroh  of  Dtubub,  a  sadly -mutilated 
monument,  -which  was  prohably  erected  in  honour  of  Claudius 
Drusus  Germanicus,  B.C.  8.  It  is  constructed  of  trayertine-blocks, 
partly  covered  with  marble ,  and  still  possesses  two  marble  columns 
on  the  side  towards  the  gate.  It  terminated  in  a  pediment,  until 
Caracalla,  for  the  supply  of  his  baths,  conducted  an  aqueduct  over 
it,  the  brick  remains  of  which  seriously  mar  the  effect. 

The  marble  blocks  of  the  Porta  S,  Sehastiano  (PL  III ,  28), 
formerly  Porta  Appia ,  seem  to  have  been  taken  from  ancient  build- 
ings.  The  gate  is  surmounted  by  mediffival  towers  and  pinnacles. 

With  regard  to  the  Via  Appia  without  the  city,  see  p.  348;  the  Cata- 
combs of  Callisius,  U/i  M.  from  the  gate,  aee  p.  361. 

The  Ceelins. 

This  once  densely-peopled  hill  (165  ft.)  is  now  deserted,  like  the 
Palatine  and  Aventine. 

Starting  from  the  Arch  of  Constantino  (p.  236),  and  following 
the  Via  di  S.  Gbeoorio  (comp.  p.  254) ,  or  the  public  walks  above 
it  to  the  left,  we  reach  the  Piazza  di  8.  Qregorio.  A  lofty  flight  of 
steps  ascends  hence  to  the  right  to  S.  Oregoxio  Hagno  (PI.  Ill, 
24),  on  the  site  of  the  house  of  St.  Gregory's  father,  dedicated  by 
that  pope  in  575  to  St.  Andrew,  and  afterwards  by  Gregory  n.  to 
his  first  namesake.  In  1633  it  was  restored  by  Card.  Borghese,  the 
steps,  colonnade,  portico,  and  fa^de  being  designed  by  Oiov.  Batt. 
8oria.  Its  reconstruction  was  begun  in  1725.  Festival,  12th  March. 

ENTBAifCE  CouKT,  embellished  with  Ionic  pilasters.  Under  the  colon- 
nade in  front  of  the  entrance :  left,  monument  of  the  Guidiccioni  of  1643, 
but  with  sculptures  of  the  15th  cent. ;  right,  ^Monument  of  the  two  brothers 
Bonsi  of  the  close  of  the  i5th  century.  —  Interior,  with  sixteen  ancient 
columns.  Over  the  High  Ai.tab:  St.  Andrew,  altar-piece  by  Balestra.  At 
the  end  of  the  Bight  Aislb:  *St.  Gregory,  altar-piece  by  8.  Badaloechi  it). 
Below  it  a  ^Predella:  the  Archangel  Michael  with  the  apostles  and  other 
saints,  attributed  to  L.  SignorelH,  Here  to  the  right  is  a  small  Chamber 
preserved  from  the  house  of  St.  Gregory,  containing  a  handsome  ancient 
*Ghair  of  marble  and  relics  of  the  saint.  Opposite,  from  the  left  aisle,  the 
Cap.  Salviati  is  entered.  In  front  of  the  altar ,  on  the  right ,  an  ancient 
and  highly  revered  Madonna,  which  is  said  to  have  addressed  St  Gregory; 
left,  a  •Ciborium  of  the  i5th  cent,,  disfigured  by  regilding. 

The  sacristan  (1/2  fr.)  now  shows  three  ^Chapels  detached  from  the 
church ,  and  connected  by  a  colonnade.  A  fragment  of  the  Servian  wall, 
partly  covered  with  remains  of  other  walls,  is  observed  hwre.  To  the  right, 
Chapel  of  St.  Silvia,  mother  of  Gregory,  with  her  statue  by  Cordieri; 
above  it ,  in  the  vaulting  of  the  niche ,  a  fresco  by  Ovido  Reni ,  greatly 
damaged.  —  In  the  centre  the  Chapel  of  St.  Andrew.  Over  the  altar: 
Madonna  with  SS.  Andrew  and  Gregory,  painted  on  the  wall  in  oils  by 
BonealH.  On  the  right,  Martyrdom  of  St.  Andrew  (a  copy  in  the  Lateran, 
p.  272),  Domeniehino;  on  the  left,  *St-  Andrew,  on  the  way  to  the  place  of 
execution,  beholding  the  cross,  Ouido  Rent;  two  pictures  once  extravagantly 
admired.  —  To  the  left  the  Chapel  of  St.  Barbara,  with  a  sitting  statue 
of  St.  Gregory  in  marble,  said  to  have  been  begun  by  Michael  Angelo^  com- 
pleted by  Cordieri.  In  the  centre  a  marble  table  with  antique  feet,  at 
which  St.  Gregory  is  said  to  have  entertained  twelve  poor  persons  daily. 
According  to  the  legend,  an  angel  one  day  appeared  and  formed  a  thirteentL 


88,  Oiovanni  e  Paolo,        ROME.         IV.  Ancient  Rome,   259 

"We  now  ascend  to  the  N.,  between  remains  of  old  walls,  to  — 

88.  Giovanni  e  Paolo  (PI.  11,  24),  a  small  church  in  the  form  of 
a  Greek  cross,  with  a  conspicnons  dome,  which  has  existed  since 
the  5th  century.  The  portico,  mosaic-pavement  In  the  interior,  and 
architecture  of  the  apse  are  of  the  12th  century.  The  whole  build- 
ing, as  the  inscription  records,  was  sumptuously  restored  by  Cardi- 
nal Howard  in  1880.  According  to  the  legend  the  house  of  the  two 
saints,  who  were  beheaded  in  the  reign  of  Julian  the  Apostate,  stood 
on  this  spot.  In  1887  some  Interesting  remains  of  an  ancient 
•Dwelling  were  found  here,  with  Pagan  and  Christian  mural  paint- 
ings (e.g.  the  Martyrdom  of  the  saints).  Frescoes  of  the  12th  cent. 
(Christ  with  the  Archangels,  St.  John,  and  St.  Paul)  were  also  dis- 
covered. The  entrance  is  at  the  end  of  the  S.  aisle  (sacristan,  with 
light,  V2fr-)-  — The  ^dioining  Monastery  belongs  to  the  Passionists. 

We  now  ascend  the  street  flanked  by  walls,  and  reach  the  Arch 
of  the  Consuls  Dolabella  and  8ilanu8  (PI.  Ill,  27),  constructed  of 
travertine  in  A.  D.  10,  and  apparently  belonging  to  an  aqueduct. 

Near  this,  on  the  right.  No.  8,  is  the  portal  of  an  old  hospital 
which  once  belonged  to  the  small  church  of  8,  Tommaso  in  Formis 
(PI.  Ill,  24,  27),  situated  behind  it. 

The  Interesting  mosaic-medallion,  above  the  door,  representing  Christ 
between  a  black  and  a  white  slave,  was  executed  in  the  13th  cent,  by 
two  masters  of  the  Cosmas  family,  and  is  an  allusion  to  the  order  of  Trin- 
itarians founded  in  1198  for  the  purpose  of  ransoming  Christian  slaves. 

To  the  left  is  the  street  descending  to  the  Colosseum  (p.  234). 
On  the  right  lies  the  oblong  Piazza.  DBLiiA  Natioblla  (PI.  Ill,  27) 
with  a  double  row  of  trees,,  so  called  from  the  small  marble  boat 
copied  by  order  of  Leo  X.  from  the  ancient  original  formerly  in  the 
portico  of  the  church. 

The  church  of  8.  Karia  in  Domnica)  or  deUa  NavicellOj  one  of 
the  oldest  deaneries  of  Rome,  was  rebuilt  by  Paschalis  I.  in  817,  to 
which  era  the  columns  of  the  nave  and  tribune  belong ;  the  portico, 
erected  by  Leo  X.,  is  said  to  have  been  designed  by  Raphael. 

Interior.  The  Nave  rests  on  eighteen  fine  columns  of  granite ;  above, 
below  the  ceiling,  is  a  frieze  painted  by  Oiulio  Bomano  and  Perino  del  Vaga 
(in  grisaille;  genii  and  lions  in  arabesques),  afterwards  retouched.  The  arch 
of  the  Teibdne  rests  on  two  columns  of  porphyry  5  the  mosaics  date  from 
the  9th  cent.,  but  were  freely  restored  under  Clement  XL;  above  the  arch, 
Christ  between  two  angels  and  the  apostles ,  below  are  two  saints  \  in  the 
vaulting,  the  Madonna  and  Child  imparting  blessings,  on  each  side  angels, 
Paschalis  I.  kissing  her  foot-,  beneath  all  the  figures  spring  forth  flowers. 
—  The  church  is  open  on  the  2nd  Sunday  of  Lent  only ;  at  other  times 
visitors  ring  at  the  door  marked 'Oustode%  adjoining  the  church  on  the  right. 

Adjoining  the  church  is  the  entrance  to  the  *  Villa  Mattel  (PI. 
Ill,  24;  adm.,  see  p.  124),  founded  in  1582,  the  property  of  M. 
V.  Hoffmann,  and  recently  restored  (Villa  Caelimontana).  It  con- 
tains few  antiquities,  but  the  grounds  are  worthy  of  a  visit ;  the 
Oratorio  di  8.  Filippo  Neri  commands  a  striking  view  of  the  ruins  of 
Rome  and  the  Alban  Mts. 

Opposite  S.  Maria  in  Domniea,   but  not  accessible  from  the 

17* 


260   IV,  AneierU  Bonu,        ROME.  8.  CUmenU. 

Piazza  della  Navicella,  rises  S.  Stefano  Rotondo.  We  follow  the 
Via  di  8,  8t€fano  to  the  left,  pass  through  the  first  green  door  on 
the  right,  and  ring  a  bell  to  the  right  under  the  porch. 

S.  Stefimo  Botondo  (PI.  Ill,  27)  is  very  interesting  on  account 
of  its  construction,  and,  though  greatly  diminished  in  extent,  is  the 
largest  circular  church  in  existence.  It  was  ercicted  at  the  dose  of 
the  6th  cent,  by  Simplicius,  and  afterwards  gorgeously  decorated 
with  marble  and  mosaics.  It  then  fell  to  decay,  but  was  restored  by 
Nicholas  Y.  In  the  original  edifice,  the  diameter  of  which  was 
70  yds.,  the  present  external  wall  formed  the  central  row  of  col- 
umns, while  another  lower  wall ,  decorated  with  pilasters ,  11yds. 
distant,  and  still  traceable  round  the  church,  formed  the  circum- 
ference. The  church  thus  consisted  of  three  concentric  rings,  inter- 
sected by  two  transepts.  Nicholas  Y.  shut  out  the  external  wall, 
and  filled  up  the  spaces  between  the  central  columns  with  masonry, 
with  the  exception  of  a  few  projecting  chapels.  The  roof  is  rudely 
constructed  of  wood.  The  old  entrance  was  on  the  E.  side.  In  the 
present  portico ,  erected  by  Nicholas ,  on  the  right,  is  the  ancient 
episcopal  throne ,  from  which  Gregory  the  Great  delivered  one  of 
his  homilies.    Festival,  26th  December. 

iNTXKioK.  To  the  left  of  the  entrance,  an  altar-niche  with  mosaic  of  the 
7th  cent.  ^  farther  on,  to  the  left,  a  chapel  with  (!•)  '^  fine  monument  of  the 
beginning  of  the  16th  century.  Most  of  the  fifty-six  columns  are  of  granite,  a 
few  of  marble.  Fearful  scenes  of  martyrdom  on  the  lateral  walls,  by  Tem- 
pesta  and  Pomarancio  (much  retouched).  In  the  centre  a  canopy  of  wood. 
The  dome  is  borne  by  two  lofty  columns  of  granite  and  two  pillars. 

Beyond  the  church  the  Yia  di  S.  Stefano  (PI.  II,  27)  leads  past 
a  new  military  hospital  (to  the  left,  on  the  site  of  the  Villa  Casali^ 
and  extensive  fragments  of  an  ancient  aqueduct  in  5  min.  to  the 
vicinity  of  the  Lateran  (p.  267). 

8.  Glemente.    The  Lateran. 

From  the  Colosseum  (p.  234 ;  PI.  II,  24)  several  streets  run  to- 
wards the  S.E. :  to  the  left  the  Yia  Labicana  towards  the  Therms  of 
Titus  (p.  237),  to  the  right  the  Yia  de'  Quattro  Santi  to  SS.  Quattro 
Goronati  (p.  264),  joining  the  following  street  near  the  Lateran ; 
and  lastly,  between  these,  the  Yia  di  S.  Giovanni  in  Latb&ano 
(Y2  M.  long)  to  the  Piazza  of  the  Lateran  and  the  Porta  S.  Giovanni. 
The  latter  street  leads  in  5  min.  to  a  small  piazza,  where  on  the 
left  rises  — 

*8.  Clemente  (PI.  n,  27 ;  side-entrance  from  the  street  generally 
open ;  if  not,  visitors  ring  at  the  principal  door  under  the  portico), 
one  of  the  best-preserved  basilicas  of  Rome,  where  recent  excavations 
owing  to  the  praiseworthy  exertions  of  Prior  Mullooly  have  yielded 
some  very  interesting  results.  Below  the  present  church,  three  dif- 
ferent layers  of  masonry  have  been  brought  to  light,  the  first  being 
of  early-Christian,  the  second  of  imperial,  and  the  third  of  republican 
origin.    The  Christian  basilica  (now  the  lower  church)  is  mentioned 


8,  Clemente, 


ROME.         IV,  Ancient  Rome,   261 


by  St.  Jerome  as  early  as  392,  and  in  417  was  the  scene  of  a  conncil 
of  tlie  church.   It  was  almost  entirely  destroyed  in  1084  on  the  entry 


1 1 1  h  rrrn  ^^  ^  ^  i^'HI 


262  IV,  Ancient  Borne.        ROME.  8.  CUmente. 

of  Robert  Guiscaid  into  Rome,  and  in  1108  PaschaUs  II.  erected  on 
its  inins  the  present  upper  chnrch,  with  which  he  incorporated  sey* 
eral  ornaments  of  the  lower,  such  as  the  choir  and  the  ambones.  The 
upper  chnrch  was  also  frequently  restored ,  and  finally  with  con- 
siderable taste  by  Clement  XI. ,  who  however  added  the  unsuitable 
ceiling.  St.  Clement  (91-100),  according  to  Roman  tradition,  was 
the  third  successor  of  St.  Peter,  and  suffered  martyrdom  in  the 
Black  Sea.  This  church,  which  stands  on  the  traditional  site  of  his 
house,  gives  a  title  to  a  cardinal,  and  belongs  to  Irish  Dominicans. 

From  the  principal  gate  in  the  Yia  di  S.  Clemente,.  we  first  en- 
ter the  Atrium^  surrounded  by  a  colonnade  and  paved  with  frag- 
ments of  marble  (giallo  and  verde  antico),  and  beyond  it  the  *Uppbb 
Church,  consisting  of  nave  and  aisles,  but,  like  all  genuine  ba- 
silicas, without  a  transept.    Comp.  p.  xlv. 

Interior.  The  I^ave  with  its  flat  ceiling  is  separated  from  the  aisles 
by  sixteen  antique  colomns,  and  contains  the  ^Screen  of  the  choir  and 
the  Ambones  from  the  lower  church,  with  the  monogram  of  Pope  John  VIII. 
(key  kept  by  the  sacristan).  The  Canopy  with  four  columns  of  pa- 
vonazzetto  dates  from  the  time  of  Paschalis  II.  (p.  xlvii).  —  In  the  Tbibdns 
is  an  ancient  episcopal  throne,  restored  in  1108.  Mosaics  (p.  xlviii)  of  the 
tribune  of  the  I2th  century.  On  the  rood-arch  in  the  centre :  Bust  of  Christ 
with  the  Symbols  of  the  Four  Evangelists,  (1.)  SS.  Paul  and  Lawrence, 
below  them  Isaiah,  lower  down  the  city  of  Bethlehem,  (r.)  SS.  Peter 
and  Clement ,  below  them  Jeremiah ,  lower  down  the  city  of  Jerusalem. 
On  the  vaulting:  Christ  on  the  Gross,  with  John  and  Mary  surrounded 
by  luxuriant  wreaths,  below  which  are  the  thirteen  lambs.  On  the  wall 
of  the  apse,  Christ  and  the  apostles,  restored  by  means  of  painting  only. 
—  On  the  walls  by  the  tribune,  monuments  of  the  close  of  the  16th  century. 
The  chapel  to  the  right  of  the  Canopy  is  elaborately  adorned  with  fres< 
coes  by  Novelli  of  scenes  from  the  lives  of  SS.  Cyril  and  Methodius,  exe- 
cuted in  1886  at  the  expense  of  Abp.  Strossmayr.  In  the  adjoining  chapel 
in  the  apse,  at  the  end  of  the  Right  Aislb,  is  a  statue  of  John  the  Baptist 
by  Simone  di  Giov.  Ohini  (comp.  p.  90).  —  To  the  left  of  the  principal  en- 
trance, the  Cappblla  della  Passionb  with  ^Frescoes  of  the  beginning  of 
the  15th  cent.,  the  earliest  authenticated  work  of  Masaccio  (b.  1401),  who 
went  from  Florence  to  Borne  about  1417  j  they  were  painted  by  order  of 
Gabriel  Condulmer,  Cardinal  of  S.  Clemente,  and  afterwards  Pope  EugenelV., 
and  show  indications  of  the  immaturity  of  the  artist.  On  the  arch  over  the 
entrance  the  Annunciation.  To  the  left,  near  the  entrance,  St.  Christopher. 
On  the  wall  behind  the  altar  a  Crucifixion;  on  the  left,  scenes  from  the 
life  of  St.  Catharine:  above,  she  refuses  to  worship  a  heathen  idol;  she 
teaches  the  king's  daughters  in  prison;  below,  she  diapates  before 
Maxentius  with  the  doctors  (best  of  the  series);  an  angel  destroys  the 
wheels  on  which  she  was  to  be  broken;  her  execution.  The  paintings 
on  the  window-wall,  greatly  damaged,  probably  referred  to  St.  Clement. 

As  above  mentioned  (p.  260),  and  as  the  annexed  plan  and 
sections  show,  there  exist  below  the  present  church  several  still 
older  strata  of  masonry.  Lowest  of  all,  and  forming  a  right  angle, 
are  two  massive  walls,  constructed  of  blocks  of  stone  quarried  on 
the  Cajlius  itself  (No.  I.  in  the  ground-plan  and  in  the  section). 
As  the  stones  are  more  carefully  hewn  and  jointed  than  those  of  the 
Servian  wall,  these  substructures  cannot  be  dated  farther  back  than* 
the  republican  epoch.  Above  these  are  remains  of  workmanship 
-^f  the  imperial  era,  executed  in  the  2nd  cent,  after  Christ  (No.  II. 

the  ground-plan  and  in  the  section ;  see  also  p.  263).     Upon 


8.  ClemenU,  ROME.         IV,  Aneient  Rome.   263 

these  foandations  in  the  4th  cent,  was  erected  the  Christian  basilica 
which  now  forms  the  *Lowbe  CHuaoH  (No.  III.  in  the  ground-plan 
and  in  the  section) ,  the  altar  of  which  stood  at  the  point  marked  a 
in  the  section.  This  seems  to  have  been  a  much  grander  edifice 
than  the  church  afterwards  superimposed,  its  nave  having  been  as 
broad  as  that  of  the  upper  church  and  one  of  its  aisles  put  together 
(see  ground-plan),  and  the  lower  apse  was  accordingly  wider  than 
the  upper.  During  the  construction  of  the  upper  church  the  lower 
was  entirely  covered  up,  and  the  two  churches  were  never  in  use 
at  the  same  time.  The  lower  was  again  rendered  accessible  in  1856, 
and  is  shown  by  the  sacristan,  who  provides  a  light  (V2-I  fr-)* 
In  order,  however,  to  obtain  a  distinct  idea  of  the  original  struc- 
ture, which  has  been  considerably  marred  by  alterations,  the  visitor 
should  visit  it  on  23rd  Nov.,  1st  Feb.,  or  on  the  second  Monday  in 
Lent,  on  which  days  the  lower  church  is  illuminated ;  even  on  these 
days ,  however ,  the  visitor  should  carry  his  Own  candle  for  the  in- 
spection of  details.  The  entrance  is  from  the  sacristy  of  the  upper 
church  (in  the  right  aisle) ,  on  the  walls  of  which  are  hung  copies 
of  the  frescoes  in  the  lower  church,  and  plans  comparing  the  upper 
with  the  lower  part  of  the  edifice. 

A  broad  marble  staircase,  with  inscriptions  on  the  walta.  from  the  time 
of  Pope  Damasus,  descends  to  the  Vestibulx  in  which  the  nave  and 
aisles  of  the  lower  church  terminate.  The  aisles  alone  have  remained  in 
their  original  condition,  while  in  the  nave,  additions  of  three  distinct 
periods  are  observable.  The  newest  are  the  buttresses  constructed  during 
the  recent  excavations  for  the  support  of  the  upper  church,  and  recognisable 
by  their  whitewash.  The  older  additions  consist  of  the  wall  between  the 
columns  of  the  right  aisle,  and  the  lateral  wall  on  the  right,  both  built  on 
the  occasion  of  the  erection  of  the  upper  church,  the  former  for  the  sup- 
port of  the  external  wall  above ,  the  latter  to  sustain  the  right  row  of 
columns  above.  The  most  ancient  alterations  were  made  at  a  period  when 
the  lower  church  was  still  in  use,  and  consist  of  masonry  built  round  the 
columns  of  the  left  aisle,  adorned,  like  the  outer  walls,  with  frescoes, 
some  of  which  are  in  excellent  preservation. 

The  *FbB80ob8  date  horn  different  periods,  extending  over  seven  cent< 
uries.  We  begin  with  the  Vbstibdlb.  Immediately  to  the  left  by  the  stair- 
case is  a  female  head  with  a  halo,  believed  by  De  Rossi  to  date  from  the 
5th  century.  —  Farther  on,  under  the  first  arch  on  the  left,  ^Christ  blessing 
in  the  areek  mode,  with  first,  middle,  and  little  finger  extended,  between 
the  archangels  Micha  and  Gabriel  and  SS.  Andrew  (1.)  and  Clement  (r.).  Be- 
fore him  kneel  SS.  Cyril  and  Methodius  (9th  or  iOth  cent.).  The  figures  in 
this,  as  well  as  in  the  following  scenes,  have  their  names  attached.  — 
Opposite  (on  the  right),  a  Mother  finds  at  the  altar  of  St.  Clement  her  child 
who  had  been  swallowed  up  by  the  sea  and  thrown  on  shore  a  year  later. 
Under  it  the  family  of  the  donor  grouped  round  the  medallion-portrait  of 
St.  Clement.  To  the  right  is  the  dedication  :  Effo  Beno  de  Rapiza  pro  amore 
dei  et  beaU  CUmentis  pingere  feci  (lith  cent.)-  —  On  the  right,  farther  on, 
the  Transference  of  the  relics  of  St.  Cyril  from  the  Vatican  to  S.  Clemcnte 
in  the  reign  of  Pope  Nicholas,  with  the  dedication :  Ego  Maria  Macellaria 
pro  timore  Dei  et  remedio  anime  met  haee  pingere  feci.  —  At  the  end  of  the 
vestibule  on  the  right  is  the  entrance  to  the  — 

Left  Aislk.  Over  the  door  of  the  latter  are  three  badly -preserved 
frescoes,  of  which  that  in  the  centre  appears  to  represent  the  resuscitation  of  a 
child.  Two  only  of  the  frescoes  at  the  end  of  this  aisle  are  distinguishable : 
on  the  posterior  wall  in  the  corner ,  St.  Cyril  before  the  Emp.  Michael ; 
on  the  lateral  wall,  a  Youth  baptised  by  St.  Methodius  (10th  cent.). 


264  JV»  Ancient  Rome,        ROME.         8S,  Quattro  CoronaU, 

The  Navk  is  now  entered  through  the  arch  in  the  right  wall.  Here, 
immediately  to  the  left,  is  a  *Fresco  in  three  sections,  one  above  the  other. 
Half  of  the  uppermost,  the  Enthronement  of  St.  Clement,  is  destroyed. 
That  in  the  centre  represents  St.  Clement  celebrating  mass;  on  the  right 
Theodora  converted  to  Christianity  and  her  husband  Sisinius  struck  with 
blindness  \  the  smaller  figures  on  the  left  are  those  of  the  donor  Beno  and 
his  wife.  Below  it  is  also  the  dedicatory  inscription :  Ego  Beno  de  Rapixa 
cum  Maria  tasore  mea^  etc.  The  lowest  represents  Sisinius  causing  a  column 
to  be  bound  instead  of  St  Clement  (11th  cent.).  The  lateral  surfaces  of 
this  pier  are  also  adorned  with  frescoes  (1.  St.  Anthony,  Daniel  in  the  lions^ 
den ;  r.  St.  Egidius,  St.  Blasius),  but  the  adjoining  wall  prevents  them 
from  being  seen.  Farther  on  towards  the  vestibule,  on  the  same  wall,  is 
another  and  lax^er  ^Fresco  in  three  sections.  The  highest,  now  half  obliterated, 
represents  Christ  between  Michael  and  St.  Clement  (lOi  ^^^  Gabriel  and 
Nicholas  (r.).  In  the  centre  are  three  scenes  from  the  life  of  St.  Alexius, 
placed  one  above  the  other  as  is  the  case  with  scenes  on  Roman  sarcophagi: 
a.  Alexius  returns  unrecognised  to  Borne  as  a  hermit;  b.  Pope  Boniface 
I.  blesses  the  dying  man;  c.  The  betrothed  of  St.  Alexius  recognises 
his  corpse.  The  lowest  of  the  three  frescoes  is  of  a  decorative  character 
with  flowers  and  birds.  —  At  the  end  of  this  wall  are  three  scenes  from 
the  life  of  Christ,  l^ezt  to  them,  on  the  wall  of  the  vestibule,  on  the 
right,  the  Crucifixion,  on  the  left,  the  Assumption.  Over  the  latter,  Christ 
borne  by  four  angels ;  at  the  corners  St.  Vitus  (r.)  and  Leo  IV.  (1.)  with 
the  inscription  8,  Dotn.  Leo  J  V.  P.  P.  Bo. ,  and  the  square  nimbus  with 
which  living  persons  were  usually  represented  (9th  cent.). 

The  frescoes  of  the  external  wall  of  the  Biqht  Aisle  are  almost 
obliterated.  A  niche  here  contains  a  group  of  Mary  with  Jesus.  On  the 
arch  above,  Christ  (beardless),  with  figures  of  angels  and  saints  on  each  side. 

Below  the  apse  are  the  remains  of  Buildikos  of  tbb  Imperial  Aqb 
(No.  II.,  marked  black,  in  the  plan),  built  of  brick.  The  first  of  the 
three  adjoining  chambers  is  enriched  with  stucco.  The  next  is  an  ante- 
chamber to  a  Chapel  of  Mithras^  in  which,  rather  singularly,  a  statue  of  the 
Good  Shepherd  was  found.  These  chambers  are  damp  and  partly  filled 
with  water.    A  staircase  descends  to  them  at  the  end  of  the  right  aisle. 

A  transverse  street  opposite  to  S.  Clemente  leads  to  the  Via  db' 
QuATTBO  Santi,  which  then  ascends  to  the  left  to  the  church  of  — 

88.  Quattro  Coronati  (PI.  II,  27 ;  entrance  hy  the  gate  of  the 
Ospizio  di  Orfane),  dedicated  to  SS.  Severus,  Severianus,  Carpo- 
phorus,  and  Victorinus,  who  suffered  martyrdom  under  Diocletian. 
Five  sculptors,  who  met  with  a  similar  fate  for  refusing  to  make 
images  of  heathen  gods,  are  also  revered  here,  and  this  is  accord- 
ingly a  favourite  church  with  the  ^scarpellinr,  or  stone-masons,  to 
whom  the  chapel  of  S.  SUvestro  belongs.  The  date  of  the  foun- 
dation is  very  remote,  and  the  materials  were  probably  partly  ob- 
tained from  some  ancient  structure.  After  its  destruction  by  Robert 
Guiscard,  it  was  rebuilt  by  Paschalis  II.  in  1111,  restored  under 
Martin  V.  by  Card.  Alph.  Carlllo,  and  afterwards  partly  modernised. 

The  church  now  has  two  Emtkancb-Coubts  (keys  in  the  first,  V^  f^Ot 
a  peculiarity  owing  to  the  diminution  of  its  size  on  one  of  the  restorations, 
probably  by  Paschalis  II.  It  originally  extended  over  the  whole  of  the 
second  court,  and  its  former  breadth  is  Indicated  by  the  ancient  columns 
in  the  walls  of  this  court.  The  disproportionate  size  of  the  tribune  in  the 
interior  is  thus  accounted  for.  —  On  the  right,  under  the  corridor  in 
front  of  the  entrance  to  the  second  court,  is  the  Cap.  di  8.  8ilvestro,  co  n- 
secrated  under  Innocent  IV.  in  1246,  with  valuable,  though  unattractive  an- 
cient paintings  from  the  life  of  Constantine,  in  the  Byzantine  style.  —  The  In- 
"^HiOB  consists  of  nave  and  aisles  with  galleries.  The  tribune  is  decorated 
tasteless  frescoes  by  Giovanni  da  8.  Giovanni.  —  Festival,  8th  Nov. 


S.Giavaimi  in  Fonte 

(Battistero ). 

z,Battistero 

1)  Oratorio  diS.Giov^aU. 
c  OraXarto  diS.6iav.Evang. 
i  Oratorio  di  Syenanzio 
e  Portico  diS.TemmEio 


ObeUaco 
Lateranens^^ 


Basilica  di  S.GioAranni 
in  Laterano. 


Miis  e  o  li  ater  anen  s  e  : 

I-^XVL  Sale^  detjrianterrejio 

(2fiLseo  profano  ) 
KrYL  Sale,  dejy  prima  piojio 

( Museo  crtrtiano  } 
yiC.Tngresso  alJKUseo  erisiiano 

ed.  aJlcL  GaUeria^det^tadn 


1 .  Capp.  Car  saw 

Z.Ciipp.  Ceva 

W.Capp.  aantorio  (Oodoi.) 

\.('app.  Lancelotti 

"S.Capp.  del  S.S .  Sacramento 

K^.Capp.  deL  Coj'o 

Seal  a      ?^_i^ 


l.Capp.  Orsiivi 
8.  Capp.  Tarloiuw 
^.Capp.  Jfassimi 
lO.fittiiray  di  Giotto 
\S..Scp.  del  Card  .Guissaiw 
XZ.StaiuO'  d'HiiricolV  dtl>anrzn^ 
L^Jf -*&^ y— y-      ^.^2  Metr 


BapiisUry.  ROME.         IV.  Ancient  Rome.   265 

To  the  right ,  farther  on  in  the  Via  S.  Giovanni  (p.  260) ,  is  a 
large  Hospital  for  Women ,  with  the  obstetric  clinical  department 
of  the  Sapienza.   The  Via  S.  Giovanni  ends  at  the  — 

Piazza  di  S.  Giovanni  in  Lateaano  (PL  II,  30),  the  buildings 
in  which  were  erected  by  Sixtus  V.,  except  the  new  houses  to  the 
left,  at  the  S.  end  of  the  Via  Merulana  (p.  181).  In  the  S.W. 
corner  is  the  baptistery  of  8.  Giovanni  in  Fonte  (see  below),  in  the 
S.E.  angle  the  transept- facade  of  8.  Giovanni  in  Laterano  (see  be- 
low), and  on  the  E.  the  Lateran  Palace  with  the  museum  (p.  267). 

In  the  centre  rises  an  Obelisk  of  red  granite,  originally  erected 
by  King  Thothmosis  HI.  (B.C.  1597-60)  in  front  of  the  temple 
of  the  Sun  at  Thebes,  and  brought  by  Oonstantius  to  the  Circus 
Maximus  in  357.  In  1587  it  was  discovered  there  in  three  pieces, 
and  in  1588  was  erected  by  Sixtus  V.  on  its  present  site.  This  is 
the  largest  obelisk  in  existence,  being  104  ft.  in  height,  or  with 
the  pedestal  153  ft. ,  and  about  600  tons  in  weight. 

We  first  visit  the  octagonal  *  Baptistery,  II  Battistero,  or  8^ 
Giovanni  in  Fonte  (PI.  II,  30),  where,  according  to  a  Roman  tra- 
dition, Constantino  the  Great  was  baptised  by  Pope  Sylvester  in 
324  (his  baptism,  in  fact,  taking  place  in  337,  shortly  before  his 
death).  Sixtus  III.  (d.  440)  is  regarded  as  the  true  founder.  This 
was  long  the  only  baptistery  at  Rome ,  and  afforded  a  model  for  all 
later  buildings  of  the  kind.  In  461  Pope  Hilarius  added  to  the  bap- 
tistery the  Oratories  of  8t.  John  and  John  the  Baptist  on  the  E.  and 
W.  sides  respectively ,  and  about  the  year  640  John  IV.  added  the 
Oratory  of  8.  Venanzio,  adjoining  that  of  St.  John.  Leo  X.  roofed  the 
baptistery  with  lead,  and  his  successors  decorated  and  modernised  it. 

From  the  piazza  we  at  once  enter  tbe  precincts  of  the  Baptistkby  itself 
(PL  a).  It  is  divided  into  a  central  space  and  surrounding  passage  by  eight 
large  columns  of  porphyry  with  an  antique  architrave  in  marble,  which 
are  said  to  have  been  presented  by  Constantine.  In  the  centre  is  the  font 
in  green  basalt.  The  frescoes  are  by  A.  Sacehi,  Mar,atia^  and  others.  — 
Adjacent,  to  the  right,  is  the  Obatokt  of  John  the  Baptist  (PL  &),  con- 
taining a  statue  of  the  saint  in  bronze  by  L.  Valadier^  executed  in  1772  (after 
Donatello),  and  placed  between  two  columns  of  serpentine.  The  bronze 
doors,  presented  by  Hilarius,  are  said  to  have  been  brought  from  the 
Thermse  of  Caracalla —  On  the  left,  opposite  this  oratory,  is  the  Obatoet 
OF  St.  John  (PL  c),  with  bronze  doors  of  1196,  and  adorned  with  ^Mosaics 
(6th  cent.)  representing  birds  and  flowers  on  a  golden  ground.  The  statue 
of  the  saint,  between  two  alabaster  columns,  is  by  Landini  (d.  1594).  — 
A  third  door  leads  into  the  square  Obatobio  di  S.  Vknanzio  (PL  d),  with 
elaborate  mosaics  of  the  middle  of  the  7th  century.  —  The  fourth  door,  oppo- 
site to  the  entrance  from  the  piazza,  opens  on  the  Pobtico  di  S.  Vbnanzio 
(PL  «),  formerly  the  vestibule  of  the  Baptistery,  as  the  chief  entrance  was 
originally  on  this  side.  In  1154  the  portico  was  converted  into  two  chapels. 
The  apse  to  the  left  is  enriched  with  handsome  Mosaic  of  the  5th  cent., 
consisting  of  gold  arabesques  on  a  blue  ground.  Over  the  door  to  the 
Baptistery  is  a  Crucifixion,  a  relief  in  marble,  of  1194.  —  The  outer  door 
of  the  portico  is  adorned  with  two  ancient  columns  of  porphyry  with  their 
architrave,  built  into  the  wall  here  by  Sixtus  III.  It  leads  to  the  Court. 
which  was  recently  restored  at  the  same  time  as  the  choir  of  B.  Giovanni 
in  Laterano. 

.     The  basUica  of  *S.  Giovaimi  in  Laterano  (PL  II,  IH,  30),  *om- 


266  IV,  AnoUnt  Rome.        ROME.     8,  Giovanni  in  LaUrano. 

nium  urbis  et  orbis  ecclesiarum  mater  et  caput\  was  the  principal 
church  of  Rome  after  the  time  of  Gonstantine  the  Great  (p.  135).  The 
emperor  presented  Pope  Sylvester  with  a  large  palace,  which  had 
hitherto  belonged  to  the  wealthy  family  of  the  Laterani,  and  fitted  up 
a  church  within  it.  It  was  called  the  Basilica  Conatantiniana  after 
its  founder,  and  sometimes  8.  SalvatoriSf  or  Aula  Dei,  as  being  a 
second  Zion,  and  gradually  became  privileged  to  grant  the  most 
ample  indulgences.  It  was  overthrown  by  an  earthquake  in  896, 
but  was  re-erected  by  Sergius  III.  (904-911),  and  dedicated  to 
John  the  Baptist.  In  1308  it  was  burned  down,  but  was  restored 
by  Clement  V.,  and  decorated  with,  paintings  by  Giotto.  A  second 
fire  destroyed  the  church  in  1360,  after  which  it  was  rebuilt  by  Ur- 
ban IV.  and  Gregory  XI.  It  was  again  altered  by  Martin  V.  (1430), 
Eugene  IV.,  and  Alexander  VI.,  and  modernised  by  Pins  IV.  (1560), 
by  the  alterations  of  F,  Borromini  (1650),  and  by  the  facade  of 
A,  Oalilei  (1734).  Quite  lately  the  church  has  been  enlarged  by  an 
extension  of  the  tribuna  and  choir.  —  Five  important  Councils  have 
been  held  in  this  church,  vw.  those  of  1 123 ,  1139,  1179,  1215, 
and  1512. 

The  Pbincipal  Faoabb,  by  Galilei,  is  turned  to  the  £.,  abutting 
on  the  Piazza  di  Porta  S.  Giovanni  (p.  265).  With  its  portico 
(33  ft.  deep  and  196  ft.  long)  and  the  open  loggia  above  it,  it  is 
one  of  the  best  of  this  description  in  Rome.  From  the  loggia  the  Pope 
used  to  pronounce  his  benediction  on  Ascension  Day.  Of  the  five 
entrances  the  Porta  Santa  is  walled  up  and  is  opened  only  in  the 
year  of  jubilee.  The  central  entrance  has  two  bronze  doors  adorned 
with  garlands,  etc.  To  the  left  is  an  ancient  statue  of  Constantino 
the  Great,  found  in  his  Therms. 

The  Fagade  of  the  8,  Transept,  looking  on  the  Piazza  di  S. 
Giovanni  in  Laterano  (p.  265),  is  also  adorned  with  a  portico, 
added  by  Sixtus  V.  The  caps  of  the  small  campanili,  standing  far 
apart,  were  added  by  Pius  IV.  The  vestibule  below ,  to  the  right, 
contains  a  bronze  statue  of  Henri  IV.  of  France,  by  Nie,  Cordieri 
(PI.  12). 

r\  Interior.  The  Kave  (426  ft.  in  length),  flanked  by  double  aisles,  is  borne  by 
twelve  pillars,  the  work  of  Borrominiy  partly  enclosing  the  ancient  columns. 
In  the  niches  are  the  Twelve  Apostles,  of  the  school  of  Bernini  \  reliefs  by 
Algardu  Over  these  are  the  figures  of  twelve  prophets.  The  *Ceiling,  said 
to  have  been  designed  by  Michael  Angela^  is  more  probably  by  Qiacomo  delta 
Porta.  The  richly  inlaid  pavement  dates  from  the  time  of  Martin  V.  On  the 
right  and  left  at  the  end  of  the  nave  are  the  only  two  ancient  granite  columns 
now  visible.  Below,  in  front  of  the  Con/essio,  is  the  •Monument  of  Pope 
Martin  V.  (d.  1431),  in  bronze,  by  Simone  di  Giov.  Ghini  (p.  90).  —  In  the 
centre  of  the  Tbanskpt,  which  is  raised  by  four  steps,  is  the  "^Canopy^ 
a  beautiful  work  of  1367,  lately  restored,  with  paintings  by  Barna  da 
Siena^  dating  from  1390,  but  freely  restored.  It  contains  numerous  relics, 
including,  it  is  said,  the  heads  of  SS.  Peter  and  Paul.  Below  it  is  the  high- 
altar  (altare  papale)^  at  which  the  pope  or  a  substitute  named  by  him 
alone  read  mass,  containing  a  wooden  table  from  the  catacombs  which  is 
"aid  to  have  been  used  as  an  altar  by  St.  Peter.    The  transept  was  restored 

'er  Clement  VIU.  by  Oiae.  delta  Porta  (1608)  and  adorned  with  frescoes. 


LaUran,  ROME.  IV,  Ancient  Borne,   267 

Here  to  the  right  are  tvro  fine  colunms  of  giaUo  antico.  Adjoining  the 
organ  is  the  monument  of  the  philologist  Laurentiug  Valla  (d.  1465) ,  a 
canon  of  this  church.  To  the  left  is  the  great  Altar  of  the  Scierament. 
with  four  ancient  columns  of  gilded  bronze,  which  belonged  to  the  original 
basilica.  —  The  chapel  to  the  left  of  the  choir  (PI.  6)  contains  a  portrait 
of  Martin  V.  by  Scip.  Oaetano^  and  an  altar-piece  by  the  Cav.  cTArpino. 
Carved  choir-stalls  by  Oirot.  Binaldi. 

The  walls  and  floor  of  the  Ghoib,  which  has  recently  been  enlarged, 
are  covered  with  slabs  of  polished  marble.  To  the  right  and  left  are  three 
balconies  with  gilded  railings.  The  ancient  Apse,  moved  back  at  the  ex- 
tension of  the  choir,  contains  precious  mosaics  by  Jaeobtu  Torriti  (p.  xlix ; 
tUdO-y  or  perhaps  older  works  restored  by  him),  representing  the  Saviour 
enveloped  in  clouds  \  below,  at  the  sides  of  a  cross,  (1.)  the  Virgin,  at  whose 
feet  l^icholas  IV.  kneels,  8S.  Francis ,  Peter ,  and  Paul ,  and  (r.)  John  the 
Baptist  and  SS.  John,  Andrew,  and  Anthony.  —  The  Ahbulatobt  is  em- 
bellished on  each  side  with  mosaic  tablets,  the  subjects  of  which  relate  to 
the  c(mstruction  of  the  church,  statues  of  Peter  and  Paul,  of  the  10th  cent., 
and  a  fine  marble  sanctuary  of  about  1600.  A^oinlng  the  last  is  the  Ta- 
bula Magna  LateranensiSy  or  list  of  relics.  —  Adjoining  the  ambulatory  is 
the  Sacsistt,  the  inner  bronze  doors  of  which  date  from  1196.  It  contains 
the  monument  of  Fulvius  Ursinus,  a  canon  of  this  church  (d.  1600) ;  an 
*Annunciation  by  Marcello  Venusti  after  a  drawing  by  Michael  Angelo;  a 
statue  of  John  the  Baptist  in  wood  by  Donatello;  cartoon  of  RaphaePs  Ma- 
donna di  Gasa  d'Alba  (original  at  St.  Petersburg). 

Aisles.  At  the  back  of  the  first  pillar  on  the  right  in  the  nave  (PI.  10), 
*Boniface  VIII.  between  two  cardinals  proclaiming  the  first  jubilee  (1300), 
by  Oiotto.  On  thb  Riqht:  The  2nd  chapel  (PI.  8)  belongs  to  the  Torlonia 
family,  and  is  richly  decorated  with  marble  and  gilding}  over  the  altar, 
^Descent  from  the  Cross,  a  marble  relief  by  Tenerani  (a  custodian  opens  this 
and  other  chapels,  1/2  ^r.).  The  3rd  chapel  (PI.  9),  belonging  to  the  Massimi, 
constructed  by  Oiac.  delta  Portay  contains  the  Crucifixion,  an  altar-piece  by 
Sermoneta.  Farther  on  in  the  right  aisle ,  the  monument  (PI.  11)  of  Card. 
Guissano  (d.  1287)  and  that  of  Card.  Ban.  Farnese,  by  Vignola  (at  the 
back  of  the  last  pier  of  the  nave).  —  On  ths  Lspt  :  The  *lst  chapel,  that  of 
S.  Andrea  Corsini  (PI.  1),  designed  by  Oalilei  in  1734,  contains  four  ancient 
columns  and  a  large  vessel  of  porphyry  from  the  portico  of  the  Pantheon, 
in  front  of  the  bronze  figure  of  Clement  XII.  (Corsini, d.  1740)  \  the  walls 
sumptuously  inlaid  with  precious  stones.  Below  the  chapel  is  the  burial- 
vault  of  the  Corsini,  with  a  *Pieti  by  Antonio  Montauti(7).  • 

The  sacristan  conducts  visitors  from  the  last  chapel  of  the  N.  aisle 
into  the  interesting  *Mona8TBbt  Coubt  (^Chiostro^,  constructed  in  the  18th 
cent,  by  Vassallettus  (comp.  p.  354),  with  numerous  small  spiral  and  in- 
laid columns  (p.  xlvii),  at  present  undergoing  restoration.  Various  frag- 
ments from  the  old  church  are  deposited  in  the  passages.  The  monastery 
was  founded  at  the  end  of  the  6th  cent,  by  Benedictines  from  Mte.  Casino. 

Adjoining  S.  Giovanni  in  Laterano,  on  the  N.,  is  the  — 
Palazzo  del  Lateraao  (PI.  II,  30),  to  which,  together  with  the 
Vatican  and  Castel  Gandolfo,  the  privilege  of  exterritoriality 
was  secured  by  a  law  of  13th  May,  1871.  This  was  the  residence 
of  the  popes  from  the  time  of  Constantine  down  to  the  migration  to 
Avignon.  The  old  palace  was  much  larger  than  the  present,  and 
included  the  Sancta  Sanctorum  Chapel  (p.  272).  After  a  great  fire 
in  1308  it  lay  in  ruins,  but  these  were  removed,  and  the  new  palace 
erected  by  Domenico  Fontana,  by  order  of  Sixtus  V.  in  1586.  As 
it  remained  unoccupied,  it  was  converted  by  Innocent  XII.  into  an 
orphan -asylum  in  1693.  In  1843  Gregory  XVI.  set  apart  the 
palace  for  the  heathen  and  Christian  antiquities  for  which  the 
Vatican  and  Capitoline  museums  no  longer  afforded  space,  ar 


268  IV,  Ancimi  Rome.         ROME.  IjaUtan. 

named  it  the  *Miiteiim  Oregoriannm  Latoranente  (adm.  daily, 
except  holidays,  9-3).  The  entrance  is  by  the  portal  in  the  piazza 
opposite  the  obelisk  (p.  265);  visitors  ring  on  the  right  in  the 
passage.  Compare  gionnd-plan,  p.  265. 

On  the  groond-floor  is  the  so-called  *]Ctuieo  Profano,  a  collection 
of  ancient  sculptures)  including  several  admirable  works.  There  is 
no  catalogue,  but  the  custodian  (%-l  fr.)  is  well  informed.  A 
scientific  German  catalogue  was  published  by  Benndorf  and  Schone 
at  Leipsic  in  1867. 

We  begin  on  the  right,  under  the  arcades  of  the  entrance-wing. 

I.  Room.  Entrance- wall :  8.  Relief  of  the  Abduction  of  Helen; 
10.  Tomb-relief  (warrior's  farewell);  11.  Priest  of  the  oracle  of  Do- 
dona  (fountain-relief).  Left  wall:  13.  Two  pugilists,  named  Dares 
and  Entellus  (in  relief) ;  15.  Bust  of  Marcus  Aurelius  ;  20.  Trajan 
(head  restored  by  Thorvaldsen)  accompanied  by  senators  (relief 
from  Trajan's  Forum) ;  in  front  of  the  last,  19.  Statuette  of  Ne- 
mesis ;  26.  Nymph  suckling  a  child,  perhaps  the  infant  Pan,  in 
relief.  Right  wall :  40.  Sarcophagus-reliefs  (p.  xlii)  of  Mars  and 
Rhea  Silvia  (the  latter  being  a  likeness  of  the  deceased  woman), 
Diana  and  Endymion,  and  Adonis  (Nos.  40,  49,  53).  In  the  centre 
a  mosaic  with  pugilists,  from  the  Therms  of  Caracalla  (see  1st  floor, 
p.  271).  — II.  Room  :  interesting  architectural  fragments,  especially 
from  the  Forum  of  Trajan.  Fragments  of  a  'Frieze  in  the  centre  of 
the  walls  of  the  entrance,  the  egress,  and  that  on  the  right  merit 
inspection.  —  III.  Room  :  by  the  entrance- wall ;  255.  Statue  of  ^Es- 
culapius.  Right  wall:  256. •Antinous  (p. xxxvii;  head  new),  found 
at  Ostia.  Wall  of  egress :  *258.  Child's  sarcophagus  with  scenes  of 
pugilism.  In  the  window  several  handsome  feet  of  tables.  —  IV. 
Room  :  -on  the  entrance- wall,  278.  'Medea  with  the  daughters  of 
Peleus,  a  Greek  relief;  291.  Statue  of  Germanicus.  Right  wall: 
319.  *Statue  of  Mars.  Wall  of  egress:  348.  Replica  of  the  reposing 
satyr  of  Praxiteles  (p.  xxxii).  On  a  cippus :  352.  'Bust  of  the 
youthful  Tiberius.  In  the  centre  a  beautiful  basin  of  lumaccheUa 
(a  kind  of  shell-marble). 

We  now  cross  the  passage  to  the  —  ■ 

y.  Room.  Right  wall:  394.  Roman  portrait-bust;  396,  406. 
HermaB  of  Pan;  Muse;  407.  *Oineraiy  urn  with  the  head  of  Me- 
dusa and  representation  of  a  cock-fight.  In  the  centre:  391.  Sa- 
crifice of  Mithras ;  399.  Stag  of  basalt;  406.  Cow.  —  YI.  Room: 
collection  of  sculptures  from  Cervetri,  the  ancient  Csre.  Entrance- 
wall  :  left,  427.  Circular  altar  with  Pan  and  two  dancing  Hot»  ; 
on  it,  428.  Colossal  portrait -head  (perhaps  Augustus);  right, 
433.  Statue  of  an  emperor,  head  new.  Right  wall:  434.  Draped 
statue ;  435,  437.  Colossal  sitting  figures  of  Tiberius  and  Claudius, 
between  them,  436.  The  younger  Agrippina;  438.  Toga  statue 
(perhaps  the  elder  Diusus).  Wall  of  egress :  439.  Statue  of  an  em- 
peror (perhaps  the  younger  Drusus) ;  444.  Bust  of  Caligula.    In 


Lateran.  ROME.  IV,  Ancient  Rome,   269 

front  of  it :  442.  Relief  with  representation  of  the  deities  of  three 
Etruscan  cities  (Vetulonia ,  Volci ,  Tarquinii).  On  the  pillar  be- 
tween the  windows :  446.  Female  portrait-statue  (perhaps  Dru- 
silla).  In  the  centre,  447,  450.  Two  sleeping  Silens  (from  a  foun- 
tain) ;  448.  Altar  with  representation  of  sacrifice.  —  VII.  Room. 
On  the  right :  462.  ^Dancing  Satyr,  found  near  S.  Lucia  in  Selce, 
possibly  from  a  4^oup  by  Myron :  Marsyas  endeavouring  to  pick  up 
the  flutes  thrown  away  by  Athene ,  and  staggering  backwards  on 
the  appearance  of  the  goddess  (p.  xxxi;  arms  new).  By  the  door : 
465.  (r.)  Head  of  Paris  (?);  468.  (1.)  Barbarian  monarch.  Left 
wall :  Apollo.  Opposite  the  entrance :  476.  **8op?u>ele8,  one  of  the 
most  beautiful  ancient  portrait-statues  in  existence,  found  at  Ter- 
racina  in  1838.  'In  the  statue  of  the  poet  the  sculptor  has  en- 
deavoured to  produce  a  type  of  perfect  manhood,  to  pourtray  the 
self-reliance  of  genius  and  the  unruffled  dignity  of  manly  beauty ; 
and  he  has  accomplished  his  object  by  the  general  grandeur  of  his 
design,  the  easy  attitude  and  noble  symmetry  of  the  figure,  and  the 
expressive  attitude  of  the  head ;  while  the  broad  and  lofty  forehead, 
the  gentle  and  imaginative  eye,  the  firm  cheek,  and  the  earnest 
but  benevolent  mouth  complete  the  picture  of  a  man  who  has 
attained  the  zenith  of  human  excellence  and  happiness'  (Benndorf 
&  Schone).  —  VIII.  Room  :  Entrance-wall :  left,  487.  Relief  of  a 
poet,  with  masks,  and  a  Muse ;  right,  494.  Sarcophagus  with  the 
Calydonian  Hunt;  above,  496.  Small  head  of  a  sleeping  nymph. 
Left  wall :  517.  Meleager  slain  by  Apollo.  In  the  centre :  534. 
♦Statue  of  Poseidon,  found  at  Porto.  —  IX.  Room,  containing  num- 
erous architectural  fragments  brought  to  light  by  the  excavations  in 
the  Forum  and  the  Via  Appia.  Wall  of  egress ,  to  the  left  by  the 
door :  630.  Small  head  of  Victory.  In  the  centre :  656.  Triangular 
*Ara  with  Bacchanalian  dances.  —  X.  Room  :  chiefly  sculptures 
from  the  tombs  of  the  Haterii,  on  the  Via  Labicana  near  Cento- 
celle.  Entrance-wall :  675, 677.  Portrait-busts ;  between  them,  676. 
Relief  of  a  large  tomb,  with  powerful  lifting-machine  adjacent. 
Right  wall :  691.  Relief  of  the  laying-out  of  a  dead  woman,  sur- 
rounded by  mourners.  Wall  of  egress:  729.  Relief  with  represen- 
tation of  Roman  buildings,  among  which  the  Colosseum  is  distin- 
guishable. Above  it,  721.  Relief  with  Mercury  (broken),  Ceres, 
Pluto,  and  Proserpine.   In  the  centre :  740.  Cupid  on  a  dolphin,    j 

We  next  cross  a  second  passage  to  the  — 

XI.  Room.  The  sculptures  are  chiefly  from  the  tombs  on  the 
Via  Latina  (p.  346).  Entrance-wall :  to  the  left,  743.  Sleeping 
nymph,  from  a  fountain;  to  the  right,  761.  Bacchanalian  sarco- 
phagus ;  752,  757.  Herma  of  Liber  and  Libera.  Right  wall :  several 
herm»  of  the  bearded  Bacchus ;  768.  Ephesian  Diana ;  769.  Sarco- 
phagus with  Adonis.  Wall  of  egress :  777.  Sarcophagus  with  Adonis ; 
783.  Greek  tomb-relief  (fare  well-scene).  In  the  centre:  792.  Large 
sarcophagus  with  triumphal  procession  of  Bacchus.  —  XII.  Room. 


270  IV.  Ancient  Rome.        ROME.  LcOeran. 

Entrance-wall :  Q.)  793.  Youthful  Hercules  (perhaps  with  portrait- 
features);  (r.)  799.  *SaTcophagus  with  the  story  of  Orestes  (death 
of  ^gistheus,  etc.).  808.  Head  of  Augustus.  807.  'Boy  with  a 
hunch  of  grapes.  In  the  comer :  810.  Herma  of  a  Satyr.  Wall  of 
egress:  813.  ^Sarcophagus  with  the  destruction  of  the  Children 
of  Nlobe.  In  the  centre,  831.  Fine  circular  altar  from  Veil,  an 
imitation  of  the  Puteal  Libonis  in  the  Roman  Forum.  —  XIII.  Room. 
Entrance-wall:  842.  Relief  of  a  Titan  fighting;  several  marble 
^anteflxae'  (facing-tiles"),  with  representations  of  the  Palladium;  846. 
♦Portrait-statue  of  0.  Caelius  Satuminus.  Wall  of  egress:  868. 
Relief,  Pylades  supporting  the  exhausted  Orestes.  In  the  centre : 
882.  Oval  sarcophagus  of  P.  OaBcilius  Vallianus,  with  the  repre- 
sentation of  a  funeral-banquet.  Then,  •885.  Three-sided  Cande- 
labrum-stand with  Pluto,  Neptune,  and  Persephone.  —  XIV. 
Room.  Entrance- wall :  890.  (r.)  Small  group  in  relief,  possibly 
Orpheus  and  Eurydice.  Left  wall :  909.  Unfinished  statue  of  por- 
phyry. Opposite  the  entrance :  902.  Statue  of  a  captive  barbarian, 
unfinished,  interesting  on  account  of  the  marks  of  measurement 
made  by  the  sculptor.  Adjacent,  895.  Sarcophagus  of  L.  Annius 
Octavius,  with  representation  of  bread  making ;  adjacent  is  the  in- 
scription :  —  Evasij  effagi^  Spes  et  Fortuna  valete!  Nil  mihi  vovis^ 
cum  est ,  ludifieate  alios.  By  the  right  wall ,  892.  •Mosaic  with  re- 
presentation of  the  pavement  of  an  unswept  dining-room  (*Opus 
Asarotum'),  by  Heraclitusj  found  on  the  Aventine  in  1833.  — 
XV.  Room  and  the  following  are  devoted  to  the  yield  of  the  new 
excavations  at  Ostia.  In  the  glass-cabinets  under  the  windows  are 
lamps,  terracottas,  fragments  of  glass,  ivory  articles,  etc.  On 
the  pillar,  mosaic  from  a  niche,  with  Silvanus ;  on  each  side  frag- 
ments of  slabs  of  terracotta.  Wall  of  egress :  (1.)  *975.  Small  female 
head,  probably  of  a  nymph ;  977.  Tomb-relief  of  the  Eques  T.  Fla- 
vins Verus.  —  XVI.  Room.  On  the  right,  lead  pipes  from  ancient 
aqueducts.  1062-66.  Pictures  from  a  tomb  near  Ostia  with  scenes 
from  the  lower  regions.  In  the  centre:  1061.  Recumbent  figure  of 
Atthis,  found  at  Ostia  in  1869  (p.  396),  with  the  traces  of  gilding 
on  the  hair  and  the  crescent ;  1043.  Bronze  statuette  of  Venus. 

The  Cliristian  Museum  and  the  Picture  Oallery  are  on  the 
first  floor  of  the  palace.  The  principal  entrance  to  them  is  on  the 
farther  side  of  the  court ,  to  the  right.  If  this  entrance  is  closed, 
we  ring,  as  mentioned  at  p.  268,  in  the  entrance-passage,  then,  in 
the  arcades  to  the  right,  ascend  a  staircase  to  the  left,  into  the  walls 
of  which  are  built  ancient  Christian  inscriptions ,  and  knock  at  the 
door  at  the  top  (}/2  fr.).    Compare  also  Plan  (p.  265). 

The  *Chbistian  Musbum  was  founded  by  Pius  IX.  and  arranged 
by  the  Padre  Marchi  and  the  Commendatore  de  Rossi.  We  begin 
our  description  from  the  principal  entrance. 

In  the  fitst  hall  a  large  sarcophagus,  said  to  be  tbat  of  Probns^  in 
the  wall  three  mosaics :  that  in  the  centre,  Christ,  Peter,  and  Paul  from 
the  lower  church  of  St.  Peter ;  the  two  others  from  the  catacombs. 


Lateran.  ROME.         IV.  AneUfU  ^ome.   271 

In  the  large  Cosbidob  of  thb  Staircase  a  ^Collection  of  ancient  Gbris- 
tian  sarcophagi ,  chiefly  of  the  4th  and  5th  centuries,  with  representations 
from  the  Old  and  New  Testament.  On  the  right,  by  the  end-wall :  two  statues 
of  the  Good  Shepherd ;  large  sarcophagus  with  reliefs  of  the  Creation, 
Miracle  of  the  loaves ,  Raising  of  Lazarus,  Adoration  of  the  Magi ,  Daniel 
among  the  lions ,  Moses  striking  the  rock  for  water,  etc.  On  the  staircase 
(1.)  1st  sarcophagus ,  Miracle  of  Jonah ;  2nd.  Christ^s  entry  into  Jerusalem. 
At  the  top:  (1-)  4th.  The  Good  Shepherd  among  vines,  with  genii  gather- 
ing grapes,  in  allusion  to  the  parables  of  the  New  Testament.  There  are 
also :  the  Denial  of  Peter,  the  Healing  of  the  lame  man ,  and  that  of  the 
blind  man,  the  Sacrifice  of  Isaac ,  the  Men  in  the  fiery  furnace  ^  then, 
farther  on,  a  medieeval  canopy  and  an  interesting  sarcophagus  witti  scenes 
from  the  Passion.  Above,  on  the  wall  of  the  staircase,  the  manger 
and  adoration  of  the  Magi.  Below,  translation  of  Elijah.  Above,  on  the 
end-wall,  sitting  *Figure  of  St.  Hippolytus ,  upper  part  modem ,  firom  the 
catacombs  near  S.  Lorenzo  Fuori  le  Mura ;  on  iJie  chair  a  Greek  inscription 
recording  the  saint*s  achievements  and  an  Easter-table.  Comp.  pp.  zlii,  zliv, 
356-363.  —  The  door  on  the  left  leads  to  the  upper  arcades,  where  the  door 
opposite  leads  to  the  rooms  with  the  copies  of  the  Catacomb  paintings ;  to 
the  right  is  the  entrance  to  the  room  with  the  large  mosaic. 

The  posterior  walls  of  the  three  open  Aboades  present  a  selection 
of  *Ancient  Christian  Jnscriptions^  systematically  arranged  by  De  Rossi,  an 
invaluable  aid  to  the  student  of  Christian  archaeology.  They  are  distributed 
according  to  arches  thus:  i-iii.  Elegies  on  martyrs,  etc.,  of  the  age  of  Da- 
masus  I.  (366-384);  iv-vii.  Dated  inscriptions  (238-557);  viii,  ix.  Inscrip- 
tions of  doctrinal  importance :  x.  Bishops,  presbyters,  deacons ;  xi,  xii.  Other 
illustrious  personages ;  xiii.  Relations,  friends,  etc. ;  xiv-xvi.  Symbolic  and 
other  records;  xvii  and  follg.  Simple  epitaphs  from  various  catacombs. 

From  the  first  arcade  we  pass  to  the  right  into  a  room  (PI.  A),  on  the 
floor  of  which  is  the  large  ^Mosaic  with  28  pugilists,  found  in  the  Thermse 
of  Caracalla  in  1824,  bearing  obvious  indications  of  the  decline  of  the  art. 
The  original  arrangement  of  this  mosaic ,  which  has  been  freely  restored 
and  supplemented,  is  shown  in  the  drawings  on  the  walls. 

The  CoLLBCTioN  OP  PicTUBBS  coutalns  a  few  ancient  mosaics, 
several  good  pictures  of  Italian  masters,  cMefly  of  the  15th  and  16th 
cent.,  and  copies  of  pictures  from  the  catacombs.  A  re-arrange- 
ment of  the  pictures  la  imminent. 

RooH  I.  (PI.  a),  adjoining  Room  A,  contains  dilapidated  frescoes  from 
S.  Agnese  Fuori  le  Mura. 

Room  II.  (PI.  B).  In  the  middle:  Mosaic^  found  near  the  Pal.  Sora,  not 
far  from  the  Ponte  S.  Angelo.  Entrance-wall :  Fra  Filippo  Lippi,  Coronation 
of  the  Virgin;  Benozzo  Oozzoliy  St.  Thomas  receiving  the  girdle  from  the 
Virgin,  with  *Predella  (resembling  Fra  Angelico  in  style).  Left  wall :  An- 
tonio da  Murano^  Altar-piece  (1464).  *C.  OrivelU,  Madonna  (1482),  Madonna  with 
saints  (altar-piece;  1481).  Exit-wall:  Cola  delV  Amatrice^  Assumption  (1515) 
and  SS.  Lawrence,  Benedict,  and  Agnes  (the  latter  credited  to  Signorelli), 
Between  the  windows :   *8t.  Jerome,  by  Oiov.  Santi^  the  father  of  Raphael. 

Room  III.  (PL  C).  Entrance-wall :  And.  del  Sarto,  Holy  Family ;  jFV-.  ^on- 
ctVs,  Annunciation.  Left  wall :  Cesare  da  Sesto ,  Baptism  of  Christ.  Exit- 
wall:  Copies  of  Raphael;  Venetian  School^  Entombment.  —  Between  the 
windows :   Oiulio  Romano^  Stoning  of  Stephen,  a  cartoon. 

Room  IV.  (PI.  D).  Entrance- wall :  Madonna,  by  an  unknown  master ; 
'^Madonna  with  John  the  Baptist  and  St.  Jerome,  by  Marco  Palmezzano  of 
Forli,  a  pupil  of  Melozzo  (p.  89;  1510).  Left  wall:  Sasso/errato^  Sixtus  V. 
Adjacent,  two  pieces  of  modern  tapestry  from  pictures  by  Fra  Bartolom- 
meo.  Exit-wall:  *'Mdrco  Palmezzano,  Madonna  with  SS.  Lawrence,  John 
the  Baptist,  Peter,  Francis,  Anthony  the  Abbot,  and  Dominic  (1587). 

Room  V.  (PI.  E).  To  the  left,  DanieU  da  Volterra,  Descent  from  the 
Cross,  a  rough  sketch  in  colours  (the  finished  fresco  is  in  8.  Trinita  de* 
Monti,  p.  150);  Cav.  dTArpino,  Annunciation.  To  the  right:  CaravaggiOy 
Supper  at  Emmaus,  Christ  with  the  tribute-money. 


272  IV.  Ancient  Borne.        ROME.  Scala  Santa. 

Booh  VI.  (PI.  F).  Entrance- wall :  Oum-einOy  Assnmption  *,  VanDycii^), 
Portrait.  Left  wall :  Large  copy  in  oils  of  a  fresco  by  Domeniehino^  the  Mar* 
tyrdom  of  St.  Andrew,  original  in  S.  Gregorio  (p.  JffiS).  Between  the  win- 
dows: Christ  and  Thomas,  cartoon  by  Camuedni. 

Boohs  O  and  H  contain  large  copies  in  oil,  some  of  them  made  for  the 
mosaics  in  St.  Peter*s.  In  the  last  room  (t)  are  some  plaster-casts  from 
the  antiqne.  —  Another  room  on  the  same  floor,  opened  by  the  custodian 
on  application ,  contains  casts  by  Pettrich  of  Dresden  representing  scenes 
from  the  life  of  the  N.  American  Indians. 

The  N.  side  of  the  Piazza  di  S.  GioTanni  in  Laterano,  opposite 
the  Museum,  is  occupied  by  the  new  buildings  on  the  site  of  the 
VUla  Massimi.  Between  the  Yia  Ariosto  and  the  Via  Tasso,  which 
begin  here,  lies  the  Casino  Massimi  (not  visible  from  the  piazza), 
the  only  relic  of  the  villa.  Three  rooms  in  this  are  adorned  with 
Frescoes  from  the  great  Italian  poets,  painted  for  Prince  Camillo  Mas- 
simi in  1821-28  by  German  artists. 

The  entrance  to  the  Casino  is  in  the  Via  Ariosto;  but  admission  is 
not  now  granted  except  on  special  introduction.  The  central  room  is 
adorned  with  scenes  from  Ariosto's  *Orlando  Furioso'  by  Jul.  Sehnorr.  The 
room  on  the  right  contains  scenes  from  Dante,  originally  undertaken  by 
Cornelius,  but  carried  out  after  his  removal  to  Munich  by  Ph.  Veit  (ceil- 
ing-paintings) and  A.  Koch  (walls).  The  scenes  from  Tasso's  ^Jerusalem 
Delivered',  in  the  room  to  the  left,  are  by  Overbeck  and  Filhrich. 

Opposite  the  N.E.  comer  of  the  Lateran  is  the  edifice  contain- 
ing the  Scala  Santa,  a  flight  of  twenty-eight  marble  steps  from 
the  palace,  of  Pilate  at  Jerusalem,  which  our  Saviour  is  said  to 
have  once  ascended.  They  were  brought  to  Rome  in  326  by  the 
Empress  Helena,  and  may  only  be  ascended  on  the  knees.  They 
are  now  protected  with  a  covering  of  wood.  The  two  adjoining 
flights  are  for  the  descent.  At  the  foot  of  the  steps  are  two  marble 
groups  by  Oiacomettij  Christ  and  Judas,  and  Christ  before  Pontius 
Pilate. 

At  the  top  of  the  steps  is  the  Sancta  Sanctorum  chapel  (not  accessible), 
formerly  the  private  chapel  of  the  popes,  and  the  only  part  of  the  old  La- 
teran palace  now  preserved.  It  was  erected  in  1278  by  a  member  of  the 
Cosmas  family  for  Nicholas  HI.,  and  contains  a  Christ  in  mosaic  in  the 
9th  cent,  style,  another  painted  on  wood,  attributed  to  St.  Luke,  and  other 
relics.  —  The  portico  towards  the  piazza  was  erected  by  Sixtus  V. 

To  the  E.  of  the  Scala  Santa  is  a  tribune  erected  by  Bene- 
dict XIV.,  with  copies  of  the  ancient  Mosaics  from  the  Triclinium  of 
Leo  III.,  or  principal  dining-room  of  the  ancient  palace.  These  co- 
pies are  from  drawings  of  the  8th  century.  The  originals  were 
destroyed  in  the  pontificate  of  Clement  XII.  Their  subject  is  the 
union  of  spiritual  and  temporal  power  effected  by  Charlemagne.  In 
the  centre,  Christ  sending  out  his  disciples;  on  the  left,  Christ 
enthroned  delivers  the  keys  to  Pope  Sylvester  and  the  banner  to 
the  Emp.  Constantine ;  on  the  right,  St.  Peter  presenting  the  papal 
stole' to  Leo  and  the  banner  to  Charlemagne. 

At  the  top  of  the  road  ascending  to  the  left  is  the  entrance  to  the 
Villa  Wolkonsky  (PL' II,  32;  adm.  on  Wed.  and  Sat.  by  permesso  to  be 
obtained  from  the  consul).  The  tasteful  grounds  are  intersected  by  the 
Aqua  Claudia^  now  almost  wholly  enclosed  by  modern  buildings.  A  few 
ancient  tombs  and  sculptured  fragments  are  preserved  in  the  garden. 

Opposite  the  tribuna  with  the  mosaics  extends  the  spacious 


The  Borgo.  ROME.  V,  Right  Bank.  273 

Piazza  di  Pobta  S.  Giovanni  (PI.  II,  33),  towards  which  S.  Gio- 
vanni in  Laterano  faces.  The  piazza  contains  several  modem  bnild- 
ings.  —  A  dusty  street  leads  hence  to  the  right  past  unattractive 
modern  edifices  to  (5  min.)  S.  Croce  iu  Gerusalemme  (p.  181). 

The  Porta  8.  Oiovanniy  named  after  the  church,  was  erected  in 
1574,  taking  the  place  of  the  ancient  Porta  Asinaria,  now  built  up, 
which  stood  a  little  to  the  right.  Route  to  the  Campagna,  see  p.  346. 

The  road  skirting  the  town-wall  to  the  left,  outside  the  gate,  brings 
us  in  7  min.  to  the  Amphitheatrum  Oastrense  (PI.  II,  36),  the  only  struc- 
ture of  the  kind  in  Rome  with  the  exception  of  the  Colosseum.  The 
•building  itself  and  the  Corinthian  capitals  and  other  decorations  are  of 
burned  hrick.  The  longer  diameter  of  the  amphitheatre  is  57  yds.  The 
interior  (uninteresting)  is  entered  by  the  gate  near  8.  Croce  in  Geru- 
salemme. —  Hence  to  the  Porta  Haggiore  (p.  180),  12  minutes. 


V.  Quarters  of  the  Oity  an  the  Right  Bank. 

On  the  right  bank  of  the  Tiber  are  situated  two  distinct  quar- 
ters :  towards  the  N.  the  Borgo,  or  quarter  of  the  Vatican ;  and  farther 
S.,  Trastevere.  They  are  connected  by  means  of  the  Xt«nyara  street. 

The  Borgo. 

The  Vatican  Hill  (206  ft.),  with  the  plain  lying  beyond  it,  which 
is  notorious  for  its  malaria,  wag  never  reckoned  as  part  of  the  city 
in  ancient  times,  and  was  not  enclosed  within  Aurelian's  wall.  It  was 
once  covered  with  the  gardens  of  the  emperors.  Caligula  constructed 
a  Circus  here  and  embellished  it  with  a  large  obelisk.  This  circus 
was  the  scene  of  the  races  instituted  by  Nero  and  of  his  revolting 
cruelties  to  unoffending  Christians  in  the  year  65.  (Tereuntibus 
addita  ludibria,  ut  ferarum  tergis  contecti  lanlatu  canum  Interirent, 
aut  crucibus  adflxi ,  aut  flammandi,  atque  ubi  defecisset  dies,  in 
usum  nooturni  luminis  urerentur.'  Tacitus^  xv,  44.)  On  the  ruins 
of  the  ancient  walls  thus  hallowed  by  the  first  great  martyrdoms  at 
Rome  sprang  up  the  Chwrch  ofSt.  Peter ,  in  the  immediate  neigh- 
bourhood of  which  paganism  maintained  its  footing  with  greater 
obstinacy  than  in  any  other  part  of  the  city.  Not  far  from  the  church 
was  situated  a  highly-revered  shrine  of  Cybelef' AfaterDfum  Magna 
Idaea),  the  monuments  in  whose  honour  are  proved  by  inscriptions 
to  extend  down  to  the  year  390.  Another  circumstance  which  tend- 
ed to  shape  the  future  of  this  part  of  the  city  was  the  erection  by 
Hadrian  of  his  gigantic  Tomb  on  the  bank  of  the  river.  This  mon- 
ument wag  afterwards  converted  into  a  tete-de-pont,  but  at  what 
date  is  uncertain.  In  537  it  effectually  repelled  the  attacks  of  the 
Goths,  and  since  that  period  it  has  constituted  the  citadel  of  Rome, 
commonly  called  the  Castle  of  S.  Angelo,  on  the  possession  of  which 
the  mastery  over  the  city  has  always  depended.  Around  the  Church 
of  St.  Peter  sprang  up  a  number  of  chapels,  churches,  monasteries 
and  hospitals ,  and  in  the  pontificate  of  Symmaehus  (496-514'* 

Baedeker.    Italy  II.    10th  Edition.  18 


274    V.  Right  Batik,  ROME.  The  Borgo. 

papal  palace  also.  Foreign  pilgrims  soon  began  to  establisli  settle- 
ments here,  named  achoUie,  or  borghi^  of  vhicli  in  the  8tlL  cent,  four 
are  mentioned  in  history,  vix.  those  of  the  Saxons  (i.  e.  English), 
the  Frisians,  the  Lomhards ,  and  the  Franks ,  who  in  time  of  war 
formed  separate  companies  of  soldiers.  In  order  to  protect  the  whole 
of  this  region  against  the  predatory  incursions  of  the  Saracens,  Leo 
IV,  surrounded  it ,  in  848-52 ,  with  a  wall  40  ft.  in  height,  and 
thus  became  the  founder  of  the  Civitas  Leonina  named  after  him. 
This  quarter  of  the  city  was  repeatedly  destroyed  during  the  con- 
flicts of  the  middle  ages,  as  on  the  occasion  of  the  retreat  of  Henry  V. 
before  Robert  Guiscard  in  1085,  and  when  the  Castle  of  S.  Angelo 
was  destroyed  by  the  Romans  in  1379.  A  new  era  in  the  history  of 
the  Borgo  began  with  the  return  of  the  popes  from  Ayignoii ;  streets 
gradually  sprang  up ;  and  the  walls  were  considerably  extended. 
Eugene  IV.  and  Sixtw  IV.  were  particularly  active  in  developing 
the  Borgo,  and  it  attained  the  height  of  its  prosperity  in  the  ponti- 
ficate of  Julius  II.  and  Leo  X.  at  the  beginning  of  the  16th  cen- 
tury. The  papal  court,  however,  was  unable  permanently  to  attract 
the  business  of  the  city  to  its  neighbourhood,  and  a  sparse  and  poor 
population ,  engaged  in  the  humbler  branches  of  trade ,  now  lives 
beneath  the  shadow  of  the  most  famous  church  and  the  most  im- 
posing palace  in  Christendom.  Down  to  the  pontificate  of  Sixtus  V. 
the  Borgo  belonged  to  the  popes,  and  lay  without  the  bounds  of  the 
municipal  jurisdiction ;  but  that  pope  incorporated  it  with  the  city 
as  a  *14th  Rione',  and  in  the  plebiscite  of  2nd  Oct.,  1870,  the  in- 
habitants of  the  Borgo  declared  their  desire  that  it  should  continue 
to  form  an  integral  part  of  Rome. 

The  principal  channel  of  communication  with  the  Vatican  quar- 
ter is  afforded  by  the  Ponte  S.  Angelo  (PI.  I,  10) ,  which  consisted 
originally  of  seven  arches,  but  now  has  five  only,  one  next  the  land 
on  each  side  being  built  up.  It  was  erected  by  Hadrian  to  connect 
bis  tomb  with  the  city  in  A.D.  136,  and  named  after  him  P6n8  MUw^ 
At  the  beginning  of  the  bridge,  on  the  site  of  two  old  chapels,  Cle- 
ment VII.  erected  statues  of  St.  Peter  by  Lorenzetto,  and  St.  Paul  by 
Paolo  Romano.  The  ten  colossal  statues  of  angels ,  formerly  much 
admired ,  were  executed  from  Bernini's  designs  in  1688,  and  testify 
to  the  low  ebb  of  plastic  taste  at  that  period  (p,  lix).  (The  two 
angels  in  S.Andrea  delle  Fratte,  p.  151,  were  also  destined  for  the 
bridge.)  The  bridge  commands  a  pleasing  view  of  the  Pindo  with 
the  Villa  Medici.  —  At  low  water,  to  the  left,  are  visible  some  re- 
mains of  the  piers  of  the  ancient  Pons  Triumphalis,  over  which  the 
triumphal  processions  of  victorious  emperors  entered  the  city. 

The  bridge  leads  direct  to  the  CasteUo  S,  Angelo  (Pi.  I,  10), 
which  was  originally  the  tomb  erected  by  Hadrian  for  himself  and  his 
successors  (Moles  Hadriani)^  after  the  example  of  the  mausoleum  of 
Augustus ,  the  tomb  of  CsBcilia  Metella,  etc.  It  was  completed  in 
139  by  Antoninus  Pius.    On  a  substructure,  114  yds.  square,  now 


CasieUo  8,  Angdo,  ROME.  F.  Right  Bank,   275 

concealed  by  labbish,  arose  a  cylinder  of  travertine,  80  yds.  in 
diameter,  encrusted  with  marble,  of  which  covering  no  trace  now 
remains ;  and  around  the  margin  of  the  top  stood  numerous  statues 
in  marble.  The  cylinder  was  probably  surmounted  by  another  of 
smaller  dimensions,  on  which  a  colossal  statue  of  Hadrian  was  placed. 
The  head  in  the  Sala  Rotonda  of  the  Vatican  (p.  306)  is  supposed  to 
have  belonged  to  this  statue.  The  total  height  was  about  165  ft.  From 
Hadrian  to  Garacalla  (d.  217)  all  the  emperors  and  their  families 
were  interred  here.  When  the  Goths  under  Yitiges  besieged  Rome  in 
537,  the  tomb  was  converted  into  a  fortress,  and  the  statues  on  the 
summit  were  hurled  down  on  the  besiegers.  At  the  end  of  the  same 
century,  Gregory  the  Great,  while  conducting  a  procession  to  pray  for 
the  cessation  of  the  plague  then  raging,  'beheld  the  Archangel  Michael 
sheathing  his  sword'  above  the  Gastello  S.  Angelo,  in  commemoration 
of  which  Boniface  IV.  erected  the  chapel  of  8.  Angelo  inter  Ntibes  on 
the  summit.  This  was  afterwards  replaced  by  the  marble  statue  of  an 
angel  by  Montelvpo  (now  on  the  staircase  in  the  interior),  and  in  1740 
by  the  present  bronze  statue  by  VerschaffeU.  From  92o  onwards  the 
edifice  was  always  used  by  the  party  in  power  as  a  stronghold  for  the 
purpose  of  overawing  the  citizens.  In  1379  it  was  almost  entirely 
destroyed  by  the  Romans.  From  the  time  of  Boniface  IX.  down- 
wards the  castle  was  held  by  the  popes,  and  in  1527  Clement  VII. 
sustained  a  terrible  siege  here,  on  which  occasion  Benvenuto  Cellini 
asserted  he  had  thence  shot  the  Gonn^table  de  Bourbon.  The  out- 
works were  constructed  by  Urban  V.,  and  about  1500  the  covered 
passage  leading  from  the  Vatican  to  the  castle  was  added.  In  1822 
the  interior  was  freed  from  rubbish.  The  fort  was  newly  for- 
tified by  Pius  IX.  Entrance  by  the  sentiners  post,  to  the  right  of 
the  bridge. 

Penne«0i,  see  p.  i!^  (fee  Vfl  tr.).  It  is  important  to  arrive  panctn- 
ally  at  the  hour  named  in  the  permesso,  for  visitors  who  arrive  later  muat 
immediately  Join  the  soldier  who  acts  as  guide,  and  have  therefore  only 
a  hasty  glimpse  of  what  the  more  punctual  members  of  the  party  have 
already  inspected.  Visitors  beginning  about  11  a.m.  have  an  opportunity 
of  watching  the  reception  of  the  midday  signal  and  the  firing  of  the  J2 
o'clock  gun. 

The  ancient  entrance  is  seen  in  the  conrt,  opposite  the  bridge.  A 
passage  gradually  ascended  thence ,  winding  round  the  walls  in  Uie  in- 
terior, and  then  diverging  from  them  to  the  Tohb  Ghambes  in  the  centre, 
which  is  now  reached  partly  by  other  approaches.  This  was  the  last 
resting-place  of  Hadrian  and  his  family,  and  still  contains  four  niches  for 
the  urns.  These  are  now  empty  \  bat  a  sarcophagus  of  porphyry,  the  lid  of 
which  is  now  used  as  a  font  in  St.  Peter's  (p.  !&4),  is  said  to  have  been  found 
here.  The  visitor  is  also  shown  several  gloomy  dungeons  in  which  Beatrice 
Cenci,  Cellini,  Cagliostro,  and  others  are  said  to  have  been  incarcerated ; 
former  apartments  of  the  popes  \  and  a  saloon  with  frescoes  by  Raphael's 
pupil  Perino  del  Vaga.  Fine  view  of  St.  Peter's  from  the  summit,  and  of 
the  passage  connecting  the  castle  with  the  Vatican. 

A  new  quay  leads  to  the  right  from  the  entrance  of  the  Castle  of 
S.  Angelo  to  the  new  quarter  springing  up  on  the  Pratt  di  Caatello^ 
a  congeries  of  long  and  regular  rows  of  tasteless  four-story  houses. 
Some  public  buildings ,  including  a  large  court  of  law ,  are  tr 

18* 


276    7.  Bighi  Bank,  ROME.  Palazzo  Qiraud, 

be  erected  here.  At  the  N.  end  are  the  extensive  new  Barradcs  of 
the  Ckzrabinieri, 

The  Castle  of  S.  Angelo  is  adjoined  by  the  Piazza  Pia  (PI.  1, 10), 
for  some  time  named  the  Tiazza  del  Plebiscito'.  Four  streets  here 
diverge  to  the  W. :  in  the  centre,  to  the  left  and  right  of  the  foun- 
tain, are  the  streets  called  the  Borgo  Vecehio  and  the  Borgo  Nuovo  ; 
to  the  left,  by  the  river,  the  Borgo  8.  Spirito ;  to  the  right  the  Borgo 
8,  Angelo, 

The  usual  route  to  the  Vatican  is  by  the  Boboo  Nuoto.  To 
the  right  in  this  street  is  the  church  of  8.  Maria  Traapontina  (PI.  I, 
7,  5),  erected  in  1566.  Farther  on,  to  the  right,  in  the  small  Piazza 
Scossa  Cavalli,  is  the  handsome  *Palftizo  Giraud  (PI.  4),  the  pro- 
perty of  Prince  Torlonia,  erected  by  Ant.  Montecavallo  in  1503-6, 
from  designs  by  BramanU  (p.  li),  for  Card.  Adriano  da  Cometo ;  the 
poor  portal  dates  from  the  loth  century. 

To  the  right  in  the  Borgo  Nuovo,  farther  on  (Nos.  101-105),  is 
the  Pal,  Bicciardi,  built  for  Giac.  da  Brescia,  the  physician  of  Leo  X., 
from  a  design  by  Bald.  Peruzzi(?).  We  then  proceed  straight  to  the 
Piazza  Rusticucci  (PI.  I,  7 ;  88  yds.  long) ,  forming  a  kind  of  en- 
trance-court to  St.  Peter's.  Raphael's  house,  designed  by  Bramante, 
which  stood  on  the  right,  near  the  Pal.  Aceoramboni  (PI.  2),  was  re- 
moved when  the  piazza  was  enlarged. 

The  Boboo  S.  Spzbito,  issuing  from  the  Piazza  Pia,  terminates 
as  the  Borgo  8.  Miehele  under  the  colonnades  of  the  piazza  of  St. 
Peter.  To  the  left  in  this  street,  by  the  river,  is  the  spacious  Otpe^ 
dale  di  8.  8pirito  (PI.  I,  7).  The  building,  with  its  striking  octagon- 
al dome,  dates  from  the  time  of  Sixtus  lY.  and  is  one  of  the  most 
important  examples  of  the  early  Renaissance  in  Rome.  The  insti- 
tution was  founded  by  Innocent  III.  and  embraces  a  hospital,  a  lu- 
natic-asylum, a  foundling-institution  (shown  12-4  p.m. ;  permesso 
at  the  office  on  the  first  floor,  or  in  the  library),  a  home  for  girls,  a 
refuge  for  the  aged  and  infirm,  and  a  valuable  medical  library  (8-12). 
The  three  departments  first  mentioned  can  accommodate  1000,  500, 
and  3000  inmates  respectively.  The  Military  Hospital  is  on  the  op- 
posite side  of  the  street.  The  'borgo',  or  settlement,  of  the  'Saxons* 
or  English  once  lay  here  (comp,  p.  274). 

Farther  on ,  to  the  left ,  is  the  church  of  8.  Spirito  in  Sassia 
(PI.  1 2),  ascribed  to  Antonio  da  Sangallo  the  Younger,  under  Paul  III.; 
the  facade  was  added  by  Mascherino  under  Sixtus  V.  It  belongs  to  the 
adjoining  hospital  and  contains  nothing  noteworthy,  except  a  bronze 
ciborium,  ascribed  to  Palladio,  over  the  altar.  The  brick  campanile, 
with  Its  corner-pilasters,  is  described  by  Burckhardt  as  ^perhaps,  in 
its  virile  simplicity,  the  noblest  tower  of  the  early  Renaissance'. 

To  the  left,  at  the  end  of  a  side-street,  rises  the  Porta  8.  Spi- 
ritOy  whence  the  Via  della  Lungara  leads  to  Trastevere  (see  p.  327). 

Near  the  colonnades,  on  the  right,  is  8,  Lorenzo  in  Piseibut 
(PI.  iO),  a  church  of  early  origin,  rebuilt  in  1659;  on  the  left  is  the 


-j^^si 


*T<]ili- AiuMlt  Tun 


'W  PALAZZO  PON  TIFT  era 
IlasilicsL  di  S.Pietro 


Piazza  di  8.  Pietro,  ROME.  V.  Right  Bank.   277 

small  church  of  8.  Michdt  in  Sassia,  formerly  the  church  of  the  Fri* 
sians,  rebuilt  last  century,  with  the  tomb  of  the  artist  Raphael  Mengs. 

The  **PiAiia  di  S.  Pietro  is  a  square  preceded  by  an  elliptical 
space  which  is  enclosed  by  the  imposing  colonnades  of  Bernini 
(length  to  the  portico  of  the  church,  370  yds. ;  greatest  breadth  260 
yds.).  Each  of  the  colonnades,  which  were  erected  in  1667,  con-' 
tains  four  series  of  columns  of  the  Doric  order.  Three  covered  pas- 
sages, the  central  of  which  has  space  for  two  carriages  abreast ,  are 
formed  by  284  columns  and  88  buttresses.  On  the  roofs  are  placed 
162  statues  of  saints  in  Bernini's  style.  The  cost  of  the  construction 
amounted  to  850,000  scudi  (184,000  i.);  the  pavement,  laid  by  Be- 
nedict XIII.  ,  alone  cost  88,000  scudi.  The  effect  is  striking,  and 
the  piazza  forms  a  fitting  approach  to  the  largest  church  in  the  world. 

The  great  Obelisk  in  the  centre  of  the  piazza,  which  is  destitute 
of  hieroglyphics ,  was  brought  from  Heliopolis  to  Rome  by  Caligula 
and  placed  in  the  Vatican  Circus,  and  is  the  only  monument  of  the 
kind  at  Rome  which  has  never  been  overthrown. 

Under  Sixtus  V.  in  1586  this  huge  monument,  estimated  by  Font&na  to 
weigh  about  500  tons,  was  removed  on  rollers  from  its  original  position, 
and  on  10th  Sept.  erected  under  the  superintendence  of  Domtnieo  Fontana 
on  its  present  site.  Representations  of  this  extremely  difficult  undertaking 
are  frequently  seen.  It  is  related  that  Fontana  in  the  construction  of  his 
apparatus  had  omitted  to  allow  for  the  tension  of  the  ropes  produced  by  the 
enormous  weight,  and  that  at  the  most  critical  moment,  although  silence 
wag  imposed  on  the  bystanders  under  pain  of  death,  one  of  the  800  work- 
men ,  the  sailor  Bresca  of  S.  Remo,  shouted :  <  Acqua  alio  funi !'  (water  on 
the  ropes) ,  thus  solving  the  difficulty.  As  a  reward,  his  relations  (of  Bor- 
dighera  near  S.  Remo)  were  granted  the  privilege  of  providing  the  palm- 
branches  for  St.  Peter's  on  Palm  Sunday. 

On  the  pavement  round  the  obelisk  is  placed  an  indicator  of  the 
points  of  the  compass.  At  the  sides  are  two  handsome  ^Fountains, 
45  ft.  in  height,  the  one  next  the  Yatican  erected  by  Maderna,  the 
other  under  Innocent  XI.  On  each  side,  between  the  obelisk  and 
the  fountains ,  is  a  round  slab  of  stone  indicating  the  centres  of  the 
radii  of  the  colonnades,  each  series  of  which  appears  thence  as  one. 
At  the  sides  of  the  steps  leading  to  the  portico  of  St.  Peter's,  formerly 
stood  the  statues  of  SS.  Peter  and  Paul  which  are  now  at  the 
entrance  to  the  Sacristy  (p.  284),  and  were  replaced  under  Pius  IX. 
by  works  of  De  Fabris  and  TadoUni. 

To  the  right ,  at  the  end  of  the  colonnades ,  is  the  Portone  di 
BronzOy  the  entrance  to  the  VaUcanj  where  the  Swiss  guard  is  sta- 
tioned (see  pp.  124,  286). 

**8t.  Peter's  (S.  Fieiaro  in  VaUoano). 
The  Church  of  8t,  Peter,  like  S.  Giovanni  in  Laterano,  S.  Paolo, 
S.  Croce^  S.  Agnese,  and  S.  Lorenzo,  is  said  to  have  been  founded 
by  the  Emp.  Constantine  at  the  request  of  Pope  Sylvester  J.  It  was 
erected  in  the  form  of  a  basilica  with  nave,  double  aisles,  and  tran- 
sept, on  the  site  of  the  circus  of  Nero ,  where  St.  Peter  is  said  to 
have  suffered  martyrdom,  and  it  contained  the  brazen  sarcophagus  of 


278    V.  Right  Bank.  ROME.  8.  Pietro 

the  apostle.  The  chnrch  was  approached  by  an  entranco-conrt  with 
colonnades  and  was  snnonnded  with  smaller  churches,  chapels,  and 
monasteries.  The  interior  was  sumptuously  decorated  with  gold, 
mosaics,  and  marble.  At  Christmas,  in  the  year  800,  Charlemagne 
received  here  the  Roman  imperial  crown  from  the  hands  of  Leo  III., 
'and  numerous  emperors  and  popes  were  subsequently  crowned  here. 

In  the  course  of  time  the  edifice  had  at  length  become  so  damaged 
that  Nicholcu  V.  (p.  xlix)  determined  on  its  reconstruction,  and  in 
1450  began  the  posterior  tribune,  from  the  design  of  the  Florentine 
Bemardino  BoaseUino.  According  to  this,  the  church  was  to  have 
the  form  of  a  Latin  cross  (i.e.,  with  one  arm  longer  than  the  others), 
and  the  choir  was  to  be  rounded  internally,  and  to  form  half  of  a 
hexagon  externally.  The  proportions  were  so  adjusted  that  the 
choir  and  the  transept  completely  enclosed  the  corresponding  parts 
of  the  old  church.  The  walls  had  risen  to  a  height  of  4-5  ft.  only 
when  it  was  interrupted  by  the  death  of  the  pope. 

The  work  was  not  resumed  till  50  years  later,  when  a  new 
impulse  was  given  to  the  undertaking  by  the  idea  of  Julius  II,  to 
erect  a  monument  to  himself  during  his  own  lifetime  (p.  li),  for 
which,  as  there  was  no  sufficient  room  in  the  church,  it  was 
proposed  to  add  a  chapel.  For  this  proposal  was  next  substituted 
another,  that  the  church  itself  should  be  altered,  and  that  the 
beginning  of  Rossellino's  building  should  be  utilised ;  but  this  last 
suggestion  was  afterwards  abandoned  as  being  likely  to  interfere 
with  the  independence  of  the  work ,  and  it  was  at  length  resolved 
to  erect  an  entirely  new  edifice.  The  tradition,  that  Julius II.  had 
invited  numbers  of  architects ,  including  Qiuliano  da  Sangallo ,  to 
submit  designs,  and  that  Braicantb  was  the  successful  competitor, 
is  probably  true.  The  numbers  of  sketches  and  designs  preserved 
in  the  collection  of  drawings  in  the  Ufflzi  at  Florence  testify  to  the 
enthusiasm  and  zeal  with  which  the  various  masters  entered  into 
the  lists,  and  particularly  to  the  assiduity  vrith  which  Bramante 
revised,  corrected,  and  perfected  his  designs.  His  aim  seems  to  have 
been  to  crown  a  substructure  like  the  Basilica  of  Constantino  (p.  232) 
vrith  a  superstructure  like  the  Pantheon.  He  intended  the  new 
church  to  be  in  the  form  of  a  Greek  cross  covered  with  gigantic 
domes,  with  rounded  choir  and  transept,  and  an  usle  adjoining 
each  of  the  dome  pillars  and  ending  in  small  cupolas  at  the  corners, 
while  the  entrances  were  to  be  in  the  axes  of  these  aisles ,  opening 
outwards  in  the  form  of  tunnel'vaulted  porches.  The  foundation- 
stone  was  laid  on  18th  April,  1506,  in  the  presence  of  35  cardinals, 
under  the  choir-pillar  of  St.  Yeronica  (No.  4  on  the  large  plan). 

This  plan,  which  had  the  merit  of  majestic  simplicity,  was,  it  is 
well  known,  not  adhered  to.  The  year  preoeding  Bramante's  death 
(d.  1514),  OhUiano  da  8angallo(6..  1616),  and  with  him  Raphael  and 
Fra  Oioeondo  da  Verona  (d.  1516),  were  entrusted  with  the  superin- 
tendence of  the  work.  The  great  age  of  the  first  and  the  third,  and  the 


SpiegfiziDnr  df '3 


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lS,:^uTlit^   di   iV,  Sthnttuuia  iDomj^iuAm,,  • 
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tii. dfHi   j"WTir**a   Xatiida 

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33 1  Sepolii^ft     di   (irt^avrw  J77. 

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t^vhi^iisiki 
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Rt  .^A^rv^itta     cif'  bfh^tiiiaxti- 


in  Vaticano. 


ROME. 


V.  Right  Bank.   279 


early  death  of  Raphael  (d.  1520),  were  unfavourable  to  the  work,  and 
the  original  plan  was  much  altered  ,  the  masters  being  divided  be- 
tween the  Greek  and  Latin  form  of  cross.  The  next  directors  of  the 
work  were  Antonio  da  Sangallo  the  Younger  (appointed  in  1518),  BaL- 


S.  PietTo  in.  Vaticano. Bis e^i\o  di  Bramant^. 


Meiri  /'■I? 


i    •;•' 


r  T:..-,f 

«       ,.••,>  •'-iJ   &>   'v.:..-'  •'•'•■' -.'Ay ;!; 


dassare  Peruzzi  of  Siena  (1520),  and  Michabl  Angblo  (1546),  who 
distinguished  himself  by  rejecting  the  innovations,  of  Ant.  da  San- 
gallo, and  rescuing  Bramante's  ground-plan.  He  strengthened  the 
pillars  of  the  dome,  simplified  the  form  of  the  aisles,  and  planned 
a  porch  borne  by  ten  columns,  and  terminating  in  a  pediment,  but 
this  last  part  of  his  design  was  afterwards  abandoned.  Michael 
Angelo  was  most  fortunate  with  his  construction  of  the  dome.     He 

The  original  of  the  above  plan  (so  far  as  shaded),  signed,  ^Bramante 
Arch,  et  pit.^  is  preserved  in  the  collection  of  architectural  drawings  in 
the  Uffizi  at  Florence  (No.  3). 


280    V.  Right  Bank,  ROME.  8,  Pietro 

completed  the  dinm  of  the  dome,  and  left  behind  him  drawings 
and  models  for  the  completion  of  the  work  up  to  the  lantern,  a  task 
whidi  was  executed  by  Qiacomo  della  Porta  and  Carlo  Fontana,        \ 
Notwithstanding  the  vastness  of  its  dimensions,  the  dome  presents         | 
a  marvellously  airy  and  symmetrical  appearance. 

After  the  death  of  Michael  Angelo  (d.  1564)  the  building  of  the 
church  was  continued  by  VignoUij  Pirro  LigoriOj  and  Oiacomo  ddla 
Porta.  In  1606  the  church  was  completed  with  the  exception  of  the 
facade,  when  Paul  V.  Introduced  an  unfortunate  alteration.  Con- 
trary to  the  plan  of  Bramante  and  Michael  Angelo,  he  caused  the 
nave  to  be  lengthened,  and  the  present  weak  and  unsuitable  facade 
to  be  erected  by  Carlo  Madema.  Lastly  Bernini  (after  1626)  finish- 
ed the  building  in  a  most  unsuitable  way.  He  designed  two  campa- 
nili  to  be  erected  on  each  side  of  the  church,  but  the  only  one  which 
was  built  had  to  be  removed  owing  to  the  insecurity  of  the  foun- 
dation. A  fine  effect  is  produced  by  the  double  colonnades  erected 
in  front,  also  by  Bernini,  in  the  pontificate  of  Alexander  VII. 

The  new  church  was  consecrated  by  Pope  Urban  VIII. ,  on  18th 
Nov.  1626,  on  the  1300th  anniversary  of  the  day  on  which  St.  Syl- 
vester is  said  to  have  consecrated  the  original  edifice.  By  the  end 
of  the  17th  cent,  the  cost  of  building  St.  Peter's  had  amounted  to 
upwards  of  47  million  scudi  (nearly  10,000,000^.)  j  and  the  present 
expense  of  its  maintenance  is  about  7500^  per  annum.  The  new 
sacristy,  erected  by  Pius  VI.,  cost  900,000  sc.  (about  180,000f.). 

The  result  of  these  various  vicissitudes  is  that  St.  Peter's  is  tlie 
largest  and  most  imposing,  if  not  the  most  beautiful  church  in  the 
world;  its  area  is  about  18,000  sq.  yds.,  while  that  of  the  cathedral 
at  MUan  is  10,000,  St.  Paul's  at  London  9350,  St.  Sophia  at  Con- 
stantinople 8150,  and  Cologne  Cathedral  7400  sq.  yds. 

The  measurements  are  varionsly  stated  by  different  aathorities,  but 
the  following  are  approximately  accurate.  Length  of  the  interior  205  yds., 
or  including  the  walls  213  yds. ;  length  of  St.  Paul's  in  London  170  yds.  \ 
cathedral  at  Florence  163  yds.  \  cathedral  at  Milan  148  yds.  •,  S.  Paolo 
Fuori  le  Mura  139  yds. ;  St.  Sophia  at  Constantinople  118  yds.  —  Accord- 
ing to  the  measurements  of  Carlo  Fontana,  the  total  length  of  St.  Peter's, 
including  the  portico ,  is  232  yds. ;  height  of  nave  150  ft. ;  breadth  of 
nave  in  front  29  yds.,  and  at  the  back,  behind  the  tribune  26  yds.; 
length  of  transept  inside  150  yds.  —  The  Dome ,  from  the  pavement  to 
the  summit  of  the  lantern ,  is  403  ft.  in  height ,  to  the  summit  of  the 
cross  435  ft.  \  its  diameter  is  138  ft.,  or  about  5  ft.  less  than  that  of 
the  Pantheon.  The  church  contains  29  altars,  in  addition  to  the  high- 
altar,  and  148  columns. 

The  Fa9AI>b,  vidth  8  columns,  4  pilasters,  and  6  semi-pilasters 
of  the  Corinthian  order,  is  123  yds.  long  and  165  ft.  high.  It  is  sur- 
mounted by  a  balustrade  with  statues  of  the  Saviour  and  apostles, 
19  ft.  high.  The  inscription  records  that  it  was  erected  by  Paul  V, 
(Borghese)  in  1612.  Over  the  central  of  the  five  entrances  is  the 
Loggia  in  which  the  new  pope  used  to  be  crowned,  and  whence  he 
imparted  his  benediction  at  Easter  to  the  concourse  in  the  piazza 
(discontinued  since  the  Italian  occupation,  comp.  p.  120). 


in  Vaticano, 


ROME. 


y.  Bight  Bank.   281 


The  PoBTico,  the  celling  of  which  is  magnificently  decorated 
In  stucco,  is  78  yds.  In  length,  141/2  In  width,  and  66  ft.  in  height. 
At  the  ends  are  equestrian  statues :  on  the  right,  Constantino  the 
Great  hy  Bernini,  on  the  left,  Charlemagne  by  ComcKcMni.  At  the 
entrances  are  antique  columns  of  pavonazzetto  and  African  marble. 
Over  the  interior  of  the  central  external  entrance  is  *St.  Peter  on 
the  sea,  termed  ^Zm  Navieella\  a  mosaic  after  OiottQ,  formerly  in  the 
entrance-rourt  of  the  earlier  church ,  unfortunately  considerably  altered 
by  Mareello  Provenzale  and  Fr.  Beretla.  A  copy  of  the  original  is  preserv- 
ed in  8.  Maria  della  Goncezione  in  the  Piazza  Barberini  (p.  172).  —  Of 
the  five  doors  of  the  church  that  on  the  extreme  right  is  called  the 
Porta  Santa,  indicated  by  a  cross,  and  is  only  opened  in  the  years  of 
jubilee  (every  25  years  j  but  the  last  celebration  was  in  1825).  The 
great  Central  Entrance  is  closed  by  the  brazen  *Doors  which  Eugene  l\ . 
caused  to  be  executed  in  1447  by  Ant.  Filarete  and  Simone  (p.  1)  after 
the  model  of  those  of  8.  Giovanni  at  Florence.  The  Christian  subjects 
'  represented  on  them  contrast  strangely  with  those  on  the  surrounding 
arabesques,  such  as  Phrixus  and  Hella  on  the  ram,  Europa  on  the  bull, 
Ganymede  carried  oflf  by  the  eagle,  etc.  —  The  portico  unfortunately 
detracts  greatly  from  the  effect  of  the  whole,  and,  even  when  the  specta- 
tor is  at  some  distance  off,  it  conceals  a  considerable  part  of  the  cylin- 
der of  the  dome.  The  effect  which  Michael  Angelo  intended  the  dome 
itself  to  produce  cannot  be  appreciated  except  from  a  considerable  distance. 
While  the  exterior  of  St.  Peter's  is  open  to  criticism,  the  ♦♦In- 
TEKioB,  notwithstanding  its  meretricious  enrichments  (sculptures 
by  Bernini  and  his  contemporaries,  coloured  marble  incrustation  of 
the  walls,  and  niches  formed  in  the  principal  pillars  by  the  same 
master)  is  strikingly  impressive ;  and  the  effect  is  produced  not  so 
much  by  the  vastness,  as  by  the  harmony  and  symmetry  of  its  pro- 
portions. The  finest  features,  such  as  the  great  breadth  of  the  three 
arms  of  the  cross,  the  four  great  dome-pillars,  the  arcades  below  the 
dome,  and  the  diameter  of  the  latter,  are  all  due  to  Bramante,  to 
whom  the  coffering  of  the  tunnel-vaulting  must  also  be  ascribed. 

Interior.  On  the  pavement  of  the  Nave,  close  to  the  central  idoor,  is  a 
round  slab  of  porphyry  on  which  the  emperors  were  formerly  crowned, 
and  beyond  it  are  stones  on  which  are  inscribed  the  length  of  several 
other  large  churches  (see  above;  half  obliterated).  On  each  side,  as  far 
as  the  dome,  are  four  pillars  with  Corinthian  pilasters;  above  these  a  rich 
entablature,  which  bears  the  arches  extending  from  pillar  to  pillar  and 
the  gorgeously  coffered  and  gilded  ^Vaulting  of  the  ceiling.  The  niches 
of  the  pillars  here  and  in  the  other  parts  of  the  church  contain  mediocre 
statues  of  the  founders  of  various  oilers.  The  pavement,  like  the  walls, 
consists  entirely  of  coloured  marble,  inlaid  from  designs  by  0.  delta  Porta 
and  Bernini.  —  By  the  fourth  pillar  to  the  right  is  the  sitting  ^Statue  of 
8t.  Peter  in  bronze,  on  a  throne  of  white  marble  beneath  a  canopy,  a  work 
of  the  13th  cent.  (?),  brought  by  Paul  V.  from  the  monastery  of  8.  Martino. 
The  right  foot  is  almost  entirely  worn  away  by  the  kisses  of  devotees;  in 
front  of  it  two  large  candelabra.  Above  is  a  mosaic  portrait  of  Pins  IX., 
commemorating  the  25th  anniversary  of  his  accession  to  the  papal  see,  16th 
June,  1871. 

The  magnificent  and  plainly  decorated  Dome  rests  on  four  huge  but- 
tresses, 234  ft.  in  circumference,  the  niches  in  the  lower  parts  of  which 
are  occupied  by  statues,  16  ft.  in  height,  of  (r.)  St.  Longinus  (2)  by  Ber^ 
nini  and  8t.  Helena  (3)  by  Bolgi,  (I.)  St.  Veronica  (4)  by  Moeeki  and  St.  An- 
drew (5)  by  Duquemoy ;  above  them  are  the  four  loggie  of  Bernini,  where 
the  greatest  relics  are  exhibited  on  high  festivals ,  on  which  occasions  the 
loggie  may  be  entered  by  none  but  the  canons  of  St.  Peter's.  Above  these 
are  four  mosaics  of  the  Evangelists  after  the  Cav.  d'Arpino,  of  coloss 


282    V.  Right  Bank.  ROME.  8.  Pietro 

dimenfliona.  The  frieze  bears  the  inflcripiion  in  mosaic  on  a  blue  ground  : 
Tu  es  Feints  et  super  hanc  petram  aedificaho  eeelesiam  tneam  ei  tibi  dabo 
elates  regni  eaelorum.  The  sixteen  ribs  of  the  vaulting  of  the  dome  are 
decorated  with  gilded  stucco;  between  them  are  four  series  of  mosaics.  In 
the  lowest  the  Saviour,  the  Virgin,  and  the  Apostles.  On  a  leyel  with 
the  lantern,  God  the  Father,  by  Marcello  Provenzale^  after  Car.  d'Arpino. 

Beneath  the  dome  rises  the  imposing,  but  tasteless  bronze  CANOPr  (*Bal- 
dacchino^)  borne  by  four  richly  gilded  spiral  columns ,  constracted  in  1633 
under  Pope  Urban  VIII.,  firom  designs  by  Bernini^  of  the  metal  taken  from  the 
Pantheon  (p.  193).  It  is  95  ft.  in  height,  including  the  cross ,  and  weighs 
about  93  tons.  Under  the  canopy  is  the  High  Altab,  consecrated  in  1594, 
where  the  pope  only  reads  mass  on  high  festivals.  It  stands  immediately 
over  the  Tomb  of  St.  Peter.  The  Gontbssio,  constructed  by  C.  Maderna  under 
Paul  V. ,  is  surrounded  by  89  ever-burning  lamps.  The  descent  to  it  is  by 
a  double  flight  of  marble  steps.  Doors  of  gilded  bronze,  dating  from 
the  earlier  church,  close  the  niche  which  contains  the  sarcophagus  of  the 
apostle.  Between  the  steps  is  the  *Statue  (6)  of  Pius  VI.  in  the  attitude 
of  prayer,  by  Canova^  1822. 

The  nave  is  continued  beyond  the  dome,  and  terminates  in  the 
Tbibumk,  containing  the  mediocre  bronze  Cathedra  Petri  of  Bernini^  which 
encloses  the  ancient  wooden  episcopal  chair  of  St.  Peter.  On  the  right  (7) 
is  the  monument  of  Urban  VUI.  (d.  1644)  by  Bernini;  on  the  left  (8)  <-that 
of  Paul  in.  (d.  1549)  by  Ougl.  delta  Porta ,  probably  under  tiie  supervision 
of  Michael  Angelo.  Above  is  the  figure  of  the  pope  pronouncing  his  bene- 
diction; beneath  on  the  right  Prudence,  on  the  left  Justice.  The  names  of 
the  bishops  and  prelates  who  on  8th  Dec,  1854,  accepted  the  new  dogma  of 
the  immaculate  conception  of  the  Virgin  were  engraved  by  order  of  Pius  IX. 
Having  traversed  the  nave  and  surveyed  the  stapendous  dimensions 
of  the  fabric,  we  now  proceed  to  examine  the  aisles  and  transepts.  St.  Peter's 
contains  but  few  pictures ;  those  formerly  here,  some  of  which  are  now  in 
the  Vatican  Gallery,  are  replaced  by  copies  in  mosaic. 

Bight  Aisle.  Over  the  ^jubilee-door'  St.  Peter  in  mosaic  (9),  placed  here 
bv  Clement  X.  in  the  year  of  jubilee  1675.  The  (1st)  Ghapkl  dxlla  PibtI 
(10)  contains  a  celebrated  **PieUi  by  Michael  Angela,  executed  in  1498  at  the 
instance  of  the  French  Cardinal  Jean  de  Villiers  ae  la  Grolaie.  This  mas- 
terpiece was  produced  under  the  direct  influence  of  classic  art,  and  the  depth 
and  truth  of  the  conception  are  mirrored  in  the  exquisite  finish  of  the 
execution.  Neither  the  grief  of  the  Mother  nor  the  effect  of  death  on  the  Son 
detracts  from  the  ideal  beauty  imparted  to  them  by  the  artist.  This  chapel 
also  contains,  to  the  left,  a  large  early-Christian  sarcophagus,  in  which, 
according  to  the  inscription,  Junius  Bcusus.,  prefect  of  the  city  (d.  395),  was 
buried.  It  was  discovered  in  1596  during  the  rebuilding  of  St.  Peter's. 
To  the  right  is  a  column  which  tradition  affirms  to  have  been  brought 
from  the  Temple  at  Jerusalem,  and  which  served  Bernini  as  a  model  for 
the  twisted  pillars  of  the  Baldacchino.  —  Adjacent,  to  the  right  under 
the  arch,  is  the  monument  (11)  of  Leo  XII.,  erected  by  Gregory  XVI., 
by  De  Faibris;  to  the  left,  cenotaph  (12)  and  bronze  relief-portrait  of 
Christina  of  Sweden,  daughter  of  Gustavus  Adolphus,  and  a  convert  to  the 
Bomish  faith.  The  2nd  altar  (13)  is  adorned  with  the  Martyrdom  of  St.  Se- 
bastian after  Domeniehino.  Under  the  next  arches  are  the  monuments  of  (r.) 
Innocent  XII.  by  Fil.  Valle  (14),  and  Q.)  the  Countess  Matilda  of  Tuscia  (d. 
1115)  by  Bernini  (15),  executed  by  order  of  Urban  VIII.  who  had  transferred  her 
remains  from  Mantua  hither.  On  the  right  the  (Srd)  Chapbl  of  thb  Holt 
Saobakbnt  (16) ,  closed  by  an  iron  gate ,  contains  an  altar-piece  by  Fietro 
da  Cortona;  right,  the  finely  executed  ♦Monument  (17)  of  Sixtus  IV.  (d.  1484) 
in  bronze,  by  Ant.  Follajuolo  (1493).  Julius  II.  (of  the  della  Bovere  family, 
like  Sixtus) ,  who  was  the  first  to  resume  the  construction  of  the  church 
after  Nicholas  V.,  is  also  interred  here.  Under  the  next  arch:  right,  the 
monument  (18)  of  Gregory  XIII. ,  the  rectifier  of  the  calendar  (d.  1585), 
by  Camillo  Rusconi;  left,  the  plain  sarcophagus  (19)  of  Gregory  XFV.  Oppo- 
site ,  over  the  altar  by  the  principal  buttress ,  is  the  Communion  of  St. 
Jerome  (20),  after  Domeniehino  (original  in  the  Vatican).  On  the  right,  the 
Gbegobian  Chapel  (21) ,    erected  under  Gregor}'  XIII.  from  the  design  of 


in  Vaiieano.  ROME.  V.  Right  Bank,   283 

Michael  Angela  y  at  a  cost  of  80,000  scudi;  here  to  the  right  is  the  *Mona- 
ment  (22)  of  Gregory  XVI.  (d.  1846),  by  Amiei  (1864);  below  it  a  relief, 
representing  the  dissemination  of  Christianity.  AbOTe  the  altar  is  the 
•Madonna  del  Soccorso  (23),  from  the  old  church  of  St.  Peter,  dating 
from  abont  1118;  under  it  is  the  tomb  of  St.  Gregory  of  Nasiansus  (d.  990). 
Under  the  following  arch :  right,  the  tomb  (24)  of  Benedict  XIV. ;  left,  altar 
(25)  with  the  mass  of  St.  Basilius,  after  Suhleyra*. 

The  Sight  Tbansept  was  used  by  the  (Ecumenical  Council  for  its  meetings 
in  1870.  By  the  tribune,  three  altars  with  pictures  by  CaroselU  (26)i  Fa- 
lentin  (27),  and  Pouuin  (28),  representing  the  Martyrdom  of  St.  Erasmus. 

PBOLONGATION  OF  RiGHT  AiSLB.  Under  the  arch :  right,  ^'Monument  (29) 
of  Clement  XIII.  (Rezzonico  of  Venice,  d.  1769),  by  Canova;  figure  of  the  pope 
and  the  two  lions  worthy  of  inspection ;  left,  altar  of  the  Navicella  (90)  with 
Christ  and  Peter  on  the  sea,  after  Lan/ranco.  Bight,  the  Chafkl  ov  the 
Abchangbl  Highabl  (91),  the  ^Archangel,  after  Chtido  Rent;  in  a  straight 
direction.  Burial  of  St.  Petronella  (92),  after  Cfuereino.  Under  the  Qeft)  fol- 
lowing arch:  right,  monument  (93)  of  Clement  X.;  Raising  of  Tabitha  by 
Peter,  after  Costanzi.  —  We  now  pass  the  principal  tribune,  and  enter  the  — 

W.  Division  of  Left  Aislb.  Immediately  on  the  right  is  the  monument 
(94)  of  Alexander  vm.  (Ottoboni  of  Venice,  d.  1691),  by  Arrigo  di  S. 
Mariino;  left,  Healing  of  the  lame  man  by  Peter  and  John  (95),  after  Mancini; 
farther- on,  right,  the  altar  (96)  of  Leo  I.  with  a  marble  relief  by  Algardi 
(about  1650),  representing  the  Retreat  of  Attila.  Facing  the  visitor  is  the 
Cappblla  dblla  Colonna  (37),  containing  a  highly  revered  ^Madonna  from  a 
pillar  of  the  older  church.  Beneath  the  altar  an  ancient  Christian  sarcophagus 
(98).  with  Christ  and  the  apostles  in  front,  containing  the  remains  of  Leo  II. 
(d.  689),  Leo  in.  (d.  816),  and  Leo  IV.  (d.  865).  Turning  hence  to  the  left,  we 
first  perceive  on  the  right,  over  the  small  door  (of  egress),  the  unattractive 
monument  (39)  of  Alex.  VII.  (d.  1667)  by  £emini.  Opposite  is  an  altar  (40) 
with  an  oil-painting  (on  slate)  by  Fr.  Vanni^  Punishment  of  Simon  Magus. 

The  Lbft  Tbansbpt,  with  its  tribune  and  three  altars,  is  next  entered. 
It  contains  confessionals  for  eleven  different  languages,  as  the  inscriptions 
indicate.  By  the  pillar  of  S.  Veronica,  below  the  statue  of  S.  Juliana,  is 
an  elevated  seat,  whence  on  high  festivals  the  grand-penitentiary  dispenses 
absolution.  Over  the  first  altar  on  the  right,  St.  Thomas  (41),  by  Camueeinit 
in  front  of  that  in  the  centre,  the  tomb  (42)  of  the  great  composer  Palestrina 
(1520-94),  whose  works  are  still  performed  in  St.  Peter's;  altar-piece, 
Crucifixion  of  Peter,  tetter  Guido  Beni;  left,  St.  Francis  (49),  After  Domenichino, 
The  portal  to  the  right  under  the  following  arch  ^44)  leads  to  the  Sacristy; 
above  it  the  monument  of  Pius  VIII.  by  Tenerani.  To  the  left  (48),  Death 
of  Ananias  and  Sapphira,  after  Boncalli,  From  this  point  the  effect  of  the 
dome,  tribune,'  and  transept  collectively  is  best  appreciated.  Then  the 
Glekbntinb  Chafbl(45),  erected  by  Clement  Vni.  (1592-1606):  below  the 
altar  (46)  on  the  right  reposes  Gregory  L,  the  Great  (560-604);  altar- 
piece  after  Andr.  Saeehi;  facing  us,  the  ^Monument  (47)  of  Pius  VII.  (d.l823), 
by  Thorvdld»en.  —  We  now  turn,  to  the  left,  and  perceive  below  the  arch,  on 
the  left ,  the  mosaic  copy  of  Raphael's  Transfiguration  (49) ,  four  times  the 
size  of  the  original.  —  Opposite,  to  the  right,  begins  the  — 

Lbft  Aisle.  Here,  under  the  arch  on  the  right,  the  monument  (50)  of  Leo  XI. 
(d.  1606)  by  Algardiy  with  a  relief  of  the  recantation  of  Henry  IV.  of  France; 
left,  monument  (51)  of  Innocent  XI.  (d.  1689)  by  C.  Maratia,  with  relief  of  the 
delivery  of  Vienna  by  King  John  Sobieski.  The  large  Choib  Chapel  (52), 
gorgeously  decorated  by  Delia  Porta  with  stucco  and  gilding,  contains  the 
tombstone  of  Clement  IX.  (d.  1721)  and  two  organs.  Here  on  Sundays  cere- 
monies accompanied  by  beautiful  musical  performances  frequently  take  place ; 
ladies  only  admitted  when  provided  with  black  dress  and  veil,  genUemen 
also  in  black  (evening-dress).  —  Beneath  the  arch,  to  the  right  over  the 
door,  is  the  tomb  in  which  the  most  recently  deceased  pope  rests  until  the 
completion  of  his  tomb  and  monument  elsewhere;  Pius  IX.  (d.  1878)  lay 
here  till  July  12th ,  1881 ,  when  his  body  was  transferred  to  S.  Lorenzo 
Fuori  le  Mura  (see  p.  944).  To  the  left,  the  'Monument  (53)  of  Inno- 
cent  vm.  (d.  1492),  by  Ant.  and  Pieiro  Pollajuolo.  Then  on  the  right 
an  altar  (54)  with  the  Purification  of  the  Virgin,  after  Romanelli.    Unde 


284    Y.  Bight  Bank.  ROME.  8.  Pietro 

the  arch  to  the  right,  over  the  door  which  leads  to  the  dome,  the  eye  of 
the  English  traveller  wiU  rest  with  interest  upon  the  monument  (55)  of 
Maria  Clementina  Sobieski  (d.  1735  at  Rome),  wife  of  Charles  Edward,  the 
young  Pretender,  and  to  the  left  the  tomb  (56)  of  the  last  of  the  Stuarts,  by 
CoMva  (1819),  with  busts  of  'James  III/  and  his  sons  Charles  Edward,  and 
Henry,  better  known  as  Cardinal  York.  In  the  last  chapel  (57)  on  the  right 
is  a  font  consisting  of  the  cover  of  a  sarcophagus  from  the  mausoleum  of  Ha- 
drian (p.  275).    Over  the  altar,  Baptism  of  Christ,  after  Maratta. 

The  Sacbisty  (entranee  by  the  grey  marble  portal,  ground-plan 
44;  visited  most  conveniently  9-11  a.m.),  erected  in  1775  by  Pius 
YI.  from  designs  of  C,  Marchionne ,  consists  of  three  chapels  In  a 
corridor  adorned  with  ancient  columns  and  inseriptions. 

At  the  entrance  the  statues  of  (r.)  St.  Peter  and  Q.)  St.  Paul,  executed 
under  Pius  II.  by  Mino  del  Regno^  and  formerly  in  the  Piazza  of  St.  Peter. 
The  central  chapel,  Saobkstia  Cohunb  (68),  octagonal  in  form,  is  em- 
bellished with  eight  columns  of  bigio  from  the  villa  of  Hadrian  at  Tibur. 
A  guide  (Vs  fr)  u  found  here  to  show  the  others.  Left,  the  Saqbebtia  dei 
Canohici  (59),  with  the  Cap.  dei  Canonici,  altar-piece  by  Francesco  Penni 
(Madonna  with  SS.  Anna,  Peter,  and  Paul),  opposite  to  which  is  a  *  Ma- 
donna and  Child  by  Oiulio  Romano.    Adjacent  is  the  — 

Stanza  Capitolarb  (60),  containing  ^Pictures  from  the  old  Confessio, 
by  Oiotto:  Christ  with  a  cardinal*.  Crucifixion  of  Peter,  a  good  example 
of  Giotto''s  dramatic  power;  Martyrdom  of  St.  Paul;  on  the  back,  Peter 
enthroned;  SS.  Andrew,  John,  Paul,  and  James;  on  the  predella  (by  the 
window).  Madonna  and  Apostles.  This  work  alone  would  entitle  Giotto 
to  be  regarded  as  the  founder  of  a  new  school  of  painting.  This  Stanza 
also  contains  fragments  of  the  'Frescoes  by  Melozzo  da  Forli  &om  the  for- 
mer dome  of  SS.  Apostoli  (angels  with  musical  instruments  and  several 
heads  of  apostles).    On  the  right,  the  — 

Saobbstia  dk^  Bbnbpiziati  (61) ,  with  an  altar-piece  by  J/itftono,  the 
Delivery  of  the  Keys.  Contiguous  is  the  Tbeasubv  (62)  of  St.  Peter's, 
containing  jewels,  candelabra  by  Benvennto  CeUini  and  Michael  Angelc,  the 
dalmatica  worn  by  Charlemagne  at  his  coronation,  etc.  •>-  Over  the 
sacristy  are  the  Abchives  of  St.  Peter's  with  ancient  MSS.,  e.g.  Life  of 
St.  George,  with  miniatures  by  Cfiotto;  also  a  few  classical  authors.  The 
treasury  and  archives  are  seldom  shown. 

The  Saokb  Gbottb  Yaticane  (or  crypt),  consisting  of  passages 
with  chapels  and  altars  beneath  the  pavement  of  the  present  church , 
also  deserve  a  visit.  The  so-called  *Grotte  Vecchie'  are  only  shown 
by  special  permission  of  the  Pope  (which  lady-visitors  require  in  the 
ease  of  the  others  also).  For  admission  to  the  ^Grotte  Nuove'  apply 
at  the  sacristy  (fee  V2^^')*   Entrance,  see  ground-plan,  a. 

The  Grotte  Knove,  situated  under  the  dome,  consist  of  a  corridor  in 
the  form  of  a  horseshoe,  which  encloses  the  Confessio.  In  the  four  great 
buttresses  which  support  the  nave,  steps  descend  to  as  many  Chapels: 
a.  St.  Veronica,  *.  St.  Helena,  i.  St.  Longinus,  d.  St.  Andrew.  —  In  the 
Chapel  op  S.  Mabia  de  Pobticu  (6),  to  the  right  by  the  entrance,  is  St. 
Matthew,  on  the  left,  St.  John,  both  from  the  tomb  of  Nicholas  V.  (d.  1455) ; 
over  the  altar  a  Madonna  by  Simone  Memmi,  from  the  colonnade  of  the  old 
church,  much  injured.  Outside  the  chapel,  on  the  right,  a  mosaic:  Christ 
between  SS.  Peter  and  Paul,  from  the  tomb  of  Emp.  Otho  II.  —  In  the 
Chapel  op  S.  M.  Pregnantium  (c),  at  the  entrance,  the  two  SS.  James, 
from  the  tomb  of  IJicholas  V. ;  half-figure  of  Boniface  VIII. ;  angels  in 
mosaic,  after  Oiotto.  Here,  and  throughout  the  whole  corridor,  are  pre- 
served numerous  reliefs  of  the  15th  cent,  from  the  tombs  of  the  popes; 
among  them,  on  the  right,  a  Madonna  with  St.  Peter  and  St.  Paul  {K)  by 
Mino  da  Fiesole.  Reliefs  from  the  tomb  of  Paul  II. :  Hope,  Faith,  Charity, 
and  the  Last  Judgment.  On  the  left,  by  the  sides  of  the  entrance  to  the 
Confessio,   marble  *Eeliefs  (m)  of  the  martyrdom  of  SS.  Peter  and  Paul,  from 


in  Vaticano.  ROME.  7.  Right  Bank.   285 

the  tombstone  of  Sixtus  YI.  The  Comfxssio,  or  Shrine  of  SS.  Peter  and 
Paul,  in  the  centre  of  the  circular  passage,  is  richly  decorated  with  gold, 
jewels,  etc.  Over  the  altar,  which  was  consecrated  in  1122,  are  two  an- 
cient pictures  of  St.  Peter  .  and  St.  Paul.  The  sarcophagus  of  St.  Peter 
(formerly  in  the  catacombs  on  the  Via  Appia,  then  in  the  Lateran)  has 
been  preserved  here  since  the  15th  century. 

The  Grotte  Yecehie  are  about  147  ft.  long  and  67  ft.  wide.  The  pave- 
ment was  originally  that  of  the  ancient  church,  and  lies  11  ft.  below  that 
of  the  present  church.  These  vaults  contain  the  tombs  of  many  popes 
and  princes.  In  e.  those  of  Nicholas  I.  (d.  867),  Gregory  V.  (d.  999),  and 
Emp.  Otho  II.  (d.  at  Rome,  983).  At  the  end  of  /.  that  of  Alexander  VI. 
(d.  1503).  In  ff.  those  of  Hadrian  IV.  (ITlcholas  Breakspeare,  the  only 
English  pope,  d.  1159),  an  old  sarcophagus  in  granite;  Pius  II.  (^neas 
Sylvius  Piccolomini,  d.  1464),  an  early-Christian  sarcophagus;  Pius  III. 
(d.  1503),  Boniface  VIU.  (d.  1308),  Nicholas  V.  (Thomas  of  Sarzana, 
d.  1455),  and  Paul  II.  (d.  1471),  these  four  by  Mino  da  FinoU;  Urban  YL 
(d.  1389);  Marcellus  II.  (d.  15o5),  in  an  early- Christian  sarcophagus 
Cardinal  Fonseca  (d.  1422). 

For  the  *Ascbnt  op  the  Dome  (daily  8-11  a.m.)  a  permesso  is 
required,  and  may  be  obtained  in  the  *Rev.  Fabbrica  di  S.  Pietro', 
Yia  della  Sagrestia  8  (first  floor).  Yisitors  knock  at  the  door  in  the 
left  aisle  (PI.  55).  Eight  flights  of  easy  steps,  142  in  all,  ascend 
to  the  roof.  The  walls  bear  memorial-tablets  of  royal  personages 
who  have  performed  the  ascent.  On  the  roof  a  number  of  domes 
and  small  structures  are  seen,  some  of  which  serve  as  dwellings  for 
the  workmen  and  custodians. 

One  of  the  eight  octagonal  chambers  in  the  piers  which  support  the 
dome  contains  a  *  Model  of  the  church  by  Michael  Angeio  and  his  pre- 
decessor Ant.  da  Sangallo,  for  admission  to  which  a  permesso  of  ihe  ^Bev. 
Fabbrica  di  St.  Pietro'  (see  above),  obtainable  by  special  recommenda- 
tion only,  must  be  procured ;  here,  too,  a  model  of  the  ancient  throne  of 
St.  Peter  is  preserved. 

The  Dome  rises  308  ft.  above  the  roof,  and  is  630  ft.  in  circum- 
ference. The- visitor  will  observe  the  huge  hoops  of  iron  by  which 
the  dome  was  strengthened  in  the  18th  cent.,  when  threatening 
fissures  had  begun  to  appear.  The  gallery  within  the  dome  affords 
a  striking  view  of  the  interior.  An  easy  staircase  ascends  between 
the  outer  and  inner  dome  to  the  *Lanlem^  which  commands  a  view 
of  the  whole  church  and  its  environs.  A  narrow  iron  staircase,  ad- 
mitting one  person  only  at  a  time,  ascends  to  the  copper  ball  on  the 
summit,  which  can  contain  16  persons,  but  affords  no  view. 


Ascending  by  St.  Peter's,  to  the  left  beyond  the  colonnades  (way 
to  the  Yatican  gallery  of  statues,  see  p.  304,  and  Plan,  -p.  276), 
we  reach,  on  the  left  near  the  sacristy,  the  dimatero  del  T«deielii« 
the  most  ancient  Christian  burial-ground,  instituted  by  Gonstantine, 
and  filled  with  earth  from  Mt.  Calvary.  In  1779  it  was  granted  to 
the  Germans  by  Pius  YI.  Adjacent  is  the  church  of  8.  Maria  ddla 
Pieth  in  Can^o  Santo  (PI.  I,  4,  4),  adjoining  which  is  the  German 
and  Flemish  refuge  for  pilgrims. 

Near  it  is  situated  the  Palace  of  the  88.  Offizio,  or  Inquisition, 
now  a  barrack.    That  tribunal  was  established  in  1542  by  Paul  V 


286    V.  Bight  Batik.  ROME.  TU  VatUan, 

by  the  adylce  of  Card.  Caraffa,  afterwards  Pope  Paul  lY.,  and  this 
edifice  was  assigned  to  it  by  Hns  Y. 

The  Yatiean. 

The  Vatican  Palace,  the  largest  in  the  world,  was  originally  a 
dwelling-house  for  the  popes,  erected  by  Symmachus  (p.  273)  near 
the  anterior  court  of  the  old  church  of  St.  Peter,  and  afterwards 
gradually  extended.  Charlemagne  is  belieTod  once  to  have  resided 
here.  This  building  haying  fallen  to  decay  during  the  tumults  of  the 
following  centuries ,  Eugene  III.  erected  a  palace  near  St.  Peter's, 
which  was  greatly  enlarged  by  Nicholas  III.  The  Yatiean  did  not, 
however,  become  the  usual  residence  of  the  popes  until  after 
their  return  from  Avignon,  when  the  Lateran  was  deserted.  After 
the  death  of  Gregory  XI.  the  first  conclave  was  held  in  the  Yati- 
ean in  1378,  which  resulted  in  the  schism.  In  1410  John  XXIII. 
constructed  the  covered  passage  to  the  castle  of  S.  Angelo.  In  1450 
Nicholas  Y.  (p.  xlix),  with  a  view  to  render  the  Yatiean  the  most 
imposing  psdace  in  the  world ,  determined  to  unite  in  it  all  the 
government-offices  and  residences  of  the  cardinals.  The  small  portion 
completed  by  him,  afterwards  eccupied  by  Alexander  YI.  and  named 
Tor  di  Borgia,  was  extended  by  subsequent  popes.  In  1473  the 
Siitine  Chapel  was  erected  by  SixtusIY.,  and  about  1490  theSeZvc- 
defc,  or  garden-house,  by  Innocent  YIII.  Bramante,  under  Julius  II. , 
united  the  latter  with  the  palace  by  means  of  a  great  court,  which 
under  Sixtus  Y.  was  divided  by  the  erection  of  the  library  into  two 
parts,  the  anterior  court  and  the  Giardino  della  Pigna.  The  Loggie 
round  the  Gortile  di  S.  Damaso  were  also  constructed  by  Bramante. 
In  1534  Paul  III.  founded  the  PauUne  Chapel,  and  Sixtus  Y.  the 
Library  and  the  present  residence  of  the  popes,  which  last  was  com- 
pleted by  Clement  YIII.  (1592-1605).  Urban  Yin.  erected  the 
Scala  Begia  from  Bernini's  design ,  Pius  YII.  the  Braecio  Nuovo 
for  the  sculptures,  Gregory  XYI.  the  Etruscan  Museum,  and  Pius  IX. 
closed  the  fourth  side  of  the  Cortile  di  S.  Damaso  by  covering 
and  reconstructing  the  great  staircase  which  leads  from  the  arcades 
of  the  piazza  into  the  court.  The  palace  now  possesses  20  courts, 
and  is  said  to  comprise  11,000  (?)  halls,  chapels,  saloons,  and  private 
apartments.  By  far  the  greater  number  of  these  are  occupied  by 
collections  and  show  rooms,  a  comparatively  small  part  of  the  build- 
ing being  set  apart  for  the  papal  court.  A  law  passed  on  13th  May, 
1871,  secures  to  the  Yatiean,  the  Lateran,  and  the  papal  villa  at 
Castel  Gandolfo  the  privilege  of  exterritoriality. 

The  Peincipal  Entbancb  to  the  Yatiean  (^Portone  di  Sronxo) 
is  at  the  end  of  the  right  colonnade  of  the  Piazza  of  St.  Peter. 
Within  the  gate  visitors  apply  to  the  Swiss  guard  (comp.  p.  124), 
and  are  conducted  to  the  Maggiordomato  to  receive  their  per- 
messo.  The  steps  (Scala  Pia) ,  originally  uncovered,  but  altered 
by  Pius  IX. ,  lead  to  the  Cobtile  di  S.  Damaso  ,  a  court  which 


The  Vatican.  ROME.  V,  Right  Bank.   287 

deriyes  its  name  from  the  fountain  of  St.  Damasns  erected  here  by 
Innocent  X.,  and  sometimes  called  Cortile  deUe  Loggie  from  the 
Loggie  of  Bramante  (p.  lii)  by  which  it  is  bounded  on  three  sides. 
On  the  right  is  the  wing  occupied  by  the  Pope.  On  the  left  a  door 
with  the  inscription  Adito  alia  Biblioteca  ed  al  Museo  (now  available 
for  readers  in  the  library  only ;  collection  of  antiquities,  see  p.  304). 
The  loggie  on  the  first  floor  are  embellished  with  paintings  by  Gio- 
vanni da  Udine  (freely  but  judiciously  retouched),  those  on  the 
second  floor  by  Raphael  (p.  299). 

The  viflitor  should  be  well  provided  with  50  c.  notes  and  copper  money, 
as  fees  are  exacted  from  him  at  a  dozen  different  places  (in  each  depart- 
ment Va  fr-»  frequent  visitors  25  c).  The  ciceroni  who  proffer  their  ser- 
vices at  the  entrance  are  generally  ignorant  and  importunate. 

Apartments  not  usually  shown  at  present  are  enclosed  within  square 
hrackets  in  the  following  description. 

A.  Faintingi. 

Cappella  Sistina.   RaphaeVs  Stanze  and  Loggie.  Picture  Gallery. 

(Comp.  Plan^  p.  289.) 

Pennesto^  see  p.  134.  The  name  of  each  department  where  it  is  shown 
is  deleted  by  the  custodian.  Catalogue  of  the  picture-galleries  and  deco- 
rative paintings  by  the  Gonservatore  Ercole  Mcuti,  in  Ital.  2  fr.,  Engl.  4  fr., 
abridgment  in  French  2  fr. 

We  pass  the  Portone  di  Bronzo  (see  above)  with  the  Swiss  guard 
and  proceed  to  the  Sgala  Rbgia,  a  magnificent  flight  of  steps,  con- 
structed by  Ant,  da  Sangallo  the  Younger j  and  restored  by  Bernini 
under  Alexander  VII. ,  covered  with  tunnel-vaulting  borne  by  Roman 
columns.  We  mount  these  steps  and  pass  through  a  door  to  the  Stair- 
case on  the  Right,  which  ascends  to  the  first  floor,  where  we  are  ad- 
mitted by  a  side-entrance  to  the  Sistine  Chapel  (see  below),  indicated 
by  an  inscription.  On  the  second  floor  are  Raphael's  Stanze  and 
Loggie  (p.  292),  and  on  the  third  the  picture-gallery  (p.  301). 

**Cappblla  Sistina.     Sala  Reqia.     Sala  Ducale. 
Cappella  Paolina. 

The  **  Sifltiiie  Chapel  was  erected  under  Sixtus  IV.  by  Baccio 
PinteUi  (?)  in  1473;  length  133  ft.,  width  45  ft.,  six  windows  on 
each  side  above.  Beautifully  decorated  marble  screens  enclose  the 
space  set  apart  for  religious  solemnities.  The  lower  part  of  the  walls 
was  formerly  hung  with  Raphael's  tapestry  (p.  303)  on  the  occasion 
of  festivals ,  while  the  upper  part ,  with  the  exception  of  the  wall 
of  the  altar,  is  decorated  with  interesting  frescoes  by  Florentine 
masters  of  the  15th  cent.  (p.  xlix ;  best  light  in  the  morning). 

These  Frescoes  represent  parallel  scenes  from  the  life  of  Christ 
(right)  and  Moses  (left),  beginning  at  the  altar,  and  meeting  on 
the  entrance- wall.  Left :  1.  (by  the  altar)  Perugino,  Moses  with  his 
wife  Zipporah  journeying  to  Egypt,  Zipporah  circumcises  her  son 
(sometimes  attributed  to  Luea  Signorelli^  or  with  more  probability 
to  Pinturicchio);  •2.  Sandro  Botticelli,  Moses  kills  the  Egypt^ 


288    F.  Right  Bank.  ROME.  The  Vatican, 

drives  the  shepherds  from  the  well,  kneels  before  the  hniming 
bush ;  3.  Cosimo  RosseUi,  Pharaoh's  destmctioii  in  the  Red  Sea ; 
A,  Cos.  Bosselli^  Moses  receives  the  Law  on  Mt.  Sinai,  Adoration 
of  the  calf;  5.  ifif.  Botticelli,  Destruction  of  the  company  of  Korah, 
and  that  of  the  sons  of  Aaron ;  6.  Luca  Signorelli,  Moses  as  a  law- 
giver, Investiture  of  Aaron,  Mourning  over  the  body  of  Moses,  with 
boldly  drawn  male  figures.  —  Adjoining  the  latter ,  on  the  en- 
trance-wall:  8alviatiy  Contest  of  the  Archangel  Michael  for  the 
body  of  Moses,  now  entirely  repainted.  —  Right:  1.  Perugino^ 
Baptism  of  Christ;  2.  8.  Botticelli^  Christ's  Temptation  (vigorous 
and  finely  individualised) ;  *3.  Dom.  Ghirlandajo,  Yocation  of  Peter 
and  Andrew,  completed  about  1484,  in  a  dignified  and  severe  mon- 
umental style ;  4.  C.  Rosselli,  Sermon  on  the  Mount,  Cure  of  the 
leper;  *5.  Pcrwgfino  (who,  according  to  Vasari,  was  assisted  by  Bar- 
tol,  delta  OatUi)f  Christ  giving  the  keys  to  Peter,  one  of  the  master's 
finest  monumental  works ,  in  spite  of  defects  in  the  composition ; 
6.'  C.  Bossellij  Last  Supper.  —  On  the  entrance- wall :  Resurrection 
of  Christ ,  originally  by  X>.  Ghirlandajo^  renewed  by  Arrigo  Fiam- 
mingo,  —  On  the  pillars  between  the  windows  28  popes  by  8.  Botti- 
cellij  not  easily  distinguishable.  —  The  place  of  honour  at  the  altar, 
before  Michael  Angelo  painted  his  Last  Judgment  (p.  291),  was 
occupied  by  three  other  frescoes  by  Perugino:  the  Finding  of  Moses, 
Coronation  of  the  Virgin,  and  Adoration  of  the  Magi. 

The  **Cbiling  (p.  Hi;  mirrors  provided  by  the  custodian)  was 
begun  by  Michael  Angelo  on  10th  May,  1508,  and,  as  proved  by- 
existing  documents,  completed  in  the  autumn  of  1512  (although  the 
master's  biographers  have  stated  that  he  executed  the  work  4n  22 
months').  Whether  the  ceiling  of  the  Sistine  Chapel,  or  the  Stanze 
of  Raphael  are  to  be  regarded  as  the  culminating  effort  of  modern 
art,  has  long  been  a  subject  of  controversy.  The  merit  of  uni- 
formity of  thought  and  compactness  of  composition  must  be 
awarded  to  the  ceiling-painting ,  and  these  attributes  are  the  more 
worthy  of  admiration,  as  the  subjects  of  the  whole  series  had  not 
been  agreed  upon  from  the  outset.  The  pictorial  enrichment  of 
the  celling  was  at  first  to  be  limited  to  the  figures  of  the  Twelve 
Apostles,  but  Michael  Angelo,  perceiving  the  poverty  of  the  de- 
sign, prevailed  on  the  pope  to  allow  him  to  extend  it.  In  order  to 
connect  the  different  scenes,  Michael  Angelo  invented -an  imagi- 
native structure  with  columns,  pillars,  and  cornices  in  bronze 
and  marble,  which  rises  from  the  walls,  and  encloses  in  the 
middle  of  the  ceiling  (which  is  vaulted,  with  a  flat  surface  in  the 
middle)  nine  sections  of  different  sizes.  The  lifelike  figures  which 
step  forth  from  the  architectural  members,  some  of  them  in  their 
natural  colour,  and  others  of  a  bronze  tint,  impart  to  the  back- 
ground such  animation  and  significance,  as  to  render  it  an  admir- 
able introduction  to  the  large  central  pictures.  It  is  here  that  the 
'^ectator  will  become  fully  aware  of  the  importance  to  a  painter  of 


The  Vatican, 


ROME. 


V.  Right  Bank.   289 


a  thoiOQgli  acquaintance  with  aicMtectnral  designs,  and  of  the  ex- 
tent to  which  Michael  Angelo  availed  himself  of  such  acquaintance. 
A  description  of  J  the  Obntbal  SoBNBs/may  he  given  nearly  in 


Baedekeb.  Italy  II.  lOth  Edition 


290    V,  Right  Bank.  ROME.  The  Vatican. 

the  words  of  Ascanio  Condivij  a  pupil  of  Michael  Angelo,  who  in 
1553  wrote  the  master's  life  before  the  death  of  the  latter.  —  'In 
the  J  at  Seotion  of  the  ceiling  (reckoned  from  the  altar),  which  is 
one  of  the  smaller  ones,  yon  observe  in  the  air  God  Almighty,  who 
with  the  motion  of  his  arms  separates  light  from  darkness.  —  In 
the  2nd  Section  he  creates  the  two  great  lights  of  the  world,  his 
outstretched  right  hand  touching  the  sun,  and  the  left  the  moon. 
Around  him  are  several  angels,  one  of  whom  (to  the  left)  hides  his 
face,  and  presses  close  to  the  Creator,  as  if  to  screen  himself  from 
the  baneful  Influence  (dazzling  light)  of  the  moon.  In  the  same 
section  God  is  again  represented  as  engaged  in  creating  the  herbs 
and  plants  on  the  earth.  He  is  pourtrayed  with  such  art,  that 
wherever  you  turn  he  appears  to  follow  you,  showing  his  whole 
back  down  to  the  soles  of  his  feet,  —  a  very  excellent  work,  proving 
what  can  be  done  by  foreshortening.  — In  the  3rd  Section  God  the 
Lord  appears  in  the  air  surrounded  with  angels,  regarding  the 
waters,  and  commanding  them  to  bring  forth  all  those  kinds  of 
animals  which  that  element  nourishes.  —  In  the  dth  Section  the 
creation  of  man  is  represented,  and  God  is  seen  with  outstretched 
arm  and  hand,  as  if  prescribing  to  Adam  what  to  do,  and  what  to 
abstain  from.  "With  his  other  arm  he  encloses  a  group  of  angels 
(the  figure  immediately  behind  the  shoulder  of  the  Father  bears 
distinctly  female  features,  and  it  is  a  not  improbable  conjecture 
that  the  master  meant  here  to  represent  the  uncreated  Eve).  —  In 
the  5th  Section  God  draws  from  Adam's  side  the  woman,  who  with 
folded  hands  stretched  out  towards  God,  bows  herself  with  a  sweet 
expression,  so  that  it  seems,  she  is  thanking  him,  and  that  he  is 
blessing  her.  —  In  the  6th  Section  the  Demon,  in  human  form  from 
the  waist  upwards,  and  otherwise  a  serpent,  coils  himself  round  a 
tree;  he  converses  with  Adam  and  Eve,  whom  he  persuades  to 
disobey  their  Creator,  and  hands  the  forbidden  fruit  to  the  woman. 
In  the  second  part  of  the  section  you  see  the  pair,  driven  out  by 
the  angel,  fleeing  terrified  and  sad  from  the  face  of  God.  —  In  the 
7th  Section  the  sacrifice  of  Abel  and  Cain  (or  rather  Noah's  thank- 
offering)  is  represented.  —  In  the  8ih  Section  is  seen  the  Flood, 
with  Noah's  Ark  on  the  water  at  a  distance,  and  a  few  persons 
clinging  to  it  in  hopes  of  saving  themselves.  Nearer  is  a  boat 
crowded  with  people,  which,  owing  to  its  undue  load,  and  to  the 
numbers  of  violent  shocks  of  waves,  is  already  shipping  water,  and 
threatening  to  sink,  and  it  is  indeed  a  strange  thing  to  see  the 
human  race  perishing  so  miserably  in  the  waves.  Still  nearer  the 
eye  appears  above  the  water  the  top  of  a  mountain,  where  a  number 
of  men  and  women  have  sought  refuge  as  if  on  an  island ;  they  show 
different  emotions,  but  they  all  cower,  miserable  and  terrified, 
under  a  tent  stretched  over  a  tree,  to  shelter  themselves  from  the 
excessive  rain.  And  in  this  scene  the  wrath  of  God  is  represented 
with  great  art,  for  he  sends  upon  them  lightnings,  waters,  and 


The  Vatican.  ROME.  V.  Bight  Bank.   291 

stomiB.  There  is  also  another  mountain-top  on  the  right  side  with 
a  group  of  people  on  it  in  similar  distress,  but  it  would  take  too 
long  to  describe  each  one  of  them.  —  In  the  9th  Section^  the  last, 
is  narrated  the  story  of  Noah,  who,  when  lying  drunken  and  naked 
on  the  ground,  is  mocked  by  his  son  Ham,  but  is  being  covered  by 
Shem  and  Japheth'. 

On  the  lower  part  of  the  yaulting  are  the  ♦•Pbophbts  and 
Sibyls  in  earnest  contemplation,  surrounded  by  angels  and  genii. 
To  the  left  of  the  altar :  1.  Jeremiah^  in  a  profound  reverie;  2.  Per" 
sian  Sibylj  reading ;  3.  Ezekiel ,  with  half-opened  scroll ;  A.  Ery^ 
thraean  Sibyl ,  sitting  by  an  open  book ;  5.  Joelf  reading  a  scroll ; 
6.  (over  the  door)  ZaehariaSj  turning  the  leaves  of  a  book ;  7.  Del- 
phian Sibyl^  with  an  open  scroll ;  8.  Isaiah,  his  arm  resting  on  a 
book,  absorbed  by  divine  inspiration ;  9.  Cumaean  Sibyl,  opening 
a  book;  10.  Daniel,  writing;  11.  Libyan  Sibyl,  grasping  an  open 
book;  12.  (above  the  Last  Judgment)  Jonaft,  sitting  under  the  gourd. 
*A11  these  are  truly  wonderful',  says  Condivi,  'both  owing  to  the 
attitudes,  and  to  the  ornamentation,  and  the  variety  of  the  drapery. 
But  most  wonderful  of  all  is  the  prophet  Jonah  who  sits  at  the  top 
of  the  vaulting.  His  body  is  foreshortened  towards  the  inside,  to- 
wards the  part  nearest  the  beholder's  eye,  while  the  legs  project 
outside,  in  the  more  distant  part :  a  marvellous  work,  for  so  great 
is  the  skill  of  Michael  Angelo  in  foreshortening  and  perspective'. 

In  the  pointed  arches  and  lunettes  of  the  vaulting  are  the  an- 
cestors of  the  Saviour  in  calm  expectation.  In  the  four  comer- 
arches  :  on  the  altar-wall,  right,-  the  Israelites  in  the  wilderness 
with  the  brazen  serpent;  left,  king  Ahasuerus,  Esther,  andHaman. 
On  the  entrance-wall,  left,  David  and  Goliath,  right,  Judith. 

Nearly  30  years  later  than  this  ceiling  Michael  Angelo  painted 
on  the  altar- wall  the  **La8T  Judgment,  64  ft.  in  width,  completed 
under  Paul  in.  in  1541.  Careful  and  repeated  study  alone  will 
enable  the  spectator  to  appreciate  the  details  of  this  vast  com- 
position, which  is  unfortunately  blackened  by  the  smoke  of  cen- 
turies, and  unfavourably  lighted.  To  fathom  the  religious  views 
and  artistic  designs  of  the  talented  master  is  a  still  more  difficult 
task.  On  the  right  of  the  figure  of  Christ  as  Judge  hover  the  saints 
drawn  back  by  devils  and  supported  by  angels,  on  his  left  the  sin- 
ners in  vain  strive  to  ascend ;  above  are  two  groups  of  angels  with 
the  Cross,  the  column  at  which  Christ  was  scourged,  and  the  other 
instruments  of  his  passion ;  in  the  centre  Christ  and  the  Virgin, 
surrounded  by  apostles  and  saints ;  below  the  rising  dead  is  hell, 
according  to  Dante's  conception,  with  the  boatman  Charon  and  the 
judge  Minos,  whose  face  is  a  portrait  of  Biagio  of  Cesena,  master 
of  the  ceremonies  to  Paul  IH.,  who  had  censured  the  picture  on 
account  of  the  nudity  of  the  figures.  Paul  IV.,  who  contemplated 
the  destruction  of  the  picture  on  this  account,  was  persuaded,  in- 
stead, to  cause  some  of  the  figures  to  be  partly  draped  by  DanieU 

19* 


292    V.  Right  Bank.  ROME.  The  Vatican, 

da  Volterra.  Clement  Xn.  cansed  this  proceed  to  be  extended  to 
the  othei  figures  by  Stefano  Potzi,  wbereby,  as  may  be  imagined, 
the  picture  was  far  from  being  improved. 

Most  of  tbe  solemnities  at  wMcb  the  Pope  officiates  in  person 
take  place  in  tbe  Sistine  Chapel  (see  pp.  120,  121). 

Adjacent  to  the  Sistine  Chapel  on  the  E.  is  the  Sala  Begia, 
which  is  shown  by  the  custodians  of  the  Sistine  Chapel  on  special 
request.  It  was  built  by  Ant.  da  SangciUo  the  Younger ,  as  an  en- 
trance hall  to  the  Sistine  Chapel,  and  was  originally  destined  for  the 
reception  of  foreign  ambassadors.  The  cornicings  of  the  ceiling  are 
by  Perino  del  Vaga,  and  those  over  the  doors  by  Dan.  da  Volterra, 

The  mediocre  Fbbsgoes  of  Vatari^  Salviatit  and  the  Zueearit  represent, 
according  to  the  titles  inscribed  below  them :  on  the  window-wall,  to  the 
right ,  scenes  from  the  Night  of  St.  Bartholomew  (the  inscription  Straget 
Eugenottorum^  etc.,  which  was  once  under  them,  has  been  obliterated).  On 
the  wall  opposite  the  entrance,  the  door  in  which  leads  to  the  Sistine,  the 
Alliance  of  the  Spanish  and  Venetians  with  Paul  V.,  Battle  of  Lepanto  in 
1571  •,  on  the  end-wall,  Gregory  VII.  absolving  the  Emp.  Henry  IV.  (door 
to  the  Pauline) ,  Ck)nquest  of  Tunis.  On  the  entrance-wall ,  Oregory  XI. 
returning  from  Avignon,  Alexander  III.  absolving  Fred.  Barbarossa. 

The  Sala  Ducale,  which  adjoins  the  Sala  Regia,  constructed  by 
Berninif  is  decorated  with  frescoes  and  landscapes  by  Bril. 

From  the  Sala  Regia  a  door  to  the  left,  with  the  inscription 
^Paulus  III.  P.  M.\  leads  into  the  Pauline  Chapel  (Cappella  Pao^ 
Una) J  built  in  1540  by  Antomo  da  Sangallo  the  Younyer  for  Paul  DI. 
Here  also  are  two  frescoes  by  Michael  Angela ,  painted  by  him  at  a 
very  advanced  age^  on  the  left,  the  Conversion  of  St.  Paul,  on  the 
right,  the  Crucifixion  of  St.  Peter.  The  other  pictures  are  by  Lor, 
Sabbatini  and  F.  Zuecaro,  the  statues  in  the  corners  by  P.  Bresciano. 
The  chapel  is  used  on  the  first  Sunday  in  Advent  for  the  QuaranV 
Ore,  or  exposition  of  the  host  during  40  hrs.,  when ,  as  wdl  as  on 
Holy  Thursday,  it  is  brilliantly  illuminated. 

Raphael's  **Stanzb  and  **Loggib.  *  Cappella  Niccolina 
(di  S.  Lorenzo).  ♦•Picture  Gallery.  Raphael^s  Tapestry, 
(Comp.  the  Oround-Ftan^  p.  389.) 
We  follow  the  staircase  mentioned  at  p.  287 ,  passing  the  pre- 
sent entrance  to  the  Sistine  Chapel ,  and  ascend  thence  to  the  right 
63  steps,  to  the  second  floor,  where  we  knock  at  the  white  door, 
through  which  Raphael's  Stanze  and  Loggie  at  present  are  entered 
from  the  back.  Sticks  and  umbrellas  are  left  at  the  door.  — In  front 
and  to  the  right  are  two  rooms  with  indifferent  modern  pictures, 
chiefly  representing  scenes  from  the  lives  of  persons  canonised  by 
Pius  IX.  The  room  to  the  right  also  contains  a  picture  representing 
the  Relief  of  Vienna  in  1683  by  John  Sobieski,  by  Matejko,  presented 
by  Poles.  We  traverse  that  to  the  right,  and  then  a  saloon,  the  Sala 
delV  Immacolataj  decorated  by  Podesti ,  by  order  of  Pius  IX. ,  with 
frescoes  relating  to  the  doctrine  of  the  Immaculate  Conception  of 
the  Virgin,  promulgated  on  8th  Dec,  1864  (comp.  p.  Ix). 


The  VcAiean,  ROME.  F.  Right  Barik.   293 

The  door  in  a  straight  direction  leads  to  the  lixst  of  — 

**Rapliaeri  Stanse.  The  frescoes  executed  by  Raphael  in  1508 
-1520  in  the  papal  apartments  {8Uxn%e  or  Camert)  of  the  Vatican,  by 
order  of  the  Popes  Julius  II.  and  Leo  X. ,  are  unquestionably  the 
foremost  among  the  creations  of  the  master  and  are  rivalled  by  no 
modem  works  of  art  in  existence  except  the  ceiling-paintings  in  the 
Gappella  Ststina  (p.  287).  The  work,  howeyer,  in  its  entire  grandeur 
had  not  been  planned,  nor  the  task  committed  to  Raphael  from  the 
outset.  Julius  II .  originally  intended  these  rooms  to  be  decorated 
in  a  much  simpler  style ,  and  he  entrusted  the  task  to  Pefugino, 
Sodoma,  and  other  painters  of  Umbria  and  Siena.  Among  these 
was  the  young  Raphael,  who  had  probably  been  introduced  by 
Perugino,  and  who  after  the  completion  of  the  first  frescoes  became 
so  prominent  among  his  fellows,  that  the  work  was  then  entrusted  to 
him  exdusiYoly.  Raphael  did  not,  however,  live  to  complete  his 
task,  and  it  was  finished  by  his  pupils.  The  earliest  pictures  in 
the  first  and  second  stanza  only  are  by  Raphael's  hand.  For  eaoh 
of  these  paintings  he  received  1200  gold  scudi  (nearly  500^.).  They 
were  seriously  injured  during  the  plundering  of  Rome  in  1527,  but 
were  restored  by  Carlo  Maratta  under  Clement  XI.  (comp.  also 
p.  liU,  and  the  Plan,  p.  289). 

I.  Stanza  dell'  Incendio,  which  we  enter  first,  is  the  third  in 
chronological  order.  The  frescoes  were  completed  in  1517)  but  only 
the  Incendio  del  Borgo  was  actually  executed  by  Raphael ;  the  others 
were  painted  from  his  designs  and  under  his  supervision.  —  The 
ceiling-paintings  (angels  and  saints)  are  by  Perugino ;  those  on  the 
walls  represent  scenes  from  the  reigns  of  Leo  III.  and  Leo  lY. 

Over  the  window :  1.  Oath  of  Lbo  III.,  sworn  by  him  in  pre- 
sence of  Charlemagne  (with  the  gold  chain,  his  back  turned  to  the 
spectator),  in  order  to  exculpate  himself  from  the  accusations 
brought  against  him,  by  Penno  del  Vaga. 

To  the  right  of  this,  on  the  entrance- wall :  2.  Victoby  op 
Lbo  IY.  otbb  thb  Sabacbns  at  Ostia,  executed  by  Qiov,  da  Vdine. 
The  pope  is  represented  as  Leo  X. ,  accompanied  by  Card.  Julius 
de'  Medici  (Clement  VII.),  Card.  Bibbiena,  and  others.  Below : 
Ferdinand  the  Catholic,  and  the  £mp.  Lothaire. 

3.  IicoBin>io  DBL  BoBGo,  couflagratiou  of  the  Borgo,  whence  the 
name  of  the  room. 

The  apparently  ungrateful  task  of  painting  a  miracle  has  been 
executed  so  happily  by  the  genius  of  Raphael,  that  he  has  pre- 
sented us  with  what  would  be  termed  in  modern  language  a  mag- 
nificent genre  picture.  The  traditional  incident,  —  the  extinguish- 
ing of  a  fire  which  had  broken  out  in  the  Borgo,  or  Vatican  quarter, 
by  the  sign  of  the  cross  made  by  Pope  Leo  IV.  (9th  cent.)  in  the 
Loggia  of  St.  Peter's  —  is  placed  in  the  background.  The  fore- 
ground exhibits  the  terrors  of  a  conflagration,  the  efforts  of  th*» 
people  to  save  themselves  and  their  movables,  and  the  half-paralyr 


294    V.  Bight  Bank.  ROME.  The  Vatican, 

condition  especially  of  the  mothers  and  other  women.  We  are  then 
transported  to  the  heroic  age,  by  a  group  in  the  left  corner,  repre- 
senting the  aged  Anchises  on  the  hack  of  ^neas,  the  classical  de- 
rivation of  which  justifies  the  powerful  delineation  of  the  limhs. 
The  Incendio  is  unquestionably  the  most  popular  picture  of  the 
series,  and  is  well  adapted  to  illustrate  the  superiority  of  Raphael's 
art  to  that  of  a  later  period.  The  antiquarian  will  also  scan  with 
interest  the  facade  of  the  old  ^urch  of  St.  Peter,  represented  here 
as  it  still  existed  in  Raphael's  time. 

Below :  Godfrey  de  Bouillon  and  Aistulf . 

4.  GoBOMATioN  07  CHABLEMAaNB  in  the  old  Church  of  St.  Pe- 
ter. Leo  in.  has  the  features  of  Leo  X.,  and  the  emperor  those 
of  Francis  I.  of  France.   Below :  Charlemagne. 

n.  Stanaa  della  Seg^atura,  so  named  from  the  fact  that  the 
papal  indulgences  were  signed  here.  The  frescoes  in  this  apartment, 
begun  by  Raphael  in  1508,  at  the  age  of  25,  were  the  first  works 
of  the  master  in  the  Vatican.  They  were  completed  in  1511.  The 
sections  of  the  vaulting  of  the  apartment  had  already  been  arranged 
by  Sodoma,  On  the  four  circular  and  quadrangular  spaces  Raphael 
painted  allegorical  figures  and  Biblical  and  mythological  scenes, 
which  in  connection  with  the  paintings  in  the  large  lunettes  are 
symbolical  of  the  four  principal  spheres  of  intellectual  life. 

Ceiling  Paintings.  1.  ThboI/OGT  (dioinarum  rerum  notUia)^  a 
figure  among  clouds,  in  the  left  hand  a  book,  with  the  right  pointing 
downwards  to  the  heavenly  vision  in  the  Disputa  beneath;  ad- 
jacent, the  Fall  of  man ;  2.  Pobtbt  (numine  affUUur),  crowned  with 
laurels,  seated  on  a  marble  throne  with  book  and  lyre ;  adjoining 
it,  the  Flaying  of  Marsyas;  3.  Philosophy  (causarum  cogniiio)j 
with  'diadem,  two  books  (natural  and  moral  science)  and  a  robe 
emblematical  of  the  four  elements ;  adjoining  it,  the  Study  of  the 
heavenly  bodies;  4.  Justiob  (jus  suum  unicuique  tribuit),  with 
crown,  sword,  and  balance ;  adjacent,  Solomon's  Judgment. 

Mural  Paintings.  Under  the  Theology:  1.  Thb  Disputa.  This 
name  continues  to  be  applied  to  this  painting,  although  it  is  based 
on  a  misunderstanding  and  error.  The  scene  represented  is  not  a 
dispute  about  the  doctrine  of  transubstantiation,  as  commonly  sup- 
posed, the  monstrance  with  the  host  on  the  altar  being  merely  in- 
tended as  a  clue  to  the  nature  of  the  subject,  and  as  a  symbol  of 
the  church.  The  scene  is  rather  to  be  defined  as  the  Olorificaiion  of 
the  Christian  Faith.  The  congregation  gathered  round  the  altar,  full 
of  religious  emotion,  and  burning  with  enthusiasm,  see  heaven 
open,  disclosing  Christ  with  the  heroes  of  the  faith  grouped  around 
him.  The  composition  thus  consists  of  two  halves,  the  upper  and 
the  lower,  whereby  not  only  the  heavenward  direction  of  the  reli- 
gious sentiment  is  clearly  indicated,  but  a  definite  basis  for  its 
formal  expression  is  also  obtained.  In  the  Uppbb  Halp  is  Christ 
enthroned,  attended  by  the  Madonna  and  the  Baptist ;  above  him 


The  Vatican.  ROME.  F.  Bight  Bank.   295 

hovers  the  half-flgnre  of  God  the  Father;  and  below  him  is  the 
symbol  of  the  Holy  Spirit,  at  whose  side  are  two  angels  holding  the 
books  of  the  gospel.  A  choir  of  angels  forms  the  background,  and 
angels  likewise  bear  the  clonds,  on  which,  a  little  lower  down,  the 
heroes  of  the  Old  and  New  Testament  are  sitting.  These  last  are 
arranged  alternately,  and  the  heroes  of  the  Old  Testament  at  the 
same  time  represent  the  epochs  of  the  world.  To  the  left  of  the 
spectator  sit  St.  Petetj  Adam,  St.  John  the  Evangelist,  David,  St. 
Lawrence,  and  a  half-concealed  personage  from  the  Old  Testament 
{j&  prophet  ?) ;  on  the  right,  St.  Paul,  Abraham,  St.  James,  Moses, 
,^t.  Stephen,  and  lastly  an  armed  hero  of  the  Old  Testament.  — 
In  the  Lower  Halp  the  four  Fathers  of  the  Church,  sitting  next 
to  the  altar,  constitute  the  historical  foundation  of  the  picture ;  to 
the  left  St.  Gregory  and  St.  Jerome;  on  the  right  St.  Augustine 
and  St.  Ambrose.  From  a  very  early  period  attempts  have  been  made 
to  attach  historical  names  to  the  other  figures,  which  are  supposed 
to  be  portraits  of  theologians.  Vasari  states  that  they  represent 
SS.  Domenicus  and  Francis,  Thomas  Aquinas,  Bonarentura,  Scotus, 
and  Nicholas  of  Lira.  The  figure  in  the  antique  costume  beside 
St.  Ambrose,  stretching  his  right  hand  towards  heaven,  has  been 
identified  with  Petrus  Lombardus,  the  monk  behind  St.  Augustine 
with  Thomas  Aquinas,  the  cardinal  with  BorMLventura,  and  the  two 
popes  with  Anacletus  and  Innocent  III.  These,  however,  are  mere 
conjectures ;  and  as  Raphael  has  clothed  these  figures  in  an  ideal 
costume,  he  seems  to  desire  chiefly  to  emphasize  their  purely  human 
psychological  traits  of  character.  The  artist  has  also  shown  his  in- 
dependence by  introducing  several  of  his  contemporaries.  To  the 
extreme  left,  in  the  background,  is  Fra  Angelico  da  Fiesole,  on  the 
right  side  is  the  laurel-crowned  profile  of  Dante,  and,  separated 
from  him  by  an  old  man,  appears  the  head  of  Savonarola. 

In  the  space  below  the  picture  (added  by  Perino  del  Vaga  under 
Paul  111.),  from  left  to  right:  Heathen  sacrifice;  St.  Augustine 
finding  a  child  attempting  to  exhaust  the  sea ;  the  Gumiean  Sibyl 
showing  the  Madonna  to  Augustus ;  allegorical  figure  of  the  ap- 
prehension of  divine  things. 

Under  the  Poetry :  2.  The  Paknasstjs  (to  the  right  of  the  Dis- 
puta).  —  This  composition  is  the  most  perspicuous  of  the  whole 
series.  The  spectator  will  not  fail  to  appreciate  the  poetical  life 
and  exalted  sentiment  which  pervade  the  picture,  while  the  im- 
pression it  conveys  is  at  the  same  time  exceedingly  pleasing.  Ra- 
phael has  shown  consummate  skill  in  adapting  his  work  to  the  un- 
favourable character  of  the  space  to  be  covered.  Apollo  sits  under 
laurels  playing  the  violin.  This  instrument  was  not  chosen  by  Ra- 
phael from  ignorance  or  for  the  purpose  of  paying  a  compliment  to 
Giacomo  Sansecondo,  a  famous  violinist  of  that  period,  but  on  the 
sole  ground  that  the  motion  of  the  hand  seemed  to  him  easier  when 
playing  the  violin  than  the  lyre.    Around  Apollo  are  grouped  tb 


296    V,  Right  Bank,  ROME.  The  Vaiiean, 

nine  Muses,  forming  with  Mm  a  compact  central  group.  The  im- 
posing figure  of  the  blind  singer,  on  the  left,  next  arrests  onr  at- 
tention. The  tnnes  of  the  god  have  so  inspired  him,  that  he  begins 
to  sing.  Near  him  are  Dante  and  VirgiL  In  the  foremost  gronp 
Petrarch  and  Sappho  are  recognisable,  and  the  front  figures  in  the 
opposite  gronp  are  called  Pindar  and  Horace,  The  personages  be- 
hind are  eyidently  contemporaries  of  Raphael,  whose  names  cannot 
now  be  ascertained.  —  Below,  in  grisaille :  left,  Alexander  the 
Great  causes  the  poems  of  Homer  to  be  placed  in  the  grave  of 
Achilles ;  right,  Augustus  prerents  the  burning  of  Virgil's  iEneid. 
Under  the  Philosophy :  3.  The  so-called  School  of  Athens  (a 
name  not  originally  applied  to  the  work],  the  companion  to  the 
Pisputa,  not  only  in  point  of  situation,  but  with  respect  to  its 
subject  likewise.  There  we  are  introduced  to  a  congregation  of 
believers,  here  to  an  Assembly  of  Scholars.  The  scene  is  not  divided 
between  heaven  and  earth,  as  in  the  case  of  the  Disputa,  but  is 
confined  to  earth  alone;  while  at  the  same  time,  as  in  the  Disputa, 
a  gradation  of  knowledge,  from  the  imperfect  empirical  to  the  per- 
fect and  universal,  is  suggested.  A  flight  of  steps  leads  to  an  open 
colonnade,  crowned  with  a  dome  at  the  back  (supposed  to  have 
been  designed  by  Bramante),  which  forms  the  most  admirable 
temple  of  knowledge  ever  created.  Apollo,  Minerva,  and  numerous 
gods  adorn  the  niches.  Plato  and  AristotU^  the  princes  in  the  realm 
of  thought,  whom  the  Renaissance  especially  revered,  surrounded 
by  a  numerous  train,  approach  the  steps  which  descend  to  the 
foreground,  where,  in  contrast  to  the  pure  philosophers,  is  a  crowd 
of  representatives  of  the  empirical  sciences,  of  geometry,  arith- 
metic, astronomy,  and  music.  Such  are  the  two  main  contrasts 
presented  by  the  picture,  and  with  them  are  combined  a  gradual 
raising  of  the  sentiments  and  aspirations  from  mere  mechanical 
learning  and  teaching,  copying,  meditating,  and  disputing,  to 
the  glorious  revelation  of  the  truth,  as  embodied  in  the  ^divine 
Plato'.  To  these  general  features  Raphael  imparted  the  warmth  of 
life  and  individuality  by  interweaving  with  the  scene  a  number  of 
ancient  Greek  and  other  personages,  in  conformity  with  the  pre- 
valent aims  of  his  contemporaries,  who  were  enthusiastic  admirers 
of  the  antique.  He  by  no  means  intended,  as  has  been  supposed, 
to  give  a  complete  picture  of  the  development  of  Greek  philosophy, 
but  he  merely  introduced  various  popular  characters  of  antiquity, 
with  a  view  to  direct  the  spectator's  imagination  into  the  proper 
channel,  and,  as  it  were,  to  localise  a  scene  which  would  otherwise 
have  been  too  general  and  abstract.  Besides  Plato  and  Aristotle, 
the  masks  of  the  bald  Socrates,  and  ot  Diogenes  lying  on  the  steps, 
are  unmistakable.  Ptolemy  (who  from  having  been  mistaken  for  one 
of  the  kings  of  that  name  is  furnished  with  a  crown),  and  Zoroaster 
with  the  globe  in  the  foremost  group  on  the  right,  are  easily  re- 
'•ognised.    The  names  of  the  other  figures  are  merely  conjectural. 


The  Vatican.  ROME.  F.  Right  Bank.   297 

The  bearded  old  man  in  the  comer  to  the  left^  in  profile,  is  sup- 
posed to  he  ZenOy  the  Stoic;  the  yine-wreathed  figure  beside  him, 
holding  a  hook,  is  perhaps  Epicurus  or  Democritus.  The  Oriental, 
who  bends  over  the  writing  Pythagoras j  is  Averrhoes  (or,  perhaps, 
Hermes  Trismegistus),  By  the  base  of  a  column  sits  EmptdocUs^ 
who  is  also  looking  towards  the  tablet  of  Pythagoras.  The  figure 
resting  his  foot  on  a  block  of  marble  is  either  Anaxagoras  or  Xeno" 
crates.  Lastly,  the  isolated  figure  in  the  foreground,  terminating 
the  gropp  to  the  left,  is  supposed  to  be  Heraelitus.  In  the  Socrates 
group  aboye  is  a  youthful  warrior,  representing  either  Aleibiades 
or  Xer^ophon,  and  the  figure  behind  the  warrior,  beckoning  to 
Socrates,  is  said  to  be  Chrysippus.  No  clue,  howeyer,  has  yet 
been  discoyered  to  the  names  of  the  figures  in  the  corresponding 
group  to  the  right,  in  the  upper  part  of  the  picture.  Raphael  has 
introduced  several  of  his  contemporaries  into  this  picture  also. 
Thus,  the  handsome  youth  in  the  foremost  group  to  the  left,  bears 
the  features  of  Francesco  Maria  deUa  Rovere^  Duke  of  Urbino ;  the 
geometer  with  the  compasses  is  the  portrait  of  Bramante ;  and  the 
youth  bending  forward  with  outstretched  arms  is  Duke  Frederick  II. 
of  Mantua.  We  are  also  introduced  to  the  master  himself,  who 
enters  the  assembly  from  the  right,  accompanied  by  his  teacher 
Perugino, 

Below  this  picture,  in  different  shades  of  brown,  by  Perino  del 
Vaga  (from  left  to  right) :  Allegorical  figure  of  Philosophy ;  Magi- 
cians conversing  about  the  heavenly  bodies ;  Siege  of  Syracuse ; 
Death  of  Archimedes. 

Under  the  Justice:  4.  Over  the  window  the  three  cardinal 
virtues :  Prudence  with  double  visage  looking  to  the  future  and 
the  past ;  right,  Moderation ;  left.  Strength.  Below,  at  the  side  of 
the  window,  the  administration  of  ecclesiastical  and  secular  law ; 
right,  Gregory  IX.  (with  the  features  of  Julius  II.)  presenting  the 
Decretals  to  a  jurist  (surrounded  by  numerous  portraits ;  to  the  left 
in  front  Card,  de'  Medici,  afterwards  Leo  X.).  Below  (by  Perino 
del  Vaga) :  Moses  brings  the  tables  of  the  Law  to  the  Israelites ; 
left,  Justinian  entrusts  the  Roman  Code  to  Tribonian.  In  the  space 
beneath :  Solon's  address  to  the  Athenian  people  (?). 

m.  Stanza  d'EIiodoro,  the  frescoes  of  which  were  painted  in 
1511-14,  almost  wholly  by  Raphael's  own  hand.  The  advance  of 
the  master  in  technical  freedom  and  precision  Is  easily  recognisable 
in  the  execution  of  these  paintings. 

On  the  ceiling  are  four  scenes  from  the  Old  Testament,  prob- 
ably by  Qiul.  Romano,  but  sadly  damaged:  Jehovah  appears  to 
Noah,  Jacob's  Vision,  Moses  at  the  burning  bush.  Sacrifice  of  Isaac. 

The  Mural  Paintings,  from  the  first  of  which  the  saloon  de^ 
rives  its  name,  represent  the  triumph  and  divine  protection  of  the 
church,  in  connection  with  the  age  of  the  warlike  Julius  II.  aD** 
the  elevation  of  Leo  X.  Below  the  Moses :  1.  Mibaculous  Expulst 


298    F.  Right  Bank,  ROME.  The  Vatican. 

ov  Hbliodo&us  from  the  Temple  at  Jerusalem  by  a  heaYenly  hoiBe* 
man  (Macc&b.  ii,  3),  being  an  allusion  to  the  deliverance  of  the 
States  of  the  Church  from  their  enemies.  On  the  right  Heliodorus 
lies  on  the  ground ;  one  of  his  companions  attempts  to  defend  him- 
self, a  second  shouts,  a  third  is  securing  his  booty ;  in  the  back- 
ground the  high-priest  Onias  praying ;  to  the  left  in  the  foreground 
women  and  children,  and  Pope  Julius  II.  on  his  throne  (the  fore- 
most of  the  two  chair-bearers  is  the  engraver  Marcantonio  Bai- 
mondi).  This  composition  is  remarkable  for  its  vigour  of  expression. 

Below  the  Sacrifice  of  Isaac :  2.  Thb  Mass  of  Bolsbna.  An  un- 
believing priest  is  convinced  of  the  truth  of  the  doctrine  of  tran- 
substantiation  by  the  bleeding  of  the  host  (comp.  p.  66),  a  miracle 
which  is  said  to  have  taken  place  at  Bolsena  in  1263;  below  are 
women  and  children ;  opposite  the  priest,  Julius  II.  kneeling  with 
calm  equanimity ;  the  wrathful  cardinal  is  Riario  (founder  of  the 
Gancelleria).  This  work  is  probably  the  most  perfect  of  Raphael's 
frescoes  with  respect  to  execution. 

Below  Noah :  3.  Attila  repvlsbu  fboh  Romb  bt  Lbo  I. ,  in 
allusion  to  the  expulsion  of  the  French  from  Italy  after  the  battle 
of  Novara  in  1513.  The  pope,  with  the  features  of  Leo  X. ,  is  seated 
on  a  white  mule,  around  him  cardinals  and  attendants  on  horse- 
back, above  him  St.  Peter  and  St.  Paul  enveloped  in  a  brilliant 
light,  and  visible  only  to  Attila  and  his  Huns,  who  are  struck 
with  terror  at  the  apparition.    TO  the  right  of  this  — 

Below  Jacob's  Vision :  4.  Thb  Liberation  op  Pbtbb,  in  three 
sections.  Over  the  window  Peter  in  the  dungeon  sleeping  between 
the  watchmen  and  awakened  by  the  angel ;  right,  he  is  conducted 
away ;  left,  the  watchmen  awake. 

Under  the  pictures  are  painted  eleven  Caryatides  and  four 
Herm®  in  grisaille.  They  are  symbolical  of  a  life  of  peace,  and 
bear  the  distinct  impress  of  Raphael's  inventive  genius,  notwith- 
standing considerable  restoration.  The  paintings  in  different 
shades  of  brown  between  these,  of  similar  Import  with  the  large 
figures,  have  been  still  more  freely  retouched. 

lY.  8ala  di  Coitantiiio.  The  pictures  of  this  saloon  were  executed 
under  Clement  VII.  (Glulio  de'  Medici),  after  Raphael's  death,  by 
Qiulio  Romano,  aided  by  Francesco  Penni  and  Raffaello  dal  CoUe,  It 
has  been  supposed  that  the  allegorical  figures  of  Comitas  and  Justice, 
in  oil,  and  not  *al  fresco'  like  the  rest  of  the  work,  were  painted  by 
Raphael's  own  hand ;  but  it  appears,  from  letters  of  Fra  Sebastiano 
del  Piombo  (who  took  an  interest  in  the  work  after  Raphael's  death) 
to  Michael  Angelo,  that  one  figure  only  was  painted  in  oil  by  Ra- 
phael's pupils,  and  that  the  objects  to  be  depicted  were  not  finally 
agreed  upon  at  the  time  of  Raphael's  death,  or,  at  least,  that  they 
underwent  many  changes  during  their  execution.  For  some  of  the 
pictures,  however,  particularly  for  the  Battle  of  Constantino,  pre- 
"*uinary  sketches  had  been  made  by  Raphael  himself. 


The  Vaticcm.  ROME.  F.  Right  Bank.   299 

On  the  long  wall :  1.  Battle  of  Constantine  against  MaxentiaB 
atPonteMoUe,  the  emperor  adYancingvictoiiouBly,  behind  him  flags 
with  the  CTOSB,  Maxentlus  sinking  in  the  riyer  (p.  337),  flight  and 
defeat  on  all  sides,  painted  by  G,  Romano,  This  fine  composition 
is  full  of  expression  and  vigonr,  bat  the  eolonring  is  less  saccess* 
fnl.  —  On  the  left  side  of  the  piotnie  Sylvester  I.  between  Faith 
and  Religion ;  on  the  right  Urban  I.  between  *  Justice  and  Charity. 

2.  Baptism  of  Constantine  by  Sylvester  I.  (with  the  features 
of  Clement  YII.)  in  the  baptistery  of  the  Lateran,  by  Franeesto 
Penni.  To  the  left  of  this:  Damasus  I.  between  Prudence  and 
Peace ;  right,  Leo  I.  between  Innocence  and  Truth. 

3.  (on  the  window- wall)  Rome  pbesentbd  by  Constantine  to 
Sylvbstbb I.,  by iJa/facito  dal  CoUe;  left,  Sylvester  with  Fortitude, 
right,  Gregory  VU.  (?)  with  Power  (?). 

4.  Constantinb's  A]>dkb8s  to  his  warriors  regarding  the  vic- 
torious omen  of  the  cross,  designed  by  Raphael  (?),  and  executed 
by  0.  Romano^  who  added  the  dwarf  (perhaps  Gradasso  Berettai  of 
Norcia,  dwarf  of  Card.  Hippolytus  de'  Medici)  and  several  other 
figures.  —  On  the  left,  St.  Peter  between  the  Church  and  Eternity, 
right  Clement  I.  between  Moderation  and  *Urbanity.  —  The  scenes 
below  are  from  the  life  of  Constantine,  designed  by  G.  Romano. 

The  Ceiling,  completed  under  Sixtus  V.,  is  adorned  with  an 
allegpry  of  the  triumph  of  Christianity  over  paganism.  In  the 
pendentives  are  Italian  landscapes,  with  corresponding  allegorical 
figures  in  the  lunettes. 

One  of  the  custodians  of  this  saloon  (^2  ^^0  shows  the  neigh- 
bouring *CappeIIa  di  Kicool6  V.,  erected  by  Nicholas  V.  and  deco- 
rated by  Fra  Angelico  da  Fiesole  in  1447  with  frescoes  from  the  life 
of  SS.  Lawrence  and  Stephen.  They  are  one  of  the  last  and  finest 
works  of  that  master,  but  were  buried  in  oblivion  until  restored 
under  Gregory  XIII.  and  Pius  VII. 

The  Uppbb  Sesies  represents  scenes  from  the  life  of  St.  Stephen :  1.  (to 
the  right  of  the  door)  Stephen  consecrated  deacon  by  Peter;  i.  He  distri- 
butes alms  as  deacon ;  3.  He  preaches ;  4.  He  is  brought  before  the  coun- 
cil at  Jerusalem ;  5.  He  is  dragged  away  to  his  martyrdom  \  6.  His  death  by 
stoning.  —  Bblow,  in  the  same  order,  scenes  from  the  life  of  St.  Lawrence :  1. 
Consecrated  deacon  by  Sixtus  II.  ^  2.  Sixtus  (with  the  features  of  Kicho- 
las  V.  ?)  gives  him  treasures  for  distribution  among  the  poor;  3.  Distribution 
of  the  same ;  4.  The  saint  is  condemned  by  the  emperor ;  5.  His  martyrdom. 
Also  on  the  wall  below :  1.  St.  Bonaventura,  r.  St.  Johannes  Ghrysostomus. 
In  the  vaulting:  1.  St.  Augustine,  r.  St.  Gregory.  On  the  lower  part  of  the 
right  wall :  1.  St.  Athanasius,  r.  St.  Thomas  Aquinas.  On  the  vaulting :  1.  St. 
Leo,  r.  St.  Ambrose.  On  the  ceiling  the  Four  Evangelists.  Though  thus 
in  immediate  proximity  to  the  boundless  energy  of  Michael  Angelo  and 
the  lovely  forms  of  Uaphael,  the  frescoes  of  the  Cappella  KiccoJina  yet 
hold  their  ground  in  virtue  of  their  air  of  perfect  devotion,  calm  contem- 
plative worship,  and  prayerful  mood.  The  contrast,  in  fact,  heightens  the 
effect  of  Fra  Angelico's  work. 

**Baphaer8  Loggie.  Leaving  the  Sala  di  Costantino,  we  pro- 
ceed to  the  second  fioor  of  the  loggie  which  enclose  the  Cortile  di 
S.  Damaso  (comp.  ground-plan,  p.  289),  the  W.  (right)  wing  of 


300    V.  Right  Bank.  ROME.  The  VaUean. 

which  was  embellished  with  stucco  mouldings,  painted  enrichments, 
and  ceiling-paintings,  from  designs  by  Raphael  and  under  his  super- 
intendence, by  Giulio  RomanOy  Giovanni  da  Vdine,  and  others  of  his 
pupils.  The  hall  was  originally  open,  and  the  paintings  have  there- 
fore suffered  seriously  from  exposure  to  the  air,  but  since  1813  they 
have  been  protected  by  windows  of  glass.  The  stucco  work  and  the 
painted  ornamentation  are  by  Qiov.  da  Udiney  and  its  style  has  mani- 
festly been  influenced  by  the  antique  works  of  the  kind  which  had 
been  found  a  short  time  previously  in  the  Therm®  of  Titus  (p.  237). 
Amongst  the  ceiling-paintings  after  Raphael's  designs  those  in  the 
first  vault  are  by  Oiulio  Romano^  the  others  by  Franc.  Penni^  Per^ 
ino  del  Vaga,  Polidoro  da  CaravaggiOj  and  others.  Each  of  the  13  sec- 
tions of  the  Vaulting  contains  four  quadrangular  frescoes,  which 
are  together  known  as  ^Raphael' 8  Bihle\  All  these  compositions  dis- 
play rare  fertility  of  invention  and  gracefulness  of  treatment  (20  c. 
to  the  custodian  who  opens  the  door). 

GszLiNa  Paintinos.  The  first  twelve  vaults  contain  scenes  £rom  the 
Old,  and  the  thirteenth  scenes  from  the  New  Testament.  We  begin  to 
the  right  of  the  principal  approach,  i.  «.  the  side  opposite  the  present  en- 
trance. Staircase:  I.  (over  the  door)  1.  Separation  of  light  from  darkness; 
2.  Separation  of  land  from  sea;  8.  Creation  of  the  sun  and  moon;  4.  Crea- 
tion of  the  animals.  —  II.  4.  Creation  of  Eve;  1.  The  Fall:  2.  Banishment 
from  Paradise*,  3.  Adam  and  Eve  working  (destroyed).  —  III.  1.  liToah  building 
the  ark ;  2.  Deluge ;  3.  Egress  from  the  ark  (destroyed) ;  4.  Noah^s  sacrifice. 
—  IV.   1.  Abraham  and  Melchisedek ;  3.  God  promises  Abraham  posterity ; 

2.  Abraham  and  the  three  angels ;  4.  Lot's  flight  from  Sodom.  —  V.  1.  God 
appears  to  Isaac ;  3.  Abimelech  sees  Isaac  caressing  Rebecca ;  2.  Isaac  blesses 
Jacob ;  4.  Esau  and  Isaac.  —  VI.  1.  Jacob's  vision  of  the  ladder ;  2.  Jacob 
and  Rachel  at  the  well ;  3.  Jacob  upbraids  Laban  for  having  given  him  Leah 
(destroyed)  ;  4.  Jacob  on  his  journey.  —  VII.  1.  Joseph  relates  his  dream  to 
his  brethren^  2.  Joseph  is  sold;  3.  Joseph  and  Potiphar's  wife;  4.  Joseph 
interprets  Pharaoh's  dream.  —  Vm.  1.  Finding  of  Moses ;  2.  Hoses  at  the 
burning  bush ;  3.  Destruction  of  Pharaoh  in  the  Red  Sea ;  4.  Moses  strikes 
the  rock  for  water.  —  IX.  1.  Moses  receiving  the  tables  of  the  Law ;  2. 
Adoration  of  the  golden  calf,  Moses  breaks  the  tables ;  3.  Moses  kneels 
before  the  pillar  of  cloud ;  4.  Moses  shows  the  tables  of  the  Law  to  the 
people.  —  X.    1.  The  Israelites  crossing  the  Jordan;  2.  Fall  of  Jericho; 

3.  Joshua  bids  the  sun  stand  still  during  the  battle  with  the  Ammonites; 

4.  Joshua  and  Eleazar  dividing  Palestine  among  the  twelve  tribes.  —  XI.  1. 
Samuel  anoints  David ;  2.  David  and  Goliath ;  4.  David's  triumph  over  the 
Syrians;  3.  David  sees  Bathsheba.  —  XII.  1.  Zadok  anoints  Solomon; 
2.  Solomon's  Judgment;  4.  The  Queen  of  Sheba;  3.  Building  of  the  Temple 
(destroyed).  —  XIII.  1.  Adoration  of  the  Shepherds  (destroyed) ;  2.  The  wise 
m'en  irom  the  East;  3.  Baptism  of  Christ;  4.  Last  Supper. 

Stucco  Mouldings.  Among  these  should  be  particularly  noticed  the 
charming  small  reliefs  in  the  arches  of  the  windows  of  the  first  section. 
Here  to  the  left,  above,  is  perceived  Raphael,  sitting  and  drawing,  with  a 
grinder  of  colours  below  him.  Lower  down  are  a  number  of  his  pupils 
busied  in  executing  their  master's  designs ,  and  below  them  Fama,  who 
proclaims  the  celebrity  of  the  work.  On  the  right  an  old  bricklayer  is  seen 
at  work,  and  there  is  a  similar  figure  in  the  right  curve  of  the  2nd  window, 
both  apparently  portraits.  The  whole  affords  a  charming  picture  of  the 
life  and  habits  of  the  artists  during  the  execution  of  the  work. 

The  decoration  of  the  two  other  wings  of  the  loggie  of  this 
story,  with  stucco  work  by  Marco  da  Faenza  and  Paul  Sehor,  and 
paintings  by  artists  of  the  16th  and  17th  cent.,  is  very  inferior  to  the 


The  Vatican.  ROME.  V.  Right  Bank.   301 

abOTe  described  works  of  Raphaers  period.  —  Immediately  to  the 
left)  in  the  N.  (fiist)  wing,  is  the  approach  to  the  picture-gallery ; 
we  ascend  the  stairs,  and  at  the  top  ring  at  the  door  on  the  left. 

The  ♦♦Picture  Gallery  of  the  Vatican  was  founded  by  Pius  VII. 
by  collecting  the  pictures  restored  by  the  French  in  1815,  most  of 
which  had  been  taken  from  churches,  and  by  adding  others.  With 
the  Borghese  Gallery,  this  is  the  most  important  collection  in  Rome, 
being  inferior  to  that  gallery,  and  to  other  great  Roman  private  col- 
lections in  the  number  of  its  works  alone,  while  surpassing  them 
in  selectness.  —  Permesso,  see  p.  124  (fee  V2  ^^O*  ^^®  pictures 
are  not  numbered ,  but  are  furnished  with  notices  of  the  subjects 
and  the  names  of  the  artists.    Catalogue,  see  p.  287. 

I.  Room.  On  the  left :  Ouerdno^f  John  the  Baptist ;  Leonardo  da 
Vinci,  St.  Jerome,  dead-colouring,  in  shades  of  brown,  evidently 
a  study  of  strong  perspective ,  probably  painted  about  1480-83 ; 
*Baphaelj  Annunciation,  Adoration  of  the  Magi,  Presentation  in  the 
Temple,  predelle  to  the  Coronation  of  Mary  in  the  3rd  Room ;  Angel, 
da  FiesoUy  Scenes  from  the  life  of  St.  Nicholas  of  Bari;  OuereinOy 
Christ  and  Thomas;  Oiov.  BeUinij  M.  Magdalene  anointing  the 
wounds  of  the  Dead  Christ,  painted  in  Mantegna's  school,  about 
1470-80 ;  Franeia,  Madonna  with  St.  Jerome ;  MurillOf  Martyrdom  of 
St.  Peter  Arbues;  Benozzo  Oozzoli(i)j  Miracles  of  St,  Hyacinth.  — 
Window-wall :  Carlo  Crivelliy  Dead  Christ  with  Mary,  St.  John,  and 
Magdalene;  Qarofalo,  Madonna  with  SS.  Joseph  and  Catharine. — 
On  the  entrance- wall :  Murillo,  Adoration  of  the  Shepherds;  Afu- 
rillo,  Nuptials  of  the  infant  Christ  with  St.  Catharine  (p.  34);  Peru- 
gino,  SS.  Benedict,  Scholastica,  andPlacidus;  *Fra  AngelicOy  Small 
Madonna  with  angels  on  a  gold  ground ;  *Bonifacio,  Madonna  with 
St.  John  and  St.  Catharine,  and  St.  Peter  and  St.  Paul  (fine  colour- 
ing). —  Exit- wall:  *Baphael,  Faith,  Hope,  and  Charity,  three 
charming  female  figures ,  predella  of  the  Entombment  in  the  Pal. 
Borghese,  in  grisaille  (1507). 

n.  Room.  On  the  right:  *Domeniehino,  Communion  of  St.  Je- 
rome, one  of  his  best  works  (1614).  —  Opposite  the  window: 
**Raphael,  Madonna  of  Foligno,  1512 ;  in  the  background  the  town 
of  Foligno,  into  which  a  bomb  falls ;  to  the  right,  below,  St.  Je- 
rome recommends  to  the  Madonna  Sigismondo  Conti,  secretary  of 
Julius  n.,  who  ordered  the  painting  for  S.  Maria  in  Araccsli,  whence 
it  was  transferred  to  S.  Anna  delle  Contesse  in  Foligno  in  1565 
(comp.  p.  210) ;  to  the  left  St.  Francis  of  Assisi,  and  John  the  Bap- 
tist. 'In  its  striking  vigour,  the  lifelike  Individuality  of  its  portraits, 
and  the  powerful  and  delicately -blended  colouring  the  Madonna  of 
Foligno  far  surpasses  all  Raphael's  earlier  oil-paintings'.  The  trans- 
ference of  the  picture  from  wood  to  canvas,  effected  at  Paris,  to  which 
the  picture  had  been  carried  during  the  wars  of  the  Revolution,  has 
necessitated  a  little  restoration.  —  **Baphael,  The  Transflguration, 
his  last  great  work,  painted  for  Card.  Giulio  de'  Medici  (afterwards 


302    7.  Right  Batik.  ROME.  The  Vatican. 

Clement  VU.)?  ^^^  preserred  down  to  1797  in  S.  Pietro  in  Mon- 
torio.  The  upper  part  is  by  Raphael's  own  hand:  Christ  hoyering 
between  Moses  and  Elias ;  Peter,  James,  and  John  prostrate  on  the 
gronnd,  dazzled  by  the  light.  The  figures,  to  the  left,  in  an  attitude 
of  adoration ,  are  St.  Lawrence  and  St.  Stephen.  The  lower  half 
(much  darkened  by  age),  where  the  other  disciples  are  being  re- 
quested to  heal  the  possessed  boy,  was  partly  executed  by  Raphael's 
pupils. 

III.  Room.  On  the  entrance-wall:  *  Titian  ^  'Madonna  of  S. 
Niccold  de'  Frari',  completed  in  1523,  and  carried  in  1770  to  Rome, 
where  the  rounded  upper  part  of  the  picture  was  cut  off.  The  ener- 
getic fidelity  of  the  colouring,  the  dignity  of  the  design  and  details, 
and  the  lofty  gravity  of  the  whole  composition  renders  this  one  of 
the  most  important  works  of  the  master's  middle  period.  OuereinOf 
St.  Margaret  of  Cortona.  — Right  long- wall :  SpagnoUtto,  Martyrdom 
of  St.  Lawrence;  Ouereino,  M.  Magdalene;  Bern.  PinturieehiOy 
Coronation  of  the  Virgin ,  painted  for  the  church  delle  Fratte  at 
Perugia,  about  1500;  below  are  the  Apostles,  St.  Francis,  St.  Bona- 
ventura,  and  three  Franciscans.  Then,  Resurrection,  probably  paint- 
ed by  Raphael  when  a  youth ,  from  a  design  of  his  master  Peru^ 
gino ;  the  sleeping  soldier  to  the  right  is  said  to  be  Raphael's  own 
portrait,  the  one  fleeing  to  the  left  that  of  Perugino.  Coronation 
of  the  Virgin ,  designed  by  Raphael  for  the  monastery  of  S.  Maria 
di  Monte  Luce  near  Perugia,  the  upper  half  painted  by  0.  BomanOj 
the  lower  by  Francesco  Penni  (il  Faitore)  in  1525 ;  Lo  Spagna^ 
Adoration  of  the  infant  Christ  (formerly  in  La  Spineta  near  Todi) ; 
*Raphaelj  Coronation  of  the  Virgin,  painted  in  1503  in  Perugino's 
school,  for  S.  Francesco  at  Perugia ;  *PeruginOy  Madonna  on  a  throne 
with  Laurentius,  LudoTicus,  Herculanus,  and  Constantius,  the 
guardian  saints  of  Perugia,  painted  in  1496 ,  Saasoferraio,  Madonna. 
—  End-wall:  *CaTavaggio,  Entombment,  one  of  the  ablest  works  of 
the  Naturalistic  School.  —  Window- wall:  *rrttan,  Portrait  of  Nice. 
Marcello,  Doge  of  Venice  (1473-74),  not  painted  from  nature,  but 
full  of  indlyiduality ,  and  a  good  specimen  of  the  ugliness  which  at 
once  repels  and  attracts  the  spectator.  Niceolb  Alunno^  Crucifixion 
of  Christ  and  Coronation  of  the  Virgin,  two  large  paintings  in  several 
sections.  Between  these :  *Melozzo  da  ForU,  Fresco  from  the  former 
library  of  the  Vatican,  representing  SixtusIV.  the  donor,  with  Card. 
Oiul.  della  Rovere  (Julius  II.)  and  his  nephew  Pietro  Riario ;  be- 
fore him  kneels  Platina,  prefect  of  the  library. 

IV.  Room.  Entrance-wall:  Valentin,  Martyrdom  of  Processus 
and  Martinianus;  OuidoReni^  Crucifixion  of  St.  Peter;  N.  Pouaain, 
Martyrdom  of  St.  Erasmus.  —  Right  wall :  F.  Baroccio ,  Annun- 
ciation ;  A,  SaccfU ,  Mass  of  Gregory  the  Great  (there  are  mosaic 
copies  of  these  three  pictures  in  St.  Peter's) ;  BaroeciOy  St.  Michel- 
ina.  —  Window- wall:  *Moretto^  Madonna  with  SS.  Jerome  and 
Bartholomew;  Paolo  Veronese,  Vision  of  St. Helena;  Correggio  (?), 


The  Vatican.  ROME.  V.  Right  \       >Sp5 

Christ  in  a  nimbus.  —  Left  wall:  Ouido  Reni,  Madonna,        ^ 
Thomas  andJeiome  below;  A.  Sacchi^  St.Romuald. 


Among  the  treasures  of  the  Vatican,  in  the  domain  of  pai 
must  also  be  reckoned  ^Baphael's  Tapestry,  exhibited  in  th^ 
leria  degli  Arcaxi ,  adjoining  the  Gallerie  del  Gandelabri  (se^  rl., 
p.  314),  and  now  accessible,  without  special  permesso,  to  yisitors 
to  the  collections  of  antiquities.  The  tapestry  was  executed  from  car- 
toons drawn  by  R<xphael  in  1515  and  1516,  seven  of  which  were  pur- 
chased in  Flanders  by  Charles  I.  of  England,  and  are  now  exhibited 
in  the  South  Kensington  Museum.  These  designs,  derived  from  the 
history  of  the  New  Testament,  are  among  the  most  admirable  of  the 
great  master's  works.  Each  piece  of  tapestry,  wrought  at  Brussels 
(not,  as  formerly  supposed,  at  Arras,  the  cradle  of  the  handicraft) 
with  great  skill  in  wool,  silk,  and  gold ,  when  complete  cost  about 
7001.  They  were  originally  intended  to  cover  the  lower  and  un- 
painted  part  of  the  walls  in  the  Sistine  Chapel.  They  are  now  sadly 
damaged  and  faded,  especially  in  the  flesh  tints.  During  the  siege 
of  Rome  in  1527  the  tapestry  was  carried  off  and  seriously  injured, 
but  was  restored  to  Julius  III.  in  1533.  In  1798  it  feU  into  the 
hands  of  the  French,  and  was  sold  to  a  Genoese  Jew,  from  whom 
it  was  lepuichased  by  Pius  VII.  in  1808.  The  numerous  other 
copies  in  tapestry  of  these  cartoons,  of  which  the  oldest  are  in 
Berlin  and  others  in  Dresden,  Paris,  and  Vienna,  testify  to  the 
widespread  admiration  which  they  excited. 

The  Maboinal  Soienes  in  bronze-colour  partly  represent  scenes  from 
the  life  of  Leo  X.  when  Cardinal  de^  Medici.  The  decorations  and  ara- 
besques which  surround  the  principal  designs  are  chiefly  by  Raphael's  pupil 
Giovanni  da  Udine.  The  following  are  the  Pbingipal  Sgbnes.  Ut  Section: 
io  the  left,  *1.  The  people  of  Lystra  about  to  offer  sacrifice  to  Paul  and 
Barnabas^  *2.  Paul  preaching;  *3.  St  Peter  receiving  the  keys;  *4.  Death 
of  Ananias;  to  the  right,  •o.  Conversion  of  St.  Paul;  *6.  St.  Peter  healing 
the  lame  man  in  the  Temple ;  *7.  Miraculous  Draught  of  fishes.  —  Snd  Sec- 
tion: to  the  left,  8.  Christ  appearing  to  Mary  Magdalene;  9.  The  supper  at. 
Emmaus ;  10.  Presentation  of  Christ  in  the  Temple ;  11.  Adoration  of  the 
Shepherds;  12.  Ascension;  13.  Adoration  of  the  Magi;  to  the  right,  *14. 
Massacre  of  the  Innocents,  on  three  pieces  of  tapestry ;  15.  *Feed  my  lambs\ 
—  3rd  Section:  to  the  left,  16.  Resurrection ;  17.  Descent  of  the  Holy  Ghost; 
to  the  right,  •IS.  Stoning  of  Stephen;  19.  Religion  between  Justice  and 
Mercy;  •20.  Paul  in  prison  at  Philippi;  21.  Elymas  struck  with  blindness; 
•22.  Coronation  of  the  Virgin.  Those  indicated  with  asterisks  are  from 
the  cartoons  of  Raphael;  the  others  may  have  been  executed  from  small 
sketches  by  the  same  master,  but  the  designs  used  by  the  tapestry- work  era 
are  believed  to  have  been  drawn  by  Flemish  artists.  The  pieces  of  fine 
early-Flemish  tapestry  at  the  end  of  the  first  and  the  beginning  of  the 
second  section  are  much  superior  in  technical  workmanship  to  Italian  tapes- 
try. The  best  are  the  Madonna  and  Child  and  several  scenes  from  the 
Passion. 

The  gallery  of  the  tapestry  is  adjoined  by  the  OaUeria  Geo- 
graficoy  a  corridor  160  yds.  long,  with  maps  designed  by  the  Do- 
minican Ignatio  Dante,  and  executed  by  his  brother  Antonio  under 
Gregory  XIII.  in  1580 ;  ceiling-paintings  by  Tempesta  and  others ; 
also  a  number  of  ancient  busts,  some  of  them  valuable. 


3Q3^.  Right  Bomk,  ROME.  The  V<Uican. 

B.  Antiqnitiei. 

Muaeo  Pio-Clementino.  Museo  Chiaramonti.  Braceio  Nuovo.  Egyp^ 

tian  Museum,  Etruscan  Museum, 

(Comp.  Plan,  pp.  306^  307.) 

Pbbhbsso,  see  p.  124.  Catalogue  by  ErcoU  Massif  4  fr.  (abridgment 
in  English,  French,  or  Italian,  2  fr.). 

The  Yatioak  Oolleoteon  of  ANTiauinBS ,  the  finest  in  the 
world,  was  begnn  by  the  Popeft  Julins  II.,  Leo  X.,  Clement  YII., 
and  Paul  III.  in  the  Belvedete ,  which  was  erected  by  BramanU 
under  Julius  II.  and  commands  a  magnificent  view  of  Rome.  Here, 
for  example,  were  preserved  the  Torso  of  Hercules,  the  Apollo  Belve- 
dere, and  the  Laocoon.  Clement  XIV.  (Ganganelli,  d.  1774)  de- 
termined to  institute  a  more  extensive  collection ,  in  consequence 
of  which  the  Muaeo  Pio^CUmenUno  arose  under  him  and  his  suc- 
cessor Pius  VI.  The  museum  was  arranged  by  the  celebrated  E, 
Q.  Visconti,  It  was  despoiled  of  its  costliest  treasures  by  the  French 
in  1797,  but  most  of  these  were  restored  to  Pius  VII.  in  1816  after 
the  Treaty  of  Paris.  Pius  VII.  extended  the  collection  by  adding  to 
it  the  Museo  Chiaramonti ,  and  in  1821  the  Braceio  Nuovo ;  and 
Gregory  XVI.  added  the  Egyptian  and  the  Etruscan  Museum. 

The  ENTaANOB  is  on  the  W.  side  of  the  palace,  not  far  from  the 
N.W.  comer.  Approaching  from  the  Borgo,  we  cross  the  Piazza 
S.  Pietro,  proceed  to  the  left  great  fiight  of  steps  of  St.  Peter's 
through  the  passage  under  the  portico,  walk  round  the  whole  of 
St.  Peter's,  of  the  dimensions  of  which  we  thus  obtain  an  excellent 
idea  (comp.  also  plan,  p.  278),  and  then,  between  the  Vatican 
Gardens  (closed)  and  the  palace ,  reach  the  gate  under  the  Sala 
della  Biga.  (This  point  may  be  reached  by  carriage ;  so  that  it  is 
not  necessary  for  visitors  to  alight  in  the  Piazza  of  St.  Peter,  as  the 
drivers  sometimes  pretend.)  We  ring  at  the  gate,  give  up  our  per- 
messo,  and  ascend  to  the  Sola  a  Croee  Qreea^  described  below.  (The 
•glass-door  opposite  the  staircase  leads  to  the  Library .^  p.  319.) 

**MusBo  Pio-Clbmbntino.  *Musbo  Chzasamonti.  •Bbaooio  Nuovo. 

The  **Hu8eo  Fio-Clementino,  the  real  nucleus  of  the  Vatican 
collection,  contains  several  of  the  most  celebrated  antiques.  It  is 
divided  into  11  departments,  denoted  by  Roman  numerals.  The  main 
entrance  was  formerly  from  the  Museo  Chiaramonti  (p.  311),  and 
the  numbering  of  the  sculptures  still  begins  there.  According  to 
the  present  arrangements,  as  already  said,  we  first  enter  the  — 

I.  Sala  a  Croee  Ghreca,  constructed  by  Simonetti,  under  Pius  VI. , 
in  the  form  of  a  Greek  cross.  On  the  floor  are  three  ancient  mosaics. 
In  the  centre  a  head  of  Pallas,  found  in  1741  in  the  Villa  Rufflnella, 
near  Frascati.  By  the  steps,  between  the  two  sphinxes,  ♦Flower- 
basket  from  Roma  VeGchia(p.  350).  At  the  entrance  to  the  follow- 
ing room  (SalaRotonda,  p.  306):  Bacchus.  We  here  begin  to  enumer- 
ate the  more  important  sculptures:  559.  Augustus;  564.  Lucius 


The  VaUcan.  ROME.  F.  Right  Bank,   305 

Verus.  566.  Large  sarcophagus  in  porphyry,  of  Constantia,  daughter 
of  Gonstantine  the  Great,  from  her  tomb,  afterwards  the  church  of  S. 
Costanza,  near  S.  AgneseQ).  342) ;  it  is  adorned  with  vintage-scenes 
(perhaps  in  illusion  to  the  Vineyard  of  the  Lord).  567.  Priestess  of 
Ceres;  569.  Clio;  570.  The  elder  Faustina;  *574.  Venus,  perhaps  a 
copy  of  the  Cnidian  Venus  of  Praxiteles  (p.  xxxii),  drapery  of  metal 
modern ;  578,  579.  Egyptian  Sphinxes ;  left,  581.  Trajan ;  582.  Apollo 
Citharoedus,  restored  as  a  Muse ;  589.  Sarcophagus  of  St.  Helena, 
mother  of  Gonstantine,  from  her  tomb  near  Torre  Pignattara(p.  345), 
transferred  to  the  Lateran  by  Hadrian  IV. ,  and  thence  to  the  Va- 
tican by  Pius  VI. ;  592.  Augustus.  By  the  stairs :  to  the  right,  600. 
Recumbent  lirer-god,  said  to  have  been  restored  by  Michael  Angelo 
(opposite  the  entrance  to  the  Egyptian  Museum,  p.  316). 

We  now  ascend  the  staircase  (with  20  antique  columns  from 
PrjBneste),  leading  to  the  right  to  the  — 

n.  Sala  della  Siga,  a  circular  hall  with  a  cupola. 

In  the  centre:  *623.  Biga,  or  two-horse  chariot,  from  which 
the  saloon  derives  its  name.  The  body  of  the  chariot,  richly  adorned 
with  leaves,  which  was  used  for  centuries  as  an  episcopal  throne  in 
S.  Marco,  and  a  part  of  the  right  horse  are  alone  ancient.  •608. 
Bearded  Bacchus,  inscribed  *Sardanapallo8' ;  *610.  Effeminate 
Bacchus;  611.  Combatant,  in  the  head  resembling  Alcibiades,  and 
in  position  a  figure  of  the  group  of  Harmodius  and  Aristogeiton  at 
Naples ;  *612.  Draped  statue,  from  the  Palazzo  Giustiniani  in  Venice ; 
614.  Apollo  CitharoBdus;  ^615.  Discobolus,  of  the  Attic  school, 
perhaps  after  Alcamenes;  616.  Portrait-statue  of  Phocion,  Epami* 
nondas,  or  Aristomenes  (?).  *618.  Discobolus  of  Myron  (p.  xxxi); 
the  original  was  of  bronze ;  head  modern,  and  inaccurately  replaced ; 
it  should  have  been  turned  to  the  side,  as  the  excellent  replica  in 
the  Pal.  Lancelotti  (p.  190)  shows.  619.  Charioteer;  621.  Sar- 
cophagus-relief, race  of  Pelops  and  (Enomaus ;  622.  Small  Diana. 

Turning  to  the  right  on  leaving  the  Sala  della  Biga,  straight  in 
front  of  the  staircase,  we  reach  the  — 

m.  Oalleria  dei  Candelabri,  a  corridor  110  yds.  in  length, 
divided  into  6  sections.  The  ceiling-paintings,  by  L.  Seitz  (1883- 
86),  consist  partly  of  incidents  in  the  reign  of  Leo  XIII.  and  partly 
of  allegorical  scenes  (Apotheosis  of  St.  Thomas  Aquinas ;  Arts  and 
Sciences  under  the  protection  of  the  church).  The  handsome  marble 
pavement  is  quite  new. 

Section  I.,  to  the  right  and  left  of  the  entrance:  2,  66.  Birds'  nests  and 
children ;  to  the  right,  ^19.  Boy  in  a  stooping  posture,  as  if  reaching  after 
scattered  nuts  or  the  like;  31  (to  the  right)  and  86  (to  the  left),  Cande- 
labra from  Otricoli,  the  former  with  a  sat^r,  Silenus,  and  a  Bacchante, 
the  latter  with  Apollo,  Marsyas ,  and  the  Scythian ;  to  the  left,  45,  Bead 
of  a  youthful  satyr  ^  82.  Sleeping  satyr,  in  green  basalt.  —  Section  II:  to 
the  right,  74.  Fountain-figure  of  Pan,  removing  a  thorn  from  the  foot  of 
a  satyr;  81.  Diana  of  Ephesus ,  from  Hadrian*s  Villa ;  to  the  right ,  88. 
Sarcophagus,  with  the  murder  of  ^gistheus  and  Clytsemnestra  by  Orestes; 
93  (to  the  right)  and  97  (to  the  left),  Candelabra  from  S.  Costanza;  tc 
the  left,  104.  Ganymede  and  the  eagle;  to  the  left,  113.  Sarcophagus-re" 

Babdbkbb.    Italy  II.    10th  Edition.  20 


306    F.  Right  Bank, 


ROME. 


The  Vatican, 


of  ProtesUaoB  and  Laodameia;  117,  119.  Boys  with  water-vessels  (fountain- 
flgnres)  •,  *113a.  Ganymede  carried  off  by  the  eagle ,  copy  of  a  celebrated 
work  by  Leoehares.  —  Ssotion  III.:  to  the  right,  Mosaics  of  dead  fish, 
dates,  etc.:  134a.  Circular  rim  of  a  fountain  (puteal),  with  Bacchanalian 
scenes;  134b.  Modern  work  of  the  same  kind.  Between  the  last  two, 
archaic  figure  of  a  god ,  on  a  basis  bearing  a  dedicatory  Inscription  by 
Semo  Sancus :  135.  Sitting  stataette  of  Sophocles  ■,  to  the  left,  140.  Socrates ; 
to  the  left,  141,  168.  Bacchus  with  the  panther;  148.  Satyr  with  the  infant 
Bacchus.  —  Seotxon  IV. ;  157  (to  the  right)  and  219  (to  the  left),  Candelabra 
from  S.  Costansa;  to  the  right,  163.  Draped  statue  of  a  Soman  matron;  to 


GiaT    din    o 


d    e   I    1    a 


V         A  T         I  C  A 


M^Mi-MiiiM^UiiJiiaMbdhiJ 

Muse     o        CKiaramoi 


The  Vatican. 


ROME. 


V.  Right  Bank,    307 


the  right,  173.  Sarcophagus,  with  Bacchus  finding  Ariadne ;  to  the  right,  177. 
Agedbeggur;  to  the  right,  184.  Patron  deity  of  Antioch;  187.  Candelabrum, 
with  Hercules  stealing  the  tripod  (Hercules,  Apollo.  Dionysus)-,  190.  Can- 
delabrum, with  Bacchic  dance,  from  IKaples,  a  plaster-cast  of  the  original 
in  Paris;  to  the  left.  194.  Boy  with  a  goose;  204.  Sarcophagus,  with  the 
children  of  Niobej  208.  Marcellus  (?),  nephew  of  Augustus;  210.  Marble 
bowl,  with  Bacchic  dances.  —  Sbotion  V.:  to  the  right,  •222.  Female 
racer,  from  Hadrian's  Villa;  to  the  right,  234.  Candelabrum,  with  Minerva, 
Jupiter,  Venus,  and  Apollo,  from  Otricoli;  to  the  left,  240.  Negro  boy, 
i^ih  implements  used  in  the  bath.  —  Sbgtion  VI.:  to  the  right,  253.  Bar- 


308    V,  Right  Batik,  ROME.  The  VaUean, 

copbagBS,  with  Diana  and  Endymion^  to  the  right,  257.  Ganymede;  to 
the  left,  264.  One  of  17iohe*s  children  \  to  the  left,  209.  Sarcophagus,  with 
thei  rape  of  the  danghters  of  Lencippos  by  the  Dioscuri.  Upon  the  last, 
statue  of  a  fighting  Gaol ,  from  the  trophy  of  King  Attalus  on  the  Acro- 
polis at  Athens  (p.  xxxin).  ■—  The  next  gallery  contains  the  Tapestry  of 
Baphael,  p.  303. 

We  now  descend  and  return  to  tlie  Sala  a  Oroce  Greca,  and  pass 
thiongb  it  (comp.  ground-plan,  p.  307)  to  the  — 

IV.  Sala  Botonda,  erected  nnder  Pius  YI.  by  Simonetti,  after 
the  model  of  the  Pantheon.  The  floor  contains  an  admirable  ^Mosaic, 
found  in  1780  in  the  Thermae  at  Otricoli,  with  Nereids,  Tritons : 
Centaurs,  and  masks.  In  the  centre  a  magnificent  basin  of  porphyry 
from  the  Baths  of  Diocletian.  On  the  right  and  left  of  the  entrancee 
554.  Julia  Domna,  wife  of  Septimlus  Sererus;  553.  Plotlna,  wif, 
of  Trajan.  Then ,  to  the  left ,  552.  Juno  Sotpita,  from  Lanuvium 
(p.  382),  copy  of  an  ancient  Latin  image  made  in  the  age  of  the 
Antonines;  551.  Claudius;  550.  Statue  of  Claudius  as  Jupiter, 
found  in  1865  at  CivitJi  Layinia,  the  ancient  Lanuvium  (p.  382) ; 
549.  Jupiter  Serapis ;  548.  Nerva,  on  the  pedestal  a  fine  relief,  hut 
of  doubtful  meaning ;  547.  Sea-god,  found  near  Pozzuoli,  perhaps  a 
personification  of  the  Bay  of  Naples  or  the  Mediterranean  Sea ,  the 
ornaments  of  leaves  and  fruits  indicating  the  riches  of  the  shores  ; 
*546.  So-called  Barberini  Juno ;  545.  Bust  of  Antinous;  544.  Her- 
cules, colossal  statue  in  gilded  bronze  (12  ft.  in  height),  found  in 
1864  in  the  foundations  of  the  Pal.  Eighetti,  near  the  theatre 
of  Pompey  (p.  205) ;  543.  Colossal  head  of  Hadrian,  from  that  em- 
peror's mausoleum  (Castello  S.  Angelo ;  comp.  p.  275) ;  *542.  Female 
statue  restored  as  Ceres;  541.  Faustina,  wife  of  Antoninus  Pius. 
540.  Antinous  as  Bacchus,  from  Hadrian's  Praenestine  villa  (p.  384 ; 
'Antinous  Braschi');  the  unchiselled  state  of  the  body  seems  to  in- 
dicate that  the  statue  was  originally  draped,  perhaps  with  metal ; 
the  present  drapery,  however,  is  modern,  **539.  Bust  of  Zeus  from 
Otricoli,  the  finest  and  most  celebrated  extant,  formerly  regarded 
as  a  faithful  reproduction  of  the  Zeus  of  Phidias,  whereas,  according 
to  modem  crities,  the  head  is  a  modification  of  the  Lyslppus  type. 
Then,  556,  Pertinax ;  555.  Genius  of  Augustus.  —  In  the  spaces 
between  the  above  sculptures  are  a  number  of  excellent  Greek  por- 
trait-heads ,  removed  from  the  next  room :  510.  Alcibiades ;  512. 
Sleeping  Epimenides ;  514.  Socrates  j  518.  Themistocles  (?) ;  519. 
Zeno,  the  Eleatic;  521.  Euripides.  Opposite:  498.  Epicurus; 
500.  Zeno,  the  Stoic;  502.  ^schines,  the  orator;  506.  Demos- 
thenes ;  507.  Antisthenes,  the  Cynic ;  509.  Metrodorus,  the  Epicu- 
rean. At  the  entrance  to  the  next  room:  537,  538.  Tragedy,  Co- 
medy, two  hermffi  from  Hadrian's  Villa.  ■ —  In  the  passage  to  the 
next  room :  533.  Minerva ;  535.  Mnemosyne,  mother  of  the  Mnsea, 
We  next  enter  the  — 

V.  Sala  delle  Muse.  We  first  enter  an  Ante-Room:  (left)  ♦525. 
^-^cles ;  524.  Sappho  (?) ;  523.  Aspasia,  so-called  from  the  modern 


The  Vatican.  ROME.  V,  Right  Bank,    o 

inscription  on  the  base.   Right:  531.  Periander  of  Corinth;  53^ 
Lycnrgu8(?};  528.  Bias,  the  misanthrope  of  the  Seven  Wise  Mei 

The  magnificent  Sala  itself,  also  constructed  by  Simonetti  under 
Pius  VI.,  is  octagonal  in  form,  covered  with  a  dome,  and  adorned 
with  sixteen  columns  of  Carrara  marble.  It  derives  its  name  from 
the  statues  of  the  Muses  preserved  here,  which,  with  the  exception 
of  Nos.  504,  520,  were  found  with  the  Apollo  at  Tivoli  in  1774. 
In  the  centre  of  the  right  wall :  ♦516.  Apollo  Musagetes^  in  a  long 
robe,  with  an  air  of  poetic  rapture,  standing  on  an  altar  with  a 
representation  of  the  Lares.  To  the  right  of  the  Apollo:  515. 
Cattiopc  (Muse  of  epic  poetry) ;  511.  Tcrpaicftore  (dancing) ;  to  the 
left,  517.  Erato  (erotic  poetry) ;  520.  Euterpe  (music).  Then,  on 
the  other  side:  499.  Melpomene  (tragedy);  503.  Thalia  (comedy); 
504.  Urania  (astronomy);  505.  Clio  (history);  508.  Polyhymnia 
(higher  lyric  poetry). 

Ante-Room  on  the  other  side,  forming  also  the  ante-room  of  the 
Sala  degli  Animali :  (right)  494.  Greek  portrait-herma ;  495.  Bac- 
chus in  female  attire ;  496.  Herma  of  Hesiod.  Above :  493.  Relief  of 
the  birth  of  Bacchus.  Left  side :  492.  Herma  of  Sophocles,  the  only 
one  authenticated  by  an  Inscription  (mutilated);  491.  Silenus; 
490.  Herma  of  Diogenes.     Above :  489.  Dance  of  the  Oorybantes. 

YI.  Sala  degli  Animali,  containing  a  number  of  animal-pieces 
in  white  and  coloured  marble,  most  of  them  modem  or  freely 
restored ;  a  great  part  of  the  floor  is  paved  with  ancient  mosaics. 

This  hall  is  divided  into  two  sections  by  means  of  four  granite  columns, 
which  form  a  passage  from  the  Sals  delle  Muse  into  the  conrt  of  the 
Belvedere  (p.  309).  To  thb  Sight:  194.  Sow  and  Utter;  202.  Colossal 
earners  head  as  the  aperture  of  a  fountain ;  206.  Hercules  with  Qeryon ; 
210.  Diana,  badly  restored ;  213.  Hercules  and  Cerberus ;  220.  Bacchanalian 
genius  on  a  lion;  228.  Triton  carrying  off  a  nymph.  Below.,  on  an 
oval  sarcophagus  -  cover ,    triumphal  procession  of  Bacchus ;   232.  Minotaur. 

To  THE  Lbft:  116.  Two  greyhounds  playing;  134a,  125a.  Mosaics  from 
Hadrian's  Villa ;  124.  Sacrifice  to  Mithras ;  134.  Hercules  with  the  slain  Ke- 
mean  lion ;  137.  Hercules  slaying  Diomedes ;  138.  Centaur  with  a  Cupid  on 
his  back.  (Adjacent  is  the  entrance  to  the  Galleria  delle  Statue,  see  be- 
low.) 139.  Commodus  on  horseback  (6emini*s  model  for  the  statue  ofCon- 
stantine  in  the  Portico  of  St.  Peter's) ;  151.  Sheep  sacrificed  on  the  altar ; 
153.  Small  group  of  a  goat-herd  and  his  goats;  157.  (in  the  next  window) 
Belief  of  a  cow  and  calf. 

VU.  Galleria  delle  Statue,  originally  a  summer-house  of 
Innocent  YIII. ,  and  converted  into  a  museum  by  Clement  XIV.  and 
Pius  VI.  The  lunettes  contain  remains  of  paintings  by  Pinturicehio. 
—  To  the  right  of  the  entrance :  248.  Clodius  Albinus ,  the  oppo- 
nent of  Septimius  Severus.  The  statue  stands  on  an  interesting 
cippus  of  travertine  (found  in  1777  not  far  from  the  mausoleum  of 
Augustus,  near  S.  Carlo  al  Corso),  which  marked  the  spot  where 
the  body  of  Caius,  son  of  Germanicus,  was  burned.  *250.  Eros  of 
Praxiteles  {^U  Oenio  del  Vaticano\  p.  xxxii),  found  near  Centocelle 
on  the  Via  Labicana ;  on  the  back  are  traces  of  wings ;  above  it, 
249.  Relief,  attributed  to  Mich,  Angelo:  Cosimo  I.  aiding  Pisa; 
251.  So-called  Doryphorus ;  *^3.  Triton,  upper  part  only,  found 


flO    V.  Bight  Bank,  ROME.  The  Vatican. 

new  Tivoli;  255.  Paris,  copied  from  a  fine  original;  256.  Youthful 
Hercules ;  257.  Diana  (relief) ;  258.  Bacchus ;  259.  Figure  with 
male  toiso,  probably  Apollo,  incorrectly  restored  as  Pallas  (so- 
called  Minerva  Pacifera)  with  the  olive-branch ;  260.  Greek  tomb- 
relief;  *261.  Mourning  Penelope,  an  imitation  of  the  more  ancient 
style,  on  the  pedestal  a  relief  of  Bacchus  and  Ariadne ;  263.  Relief 
of  a  female  figure  in  a  quadriga ;  264.  Apollo  8auroctonu8y  lying  in 
wait  for  a  lizard ,  after  a  bronze  statue  by  Praxiteles ;  *265.  Ama- 
zon^ from  the  Villa  Mattel ;  267.  Drunken  satyr ;  268.  Juno,  from 
the  Thermae  of  Otricoli;  269.  Relief,  Jason  and  Medea  (?);  270. 
Urania,  from  Tivoli,  freely  restored;  ^271.  and  390.  (one  on  each 
side  of  the  arch  which  leads  into  the  room  of  the  busts)  Posidippua 
and  Menander,  two  admirable  portrait-statues  of  these  comic  dra- 
matists, in  Pentelic  marble,  perhaps  original  works  of  Cephisodotus, 
son  of  Praxiteles  (p.  xxxii),  from  the  theatre  at  Athens,  found  at 
Rome  under  Sixtus  V.  near  S.  Lorenzo  in  Panisperna,  where  they 
were  long  revered  as  saints.  —  The  visitor  may  conveniently  qu^t 
this  gallery  here  and  Inspect  that  of  the  busts  (see  below). 

Window-wall,  beyond  the  Menander :  392.  Septimius  Severus ; 
393.  Girl  imploring  protection,  erroneously  regarded  as  a  Dido,  the 
original  in  the  Pal.  Barberini  (p.  171);  394.  Neptune  Verospi; 
396.  Apollo  Citharcedus,  archaic ;  396.  Wounded  Adonis  (the  hand, 
of  which  there  are  traces  was  probably  that  of  a  Cupid  dressing  the 
wound);  397.  Reclining  Bacchus  from  the  Villa  of  Hadrian;  398. 
Macrinus,  successor  of  Garacalla.  In  front  of  it,  in  the  centre,  a 
large  alabaster  basin ,  found  near  SS.  Apostoli.  399.  iEsculapiuB 
and  Hygieia,  from  Palestrina;  400.  Euterpe;  401.  Mutilated  pair 
from  the  group  of  Niobe  (p.  xxxii),  a  son  and  a  daughter,  found, 
like  the  Florentine  statues,  near  the  Lateran;  405.  Nymph; 
406.  Replica  of  the  Satyr  of  Praxiteles.  —  In  the  window-niche : 
421 .  Cinerary  urn  of  oriental  alabaster,  found  vrith  the  travertine 
cippi  placed  under  the  statues  numbered  248,  408,  410,  417,  and 
420 ;  it  once  contained  the  remains  of  a  member  of  the  imperial 
Julian  family.  End-wall :  *414.  Sleeping  Ariadne,  formerly  taken 
for  Cleopatra,  found  in  the  reign  of  Julius  II. ;  below  it,  *Sarco- 
phagus  with  battle  of  the  giants,  resembling  the  Pergamenian 
Ara.  At  the  sides:  ^412,  413.  The  Barberini  Candelabra,  the 
largest  and  finest  in  existence ,  found  in  Hadrian's  yilla ;  on  each 
three  reliefs,  (1.)  Jupiter,  Juno,  Mercury,  and  (r.)  Mars,  Minerva, 
and  Venus.  416.  Relief  of  the  forsaken  Ariadne,  similar  In  expres- 
sion to  the  large  statue;  417.  Mercury;  420.  Lucius  Verus. 

ym.  Hall  of  the  Busts ,  in  four  sections.  We  begin  on  the 
right.  I.  Section.  Above,  173.  Head  of  Hadrian;  278.  Nero  as 
Apollo  Citharcedus,  with  laurel-wreath ;  281.  Augustus,  with  chaplet 
of  ears  of  corn.  Below,  290.  Caracalla.  —  II.  Above,  ^298.  Zeus  Se- 
rapis,  in  basalt.  Below,  303.  Apollo;  ♦307.  Saturn ;  308.  Isis ;  ♦311. 

Ad  ofMenelaus,  from  the  group  ofMenelaus  vri th  the  body  of 


The  Vatican,  ROME.  V,  Right  Bank.   9 \i 

Patroclus  (or  Ajax  with  the  hody  of  Achilles),  found  in  1772  in  the 
Villa  of  Hadrian,  a  duplicate  of  the  Pasquino  group  (see  p.  201) ; 
•384b.  Legs  of  the  body  by  the  window  of  the  flrat  section ;  346. 
Hercules.  —  m.  Above,  313,  314.  Masks;  315,  316.  Satyrs.  In 
the  central  niche :  ♦Zeus,  formerly  in  the  Pal.  Verospi.  To  the  left 
above,  329.  Barbarian ;  below ,  338.  Hermes  (holes  for  the  wings 
near  the  head).  —  IV.  In  the  niche :  352.  Woman  praying,  a  so- 
called  Piet^;  under  it  an  interesting  sarcophagus,  adorned  with 
Prometheus  and  the  Fates,  peiliaps  of  Christian  workmanship ;  to 
the  left,  below,  357.  Antinous;  363.  Hera,  a  poor  replica  of  that  by 
Polycletus.  —  In  Section  I.,  below,  376.  Head  of  Pallas  from  the 
Castle  of  St.  Angelo;  382,  384.  Anatomical  representations ,  in 
marble.  In  the  centre.  Candelabrum  with  three  female  figures.  By 
the  entrance,  r.  *388.  Roman  man  and  woman,  tomb-relief  (Nie- 
buhr's  favourite  group,  copied  on  his  tomb  at  Bonn  by  Ranch). 

IX.  Ckkbinetto  dalle  Maschere,  so-called  from  the  *Mosaic  on 
the  floor,  adorned  with  masks,  etc.,  found  in  Hadrian's  Villain  1780 
(usually  dosed;  apply  to  custodian  of  the  Galleria  delle  Statue; 
20  c).  On  the  right  of  the  entrance :  *425.  Dancing  girl,  in  Pen- 
telic  marble,  found  at  Naples;  Relief,  called  the  apotheosis  of 
Hadrian ;  427.  Stooping  Venus  in  the  bath ;  429.  Venus  Genetrix. 
—  Wall  opposite  the  entrance  :  Four  reliefs  of  the  exploits  of  Her- 
cules; 432.  Satyr  in  rosso  antico,  replica  in  the  Capltoline;  435. 
Venus  drying  her  hair.  —  Window- wall :  at  the  first  window,  Bath- 
ing-chair, at  the  second.  Vase ,  both  of  rosso  antico ;  between  the 
windows,  Venus,  resembling  No.  435.  — In  the  window:  Relief  of 
Bacchanalian  procession.  —  Entrance- wall :  442.  Apollo.  —  A 
door  (which  the  custodian  opens  if  desired)  leads  hence  to  the 
Loggia  Scofbbta,  which  commands  a  charming  view  of  Mte.  Mario 
and  Soracte  to  the  left,  and  the  Sabine  Mts.  to  the  right. 

We  now  return  to  the  Sala  degli  Animali,  and  enter  the  (left)  — 

X.  Cortile  del  Belvedere  (comp.  ground-plan,  p.  307),  an  oc- 
tagonal court  constructed  by  BramanU^  but  afterwards  altered.  It 
is  surrounded  by  arcades,  in  the  corners  of  which  are  four  apartments 
containing  several  of  the  most  important  works  in  the  collection. 
The  entrance  is  flanked  with  two  *Molo8sian  Hounds.  In  the  centre 
is  a  fountain  with  ancient  embouchure ;  above  the  arcades  are  eight 
ancient  masks,  and  by  the  wall  eight  sarcophagi  and  sixteen  statues. 

The  First  Corner  Cabinet  on  the  right  as  we  enter  from  the  Sala 
degli  Animali  contains :  **74.  The  famous  group  of  Laaeoon,  with 
his  two  sons ,  strangled  by  serpents  by  command  of  the  offended 
Apollo.  According  to  Pliny,  it  was  executed  by  the  three  Rhodians 
Agesander,  Polydorus,  and  AthenodoruSj  and  was  placed  in  the 
palace  of  TituB.  It  was  discovered  under  Julius  II.  in  1506  near 
the  Sette  Sale  (p.  182),  and  was  termed  by  Michael  Angelo  a  'mar- 
vel of  art'.  The  work  (in  Pentelic  marble,  but  not  of  a  single  blocks 
is  admirably  preserved,  with  the  exception  of  the  three  uplift 


312    V,  Right  Bank.  ROME.  The  Vatican. 

arms,  which  have  heen  incorrectly  restored  by  Oiov,  da  Montorsoli. 
Owing  to  the  delicacy  of  the  worl^manship ,  the  dramatic  suspense 
of  the  moment,  and  the  profoundly  expressiye  attitudes  of  the  heads, 
especially  that  of  the  father,  this  group  forms  the  grandest  re- 
presentative of  the  Rhodian  school  of  art  (p.  xxxiv).  —  Then,  in  the 
Arcade :  79.  Relief  of  Hercules  with  Telephus,  and  Bacchus  leaning 
on  a  Satyr;  80.  Sarcophagus  with  Cupids;  81.  Sacrificial  procession 
after  a  victory.  In  the  niche:  ""85.  Hygieia ;  88.  Roma,  accompanying 
a  victorious  emperor,  probably  relief  from  a  triumphal  arch. 

Second  Comer  Cabinet.  ♦*92.  Apollo  Belvedere,  found  at  the 
end  of  the  15th  cent,  near  Porto  d'Anzio,  the  ancient  Antium.  Ac- 
cording to  the  most  recent  interpretation,  the  god,  whose  left  hand 
has  been  restored,  originally  held  in  it,  not  the  bow,  but  the  aegis 
(as  has  been  discovered  from  comparison  with  a  bronze  at  St.  Peters- 
burg), with  which  he  is  supposed  to  be  in  the  act  of  striking  terror 
into  the  Celts  who  have  dared  to  attack  his  sanctuary  of  Delphi. 
(Comp.  *Childe  Harold's  Pilgrimage',  Canto  rv,  line  161.)  On  the 
left:  94.  Relief,  Women  leading  a  bull  to  the  sacrifice  (the  left  half 
entirely  modem).  —  Then,  in  the  Arcade :  27.  Reliefs  with  Satyrs 
and  griffins,  once  forming  a  trapezophorus  (support  of  a  table).  28. 
Large  sarcophagus  with  dancing  satyrs  and  Bacchantes,  found  in 
1777  while  the  foundations  for  the  sacristy  of  St.  Peter's  were 
being  laid ;  30.  Sleeping  nymph,  a  fountain-figure.  Two  baths  of 
black  and  green  basalt. 

Third  Comer  Cabinet.  Perseus,  and  two  Pugilists,  by  Canova, 
formerly  much  overrated.  —  In  the  Arcade :  (right)  In  the  small 
niches :  34.  Mercury ;  35.  Minerva.  Then,  37.  Sarcophagus  with 
Bacchus  and  Ariadne  in  Naxos ;  to  the  right,  38.  Relief  of  Diana  and 
Ceres  contending  with  the  Titans  and  Giants,  found  in  the  Villa 
Mattei;  to  the  left,  44.  So-called  Ara  Casali,  with  reliefs  relating 
to  the  origin  of  Rome ;  49.  Sarcophagus  with  battle  of  Amazons,  in 
the  centre  Achilles  and  Penthesilea ,  bearing  the  features  of  the 
deceased  (p.  xlii). 

Fourth  Comer  Cabinet.  *53.  Mercury,  formerly  regarded  as  an 
Antinous ;  1.  55.  Relief  of  a  procession  of  priests  of  Isis.  —  Then  in 
the  Arcade :  (right)  61.  Sarcophagus  with  Nereids  with  the  arms  of 
Achilles ;  on  it  the  *Torso  of  a  Nereid.  —  We  next  enter  the  — 

XI.  Vestibule  of  the  Belvedere  (comp.  ground-plan,  p.  307), 
forming  an  approach  to  the  Museo  Pio-Olementino ,  which  was 
formerly  entered  in  this  direction.    The  first  section  of  it  is  the  — 

Atbio  Rotondo.  In  the  centre  a  *Basin  of  marble  (pavonaz- 
zetto).  To  the  left ,  under  No.  7,  is  a  cippus  with  relief  of  a  Dia- 
dumenus  ,  or  youth  placing  a  fillet  round  his  head ,  which  conveys 
an  idea  of  the  famous  statue  of  Polycletus  (p.  xxxi).  On  the  bal- 
cony is  an  ancient  *Vane ,  found  in  1779  near  the  Colosseum.  — 
To  the  left  is  the  — 

Atrio  del  MELEAGno.    In  the  centre  a  ♦Statue  of  Meleager,  of 


The  Vatican.  ROME.  V.  Right  Bank.    313 

the  imperial  period ,  found  about  1500  outside  the  Porta  Portese. 
Left,  21.  Colossal  buBt  of  Trajan ;  above  it  a  late  relief,  showing  the 
decline  of  art.  —  We  now  return  through  the  AtrioRotondo  to  the — 

Atrio  Qvadbato.  In  the  centre  of  the  first  hall  is  the  celebrated 
*  Torso  of  Heretde8y  executed,  according  to  the  inscription,  by 
ApoUonius  of  Athens,  who  probably  lived  in  the  1st  cent.  B.C.; 
it  was  found  in  the  16th  cent,  near  the  theatre  of  Pompey  (p.  205}. 
'In  their  admiration  of  the  torso,  which  has  been  extolled  by 
Winckelmann  in  one  of  his  famous  odes,  all  critics  are  agreed ;  but 
many  conflicting  opinions  have  been  expressed  regarding  the  action 
intended  to  be  pourtrayed.  Formerly  it  was  usually  supposed  that 
Hercules  had  been  grouped  with  a  figure  standing  in  front  of  him 
(perhaps  Hebe  or  Auge) ;  another  conjecture  was  that  he  stood  alone, 
leaning  on  a  staff  grasped  with  both  hands  on  his  left  side ;  while 
the  most  recent  view  is  that  he  was  playing  on  the  lyre*.  —  Oppo- 
site the  window  is  the  ^Sarcophagus  of  L.  Com,  Scipio  Barbatus, 
great-grandfather  of  the  illustrious  Africanus,  and  consul  B.C.  298, 
ofpeperine-stone,  with  a  remarkable  inscription  in  Saturnine  verse, 
recording  his  virtues  and  achievements ;  it  was  found  in  1780  in 
the  tomb  of  the  Scipios  on  the  Yia  Appia  (see  p.  257),  at  the  same 
time  as  that  of  his  son  L.  Corn.  Scipio,  consul  B.  0. 259,  and  that  of 
P.  Com.  Scipio  (son  of  Africanus),  flamen  dialis,  whose  inscriptions 
are  built  into  the  surrounding  walls.  The  bust  on  the  sarcophagus 
has  been  groundlessly  regarded  as  the  poet  Ennius. 

We  next  enter  (comp.  ground-plan,  p.  306)  the  — 

*](iiseo  Chiaramonti,  arranged  in  one  half  of  a  corridor  22  ft. 
wide  and  310  yds.  long,  which  is  divided  by  pilasters  into  thirty 
sections  numbered  with  Roman  numerals.  The  museum  contains 
300  sculptures  in  marble,  many  of  them  small  and  fragmentary. 

[The  door  to  tbe  right  leads  to  the  Oiardino  della  Pigna,  to  which  vis- 
itors are  not  now  admitted,  containing  nnmerous  fragments  of  statues  and 
reliefs.  In  the  middle  is  a  huge  antique  column,  surmounted  by  a  bronze 
statue  of  St.  Peter,  erected  here  in  1886  to  commemorate  the  Council  of 
1370.  On  the  right  are  a  colossal  Pine-cone^  the  work  of  a  certain  P.  Cincius 
Salvius,  which  was  placed  in  the  middle  ages  in  the  fore-court  of  old  St. 
Peter's  Church,  and  the  pedestal  of  the  column  in  honour  of  Antoninus  Pius, 
which  stood  near  Monte  Citorio,  adorned  with  the  Apotheosis  of  Antoninus 
and  Faustina  and  processions  of  warriors.  On  the  left  is  a  colossal  portrait- 
head  in  marble.  —  */l  Boscareccio*,  or  the  larger  Garden  of  the  Vatican, 
which  was  formerly  sometimes  visited  hence,  but  is  now  closed  to  the 
public^  extends  from  the  Belvedere  to  the  walls  of  the  Leonine  city ,  and 
is  beautifully  laid  out  in  the  Italian  style.  To  the  left  of  the  entrance,  at 
the  base  of  an  eminence  planted  with  trees,  stands  the  Ccuino  del  PapcL, 
built  by  Pirro  Ligorio  in  1560,  a  garden-house  richly  decorated  with  sculp- 
tures, mosaics,  and  pictures.] 

As  the  entrance  was  formerly  at  the  other  end,  our  enumeration 
now  begins  with  Section  XXX.  Left:  733.  Recumbent  Hercules 
(freely  restored). — XXIX.  Left:  704.  Ulysses  handing  the  goblet 
to  Polyphemus ;  698.  Cicero,  from  Roma  Vecchia ;  693.  Wreathed 
head  of  the  young  Bacchus.  —  XXVIII.  Left :  682.  Colossal  statue 
of  Antoninus  Pius,  from  Hadrian's  Villa  at  Tivoli.  —  XXVII.  Left 


314    V.  Right  Bank.  ROME.  The  Vatican. 

655.  Narcissus  (erroneously  restored);  above,  *644.  Relief,  dan- 
cing women.  —  XXVI.  Left:  636.  Hercules  and  Telephus.  — 
XXV.  Left:  •607.  Head  of  Neptune  in  Pentelic  marble,  from 
Ostia.  —  XXIV.  Right:  591.  Claudius;  left,  589.  Mercury;  588. 
Bacchus  with  a  satyr;  587.  Ganymede.  —  XXIII.  Left:  563.  Por- 
trait-bust; above,  550.  Square  marble  slab,  with  a  shield  of  Medusa 
in  the  centre.  —  XXII.  Right :  547.  Isis ;  left,  544.  Silenus.  — 
XXI.  Left:  *513  A. Head  of  Venus  in  Greek  marble,  found  in  the 
Baths  of  Diocletian ;  512.  Marius  (?) ;  510  A.  Oato  M<gor  (?).  —  XX, 
Right:  497.  Representation  of  a  mill;  *498.  Drowsy  spinster;  left, 
*495.  Bow-bending  Cupid ;  *494.  Tiberiua ,  a  colossal  sitting  flgure, 
found  in  1796  at  Pipemo ;  493.  Portrait-statue  of  a  boy.  —  XIX. 
*729.  Torso  of  an  archaic  Penelope  in  a  sitting  posture ,  of  finer 
workmanship  than  the  better  preserved  statue  in  the  Galleria 
deUe  Statue.  —  XVm.  Left:  450.  Mercury;  right,  453.  Hero, 
restored  as  an  emperor,  with  Victoria.  —  XVII.  Right:  441.  Al- 
cibiades(?);  left,  422.  Demosthenes;  420.  Head  of  Vulcan ;  418. 
Julia,  daughter  of  Augustus  (?);  *416.  BiMt  of  the  young  Au- 
gustus. —  XVI.  Left:  401.  Augustus,  400.  Tiberius  sitting,  both 
from  Veil.  —  XV.  Right:  392.  Hadrian;  left,  ♦372 A.  Greek 
relief  with  fragment  of  a  rider  ;  369.  Portrait-head ;  above ,  360. 
Archaic  relief,  representing  three  draped  Graces,  a  copy  of  a  very 
famous  antique  work  by  Socrates  (p.  xxxviii),  fragments  of  which 
were  found  in  the  Acropolis  at  Athens.  —  XIV.  Left:  354.  Minerva; 
353.  Nymph;  right,  355,  357.  Women  of  the  family  of  the  Rutilii, 
found  at  Tusculum ;  356.  Captured  barbarian.  —  XIII.  Right:  338. 
Boy  from  a  group  of  talus-players ;  left ,  above,  300.  Fragment  of  a 
shield  with  four  Amazons,  being  a  copy  of  the  shield  of  Athene  Par- 
thenos  by  Phidias.  —  XII.  Left:  294.  Hercules,  found  In  1802,  re- 
stored by  Canova ;  295.  Torso,  replica  of  the  Hermes  of  Praxiteles ; 
right,  296,  297.  Athletes;  298.  Bacchus.  — XI.  Right:  285.  ApoUo 
with  the  hind ,  in  imitation  of  the  archaic  style ;  287.  Fisher-boy  ; 
left,  263,  259.  Fine  portrait-heads;  255.  Jupiter  Serapis;  254. 
Venus.  —  X.  Right:  244.  Colossal  mask  of  Oceanus,  used  to 
adorn  a  fountain;  245.  Polyhymnia;  left,  241.  Nymph  with  the  in- 
fant Zeus  at  her  breast.  —  IX.  Right :  *229.  Two  heads  of  Silenus 
as  a  double  herma ;  under  it,  230.  Large  cippus,  Night  with  Death 
and  Sleep  (?);  left,  197.  Head  of  Roma  (eyes  modem),  found  at 
the  ancient  Laurentum;  above,  186.  Greek  equestrian  relief.  — 
VIII.  Right :  179.  Sarcophagus  of  0.  Julius  Euhodus  and  Metilia 
Acte,  with  representation  of  the  myth  of  Aloestis;  181.  Hecate; 
under  it,  ♦182.  Ara  of  Pentelic  marble,  with  Venus  and  Baccha- 
nalian representations ;  left,  ^^176.  Daughter  of  Niobe  (p.  xxxii), 
headless,  found  at  Tivoli,  an  admirable  Greek  work.  —  VII.  Right, 
166.  Archaic  Apollo ;  left,  144.  Bearded  Bacchus ;  above ,  130.  Frag- 
ment of  a  relief,  badly  executed,  but  with  an  interesting  represen- 
tation of  the  Sun  and  Moon  as  leaders  of  souls.  —  VI.  Left:  122. 


The  Vatican.  ROME.  V.  Right  Bank.' ^t^ 

Diana;  121.  Olio;  120.  So-called  Vestal,  from  Hadrian's  Villa.  — 
V.  Right:  107.  Julius  CaBsar  (?).  —  IV.  Left:  63.  Minerva.  —  HI. 
Right:  55.  Torso  of  Hebe;  left,  29.  Head  of  a  female  faun;  28. 
Head  of  a  wounded  Amazon.  —  H.  Left :  16,  14.  Muses.  —  I. 
Right:  13.  Winter,  from  the  sarcophagus  of  P.  ^lius  Verus ;  left,  6. 
Autumn,  also  from  a  sarcophagus ;  ahove,  2.  Apollo  sitting,  a  relief. 
—  To  the  right  is  the  entrance  to  the  Braccio  Nuovo  (see  helow). 

[The  S.  half  of  the  corridor,  separated  from  the  Museo  Chiaramonti 
by  a  railing,  contains  the  Gallbria  Lapidaria,  which  is  not  now  open  to 
the  public.  It  contains  a  collection  of  more  than  5000  heathen  and  early 
Christian  inscriptions,  made  by  Clement  XIV.  and  Pius  VI.,  and  extended  by 
Pius  VII.  i  they  were  arranged  and  built  into  the  walls  under  the  direction 
of  Oaetano  Marini^  the  learned  founder  of  the  modem  science  of  Latin 
epigraphy.  The  gallery  also  contains  ancient  cippi,  sarcophagi,  and  statues.] 

The  *Braooio  Nuovo,  which  we  next  visit  (see  ground- 
plan),  was  constructed  by  Rafael  Stem  under  Paul  VII.  in  1821 . 
This  saloon,  roofed  with  tunnel  vaulting,  and  lighted  from  above, 
is  77  yds.  long  and  8^2  yds.  wide,  and  is  embellished  with  fourteen 
ancient  columns  of  cipoUino ,  giallo  antico,  alabaster,  and  Egyptian 
granite.  It  contains  40  statues  and  about  80  busts.  — Right :  No.  *5. 
Oaxyatide ,  supposed  to  be  one  of  those  executed  by  Diogenes  fox 
the  Pantheon,  restored  by  Thorvaldsen ;  8.  Commodus  in  hunting- 
costume  with  spear;  9.  Barbarian  head;  11.  Silenus  with  the 
infant  Bacchus ;  *14.  Augustua^  found  in  1863  near  Prima  Porta  in 
the  villa  of  Livia ,  one  of  the  best  statues  of  the  emperor,  bearing 
distinct  traces  of  painting  (p.  xxxviii).  In  front  of  it,  on  the  ground, 
a  mosaic  from  Tor-Marancia ,  Ulysses  with  Nereids  and  Scylla ; 
17.  Statue  of  a  physician  (perhaps  Antonius  Musa,  celebrated  fox 
his  cure  of  Augustus) ,  under  the  form  of  -^sculapius ;  20.  So- 
called  Nerva  (head  modern);  **}S.  So-called  Pudicitia,  from  the 
Villa  Mattel,  head  and  right  hand  new ;  24.  So-called  Pollux ,  in 
coloured  marble ;  26.  Titus,  found  with  the  statue  of  his  daughter 
Julia  (No.  Ill,  opposite)  near  the  Lateran  in  1828;  27.  Medusa 
(also  Nos.  40,  93,  110  ;  the  last  in  plaster)  from  Hadrian^s  temple 
of  Venus  and  Roma;  31.  Priestess  of  Isis;  32,  33  Satyrs  sitting; . 
39.  (in  the  centre)  beautiful  black  vase  of  basalt,  with  masks, 
etc. ;  41.  Apollo  Citharcedus,  found  in  1885  at  Marino ;  44.  "Wounded 
Amazon;  47.  Caryatide;  48.  Trajan;  50.  Diana  beholding  the 
sleeping  Endymion;  53.  Euripides;  60.  So-called  Sulla;  '62.  De- 
mosthenes ,  found  near  the  ancient  Tusculum.  Standing  alone : 
♦♦67.  Apoxyomenoa  (scraper),  an  athlete  cleaning  his  right  arm 
with  a  scraping-iron ,  after  Lysippus  (p.  xxxiii) ,  found  at  Traste- 
vere  in  1849.  —  Then ,  by  the  second  long  wall:  ^71.  Mourning 
Amazon ,  apparently  after  an  older  work  of  the  best  period ,  per- 
haps by  Polycletus  (p.  xxxi) ,  arms  and  feet  restored  by  Thorvald- 
sen; 81.  Hadrian;  83.  Juno,  erroneously  restored  as  Oeres  (head 
new);  86.  Fortuna  with  cornucopia  and  rudder,  from  Ostia  ;  ♦89. 
So-called  Hesiod.  ♦109.  Colossal  Group  of  the  NiUj  surrounded  by 
sixteen  playing  children ,  emblematic  of  the  sixteen  cubits  whic^ 


316    V.  Right  Bank.  ROME.  The  Vatican, 

the  rivei  rises ;  at  the  hack  and  sides  of  the  plinth  a  hnmorons  re- 
presentation of  a  hattle  of  the  pygmies  with  crocodiles  and  hippo- 
potami ,  found  near  S.  Maria  sopra  Minerva  in  the  time  of  Leo  X. 
(p.  xxxiv").  In  the  semicircular  space  hehind  it,  on  the  right :  *94. 
Figure  of  Spes,  erroneously  restored  as  Proserpine ;  97A.  Mark  An- 
tony;  97,  99,  101,  103,  105.  Athletes;  106.  Bust  of  the  triumvir 
Lepidus.  On  the  ground  in  this  semicircle  (hehind  the  Nile)  is  a 
mosaic  with  the  Ephesian  Diana,  from  Poggio  Mirteto.  By  the  long 
wall,  farther  on :  111.  Julia,  daughter  of  Titus  fsee  No.  26);  •112. 
Head  of  Juno  (the  so-called  Juno  Pentini) ;  '114.  So-called  Mi- 
nerva Medica ,  or  Pallas  Qiustiniani  (the  family  to  whom  it  form- 
erly helonged),  in  Parian  marble;  117.  Claudius;  *120.  Satyr  Re- 
posing, after  a  celebrated  work  of  Praxiteles  (p.  xxxii ;  a  better  copy 
in  the  Oapitoline  Museum) ;  123.  Lucius  Verus;  •126.  Athlete,  re- 
cognised as  a  copy  of  the  Doryphorus  of  Polycletus  (p.  xxxi) ;  129. 
Domitian ;  ^132.  Mercury,  restored  by  Canova  (head  ancient,  but 
belonging  to  a  different  figure"). 

Egyptian  Museum.   ♦Etbusoan  Museum. 
Open  on  Thurs.,  9-3.  Comp.  Plan,  p.  307. 

The  Egyptian  Xusenm  (Museo  Egizio),  the  entrance  to  which 
is  from  the  Sala  a  Croce  Greca  (p.  304),  close  to  the  steps,  is  below 
the  Etruscan  Museum,  in  the  so-called  Torre  de'  Venti.  Pius  VII. 
purchased  the  nucleus  of  the  collection  from  Andrea  Gaddi;  and 
the  museum  was  much  extended  by  him  and  by  Gregory  XVI.  It 
contains  few  objects  of  great  interest,  but  may  be  visited  for  the  sake 
of  comparing  Egyptian  with  Hellenic  and  Italian  art  (p.  xl). 

Ist  Room  :  Three  cofiinfl  of  mammies  in  green  basalt,  and  two  in  painted 
wood.  —  2nd  R.:  Statues,  chiefly  frpm  Hadrian^s  villa  at  Tivoli,  of  Roman 
workmanship  in  the  Egyptian  style  (p.  xxxvii).  ^Colossal  statue  of  Anti- 
nous,  the  favourite  of  Hadrian,  in  white  marble.  The  Nile,  in  black  marble. 
Fine  architectural  fragments,  found  in  the  precincts  of  the  Iseum,  or  temple 
of  Tsis,  near  S.  Haria  sopra  Minerva.  —  3rd  R. :  ^Egyptian  colossal  statues  : 
'  (1)  Mother  of  Ramses  (Sesostris) ,  in  black  granite ,  between  (2)  two  lions 
of  basalt,  from  the  Thermse  of  Agrippa,  which  formerly  long  adorned  the 
Fontana  di  Termini-,  (3)  by  the  exit-wall,  in  the  centre:  Ptolemy  Phila- 
delphus ,  to  the  left  of  him ,  his  Queen  Arsinoe ,  in  red  granite  (from  the 
gardens  of  Sallust).  —  4th  R. :  Statuettes ,  idols ,  and  alabaster  vases.  — 
5th  R. :  Mummies ,  sarcophagi.  Eight  statues  of  the  goddess  Pasht  (Isis), 
from  the  ruins  of  Camac.  —  6th  R. :  Small  idols  in  vitreous  paste.  —  7th  B. : 
Small  bronzes,  including  a  si  tula,  or  bucket-shaped  vessel,  used  in  the  wor- 
ship of  Isis.  —  8th  R. :  Idols  and  ornaments  \  scarabees  (stones  cut  in  the 
shape  of  beetles),  etc.  —  9th  R. :  Papyrus  MSS.  —  10th  R. :  Coptic  inscrip- 
tions, hieroglyphics,  cuneiform  inscriptions.  Small  replica  of  the  Nile  in 
the  Braccio  Nuovo  (p.  315).    Model  of  a  pyramid. 

Ascending  as  indicated  at  p.  305  to  the  passage  into  which  the 
Sola  delta  Biga  and  the  Sala  dei  Candelahri  (p.  306)  open,  and 
turning  to  the  left,  up  a  few  steps,  we  reach  on  the  right  the 
entrance  to  the  Etruscan  Museum.  —  Oomp.  Ground-plan,  p.  307. 

The  ^ICnseo  Etmsoo-Oregoriano,  founded  by  Gregory  XVI.  in 
^36,  occupies  twelve  rooms  on  the  upper  floor  of  the  Torre  de' 


The  Vatican,  ROME.  |       \gM  Bank.    319 

Ventiy  above  the  Egyptian  Museum.    It  conj  [S 

quities  excavated  chiefly  in  1828-36  in  tin  ^3 

Toscanelia,  and  Chiusi,  consisting  of  statues,,  ^» 

ornaments,  and  various  domestic  utensils  in  1 
teresting  as  a  link  in  the  history  of  Italian;         ^      ^^  «  a 
insight  into  the  habits  of  the  almost  pre-hi  co      §'H'S'3 

(To  the  left  by  the  loggia,  in  the  space  befi 
Medea;  right,  by  the  door,  another  with  a  cont^ 

I.  Room:  Three  sarcophagi  of  terracotta 
deceased  on  the  covers.  On  the  walls  numerous  ' 
of  peculiar  formation.  —  The  II.  Room  is  thed 
of  the  larger  sarcophagi  on  the  left  is  of  travertt 
flat  relief  of  a  chariot  with  a  bearded  man  ana  j 
traces  of  painting  are  visible;  numerous  smaller  cinerary  urns,  some  of 
them  of  alabaster  with  mythological  reliefs,  from  Chiusi  and  Vol  terra.  — 
III.  Room:  In  the  centre  a  large  sarcophagus  of  tufa  with  recumbent 
figure  and  reliefs  of  the  murder  of  Cly temnestra ,  sacrifice  of  Iphigeneia, 
Eteocles  and  Polynices,  Telephus  and  Orestes.  Beyond  this  is  a  fine  frieze 
in  terracotta,  discovered  at  Cervetri.  In  the  comers  are  small  and  strange- 
looking  cinerary  urns  in  the  form  of  houses  and  huts ,  found  in  the  very 
ancient  Italic  (Latin)  graves  between  Albano  and  Marino,  some,  it  is  said, 
under  a  layer  of  volcanic  tufa.  —  IV.  Room;  left  wall,  near  the  entrance, 
fine  terracotta  frieze  from  Cervetri;  relief  in  stucco  of  Jupiter,  Neptune, 
and  Pluto.  Terracottas;  ^Mercury;  in  the  comers,  fragments  of  female 
figures  with  rich  drapery,  from  Tivoli ;  Hercules ;  above,  lid  of  an  urn,  with 
the  dying  Adonis,  an  interesting  realistic  work;  on  the  wall  to  the  right, 
reliefs  in  stucco  of  Venus  and  Adonis;  on  the  walls  reliefs,  cinerary  urns, 
architectural  fragments.    By  the  window  small  terracottas. 

The  next  four  rooms  contain  the  Collection  of  Vases  (p.  xl).  These  painted 
vessels  were  partly  imported  from  Greece,  partly  manufactured  in  Etruria 
itself,  where  Vulci,  Chiusi,  Volterra,  Bomarzo,  etc..  are  proved  to  have  ex- 
celled in  this  branch  of  art.  The  Etruscans  imitatea  the  earlier  Greek  vases 
with  black ,  as  well  as  the  later  with  red  figures,  often  without  a  just  ap- 
preciation of  the  subjects,  and  with  an  obvious  preference  for  tragic  scenes, 
especially  murders.  An  exhaustive  examination  of  the  details  will  be  under- 
taken by  the  scientific  only ;  the  most  interesting  objects  only  need  be  enu- 
merated here.  —  I.  Room  :  Vases  of  the  earliest  style,  with  figures  in  black, 
some  of  them  from  Corinth;  in  the  centre  a  very  ancient  vessel  with  re- 
presentations of  animals.  —  II.  Room  :  In  the  middle,  Ajax  with  the  body 
of  Patroclus ;  •Achilles  and  Ajax  playing  at  draughts  (with  the  name  of  the 
manufacturer  Exekitu),  To  the  right  of  the  window- wall  are  imitations  of  the 
prize- vases  of  the  Panatheneean  Festival  at  Athens ;  \mder  the  2nd  window, 
two  basins  with  archaic  Latin  inscriptions.  At  the  door,  a  vase  (So.  70) 
with  two  men  with  oil-vessels  and  the  inscriptions :  'O  Father  Zeus,  would 
that  I  were  rich',  and :  'It  is  already  full  and  even  runs  over'.  —  III.  Room  : 
Arched  corridor.  *134.  Hector  parting  from  Priam  and  Hecuba.  At  the  first 
window.  Vase  with  three  handles,  with  representations  of  a  poet  and  six 
Muses.  To  the  left,  on  the  wall,  a  number  of  excellent  vases  with  red 
figures,  including  •84.  Vase  with  admirably-drawn  figure  of  •Achilles,  the 
pendant  to  which  is  effaced  beyond  recognition  C^riseis?);  93.  Minerva  and 
Hercules  (Vulci) ;  97.  Apollo  on  a  winged  tripod.  To  the  right,  at  the  centre 
window,  •103.  Large  vase,  with  whitish  ground  and  coloured  designs,  re- 
presenting the  delivery  of  the  infant  Bacchus  to  Silenus ;  on  the  reverse,  mu- 
sicians. In  the  niche  to  the  left  are  large  vases  from  S.  Italy,  with  poly- 
chrome ornamentation  in  gold,  white,  and  violet.  Adjacent  a  humourous 
representation  of  Jupiter  and  Mercury's  visit  to  Alcmene.  Near  the  exit,  a 
vase  with  ancient  fracture  and  repairs.  —  The  IV.  Room  contains  a  large 
collection  of  graceful  and  delicately  painted  goblets.  The  cabinet  contains 
small  vases,  some  of  them  of  irregular  form.  On  the  wall  above  are  copies 
of  paintings  in  a  tomb  at  Vulci,  showing  that  Etruscan  art  was  at  this  period 
completely  Hellenised.    Below,  as  the  imperfectly-interpreted  inscriptions 


316    V.  Right  gatik.  ROME.  The  Vatican. 

the  river  lUKcate,  is  a  historical  scene,  an  adventure  of  Mastama  (Servias 
piesentatK  Cffiliufl  Vibenna,  besides  mythological  repreaentaiionfl  (Ca«san- 
V^x  iySfles  slaying  the  victim  for  the  funeral  sacrifice  of  Patroclus).  The 
y^^  ~jfe9  contain  ancient  glass  vessels,  many  of  which  are  noticeable  for 
(.P'^nne  workmanship  and  colouring. 

Fi/We  now  return  to  the  sixth  room ,  in  order  thence  to  reach  the  — 
Zc.  £ooM  on  the  right,  where  BronsM  of  every  description,  domestic  uten- 
/Bils,  weapons,  ornaments ,  jewellery ,  etc.,  are  arranged.  By  the  wall  to 
the  right  the  statue  of  a  warrior,  with  Umbrian  inscription,  found  at  Todi  in 
1835.  On  the  wall  as  far  as  the  window ,  helmets ,  shields ,  mirrors  with 
engraved  designs.  By  the  right  window  an  oval  *Gista  of  bronze  from  Vulci, 
with  Amazon  battles  in  embossed  work,  which  when  found  contained  articles 
of  the  female  toilet.     By  the  exit,  Boy  with  a  bird,  in  bronze. 

Passing  through  a  door  on  the  right,  we  next  enter  the  X.  Boom,  or 
CoBKiDOR,  where  water-pipes  and  several  small  bronzes  are  preserved. 

[The  XI.  Boom  (sometimes  closed)  contains  all  kinds  of  vases  (some  of 
the  most  ancient  of  which  are  engraved  with  geometrical  patterns),  as  well 
as  copies  of  Tomb  Paintinga  from  Cometo  and  Vulci,  invaluable  in  the  study 
of  early  Italian  art.  The  most  ancient  style  (down  to  about  B.C.  460)  is  re- 
presented by  the  paintings  on  the  narrow  sides  of  the  saloon  (excepting  the 
scene  over  the  door),  which  somewhat  resemble  early-Greek  designs,  but  are 
ruder  and  more  destitute  of  expression.  The  next  stage  (after  B.C.  450)  is 
exemplified  by  the  designs  on  the  long  walls,  where  the  progress  is  traced 
which  the  Etruscans  had  made  in  the  art  of  drawing  and  in  their  ideas  of 
the  human  figure,  under  the  influence  of  the  Greeks;  at  the  same  time 
Etruscan  peculiarities  are  observable,  especially  in  the  heads,  which  are 
all  in  profile.  These  paintings,  like  the  preceding,  also  represent  games 
and  dances  performed  in  honour  of  the  dead.  The  third  and  fully-dev^oped 
period  is  represented  by  the  picture,  over  the  door,  of  Pluto  and  Proserpine 
(the  latter  full-face),  which  may  probably  be  regarded  as  coeval  with  those 
in  the  8th  room.  For  economy  of  space  several  rows  of  these  paintings 
are  here  exhibited  one  above  another,  but  in  tiie  tombs  each  wall  was  em- 
bellished with  a  single  row  only.  It  is  interesting  to  observe  the  gradual 
expansion  of  the  colour-scale.  The  visitor  should  also  notice  that  the 
paintings  were  intended  to  be  seen  by  an  artificial  light,  and  hence  the 
garlands,  plants,  and  bronzes  are  painted  blue  instead  of  green.] 

We  now  return  to  the  9th  room,  where,  immediately  to  the  right,  by  the 
windows,  is  a  glass-cabinet  with  votive  objects,  found  at  the  mineral  springs 
of  Vicarello ,  near  the  Lago  di  Bracciano  (p.  391  \  chiefly  gold  and  silver 
goblets) }  bronze  vessels,  rings,  polished  stones.  In  the  centre  of  the  room 
a  cabinet  with  objects  excavated  at  Pompeii  in  presence  of  Pius  IX. ,  in- 
cluding an  equestrian  ^'Belief  in  marble.  The  turning  glass-cabinet  in  the 
centre  contains  golden  '^Ornaments ;  in  Uie  upper  section  are  arranged  those 
found  in  1836  in  the  tomb  of  the  Begolini-Galassi  at  Cervetri  (p.  393),  in  the 
lower  similar  objects  from  other  Etruscan  tombs.  These  show  the  great  skill 
and  taste  in  workmanship  of  this  kind  to  which  the  splendour-loving  Etrus- 
cans had  attained,  and  the  chains,  wreaths,  rings,  etc.,  afibrd  models  which 
are  rarely  equalled  by  Boman  jewellers  of  the  present  day  (see  Castellani, 
p.  117).  Many  of  the  objects,  however,  are  not  of  Etruscan  origin,  but 
were  manufactured  for  export  in  Phoenician  or  Carthaginian  workshops, 
from  Assyrian  and  Egyptian  models.  Of  this  kind  are  the  three  silver 
dishes  plated  with  gold  and  adorned  with  embossed  scenes  in  the  upper 
part  of  the  cabinet  (resembling  those  of  the  Treasure  of  Preeneste,  p.  loT), 
and  the  gold  ornaments  to  the  right  and  left  (breastplate,  bracelets,  etc.), 
with  embossed  ornamentation  or  fine  granulated  work.  Opposite  the  2nd 
window  is  a  bronze  statuette  of  a  boy  with  a  bulla  and  Etruscan  inscription. 
Then  a  brazier  with  tongs  and  poker.  Opposite  the  3rd  window  is  a  second, 
but  less  perfect  cista,  with  engraving.  By  the  wall  a  restored  biga.  Ad- 
jacent a  large  arm  in  bronze,  of  admirable  workmanship,  found  at  Civita 
Vecchia  along  with  the  dolphin's  tail  to  the  right  of  the  biga  and  the 
spear  on  the  wall  behind;  all  three  fragments  belonged  to  a  colossal  figure 
of  an  emperor  in  the  guise  of  Neptune.  Beyond,  a  bust  of  a  man  and 
several  mirrors  with  designs.    In  the  cases,  small  bronzes.    By  the  fourth 


The  Vatican,  ROME.  V.  Right  Bank.    319 

wall :  candelabra,  kettles,  shields.  The  four-wheeled  censer  and  the  brazen 
bed  in  front  of  it,  both  of  great  antiquity,  were  found  in  the  above-men- 
tioned grave  of  the  Kegolini-Galassi  at  Cervetri  (ca.  600  B.C.).  By  the 
wall  near  the  door:  large  bronze  plates  like  shields,  with  heads  in  relief 
in  the  middle,  used  as  decorations  for  the  ceilings  and  doors  of  the 
graves.  —  In  the  XII.  Boom,  on  the  left ,  is  an  imitation  of  an  Etruscan 
tomb,  with  three  burial  recesses,  vases,  etc.  \  at  the  entrance  two  lions  from 
Vulci.  The  cabinet  in  the  centre  contains  bronzes  from  Veiij  by  the  window 
small  ornaments  and  objects  in  glass.    Also  several  Chinese  curiosities. 

C.  Library. 

The  Library  and  the  Museum  of  Statuary  may  be  conveniently  visited 
in  succession  as  they  are  open  on  the  same  days  and  at  the  same  hours. 
Entkahcb  for  readers  in  tiie  Cortile  di  S.  Damaso ,  for  visitors  by  the 
glass-door  at  the  bottom  of  the  staircase  to  the  Sala  a  Croce  Greca  (comp. 
p.  304  i  visitors  knock).   Comp.  Plan,  p.  276. 

At  a  very  early  period  the  popes  began  to  collect  documents  and 
thns  gradually  fonned  the  Archives,  which  are  mentioned  for  the 
first  time  under  Damasus  I. ,  and  were  preserved  in  the  Lateran. 
After  various  losses,  caused  especially  by  the  migration  to  Avignon, 
and  frequent  change  of  locality,  the  library  is  now  finally  established 
in  the  Vatican  in  eleven  rooms,  in  addition  to  the  great  library- 
hall.  Over  the  door  is  the  inscription :  Paulli  Papae  V.  Archivium, 
The  Archives  comprise  a  large  number  of  the  most  interesting  and 
important  documents,  especially  of  the  middle  ages,  registers  of  the 
papal  acts,  letters  of  the  popes  from  Innocent  III.  down  to  Sixtus  V. 
in  2016  volumes,  and  correspondence  with  nuncios  and  foreign 
nations. 

Besides  this  collection  of  documents,  the  popes  possessed  their 
private  libraries.  Nicholas  Y.  instituted  a  public  Library ,  with 
9000  vols.,  and  appointed  Giovanni  Tortelli  as  the  first  librarian. 

The  library  was  neglected  and  dispersed  by  his  successors.  Sixtus  IV. 
was  the  first  to  revive  the  institution-,  he  assigned  a  locality  under  the 
Sistine  Chapel  for  the  collection,  appointed  Platina  (1475)  director ,  and  set 
apart  definite  revenues  for  its  maintenance.  Thus  endowed,  it  increased  stead- 
ily, and  the  allotted  space  became  more  and  more  inadequate  to  its  require- 
ments, until  in  1588  Sixtus  V.  caused  the  present  magnificent  edifice  to  be 
erected  by  Domenico  Fontanay  intersecting  the  great  court  of  Bramante.  To  this 
ever-increasing  collection  several  considerable  libraries  have  been  added  by 
purchase  or  donation,  some  of  which  are  catalogued  and  preserved  separately. 
In  1623  the  Elector  Maximilian  presented  to  the  Pope  the  Bibliotheca  Pala- 
tina  of  Heidelberg,  when  the  town  was  taken  in  the  Thirty  Years*  War;  and 
in  1657  the  Bibl.  Urbinas,  founded  by  Duke  Federigo  da  Montefeltro,  in  1690 
the  B.  Reginensi$y  once  the  property  of  Queen  Christina  of  Sweden,  and  in 
1746  the  B.  Ottoboniana,  purchased  by  Alex.  VIII.  (Ottobuoni).  were  added. 
Most  of  the  MSS.  carried  off"  by  the  French  were  restored  in  1814. 

The  Vatican  Library  now  contains  upwards  of  26,000 MSS.,  of 
which  about  19,000  are  Latin,  4000  Greek,  and  2000  Oriental. 
Of  the  last  a  printed  catalogue  has  been  published  (1756-59),  and 
continued  by  Cardinal  Mai.  There  are  In  all  about  200,000  printed 
books,  of  which  a  catalogue  has  also  been  made.  The  principal  li- 
brarian Is  a  cardinal,  at  present  Pitray  who  in  ordinary  business  is 
represented  by  the  under-librarian,  Abhate  Cozza,  and  two  custo- 
dians. The  usefulness  of  the  library  is  circumscribed  by  the  nump 


320    F.  Right  Bank.  ROME.  The  Vatican. 

ous  holidays  on  whicli  it  is  closed.  It  is  not  avaiable  on  more  than 
200  days  in  the  year  (from  the  middle  of  Nov.  to  the  middle  of  June), 
and  then  only  for  4  hrs.  daily  (8-12).  Permission  to  use  it  is  best 
obtained  through  the  traveller's  consul  or  by  private  letter  of  intro- 
duction, the  applicant  stating  the  branch  of  study  contemplated. 

Visitors  first  enter  (by  the  glass-door,  mentioned  at  p.  904,  opposite  the 
staircase  leading  to  the  Museum  of  Statuary)  a  long  Gobridob  below  the 
Galleria  dei  Candelabri,  divided  into  several  sections.  —  Section  I:  Jfuseo 
Pro/ano:  To  the  right,  by  the  door:  *  Bronze  Head  of  Augustus^  one  of  the 
finest  extant  portrait-busts  of  that  emperor;  left,  on  the  table  a  smaJl, 
finely  executed  head  of  Venus.  The  closed  cabinets  contain  beautiful  ancient 
and  modern  ornaments,  etc. ;  e.g.  in  the  2nd  cabinet  (left),  Oriental  bronses 
and  articles  in  gold,  hair  found  in  an  ancient  tomb,  etc.  —  At  the  entrance 
to  the  next  room,  or  section,  are  two  porphyry  columns  from  the  Thermae 
of  Gonstantine,  on  each  of  which  are  carved  the  figures  of  two  kings.  —  The 
frescoes  of  scenes  from  the  lives  of  Pius  VI.  and  Pius  VII.  possess  little 
interest.  —  The  following  rooms  contain  the  Bibliotheea  Ottoboniana^  the 
Bihlioiheca  Reginensis,  and  the  MSS.  of  the  Vatican  library.  —  For  the 
continuation  of  the  corridor,  see  below. 

We  now  turn  to  the  left  and  enter  the  Gbeat  Hall,  77  yds.  long, 
16  yds.  wide,  and  29  ft.  high ,  supported  by  6  buttresses ,  constructed  by 
Fontana  and  paved  with  marble  by  Pius  IX.  (immediately  to  the  left  is 
the  entrance  to  the  Archives).  The  paintings  (of  the  17th  cent.)  are  in  bad 
taste.  By  the  walls  and  round  the  pillars  are  46  small  cabinets  containing 
the  MSS.,  the  most  celebrated  of  which  are  exhibited  in  glass-cases:  cel- 
ebrated palimpsest  of  the  Republic  of  Gicero,  Dante  with  miniatures  by 
Giulio  CloviOy  the  ritual  of  Gard.  Ottobuoni,  breviary  of  King  Matthiaa 
Gorvinus  ^  MSS.  of  the  Greek  New  Testament  (5th  cent.),  of  Virgil  (5th  cent.), 
and  Terence  (the  so-called  ^Bembinus',  of  the  4th  cent.) ;  also  autographs  of 
Petrarch  and  Tasso.  Also  a  number  of  gifts  presented  to  the  popes :  Sevres 
candelabrum  presented  by  Napoleon  I.  to  Pius  VII.  \  a  cross  of  malachite, 
from  Prince  Demidoff;  two  vases  of  Berlin  porcelain,  presented  by  Fred. 
William  IV. ;  vase  of  Sevres  porcelain,  presented  by  Gharles  IX. ;  vase  of 
Scottish  granite,  presented  by  the  Duke  of  Northumberland  to  Gard.  Anto- 
nelli;  font,  in  Sevres  porcelain,  in  which  the  Prince  Imperial  (d.  1879)  waa 
baptised,  presented  by  Napoleon  III.  to  Pius  IX. ;  malachite  vase,  presented 
by  Emp.  Nicholas  to  Gregory  XVI.  ^  three  Sevres  vases,  a  gift  of  Marshal 
MacMahon  to  Pius  IX. ;  large  vase  of  oriental  alabaster,  presented  by  the 
Khedive  Ibrahim  Pasha  of  Egypt  to  Pius  IX.  j  vases  of  Berlin  porcelain, 
presented  by  King  William  T.  of  Prussia,  afterwards  German  Emperor :  huge 
block  of  malachite,  from  the  Grand-duke  Gonstantine  of  Russia.  —  In  the 
adjoining  Reading  Rooms  are  suspended  the  portraits  of  the  cardinal-librar- 
ians, framed  papyrus-scrolls,  and  a  facsimile  of  the  two  columns  from  the 
Triopium  of  Herodes  Atticus  on  the  Via  Appia ,  with  an  imitation  of  an- 
cient Attic  characters,  the  originals  of  which  are  in  Naples. 

We  now  retrace  our  steps  through  the  Great  Hall  to  the  Corridor^ 
the  continuation  of  which  is  also  divided  into  sections.  The  two  first 
sections  contain  the  MSS.  of  the  Palatine  and  Urbino  libraries.  In  the  first, 
over  the  entrance,  is  represented  the  Interior  of  SS.  Apostoli  \  over  Uie  egress, 
Interior  of  the  old  church  of  St.  Peter  -,  in  the  second,  over  the  entrance,  the 
Erection  of  the  Vatican  Obelisk  by  Fontana  (see  p.  277);  over  the  egress, 
St.  Peter's,  according  to  Mich.  Angelo's  design.  In  the  third  section,  quattro- 
centists  and  oriental  MSS.  •,  by  the  sides  of  the  egress,  two  ancient  portrait- 
statues  ,  1.   the  orator  Aristides ,  r.  Lysias.  —  We  next  enter  the  — 

Museum  of  Christian  Antiquities  (superintendent.  Commendatore  Oiov, 
Batt.  de  Boee().  The  1st  Room  contains  curiosities  from  the  catacombs : 
lamps,  glasses,  bottles,  gems,  statuettes,  pictures,  altar-pieces,  crosses,  etc., 
the  most  interesting  of  which  are  preserved  under  glass.  Second  case  on 
the  right:  several  fine  diptychs  and  triptychs  in  ivory.  —  The  2nd  Room, 
the  Stanza  de"  Papiriy  with  ceiling-paintings  by  Raph.  MengSj  is  filled  with 
documents  on  papyrus  of  the  5th-8th  cent.,  found  at  Ravenna.  —  The  glass- 


The  Vatican.  ROME.  V.  Right  Bank,   321 

cabinets  of  the  3rd  Boom  contain  a  large  number  of  small  pictures  of  the 
13th-15tb  cent. ,  unfortunately  not  distinctly  visible.  On  the  wall  of  the 
egress ,  on  the  right,  a  Russian  painted  calendar  in  the  form  of  a  cross,  of 
the  17th  cent. ;  next  to  it  a  large  cross  of  rock-crystal,  on  which  the  Pas- 
sion is  represented,  by  Valeria  Vieentino^  presented  by  Pius  IX.  The  hand- 
some carved  priedieu  of  Pius  IX.  is  of  French  workmanship.  The  adjoin- 
ing room,  formerly  the  Chapbl  op  Pids  V^  adorned  with  frescoes  by 
Oiorgio  Vasari^  and  containing  a  Cabinet  of  Coins  (not  shown)  which  was 
seriously  pillaged  in  1797  and  1849,  contains  a  conspicuous  work  in  stained 
glass,  by  M.  H.  Schmitz  of  Aix-la-Chapelle,  representing  Pius  IX.  in  Ms 
papal  robes.  In  this  and  the  following  room  are  also  deposited  the  nu- 
merous richly-bound  addresses  which  Pius  IX.  received  in  the  course  of  his 
reign.  —  To  the  right  in  the  third  room  is  the  entrance  to  a  collection  of  — 

Ancient  Pietnres.  On  the  floor,  ancient  mosaics.  On  the  right  wall : 
Phsedra  and  Scylla^  above,  Ulysses  and  Circe j  then  the  so-called  *Aldo- 
brandine  Nuptials^  one  of  the  finest  ancient  pictures  in  existence,  found  in 
Borne  in  1606^  next  to  it,  to  the  left.  Warrior  in  armour,  found  at  Ostia 
in  1868 ;  above  it,  Ulysses  encountering  the  Leestrygones  \  to  the  left ,  by  a 
door.  Ship  being  loaded,  found  at  Ostia  in  1867.  By  the  window,  oriental 
gold  and  silver  trinkets  and  platO]  presented  by  the  Emperor  of  Siam  to 
Pius  IX.,  with  his  photograph.  To  the  left  and  right  of  these:  Myrrha 
and  Pasiphae.  By  the  long  wall,  farther  on :  the  spies  of  Ulysses  among 
the  Lsestrygones •,  below,  a  chariot  with  Cupids^  to  the  right,  sacrificial 
procession  in  front  of  a  statue  of  Artemis  \  to  the  left,  a  boat  mounted  on  a 
waggon.  Then,  Ulysses  in  the  infernal  regions;  below  it,  an  unknown 
female  figure  and  *Ganace.  The  six  mythological  figures  of  women  celebrated 
for  their  misfortune  in  love  are  from  Torre  di  Marancia.  The  represen- 
tations from  the  Odyssey  were  found  on  the  Esquiline.  —  An  adjacent  cabinet 
contains  a  collection  ot  Ancient  Tile-stampe  and  i/ayolica,  recently  transferred 
from  the  papal  villa  at  Castel  Gondolfo. 

The  so-called  *Appartamenti  Borgia «  occupied  by  the  printed  books, 
and  adorned  with  interesting  paintings,  are  shown  by  special  permesso 
only,  to  be  obtained  from  Monsiffnor  Oiecolinif  one  of  the  prefects  of  the 
library.  We  first  enter  the  so-called  Torre  Borgia  (p.  286),  two  small  rooms, 
the  first  of  which  is  adorned  with  ceiling-paintings  by  Giovanni  da  Udine 
and  Perino  del  Vaga.  The  paintings  on  the  spandrils  and  the  prophets  and 
sybils  in  the  lunettes  are  ascribed  (probably  wrongly)  to  Pinturicchio,  In 
the  second  room  are  twelve  apostles  and  prophets.  The  decorations  in 
both  rooms  are  much  damaged.  —  We  descend  a  few  steps,  and  enter 
the  Hall  of  thb  Liberal  Arts:  Astrologia  (above  the  window),  Oram- 
matica,  Dialectica,  Bhetorica,  Oeometria,  Arithmetica,  *Musica.  —  In 
the  III.  Room  :  on  the  rear-wall,  St.  Catharine^s  disputation  before  the  Em- 
peror Maximinus',  on  the  entrance-wall ,  *SS.  Anthony  the  Abbot  and  Paul 
the  Hermit  in  the  Theban  desert;  Meeting  of  Mary  and  Elisabeth ;  above 
the  window,  Martyrdom  of  St.  Sebastian;  on  the  exit-wall,  Susanna,  St. 
Barbara;  on  the  ceiling.  Legend  of  Osiris  (the  Apis  bull  is  a  reference  to 
the  arms  of  the  Borgia  family).  —  IV.  Room.  On  the  rear-wall,  Annun- 
ciation and  Nativity;  on  the  entrance-wall.  Adoration  of  the  Magi,  Re* 
surrection;  above  the  window.  Ascension;  on  the  exit-wall,  Pentecost, 
'Assumption  of  the  Virgin.  —  The  last  lai^e  Saloon,  containing  Cardinal 
Mai*8  Library,  is  adorned  with  paintings  and  stucco-work  by  Qiov.  da 
Udine  and  Perino  del  Vaga,  in  bad  preservation. 


The  Studio  del  Mosaico,  or  Papal  Manufactory  of  Mosaic,  is 
under  the  gallery  of  the  inscriptions ;  entrance  in  the  left  angle  of 
the  farther  side  of  the  Cortile  di  S.  Damaso  (p.  286).  Permessl  ob- 
tained at  the  Segretaria,  comp.  p.  124.  Nnmerons  hands  are 
employed  here  in  copying  celebrated  pictures  for  churches,  etc.  The 
material  used  is  a  kind  of  coloured  glass,  of  which  there  are 
10,000  different  shades.  —  The  papal  Armoury  and  the  Mint  (L 

Baedeker.    Italy  II.  10th  Edition.  21 


322   y.  Right  Bar^,  ROME.  The  Lungara, 

Zecca ;  now  in  the  hands  of  government)  near  the  Vatican  contain 
a  few  objects  of  interest,  e,g.  all  the  papal  coins  from  the  time  of 
Hadrian  I.,  and  most  of  the  dies  since  Martin  Y. 

The  Lungara. 

The  Borgo  is  connected  with  Trastevere  by  the  Via  dblla  Lun- 
QABJLf  %M.  in  length,  constructed  by  Julius  II.  The  Borgo  is 
quitted  by  the  Porta  di  8.  SpirUo  (PI.  I,  7;  p.  276),  begun  by 
Antonio  da  Sangallo  the  Younger,  and  occupying  nearly  the  same 
site  as  the  old  Gate  of  the  Saxons.  —  To  the  right,  immediately  to 
the  S.,  the  steep  Salita  di  S.  Onofrio,  passing  through  the  gate 
which  closes  the  new  Passeggiata,  ascends  in  5  min.  to  — 

*S.  Onofiio  (PI.  II,  7),  on  the  slope  of  the  Janiculum,  erected  about 
1430  by  Niceolb  da  Forea  Palena  in  honour  of  the  Egyptian  hermit 
Honuphrius ;  adjoining  it  is  a  monastery  of  the  order  of  St.  Jerome. 
The  church  and  monastery  are  preceded  by  a  colonnade  of  eight  col- 
umns; in  the  lunettes  are  three  frescoes  from  the  life  of  St.  Jerome 
by  Domenichino  (Baptism,  Chastisement,  Trance).  If  the  church  is 
closed,  visitors  ring  (r.)  at  the  door  of  the  monastery  (V2  ft-)* 

Lbpt  Sids.  The  Ist  Chapel  contains  the  tomb  of  the  poet  Torqnato 
Tasso,  who  died  in  this  monastery  in  1595;  the  monument  was  erected  by 
Pius  IX,  i9  1867,  the  statue  is  by  De  FabrU.  In  the  2nd  chapel,  the  tomb- 
stone of  the  linguist  Card.  Mezzofanti  (d.  1849).  —  Biiqjbx  Side.  The  2nd. 
chapel  contains  a  Madonna,  altar-piece  by  Ann.  Canraeei.  At  the  end  of  the 
right  wall:  monument  of  Archbp.  Sacchi  (d.  1506);  in  the  lunette  St.  Anna 
teaching  the  Madonna  to  read,  by  Pintwricchio.  The  Tbibume  contains 
restored  frescoes,  the  upper  attributed  to  Perutzi^  the  lower  to  PifUurieehiOy 
probably  both  by  Pmrttzti. 

The  Monastery  contains,  in  a  passage  on  the  first  floor,  a  ^Ma- 
donna with  the  donor,  a  fresco  by  Leonardo  da  Vinci,  which  has 
unfortunately  been  much  injured  by  retouching  (the  attitude  of  the 
raised  arm  of  the  child,  for  example,  has  been  entirely  spoiled). 
The  cell  is  still  shown  in  which  Tasso  resided,  when  about  to  receive 
the  laurels  on  the  Capitol,  and  in  which  he  died,  25th  April,  1595. 
It  contains  his  bust  in  wax ,  taken  from  the  cast  of  his  face,  his 
portrait  (fresco  by  Balbi,  1864),  autograph,  etc.  —  The  new  Pas- 
seggiata Margherita,  described  at  p.  330,  intersects  the  former  con- 
vent-garden. On  the  hill-slope,  to  the  left,  near  some  cypresses,  are 
the  remains  of  an  oak  (destroyed  by  lightning  in  1842),  under  which 
Tasso  was  in  the  habit  of  sitting.  Admirable  *View. 

In  the  Lungara,  on  the  left,  is  the  Ospizio  de'  Pazzi  (PI.  I, 
II,  7),  a  large  lunatic  asylum  erected  by  Pius  IX. 

Farther  on,  to  the  left,  is  a  chain-bridge  (PL  U,  10;  toll  5  c); 
on  the  opposite  bank  rises  S.  Giovanni  dei  Fiorentini  (p.  20*3^. 
Opposite  the  bridge,  in  the  Lungara,  is  the  extensive  Palazzo  Sal- 
viati  (PL  II,  7),  with  a  handsome  court  of  the  16th  cent. ,  now 
a  ^CoUegio  Militare'  (cadet  academy).  The  adjacent  garden ,  con- 
verted in  1837  into  a  BotarUcal  Oarden  (visitors  ring  at  the  small 
^oor  on  the  right),  contains  rare  and  beautiful  trees  and  plants. 


The  Lungata,  ROME.  V.  Right  Bank,    323 

Farther  on  in  the  Lnngara,  ahont  ^4^.  from  the  Porta  S.  Spi- 
rito  and  opposite  the  Pal.  Corsini  (p.  324),  is  the  — 

♦♦Villa  Famesina  (PL  n,  11 ;  adm.,  see  p.  123),  an  exceedingly 
pleasing  Renaissance  edifice  erected  in  1506  by  Bald,  Peruzzi  for  the 
papal  banker  Agostino  Chigi ,  an  enthusiastic  admirer  of  art  and 
patron  of  Raphael  (see  pp.  147,  192).  It  became  the  property  of 
the  Farnese  family  in  1580 ,  and  now  belongs  to  the  ex-king  of 
Naples.  The  garden ,  extending  to  the  Tiber ,  has  been  greatly 
cnrtalled  by  the  recent  alterations  made  in  the  conrse  of  the  river. 

The  ceiling  of  the  principal  room  on  the  ground-floor,  which  is 
entered  direct  from  the  garden,  was  designed  by  Raphael  (1518-20), 
and  decorated  by  Oiulio  RomanOy  Francesco  Penniy  and  others  of  his 
pupils,  with  twelve  illustrations  of  the  *♦  Myth  op  Psyche,  which 
are  among  the  most  charming  creations  of  the  master  (comp.  p.  lyi). 
The  hall  was  originally  open ,  but  is  now  enclosed  by  windows  fox 
the  protection  of  the  pictures. 

The  series  of  illustratipiui  begins  on  the  left  end- wall,  and  is  con- 
tinned  on  the  wall  opposite  the  entrance.  Raphael  adhered  to  the  charm- 
ing fable  of  Apuleius,  which  may  be  briefly  told  as  follows.  A  certain 
king  has  three  daughters,  of  whom  Psyche,  the  youngest,  excites  the 
jealousy,  of  Venus  by  her.  beauty.  The  goddess  accordingly  directs  her  son 
Cupid  to  punish  the  princess  by  inspiring  her  with  love  for  an  unworthy 
individual  (1).  Cupid  himself  becomes  enamoured  of  her,  shows  her  to  the 
Graces  (2) ,  and  carries  her  off  (this  is  the  best  preserved  of  the  paintings). 
He  visits  her  by  night  only,  warning  her  not  to  indulge  in  curiosity  as  to 
his  appearance.  Psyche,  however,  instigated  by  her  envious  sisters,  dis- 
obeys the  injunction.  She  lights  a  lamp,  a  drop  of  heated  oil  from  which 
awakens  her  sleeping  lover.  Cupid  upbraids  her,  and  quits  her  in  anger. 
Psyche  wanders  about,  filled  with  despair.  Meanwhile  Venus  has  been  in- 
formed of  her  son's  attachment,  imprisons  him,  and  requests  Juno  and  Ceres 
to  aid  her  in  seeking  for  Psyche ,  which  both  goddesses  decline  to  do  (3). 
She  then  drives  in  her  dove-chariot  to  Jupiter  (4),  and  begs  him  to  grant 
her  the  assistance  of  Mercury  (5).  Her  request  is  complied  with,  and 
Mercury  flies  forth  to  search  for  Psyche  (6).  Venus  torments  her  in  every 
conceivable  manner,  and  imposes  impossible  tasks  on  her,  which,  how- 
ever, with  the  aid  of  friends  she  is  enabled  to  perform.  At  length  she 
is  desired  to  bring  a  casket  from  the  infernal  regions  (7),  and  even  this, 
to  the  astonishment  of  Venus ,  she  succeeds  in  accomplishing  (8).  Cupid, 
having  at  length  escaped  from  his  captivity,  begs  Jupiter  to  grant  him 
Psyche^  Jupiter  kisses  him  (9),  and  commands  Mercury  to  summon  the 
gods  to  deliberate  on  the  matter  (ceiling-painting  on  the  right).  The  messenger 
of  the  gods  then  conducts  Psyche  to  Olympus  (10),  she  becomes  immortal, 
and  the  godB  celebrate  the  nuptial-banquet  (ceiling-painting  on  the  left). 
In  this  fable  Psyche  obviously  represents  the  human  soul  purified  by  passions 
and  misfortunes,  and  thus  fitted  for  the  enjoyment  of  celestial  happiness. 

Below  the  spandrils,  twelve  Cupids  with  divine  attributes.  The  gar- 
lands enclosing  the  different  paintings  are  by  Oiovanni  da  Udine.  —  The 
frescoes,  having  suffered  from  exposure  to  the  atmosphere ,  were  retouched 
by  Maratta.  The  blue  ground ,  which  was  originally  of  a  much  warmer 
tint,  us  is  apparent  from  the  few  portions  still  unfaded,  was  most  seriousyl 
figured.  The  whole  nevertheless  produces  a  charming  and  brilliant  effect 
owing  to  the  indestructible  beauty  of  the  designs.  The  felicity  with  which 
the  scenes  have  been  adapted  to  the  unfavourable  spaces  is  also  remarkable. 

The  smaller  apartment  adjoining  the  principal  hall ,  which  was 
also  once  an  open  Loggia,  contains  a  second  mythological  picture  by 
Raphaely  which  is  no  less  charming  than  the  Psyche  series,  and 

21^ 


324    F.  Bight  Batik.  ROME.  The  Lungara. 

even  far  sorp&Bsefl  them  in  point  of  execution :  ** Galatea,  borne 
across  the  sea  in  a  conch,  and  surrounded  hy  Nymphs,  Tritons,  and 
Cupids,  painted  entirely  by  the  master's  own  hand  in  1514.  The 
*Geiling  of  this  room  was  decorated  and  painted  by  Baldaasare 
Peruzzi. 

Ceiling -pictures:  Perseus  and  Diana.  The  hexagonal  spaces  of  the 
spandrils  contain  gods  of  the  planets  and  mythological  scenes.  In  the 
lunettes  were  afterwards  added  scenes  fiH)m  the  Metamorphoses,  the  first 
Roman  work  of  3eb.  del  Piambo.  The  colossal  head  in  the  lunette  on  the 
left  lateral  wall  is  said  to  have  been  drawn  by  Michael  Angela  in  charcoal, 
whilst  waiting  for  Dan.  da  Volterra  who  was  also  engaged  here,  but  is  more 
probably  by  Peruzzi.    The  painted  stucco-work  is  very  deceptive. 

In  the  comer  of  the  entrance  wall,  to  the  left  of  Galatea,  Seb.  del  Piombo 
painted  the  Polyphemus,  afterwards  almost  entirely  obliterated,  and  badly 
restored.  —  The  landscapes  are  erroneously  attributed  to  G.  Poussin. 

The  restorations  which  the  two  rooms  have  recently  undergone  have 
only  been  partly  successful. 

The  upper  floor  of  the  Farnesina,  to  which,  however,  visitors  are  not 
admitted  except  by  special  introduction,  also  contains  celebrated  frescoes : 
the  Marriage  of  Alexander  with  Roxana,  and  the  Family  of  Darius  before 
Alexander,  by  Sodoma  (painted  after  1520;  p.  Ivi). 

Opposite  is  the  *Falauo  Corsini  (Pi.  II,  11),  formerly  the  prop- 
erty of  the  Riarii ,  purchased  by  Clement  XII.  for  his  nephew  Card. 
Neri  Corsini  in  1729,  and  altered  by  Fuga.  In  the  17th  cent,  it  was 
occupied  by  Queen  Christina  of  Sweden,  who  died  here,  i  9th  April, 
1689.  In  1884  the  palace  was  purchased  by  government  and  as- 
signed to  the  Accademia  dt*  Lincei,  or  Royal  Academy  of  Science. 
A  double  staircase  ascends  from  the  principal  portal  to  the  1st  floor, 
where  the  Pictubb  Gallbby  is  situated  (adm.,  see  p.  123).  Among 
a  great  number  of  mediocre  and  inferior  works  are  a  few  pictures  of 
rare  merit.  Catalogues  in  each  room. 

1st  Room.  1,  5.  Bloemen  (Orizzonie),  Landscapes;  2,  4.  ZocateWi,  Land- 
scapes. This  room  also  generally  contains  a  small  Holy  Family  by  Bat- 
toni.  By  one  of  the  walls  a  well-preserved  ancient  sarcophagus  with  sea- 
gods,  from  Porto  d'Anzio. 

2nd  Room.  4.  Bassano,  Holy  Family;  12.  Eliz.  Sirani^  Madonna  in  a 
glory  5  15.  O.  Poussin  (?),  Landscape ;  17,  19.  Berehem  (?) ,  Landscapes  with 
cattle;  20.  Lod.  Carracci^  Pieti.  A  'Madonna  by  Carlo  Bold  is  also  gener- 
ally here.  On  a  table  stands  the  *Corsinian  Vase  in  silver,  with  the  Purifi- 
cation of  Orestes  in  chased  work.  On  the  walls,  a  number  of  ancient  heads, 
some  of  them  interesting.    To  the  right  is  the  — 

8rd  Room:  1.  Ouercino.,  Bcce  Homo-,  *4,  5.  Peters^  Sea-pieces;  9.  Andrea 
del  Sarto^  Madonna ;  17.  Caravaggio^  Madonna ;  *23.  Both ,  Evening  land- 
scape ;  26.  Fra  Bartolommeo^  Madonna,  resembling  RaphaeVs  Madonna  Ca- 
nigiani ;  43.  Saraceni,  Martyrdom  of  two  saints ;  44.  After  Raphael,  Julius  II. ; 
50.  After  Titian,  Philip  II.  of  Spain  (original  at  Naples);  55.  Dutch  School, 
Kitchen-scene;  63.  Conea,  Adoration  of  the  Magi;  61.  Vasari,  Holy  Family; 
52.  Saraceni,  Vanity ;  84.  Borgognone,  Cavalry  skirmish ;  88.  C.  Dolciy  Ecce 
Homo. 

4th  Room:  ♦11.  Ouido  Reni,  Herodias;  16.  O.  Reni,  Madonna;  22.  Ba- 
roceio ,  Christ  and  Mary  Magdalene ;  27.  Lod.  Carracci,  Heads  as  studies ; 
35.  Parmegqianino ,  Four  heads ;  Maratta,  40.  Portrait  of  his  daughter,  43. 
Madonna;  44.  After  DUrer,  Hare;  47.  PoelemXnirg {^),  Landscape  with  the 
judgment  of  Paris,  after  Raphael ;  also  eleven  small  pictures  from  military 
life,  erroneously  attributed  to  Callot.  Ancient  marble  chair  with  reliefs, 
found  near  the  Lateran. 

5th  Room,  in  which  Christina  of  Sweden  is  said  to  have  died :  Ceiling- 
decorations  of  the  school  of  the  Zuccheri.  2.  Perino  del  Vagay  Holy  Family; 


Museo  Torlonia.  ROME.  F.  Right  Bank.   325 

12.  Carlo  Dolei.  St.  Agnes :  *14.  Maratta^  Annunciation;  20.  Lanfiranw^ 
Polyphemus  and  Ulysses-,  23.  Franc.  Albano^  Madonna;  44.  Mare.  Venusti, 
Holy  Family,  designed  by  Michael  Angelo ;  50.  8alv.  Rota,  Card-players ;  51. 
Mare.  Venusti  (?),  Sculptor.  —  In  this  room  also  is  an  ancient  Mo$aie,  repre- 
senting two  restive  oxen,  with  the  plough  and  driver. 

6th  Room,  containing  ah  interesting  collection  of  portraits,  most  of 
which  are  worthy  of  notice:  *43.  German  Master  (not  Diirer),  Cardinal; 
19.  Holbein  (^\  Portrait  of  a  man,  much  retouched;  *20.  O.  Romano^  Monsgr. 
Ghiberti;  *22.  Rembrandt  (?),  Old  woman;  23.  Giorgione  (?),  Portrait  of  a 
man;  26.  SpanUh  School,  Portrait;  *32.  Van  Dyek,  Portrait;  «34.  Nativity  of 
Mary,  after  Durer*s  woodcut;  47.  Rubens,  Portrait;  50.  Titian,  Card.  Alex. 
Farnese,  freely  retouched. 

7th  Booh:  *13.  G.  PotMsin,  Landscape;  21.  L.  Giordano,  Christ  as  a  boy 
in  the  Temple ;  '22,  •23,  *24.  Fra  Angelico,  Descent  of  the  Holy  Ghost,  Last 
Judgment,  Ascension;  SO.  is  erroneously  attributed  to  Titian ;  31,  32.  N. 
Poussin,  Landscapes. 

8th  Boom:  6.  Claude  Lorrain  (?),  Landscape;  ^7.  G.  Poussin,  Land- 
scape ;  10.  PoUdoro  da  Caravaggio,  History  of  Niobe,  design  in  the  form  of 
a  frieze;  11.  N.  Poussin,  Holy  Family;  12.  Ere.  Grandi,  St.  George;  13. 
Guido  Reni,  La  Contemplazione ;  ""IS,  21,  23.  G.  Poussin,  Landscapes;  24. 
Guerdno,  St.  Jerome;  25.  Ribera,  St.  Jerome;  *40.  Murillo,  Madonna.  — 
The  adjoining  Cabinet  contains  pictures  of  the  older  Florentine  and  Sienese 
schools,  most  of  them  of  little  value,  and  badly  preserved.  23.  Gher. 
Stamina,  Madonna;    26.  Spagna,  Madonna. 

9th  Boom  :  2.  Teniers,  Interior  of  a  stable ;  8.  Lod.  Carraeei,  Fietk,  sketch 
of  No.  20  in  the  2nd  B. ;  9.  Velazquez,  Innocent  X.  (copy  of  the  picture  in 
the  Pal.  Dona,  p.  169);  *28,  29.  Sain.  Rosa,  Battles;  30.  Giorgione  (?), 
Female  heads;  36  Titian  (?),  Portrait;  49.  Gherardesca  da  Siena,  Madonna. 

The  Library  of  this  palace  (adm.,  see  p.  116;  entiance  hy  the 
principal  portal ;  traverse  the  open  corridor  to  the  right,  and  ascend  to 
the  Ist  floor),  founded  by  Card.  Neri  Corsini,  is  one  of  the  largest 
in  Rome.  It  contains  numerons  MSS.  and  books  of  great  value,  and 
one  of  the  most  extensive  collections  of  Engravings  in  the  world. 

The  CorainiG'arden  now  belongs  to  the  municipality  (see  p.  330). 

At  the  S.  end  of  the  Lungara  stands  the  Xuseo  Torlonia  (en- 
trance Vicolo  Corsini  5),  containing  the  most  extensive  collection 
of  antiquities  in  Rome  after  those  at  the  Vatican  and  the  Capitol 
(unfortunately  closed  at  present).  The  collection ,  which  includes 
objects  of  almost  every  epoch  of  GiaBco-Roman  art,  consists  chiefly 
of  the  contents  of  the  former  Galleria  Giustiniani,  of  a  number  of 
works  formerly  in  the  Villa  Albani,  and  of  the  yield  of  Prince  Tor- 
lonia*s  excavations  at  Porto  and  elsewhere.  It  occupies  a  series  of 
parallel  corridors  and  the  adjoining  rooms,  and  is  divided  into  com- 
partments, distinguished  by  Roman  numerals.  Catalogue  by  P.  E, 
Visconti. 

1st  Cokbidob  (Comp.  I-X).  4.  Venus  with  the  cestus^  19.  Isisj  20. 
Bes,  an  Egytian  deity ;  *24.  Head  of  an  athlete  (in  the  style  of  Lysippus) ; 
25.  Athlete  restored  as  Hercules  (in  the  style  of  Polycletus) ;  30.  Lvsias  (?) ; 
33.  Isocrates;  43.  Herod  Agrippa ;  44.  Juba  II.  of  Mauretania(?):  47.  Venus 
Anadyomene;  49.  Aristotle;  *50.  Head  of  Hypnos,  the  god  of  sleep;  60. 
Leda  and  the  swan. 

2hd  Cobbidob  (Comp.  XI-XX).  *64.  Sitting  figure  of  Livia,  admirable 
in  attitude  and  in  the  disposal  of  the  drapery  (comp.  the  statue  No.  77 
and  the  Agrippina  in  the  Capitoline  Museum);  63.  Cameades;  66.  Zeno; 
*67.  Alcibiades;  68.  Latona  with  the  twins  Apollo  and  Diana;  72.  Tiberius 
as  a  hero,  statuette ;  *77.  Sitting  portrait-figure  of  a  woman,  an  excelle^ 
Greek  work,  perhaps  representing  Olympias,   the  mother  of  Aloxan'' 


326    V,  Eight  Bank.  ROME.  Mweo  Torlonia. 

the  Great  (head,  etc.,  skilfully  restored);  *'82.  So-called  Philosopher  of 
Butpoli ;  *86.  Head  of  Hermes  (in  the  atyle  of  Praxiteles) ;  91.  Alexander 
the  Great;  101.  Nymph;  116.  Two  wrestling  satyrs,  an  interesting  example 
of  the  numerous  skilful  restorations  in  this  collection,  the  only  ancient 
parts  being  the  body  of  one  combatant  and  the  head  and  a  piece  of  the 
base  of  the  other;  117.  Statue  of  the  orator  Hortensius,  found  in  his 
villa  at  Laurentum. 

Srd  Cobbidob  (Oomp,  XXI-XXX),  118.  Ciesar;  *133.  Old  fisherman^  a 
very  realistic  work;  137.  Huse;  141.  Draped  statue,  restored  as  Kiobe; 
146.  Venus  Euploea  (the  goddess  of  navigation),  found  at  Porto  ;^  IfiO.  Bas« 
of  a  candelabrum,  with  relief  of  the  dancing  Horn;  151,  157.  Satyr 
and  Hermaphrodite;  154.  Telesphorus  (the  god  of  healiiKg),  in  rosso 
antico;  161.  Sophocles;  163.  Homer;  164.  Augustus,  sitting  figure. 

4th  Cobbidob  (^Comp,  JJULI-XXZIU).  167.  Fragment  of  a  group,  re- 
presenting Scylla  devouring  one  of  the  companions  of  Ulysses  (wrongly 
restored  as  Milo  of  Croton  in  combat  with  a  wild  animal);  173.  Euterpe; 
174.  Cupid  and  Psyche.  —  We  now  return  to  Gomp.  XXX.  and  pass  thence 
into  the  — 

I.  Room  {Gump.  XXXIY-XXXIX).  '183.  Minerva  t  189.  Trajan »  192. 
Claudius,  colossal  busts;  202.  Tiberius,  statue;  228-236.  The  Muses;  237. 
Apollo  Musagetes.  -^  We  now  return  to  the  right  into  the  — 

5th  Cobbidob  {Oomp,  XL-XLII),  240.  Female  draped  statue,  corres- 
ponding to  No.  290  and  restored  as  Niobe;  249.  Claudius;  260.  Neptune. 
—  From  here  we  proceed  in  a  straight  direction  into  the  — 

II.  Room  (Oomp.  XLIII).  *225.  Germanicus,  bronse  statue  found  at 
Arci  (the  ancient  Cures),  in  the  Sabine  Mts.)  267.  Caput  Africse,  with  an 
elephant's  head  as  helmet  (used  as  an  architectural  ornament).  —  We 
now  return  through  Comp.  XLII  into  the  — 

6xp  Cobbidob  (Comp.  XLIV-XLVII).  290.  Draped  female  statue  (comp. 
No.  240 ,  above)  ,  restored  as  Irene  with  the  young  Plutus ,  after  the 
celebrated  work  of  Cephisodotus  (now  in  Munich) ;  294,  296.  Heads  of  Me- 
dusa ;  *'297.  Large  shallow  vase  with  Bacchanalian  scenes ;  ^'298.  Minerva 
(adjacent,  casts  of  the  Vatican  and  C!apitoline  Minervas). 

7th  doBBiDOB  (Comp.  XLVIII'LI).  301.  Melpomene  in  the  costume  of 
a  tragic  actresU;  308.  Marsyas;  309.  Kneeling  youth  (perhaps  Ganymede 
in  combat  with  the  eagle,  or  one  of  the  children  of  Niobe),  restored  as  a 
falling  warrior;  310.  Youthful  Nero. 

8th  Cobbidob  (Comp.  LII-LV).  '^232.  Diadumenos,  or  youth  binding 
a  fillet  on  his  brow;  343.  Pompey. 

9th  Cobbidob  (Comp.  LYI-LIX).  366.  Wrestler.  —  We  now  return  to 
Ck)mp.  XL.  To  the  right  is  Comp.  LX.  with  portrait-busts  of  emperors 
and  others.  —  To  the  left,  the  — 

III.  Room  (Comp.  LXI).  374.  Silenus,  a  fountain-figure;  375.  Aurora; 
*377.  Hercules  with  the  apples  of  the  Hesperides,  a  Greek  relief;  379. 
Game-dealer,  a  large  tomb-relief,  with  three  verses  of  Virgil  at  the  top 
(Aen.  I,  607-609) ;  383.  Shallow  vase  with  reliefs  of  the  labours  of  Her- 
cules. —  The  door  in  front  leads  to  the  — 

IV.  Room  (Comp.  LXII-LXIX).  387.  Captive  barbarian;  388.  Hercules 
and  Telephus;  389.  Sleeping  Ariadne;  392.  Bacchus  and  Silenus;  395. 
Large  sarcophagus  with  representation  of  a  wedding;  397,  398.  Antinous  ; 
*402.  Plotina,  wife  of  Trajan;  407,  Antinous;  401,  404.  Domitian;  406. 
Ptolemy  Philadelphus ;  402.  Ceres;  414.  Sarcophagus  with  reliefs  of  the 
different  periods  of  life.  —  To  the  right,  the  — 

Room  of  the  Sabcophagi  (Comp.  LXX).    416.  Triumph  of  Bacchus; 
420,  422.  Deeds  of  Hercules;  423.  Apollo  and  Marsyas.    In  the  middle, 
426.    Cupid    in  a  chariot   drawn    by   two   boars    (in   black   marble).    — 
Comp.  LXXI.  427.  River^god,  in  black  marble;  423.  Roman  tax-collecting; 
430.  Harbour  of  Ostia;  431.  Ship,  three  reliefs  found  at  Porto:  433.  Tomb- 
relief  in   the   Greek  style;  434.  River-god,   in  basalt.   —   To  the   right 
Cambba  degli  Animali  (Comp.  LXXII).  438.  Ram  carrying  Ulysses  out  of 
he   cave   of  Polyphemus.  —  We  now  return  through  Comp.  LXXI  to 
■mp.  LXXIII.    469.   Alto-relief,    called  Medea  and  Jason,   but  perhapa 
ercules    and  the  Hesperides.   —   We  then  pass  through  Comp.  X.   to 


Trastevere,  ROME.  K  Right  Bank,   327 

Camp,  LXXIY.  463,  464.  ApoUo  and  Marsyas^  466.  Hermaphrodite;  467. 
Vase  with  marine  deities.  —  To  the  tight,  Comp;  LXXV,  •470,  473,  476, 
*477,  480.  Athletes.  —  We  now  return  through  Comp.  LXXIV  into  the  — 

Boom  op  ths  Abchaic  Soulptubbs  (Comp.  LXXVI).  481.  Spes-,  483. 
Priestess;  483.  Diana  of  the  Ephesians ;  486.  Canephora  (Garyatide)  of  sim- 
ilar type  to  those  at  the  Villa  Albani  (p.  339).  —  **490.  Vesta,  formerly  in 
the  Giustiniani  collection,  poasibly  an  original  Greek  work,  from  some 
temple  of  the  goddess.  17o  other  extant  example  conveys  do  true  an  im- 
pression of  the  solemn  dignity  that  distinguished  the  representations  of 
the  gods  in  the  lofty  period  of  Greek  art(Friedrich8).  —  498.  Venus;  501-. 
Apollo;  503.  Cybele.  —  We  return  through  Comp.  I»XXIV  to  the  — 

Gallebt  of  Impebial  Busts,  arranged  in  chronological  order.  This 
series  of  busts,  most  of  which  have  been  identified  with  the  aid  of  coinS) 
is  one  of  the  richest  collections  of  the  kind.  The  following  are  speciallv 
interesting  either  for  their  excellence  or  their  rarity :  514.  Livia ;  5l0. 
Hsecenas;  516.  Agrippa;  533.  Galba;  545.  Hadrian;  552,  553.  Marcus 
Aurelius;  556.  Lucius  Verus;  569.  Garacalla;  571.  Geta;  588.  Pupienus 
Maximus;  611.  Helena  Fausta. 

Numerous  architectural  fragments  of  all  kinds  have  been  buUt  into 
the  walls  of  the  adjoining  Coubt  and  Gabdbk. 

A  little  to  the  S.  of  the  Museo  Torlonia  the  Yia  della  Langara  is 
terminated  by  the  Porta  Settimiana  (PI.  II,  11),  a  gate  in  the  older 
wall  of  Trastevere.  —  The  Via  Garibaldi  and  the  Via  de  8.  Maria 
della  Scala  begin  here ;  see  pp.  328  and  331. 

Trastevere. 

The  Janioulum  (275  ft.)  rises  to  a  commanding  height  near  the 
river,  and  was  on  that  account  chosen  by  the  ancient  kings. of  Rome 
as  the  site  of  a  castle,  which  they  connected  with  the  city  lying  op- 
posite to  it  by  a  double  wall.  The  hill  was  at  length  annexed  to 
the  city  by  Augustus  as  a  14th  quarter,  which  he  named  the  Regio 
Transtiherina,  The  banks  of  the  Tiber  here  were  bordered  with 
handsome  villas,  but  the  quarter  always  retained  the  character  of  a 
suburb ,  and  was  much  frequented  by  foreigners ,  particularly  by 
Jews ,  who  formed  a  community  here  down  to  the  beginning  of  the 
16th  cent.  (comp.  p.  203).  Trastevere  is  now  inhabited  almost  ex- 
clusively by  the  working  classes,  among  whom  many  well-built  and 
handsome  persons  of  both  sexes  will  be  observed.  The  inhabitants 
of  Trasteyere  maintain  that  they  are  the  most  direct  descendants  -  o^ 
the  ancient  Romans ,  and  their  character  and  dialect  differ  in  many 
respects  from  those  of  th€  citizens  of  other  quarters. 

Trastevere  is  connected  with  the  city  by  four  bridges,  the  most 
N.  of  which  is  the  Ponte  Sisto  (PI.  II,  11),  constructed  under 
Sixtus  IV.,  in  1474,  on  the  site  of  the  Pons  VaUntinianij  built  in 
366  A.  D.  by  Symmachus,  prefect  of  the  city.  The  bridge  affords  a 
good  view  of  the  river  and  of  the  important  works  constructed  to 
control  the  stream. 

The  frequent  inundations  of  the  Tiber,  occasioned  by  the  insignificant 
fall  in  the  lower  part  of  its  course  and  by  its  sudden  increase  of  volume 
after  heavy  rain  in  the  mountain-homes  of  its  numerous  affluents  (some- 
times multiplying  it  tenfold)  have  long  been  a  source  of  anxiety  to  the 
citizens  and  authorities.  After  the  great  inundation  of  1870,  during  which 
the  water  rose  56  ft.  above  the  ordinary  water-mark  at  the  Bipetta,  r 


328    V,  Right  Bank.  ROME.  TrasUvert. 

commission  wb0  appointed  by  government,  to  report  on  the  possibility  of 
improvements.  This  body  recommended  a  thorough  purification  and 
deepening  of  the  channel,  careful  regulation  of  the  drains  emptying  them- 
selves into  the  river,  and  the  widening  of  the  channel  at  certain  specified 
points.  The  works  began  in  1876  with  the  widening  of  the  channel  opposite 
the  Farnesina  and  below  the  Ponte  Sisto,  and  are  now  almost  complete  on 
the  right  bank  as  far  as  the  Ponte  Rotto  (p.  250),  though  on  the  left  and 
the  lower  part  of  the  right  bank  much  has  still  to  be  done. 

To  the  right  the  Via  di  Ponte  Sisto  leads  in  3  min.  to  the  broad 
Via  Gaktbaldi  (PI.  II,  11,  12),  a  little  on  this  side  of  the  Porta 
Settimiana  (see  p.  327),  by  which  we  now  ascend  to  the  left.  Af- 
ter 5  mln.  the  street  reaches  a  small  piazza,  whence,  to  the  right,  a 
steep  road  ascends  direct  to  the  Acqua  Paola  (see  p.  329.)  The  road 
passes  the  new  Spanish  Academy,  an  institution  resembling  the 
French  (p.  149),  on  the  hill  to  the  right,  and  ascends  in  windings 
to  S.  Pietro  in  Montorio,  the  Acqna  Paola,  Porta  S.  Pancrazio,  and 
Villa  Pamphilj.  About  50  paces  from  the  above-mentioned  small 
piazza,  beyond  the  memorial-tablet,  a  path  to  the  right,  flanked  with 
oratories,  and  ascending  in  steps,  also  leads  to  the  church. 

S.  Ketro  in  Montorio  (PI.  II,  12),  erected  in  1500  for  Ferdinand 
and  Isabella  of  Spain  by  Baccio  Pintelli  (?),  on  the  spot  where  St. 
Peter  is  said  to  have  suffered  martyrdom,  stands  on  the  slope  of  the 
Janiculum,  197  ft.  above  the  aea- level.  The  campanile  and  tribune 
were  almost  entirely  destroyed  during  the  siege  of  1849.  If  the 
church  is  closed,  visitors  ring  at  the  door  on  the  right  (25-50  c). 

BiOHT  Side.  The  'ist  Chapel  was  decorated  by  8eb.  del  Piombo  with  fres- 
coes from  Michael  Angelo's  drawings :  Scourging  of  Christ  (of  which  there  is 
a  small  duplicate  in  the  Gall.  Borghese),  adjoining  which  are  St.  Peter  on  the 
left  and  St.  Francis  on  the  right;  on  the  ceiling  the  Transfiguration;  on 
the  exterior  of  the  arch  a  prophet  and  sibyl.  The  2nd  Chapel  (Coronation 
of  Mary  on  the  arch)  was  painted  by  pupils  of  Perugino.  The  altar-piece  of 
the  5th  Chapel,  Conversion  of  St.  Paul,  is  by  Vcuari.  —  The  High- Altar  was 
once  adorned  by  Raphaers  Transfiguration  (p.  301).  —  Left  Side.  The  last 
chapel  contains  an  altar-piece  by  Daniele  da  Volterra  (?),  Baptism  of  Christ  *, 
in  the  4th  Chapel  an  Entombment  by  a  Dutch  master ;  in  the  3rd,  an  altar- 
piece  and  ceiling,  by  pupils  of  Perugino }  in  the  2nd ^  sculptures  of  the 
school  of  Bernini ;  in  the  ist,  St.  Francis  by  0.  de"  Veccht.  By  the  wall  near 
the  door,  tomb  of  St.  Julian,  Abp.  of  Bagusa,  by  O.  A.  Dosio^  1510. 

In  the  court  of  the  monastery  rises  the  *  Tempietto ,  a  small  cir- 
cular building  with  sixteen  Doric  columns,  erected  in  1502,  from 
Bramante^s  designs,  on  the  spot  where  the  cross  of  St,  Peter  is 
supposed  to  have  stood.  A  chapel  in  the  interior  contains  a  statue 
of  St.  Peter,  and  below  it  is  a  second  chapel,  with  an  opening  in 
the  floor  indicating  the  spot  which  the  cross  is  said  to  have  occupied. 

The  piazza  in  front  of  the  church  commands  a  magnificent  *View 
of  Rome  and  the  environs ,  for  the  orientation  of  which  this  point 
is  admirably  adapted  (comp.  annexed  Panorama ,  from  which  the 
omission  of  the  unimportant  new  erections  wi  1  be  no  disadvan- 
tage). The  most  important  places  are  enumerated  here  from  right  to 
left.  To  the  S.  is  the  Tiber ,  which  is  crossed  by  the  iron  bridge 
of  the  railway  to  Civiti  Vecchia ;  beyond  it  the  extensive  basilica 
of  S.  Paolo  Fuori  le  Mura.    Then  part  of  the  city- wall,  in  front  of 


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Trastevere,  ROME.  V.  Right  Bank.   329 

It  the  Monte  Testaccio  (adjoined  by  the  new  quarter  to  the  S.W.  of 
the  Aventine),  the  pyramid  of  Cestius,  and  the  Porta  S.  Paolo.  The 
Tiber,  which  flows  between  us  and  Monte  Testaccio,  is  not  visible 
hence.  On  the  Ayentine  rise  the  three  churches  of  S.  Maria  del 
Priorato,  S.  Alessio,  and  S.  Sabina.  Beyond  are  the  Alban  Mts.,with 
Mte.  Cavo  (3130  ft.)  on  the  right,  and  Frascati  on  the  left.  On  the 
CsbUus,  the  Villa  Mattel  and  S.  Stefano  Rotondo,  above  which,  on 
the  extreme  spur  of  the  Alban  Mts.,  is  Golonna;  between  this  and 
the  Sabine  Mts.,  near  Palestrina,  the  heights  of  the  Abruzzi.  Then 
the  Palatine,  with  the  ruins  of  the  palaces  of  the  emperors  and  the 
cypresses  of  the  Villa  Mills,  above  which  rise  the  statues  on  the  fa- 
cade of  the  Lateran.  Next,  the  Colosseum,  the  three  huge  arches  of 
the  basilica  of  Constantine ;  then  the  Capitol  with  the  German  Ar- 
chsological  Institute,  the  Pal.  Caffarelli,  the  tower  of  the  senatorial 
palace,  parts  of  the  facade  of  the  Capitoline  Museum,  and  of  the  church 
of  AraccBli;  the  two  domes  with  the  campanile  above  these  belong  to 
S.  Maria  Maggiore  on  the  Esquiline.  The  finely  shaped,  double- 
peaked  mountain  in  the  extreme  distance  is  the  Monte  Velino 
(8165  ft.),  which  rises  to  the  N.  of  the  Lago  di  Fucino.  Farther 
on,  near  the  cypresses ,  the  extensive  royal  palace  on  the  Quirinal, 
in  front  of  which,  near  a  light-coloured  dome,  rises  Trajan's  column ; 
more  towards  the  foreground  the  church  del  Gesil  with  its  dome, 
beyond  which  is  the  M.  Gennaro  (4160  ft.).  Then  on  the  Pincio, 
the  most  N.  of  the  Roman  hills ,  the  light  Villa  Medici ,  and  to  the 
right  of  it  S.  Trinity  de'  Monti,  rising  with  its  two  towers  above  the 
Piazza  di  Spagna.  Nearer,  not  far  from  the  Tiber,  rises  the  Pal. 
Farnese  with  its  open  loggia.  To  the  right  of  it,  the  spiral  tower  of 
the  Sapienza ;  farther  to  the  right,  part  of  the  dome  of  the  Pan- 
theon ,  concealed  by  the  dome-church  of  S.  Andrea  della  Valle,  to 
the  right  of  which  the  column  of  M.  Aurelius  in  the  Piazza  Go- 
lonna is  visible.  Again  to  the  left,  on  the  height,  are  the  wall  and 
the  Passeggiata  of  the  Pincio  with  the  two  dome-churches  of  the 
Piazza  del  Popolo.  Then,  near  the  river,  the  Chiesa  Nuova ;  beyond 
it  the  indented  outline  of  Soracte  (2250  ft.).  On  this  side  of  the 
Tiber  rises  the  castle  of  S.  Angelo;  beyond  it,  the  heights  of 
Baccano.  By  the  chain-bridge  is  the  dome-covered  church  of  S.  Gio- 
vanni de'  Fiorentini.  Farther  off,  M.  Mario  with  the  Villa  Mellini; 
lastly,  at  the  extreme  angle  to  the  left,  rises  the  dome  of  St.  Pe- 
ter's. In  Trastevere,  at  the  foot  of  the  hill,  is  the  church  of  S. 
Maria  in  Trastevere ,  the  light-coloured  campanile  to  the  right  of 
which  belongs  to  S.  Cecilia. 

If  we  descend  from  S.  Pietro  in  Montorio  in  a  straight  direction, 
traverse  the  Vicolo  della  Frusta  to  the  right,  and  then  the  Via  de' 
Fenili  to  the  left,  we  reach  the  Piazza  di  S.  Maria  (p.  330). 

The  Via  Garibaldi,  which  continues  to  ascend  the  hill  beyond 
S.  Pietro  in  Montorio,  leads  in  2  min.  to  the  Aoqua  Faola 
(PL  II,  12),  the  ancient  Aqiui  Trajanaj  which  was  supplied  by  the 


330    y.  Right  Bank.  ROME.  TrasUvere. 

Lago  di  Bracciano  (p.  391),  upwards  of  30  M.  distant.  The  aqae- 
dact  was  restored  by  Fontana  and  Madema  in  1611  under  Paul  Y., 
who  decorated  the  great  fountain  with  marble  columns  from  the 
Temple  of  Minerva  (p.  239).  The  granite  columns  were  brought 
from  the  vestibule  of  the  old  church  of  St.  Peter ;  the  massive  basin 
was  added  by  Innocent  XII.  ^^  A  monument  to  Garibaldi  is  to  be 
erected  in  the  new  gardens  to  the  left. 

The  Via  Garibaldi  leads  on  hence  to  the  Porta  8.  Pancrazio  and 
the  Villa  Doria-Pampkilj  (see  p.  365). 

Immediately  to  the  N.  of  the  Acqua  Paola  is  the  entrance  to  the 
*TaMeggiata  Kargherita  (PI.  II,  7,  8,  9),  opened  in  1884,  and 
embracing  the  former  garden  of  the  Palazzo  Corsini  (p.  325).  This 
promenade  is  continued  along  the  summit  and  slope  of  the  Janicu- 
lum  (p.  327)  to  S.  Onofrio  (p.  322).  The  broad  carriage-road  which 
traverses  the  gardens  ends  at  the  Porta  di  S.  Spirito  (p.  322).  From 
the  Acqua  Paola  to  S.  Onofrio  is  an  easy  walk  of  15-20  minutes. 
The  •ViBWs  of  the  city  and  the  Campagna,  especially  fine  at  sunset, 
almost  excel  in  their  variety  the  view  from  S.  Pietro  in  Montorio. 


At  the  S.  end  of  the  Via  di  Tor  Argentina  (Via  di  Mortella, 
p.  202)  the  Tiber  is  spanned  by  the  iron  Fonte  Garibaldi  (PL  U,  14, 
16),  built  in  1886-88.  The  length  of  the  bridge  is  160  yds.  (of  the 
openings  on  each  side  of  the  central  pier  180  ft.),  the  breadth  65  ft. 

At  the  Trastevere  end  of  the  bridge  is  the  small  Piazza  di  S. 
Gbisooono  ,  which  is  traversed  by  the  Via  dtlla  Lungaretta ,  the 
main  street  of  Trastevere.  The  church  of  8.  Crisogono  (PI.  II,  15) 
is  a  basilica  with  aisles ,  a  portico ,  and  straight  beams,  of  the  i2th 
century.    Last  restoration  In  1624. 

The  Intbbiok  is  interesting  on  account  of  its  fine  old  mosaic 
pavement ,  and  ancient  columns ,  particularly  the  two  of  porphyry  sup- 
porting the  arch  of  the  choir,  which  are  the  largest  in  Borne.  The 
ceiling-paintings  of  the  transept  are  by  Arpino.  The  mosaic  on  the  wall 
of  the  tribune  represents  the  Madonna  between  SS.  Ghrysogonus  and 
James.    Fine  carved  stalls  of  1866. 

In  the  Gontrada  Monte  di  Fiore,  to  the  E.  of  the  Piazza  S.  Cri- 
sogono ,  an  Excuhitorium  of  the  YII.  Cohort  of  the  Vigiles,  i.e.  a 
station  of  the  Roman  firemen  (p.  132) ,  was  excavated  to  a  depth 
of  about  30  ft.  in  1866-67. 

A  modern  flight  of  steps  descends  to  a  small  mosaic-paved  couri-yard, 
with  a  well  in  the  centre,  a  chapel  with  mural  paintings  (right),  and 
several  rooms,  on  the  walls  of  which  are  numerous  rude  inscriptions  of 
the  beginning  of  the  3rd  cent,  (fee  i/s  fr.). 

After  6-6  min.  we  reach  the  Piazza  di  S.  Mab.ia  (PI.  II,  15,  12), 
with  a  fountain  and  the  church  of  — 

*8.  Kaxia  in  Trastevere,  which  is  said  to  have  been  founded  by 
Gallistus  I.  under  Alexander  Severus ,  on  the  spot  where  a  spring 
of  oil  miraculously  welled  forth  at  the  time  of  the  birth  of  Ghrist.  It 
is  mentioned  for  the  first  time  in  499,  was  re-erected  by  Innocent  n. 
about  1140,  and  consecrated  by  Innocent  III.  in  1198.  The  present 


Trastevere.  ROME.  F.  Right  Batik.    331 

vestibule  was  added  by  G.  Fontana  under  Clemeut  XI.  in  1702. 
In  front  are  mosaics  of  Mary  and  the  Child,  on  each  side  the  small 
figure  of  a  bishop  (Innocent  II.  and  Eugene  III.)  and  ten  virgins, 
eight  of  whom  have  burning,  and  two  extinguished  lamps,  a  work 
of  the  12th  cent.,  largely  restored  in'  the  14th  (comp.  p.  xlvill). 
The  mosaics  on  the  gable  above  are  modern.  The  vestibule  contains 
the  remains  of  two  Annunciations,  one  attributed  to  CavaUini,  but 
now  entirely  repainted,  and  numerous  inscriptions.  The  church  has 
recently  been  restored. 

The  Intbsiob  contains  twenty-two  ancient  -columns  of  unequal  sizes. 
Some  of  the  capitals  were  formerly  decorated  :With  heathen  deities,  but 
these  were  removed  when  the  church,  was  restored  in  UB70.  The  fine 
pavement  is  laid  with  porphyry,  verde  antico,  and  other  marbles,  in  the 
style  known  as  Cosmato  work  (comp.  p.  xlvii).  The  ceiling,  decorated  with 
richly-gilded  stucco,  was  designed  by  Dotnenichino.  The  oil-painting  on  copper 
in  the  centre,  a  Madonna  surrounded  by  angels,  is  by  the  same  master.  Im- 
mediately to  the  right  of  the  entrance  to  the  Nave  is  an  elegant  tabernacle 
by  Mino  da  Fiesole.  The  chapels  contain  little  to  detain  the  traveller.  The 
Tbansbpt  is  reached  by  an  ascent  of  seven  steps,  adjoining  which  is  the 
inscription  Fons  olei^  indicating  the  alleged  site  of  the  spring  of  oil.  In 
the  transept  on  the  left  are  the  tombs  of  two  Armellini  and  an  ancient 
relief  of  the  Virgin  and  saints.  Opposite  is  an  altar  erected  to  St.  Philip 
and  St.  James  by  Card.  Philip  of  Alenjon^  r.  his  tomb  (d.  1397)  j  1.  tomb 
of  Card.  Stefaneschi  (d.  1417),  with  recumbent  figure  by  Paolo  Bomano.  —  The 
^Motaic*  in  the  Tbibune  belong  to  different  periods.  Above,  on  the  arch, 
are  the  older  ones,  dating  from  the  12th  cent. :  the  Gross  with  Alpha  and 
Omega,  under  the  symbols  of  the  Evangelists ;  r.  and  1.  Isaiah  and  Jeremiah. 
On  the  vaulting  Christ  and  the  Virgin  enthroned;  1.,  St.  Gallistus,  St. 
Lawrence,  Innocent  II.;  r.,  St.  Peter,  St.  Cornelius,  Julius,  Calepodius. 
The  lower  mosaics  are  ascribed  by  Vasari  to  Pietro  Cavallini^  a  master  of 
the  transition  period  from  the  Cosmas  family  to  Giotto,  and  have  been 
restored  by  Oamuccini.  They  represent  the  13  lambs  and  scenes  from  the 
life  of  Mary ;  in  the  centre  of  the  wall  a  mosaic  bust  of  Mary  with  St.  Peter, 
St.  Paul,  and  the  donor  Stefaneschi  (1290).  —  The  Sacbistt  contains  a 
Madonna  with  SS.  Rochus  and  Sebastian,  ascribed  to  Perugino,  and  a  frag- 
ment of  ancient  mosaic  (ducks  and  fishermen,  the  former  admirable). 

The  Via  di  S.  Maria  delta  Scala^  beginning  to  the  N.W.  of  S. 
Maria  in  Trastevere,  leads  past  the  church  of  8.  Maria  delta  Scala 
to  the  ^oria  Settimiana  (p.  327)  and  the  beginning  of  the  Via  Gari- 
baldi (p.  328).  —  The  Via  di  8.  Francesco  a  Ripa  leads  to  the  S.E, 
from  the  Piazza  S.  Maria  in  Trastevere  to  (6  min.)  the  church  of 
8.  Francesco  a  Ripa,  see  p.  332. 


From  the  island  in  the  Tiber  (p.  204) ,  we  cross  the  temporary 
wooden  bridge  beside  the  Ponte  Cestio  to  the  Lungaretta  (p.  330), 
the  E.  continuation  of  which,  the  Via  Lungarina ,  is  undergoing 
alterations  to  adapt  It  for  an  approach  to  the  new  iron  bridge  at 
the.  Piazza  Bocca  della  Veritk  (p.  248).  At  present  the  traffic 
passes  through  the  Via  delta  Luce ,  Via  Anicia ,  and  other  narrow 
and  dirty  side-streets.  From  the  iron  bridge  the  Via  de'  Vascellari 
and  its  prolongation,  the  Via  di  8.  Cecilia,  lead  to  — 

*S.  Cecilia  in  Trastevere  (PI.  II,  15),  originally  the  dwelling- 
house  of  the  saint ,  which  was  converted  into  a  church  by  Urban  I., 
restored  by  Paschalis I.,  and  entirely  rebuilt  by  Card.  Franc.  Acqua- 


332    y.  Bight  Bank.  ROME.  TrasUverc. 

viva  in  1725;  It  is  approached  by  a  spacious  court ,  which  i 
embellished  with  an  ancient  vase,  and  by  a  portico  resting  on  foni 
columns  of  African  marble  and  red  granite.    Festival,  22nd  Nov. 

Interior.      The    columns   which    formerly  supported    the    nave    yven 
replaced  hy  pillars  in  1822.    To   the  right  of  the  entrance  is  the   tomb  oi 
Card.  Adam  of  Hertford,  an  English  prelate  (d.  13%);  and  to  the  left  that 
of  the  warlike  Card.  Fortiguerra   (d.  1473).  —  The  beautiful  Hioh-Ai.tar 
with  columns  in  pavonazzetto  was  executed  by  the  Florentine  Arnolfo  del 
Cavnbio  in  1283;  adjacent  is  an  ancient  candelabrum  for  the  Easter-candle; 
beneath  the  high-altar  the  recumbent  *Tigure  of  the  martyred  S.  Cecilia  by 
BUf.  Maderno.    The  saint  had  converted  her  husband,  her  brother,    and 
even  her  judges ,  but  was   at  length  condemned  to  be   executed  daring 
the  persecution  that  took  place  either  under  Marcus  Aurelius    or  Alex- 
ander Severus.    The  executioner,   being   unable  to  sever  her  head  from 
her  body,   fled  in  dismay  after  three  attempts.    Bishop  Urban  interred 
the  remains  of  the  holy  woman  in  the   catacombs  of  St.  Callistas,    not 
far  from  the  tomb  of  the  popes.    In  821   her  burial-place  was  divulged 
to  Paschalis  I.   in  a  vision,   whereupon   he   transferred   her  remains    to 
this  church.    In  1599  the  sarcophagus  was  again  opened,   and  at  that 
period ,  the  age  of  Bernini ,   this  admirable  figure  was  executed.  —  The 
Tbibunb  contains  ancient  ^Mosaics   of  the  period  of  the  foundation  (9th 
cent.) :    the  Saviour  on  a  throne  with  the  Gospel,   r.  St.  Paul,    St.  Agatha, 
and  Paschalis ;  1.  St.  Peter,  St.  Cecilia,  and  her  husband  St.  Valerianus.  — 
In  the  1st  Chapel,  on  the  right,  an  ancient  picture  of  Christ  on  the  Cross; 
the  2nd   Chapel,   somewhat  receding    from  the  chur(^ ,  is  said   to  have 
been  the  bath-room  of  St.  Cecilia ,  Uie  pipes  of  which  are  stUl  seen  in  the 
wall.  —  The  opposite  door  leads  to  the  Saobibtt,  the  vaulting  of  which  is 
adorned  with  the  Four  Evangelists  by  Pinturicehio.  —  In  the  last  Chapel  to 
the  right,  on  the  altar :  Madonna  with  saints,  a  relief  of  the  16th  cent. ;   on 
the  right  wall  are  preserved  the  remains  of  mosaics  of  the  12ih  cent,  detached 
from  the  facade  of  the  church  (Entombment  of  the  saint  and  her  Ap- 
pearance to  Pope  Paschalis  I.).  —  Descent  to  the  lower  church  by  the  tribune. 

To  the  S.E.  of  S.  Cecilia  stands  the  extensive  Ospizio  di  S. 
Miehele  (PI.  m,  15),  founded  in  1689  by  Tommaso  Odescalchi. 
After  his  death  it  was  extended  by  Innocent  XII. ,  and  now  comprises 
a  work-house,  a  reformatory,  a  house  of  correction,  and  a  hospice  for 
the  poor.  Skirting  the  river  is  the  Ripa  Grande,  with  the  harbour. 

The  Via  Anicia  (PI.  II,  III,  15),  passing  the  choir  of  S.  Cecilia, 
leads  to  8.  Maria  delf  Orto ,  built  by  G.  Romano  in  1512  (facade 
of  1762;  interior  overladen  with  stucco  ornamentation),  and  to  a 
large  Fabbrica  de'  Tabacchi.  Thence  it  is  continued  to  the  piazza 
and  church  of  — 

8.  Francesco  a  Bipa  (PI,  III,  15),  the  latter  built  in  1231  and 
modernised  in  the  17th  century.  The  last  chapel  on  the  left  con- 
tains the  recumbent  statue  of  St.  Ludovica  Albertoni,  by  Bernini. 
St.  Francis  of  Assisi  resided  for  some  time  in  the  adjoining  mon- 
astery. —  To  the  N.W.  of  the  piazza  begins  the  Via  di  S.  Francesco 
a  Ripa  (p.  334),  which  leads  in  6  min.  to  S.  Maria  in  Trastevere. 

To  the  S.  of  S.  Francesco  is  the  Porta  Portese  (PI,  III,  15), 
from  which  the  Porto  road  issues  (see  p.  393).  A  large  goods- 
station  is  being  erected  outside  the  gate. 


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THIRD  SECTION. 


ENVIRONS  OF  SOME. 
1.  The  Campag^a. 

The  vast  Campagna  di  Roma  ,  bounded  on  the  N.  by  the  Cimi- 
nian  Forest,  on  the  W.  by  the  sea,  and  on  the  E.  by  the  Apennine 
chain  of  the  Sabina,  affords  an  ample  field  for  a  number  of  the  most 
interesting  excursions.  The  mountains  with  their  picturesque  out- 
lines, and  the  wild  and  deserted  plain ,  covered  in  every  direction 
with  imposing  ruins ,  chiefly  of  ancient  origin ,  present  attractions 
of  the  highest  order,  to  which  years  of  study  might  fitly  be  de- 
voted. 

The  Campagna ,  which  was  once  covered  by  the  sea ,  owes  its 
origin  to  powerful  volcanic  agency ;  lava  and  peperine  are  of  fre- 
quent occurrence,  and  the  red  volcanic  tufa  is  seen  everywhere.  A 
great  number  of  ancient  craters  may  be  distinguished,  the  most  im- 
portant of  which  are  the  lakes  of  the  Alban  Mts.,  the  lake  of  Brac- 
ciano ,  the  lake  of  Vico  in  the  Ciminian  Forest ,  and  the  crater  of 
Baccano.  The  historical  associations  connected  with  this  plain  are, 
however,  of  still  higher  interest  than  its  natural  features.  The  nar- 
row strip  of  land  which  stretches  between  the  Alban  Mts.  and  the 
Tiber  towards  the  sea  is  the  ancient  Latium,  which  victoriously  as- 
serted its  superiority  over  the  Etruscans  on  the  N.,  the  Sabines  on 
the  E.,  and  the  Volscians  on  the  S.,  subsequently  effected  the  union 
of  the  Italian  peninsula ,  and  finally  acquired  supremacy  over  the 
whole  world.  Once  a  densely  peopled  land,  with  numerous  and  pros- 
perous towns ,  it  is  now  a  vast  and  dreary  waste ,  of  which  barely 
one-tenth  part  is  furrowed  by  the  ploughshare.  In  May,  when  the 
malaria  begins  to  prevail ,  herdsmen  and  cattle  retire  to  the  moun- 
tains ,  while  the  few  individuals  who  are  compelled  to  remain  be- 
hind are  rendered  miserable  by  continual  attacks  of  fever.  The 
cause  of  this  change  dates  from  so  remote  a  period  as  the  last  cen- 
turies of  the  republic ,  when  the  independent  agricultural  popula- 
tion was  gradually  displaced  by  proprietors  of  large  estates  and 
pastures.  This  system  inevitably  entailed  the  ruin  of  the  country, 
for  a  dense  population  and  a  high  degree  of  culture  alone  can  avert 
the  malaria,  which  is  produced  by  defective  drainage  and  the  evap- 


334  Environs  THE  OAMPAGNA.  of  Rome. 

oration  of  stagnant  water  in  the  undulating  and  farrowed  volcanic 
soil.  In  the  middle  ages  the  evil  increased.  The  popes  repeatedly 
endeavoured  to  promote  the  revival  of  agriculture,  and  the  Italian 
government  has  continued  their  policy ,  hut  such  attempts  cannot 
be  otherwise  than  abortive  as  long  as  the  land  Is  occupied  by  farms 
and  pastures  on  a  large  scale.  An  entire  revolution  in  the  present 
system ,  energetically  and  comprehensively  carried  out ,  wlU  alone 
avail  to  restore  the  prosperity  of  the  land.  The  large  estates  are 
usually  let  to  Mercanti  di  Campagna^  or  contractors  on  a  large 
scale.  These  entrust  the  management  of  the  land  to  a  Fattore,  or 
bailiff,  who  resides  at  the  Tenuta  or  Casale^  as  the  farm-house  is 
called.  The  system  of  tillage  and  the  agricultural  implements  used 
are  of  a  very  primitive  character. 

After  several  hours^  slght-seeingin  ehtirches  and  galleries  visitors  in 
Rome  will  find  it  a  pleasant  relief  to  spend  the  latter  part  of  the  after- 
noon at  the  Villas  {Borghesej  Albania' boHa-PamphilJ,  etc.)  situated  just 
beyond  the  gates.  Excursion's  to  the  Campagna  proper^  however,  generally 
require  at  least  half-a-day.  Those  whose  residence  in  Rome  is  isufficiehtly 
prolonged  should  make  Uie  excursions  in  the  plain  in  winter,  and  those 
among  the  mountains  in  the  warmer  seasoii.  In  the  height  of  summer 
excursions  in  the  plain  should  be  avoided  as  much' as  possible. 

As  far  as  the  gates,  and  for  i/s  M.  or  more  beyond  them,  the  roads 
are  dull  and  uninteresting  from  being  flanked  by  lofty  walls.  A  cab  should 
therefore  be  taken  at  least  as  far  as  the  gate.  Pares^  see  Appx. ;  Carriaffet 
and  Saddle-horses  for  the  Campagna,  see  p.  119. 

The  traveller  is  particularly  cautioned  against  the  risk  of  taking  cold, 
owing  to  th^  great  and  sudden  change  of  temperature  which  generally 
takes  place  about  sunset.  Lying  or  sitting  on  the  ground  in  winter,  when 
the  soil  is  extremely  cold  in  comparison  with  the  hot  sunshine,  is  also  to 
be  avoided.  In  crossing  the  fields  care  should  be  taken  to  avoid  Uie  formid- 
able herds  of  cattle,  especially  in  spring  \  and  the  same  remark  sometimes 
applies  to  the  dogs  hy  which  they  are  watched  when  the  herdsman  is  ab- 
sent. Predator^  attacks  on  travellers  are  of  rare  occurrence,  but  enquiiry 
as  to  the  state  of  the  country  is  by  no  means  'superfluous  (p.  xvi).  La- 
dies should  never  undertake  expeditions  to  the  more  solitary  districts 
without  escort^  and  even  the  masculine  traveller  should  arrange  his  ex- 
cursion so  as  to  regain  the  city  shortly  after  sunset. 

The  excursions  are  enuimerated  according  to  the  order  of  the  gates 
from  IS.  to  £.  and  S^  (comp.  the  annexed  Map,  on  a  scale  of  1:60,000). 
Those  who  wish  minuter  details  should  consult  the  admirable  maps 
of  the  Italian  Ordnance  Survey,  some  of  which  are  on  a  scale  of  l^  25,000 
and  others  of  1:50,000.  ^or  a  careful'  study  of  the  topography  of  the 
neighbourhood  Ntttby's  ^Dintormi  di  Roma'  (3  vols.,  Rome,  1849)  is  indis- 
pensable. 

Prom  the  '2ott&  del  Popolo. 

Trahwat  to  Ponte  MolU,  2  M. ,  starting  juSt  outside  the  gate  (26  c). 
One-hoiise  carr.  about  2  fr.  —  F*om  Ponte  MoUe  to  Acqua  Aoetosa  IV*  M. 
—  From,  PoBte  Holle  to  Primaporta  3Va  M.  (one-hor^e  cart,  about  10  fr.). 

Porta  del  Popolo  (PL  I,  15,  18),  see  p.  146.  On  the  right,  just 
outside  the  gate,  is  the  entrance  to  the  — 

♦Villa  Borghese  (PI.  1, 18,  21;  adm.,  p.  122),  founded  by  Card. 
Scipio  Borghese,  nephew  of  Pius  V.,  and  afterwards  enlarged  by  tiie 
addition  of  the  Giustiniani  gardens.  The  beautiful  and  extensive 
grounds,  containing  several  ancient  statues  and  inscriptions,  fiinn  a 
favourite  promenade.   Most  visitors  will  prefer  to  make  the  eseur- 


.i^^-^-o 


TheCampagncL      YILLA  BORGHESE.    Envir.  of  Rome.  335 

sion  by  carriage  (cabs  admitted),  as  benches  to  rest  on  are  few  and 
far  between. 

On  entering,  we  follow  a  footpath  which  skirts  the  carriage-road 
on  the  right,  and  leads  through  an  Egyptian  Gateway  (8  min.).  Farther 
on  we  pass  a  grotto  with  antique  fragments  (left).  After  4  min.  the 
road  divides.  Following  the  left  branch  (as  to  the  other,  see  below), 
which  leads  through  an  Artificial  Ruin  with  two  columns,  we 
observe  on  the  left  the  private  gardens  of  the  prince,  and  farther  on 
reach  an  imitation  of  a  Ruined  Temple.  Turning  to  the  right  here, 
we  come  in  10  min.  to  a  circular  space  with  a  Fountain,  (Or  this 
spot  may  be  reached  by  the  first  broad  path  to  the  right  beyond 
the  columns ,  leading  through  an  avenue  of  evergreen  oaks  to  a 
small  temple,  and  thenoe  to  the  left,  through  another  avenue.) 
From  this  point  the  road  leads  in  5  min.  to  the  Casino,  to  which 
also  beautiful,  shady  footpaths  lead  from  the  left  of  the  fountain. 

If  we  proceed  straight  from  the  above-mentioned  bifurcation  of 
the  path,  we  observe  on  the  left,  after  3  min. ,  the  remains  of  Ra- 
phaeVs  Villaj  and  in  3  min.  more  an  arch  with  a  Statue  of  Apollo, 
whence  the  Boad  turns  to  the  left  and  leads  to  the  Casino. 

The  Casino  (adm.,  p.  123),  which  was  handsomely  restored  by 
Marc.  Ant.  Borghese  in  1782,  formerly  contained  one  of  the  most 
valuable  private  collections  in  existence,  which  was  purchased  by 
Hftpoleon  I.  and  sent  to  the  Louvre.  Prince  Borghese,  however,  has 
founded  a  new  Museum  here,  which  contains  several  objects  of  great 
interest,  though  some  of  the  most  important  have  been  temporarily 
removed  to  private  apartments  to  which  entrance  is  not  permitted. 

Oronnd-Floot.  I.  Vkbtibulb:  Two  candelabra;  on  the  narrow  walls 
two  reliefs,  probably  from  Hie  triumphal  arch  of  Claudius  which  once 
stood  in  the  Corso  near  the  Pal<  Sciarra.  Several  sarcophagi ;  one  of  them, 
to  the  left  by  the  wall  of  the  egress,  with  a  harbour,  lighthouse,  and  ships. 

II.  Saloon  (^Salone"),  with  ceiling-painting  by  Mario  Rossi.  On  the  floor, 
mtosaics,  discovered  in  1835  near  the  Tenuta  di  Torre  l^uova,  with  gladiatorial 
and  wild  beast  combats.  Left  wall :  3.  Colossal  head  of  Isis ;  4.  Dancing 
Faun,  under  .it  a  Bacchic  relief;  5.  Colossal  head  of  a  Muse  (?).  Long  wall : 
7.  Tiberius;  8.  Meleager;  9.  Augustus;  above,  a  raised  relief  of  a  horsepian 
(M.  Curtius?);  *10.  Priestess;  11.  Bacchus  and  Ampelus.  Right  wall:  14. 
Hadrian ,  16.  Antoninus  Pius  (colossal  busts) ;  under  No.  15  a  Bacchic  relief. 
Entrance-wall:  18.  Diana. 

IIL  Book  (1st  to  the  right).  In  the  centre :  *  Juno  Pronuba,  found  n;ear 
Monte  Calvi*.  Left  wall :  4.  Ceres.  Opposite  the  entrance :  8.  Belief,  Sacri- 
ficial prayer  (of  Hesiod?)  to  Cupid;  *11.  Relief,  Rape  Of  Cassandra.  Right 
wall :  16.  Draped  statue.    Entrance-wall :  20.  Greek  tomb-relief. 

IV.  Roow.  In  the  centre:  Amazon  on  horseback  contending  with  two 
warriors.  Entrance-wall:  2.  Pan;  4.  (and  17,  opp.)  Sarcophagus  with  the 
labours  of  Hercules;  on  the  cover ,  Reception  or  the  Amazons  by  Priam; 
6.  Head  of  Hercules ;  7.  Pygmy.  On  the  left  wall :  9.  Herma  of  Hercules. 
Wall  of  the  egress:  15.  Hercules  in  female  attire.  Window-wall:  21.  Venus; 
23.  Three-sided  ara  with  Mercury,  Venus,  and  Bacchus. 

V.  Rook.  In  the  centre:  Apollo.  Left  wall:  3.  Scipio  Africanus, 
FoUowing  wall :  7.  Head  of  a  Meenad  or  Bacchante ;  8.  Melpomene ;  9.  Genre- 
group;  10.  Clio.  Right  wall:  14.  Lucilla,  wife  of  L.  Verus.  Entrance-wall: 
18.  Polyhymnia. 

VI.  Roou :  *Gallery'  with  modern  busts  of  emperors  in  porphyry.  In 
the  centre  a  porphyry  bath,  said  to  have  been  found  in  the  mausoleum  of 


336  Envir.  of  Borne.       PONTE  MOLLE.  The  Campagncu 

Hadrian;  3.  Diana,  restored  aa  a  Muse;  8.  Diana;  22.  Baechiu;  24.  Herma 
of  Bacchus,  the  head  of  bronze,  the  pedestal  of  coloured  alabaster;  ^29. 
Herma  of  a  Satyr  in  basalt;  32.  Bronze  statue  of  a  boy.  The  figures  of 
^neas  bearing  Anchises,  Apollo  and  Daphne,  and  David  with  the  sling 
are  early  works  of  Bertntti, 

Vn.  Room,  with  columns  of  giallo  antico  and  porphyry;  on  the  floor 
ancient  mosaics.  Left  wall :  •2.  Boy  with  bird ;  3.  Bacchus ;  *4.  Captive  boy. 
Wall  of  the  egress :  7.  Recumbent  Hermaphrodite ;  9.  Sappho  (doubtful) ; 
10.  Tiberius.  Entrance-wall:  *13.  Roman  portrait-bust  (said  to  be  Do- 
mitius  Corbulo) ;  *  14.  Head  of  a  youth,  perhaps  Heleager ;  15.  Boy  with  a 
pitcher,  a  fountain-figure;  *i6.  Female  bust. 

VIII.  Rook.  Left  wall:  2.  Athene;  4.  Apollo  (archaistic  style).  FoUow- 
ing  wall:  6.  Figure  from  a  tomb;  7.  Candelabrum  with  Hecate.  Right  wall : 
8.  l^ymph ;  10.  Leda.    Entrance-wall :  15.  ^sculapius  and  Telesphorus. 

IX.  Room.  In  the  centre :  *Satyr  on  a  dolphin,  a  fountain-figure,  the 
model  ot  the  Jonah  in  8.  Maria  del  Popolo  attributed  to  Raphael  (p.  148); 
3.  Isis ;  4.  Paris ;  8.  Female  statue,  inaccnrately  restored  as  Ceres ;  10.  Oipsy- 
woman  (17th  cent.):  13.  Venus;  14.  Female  figure  (archaistic);  *16.  Bac- 
chante; 18.  Satyr;  19.  Hadrian;  20-  Satyr. 

X.  Roou.  *1.  Dancing  Satyr,  wrongly  restored  (he  originally  played  on 
a  flute) ;  2.  Ceres ;  3.  Mercury  with  a  lyre ;  4.  Dancing  Satyr ;  8.  Satyr,  after 
Praxiteles;  9.  Pluto  with  Cerberus;  14.  Periander;  19.  Bacchus  enthroned. 
Fine  ceiling-paintings  by  Conea. 

The  upper  floor  is  closed  at  present. 

The  Road  fbom  thb  Pobta  del  Pofolo  to  the  Pontb  Molle, 
the  ancient  Via  Flammia,  la  at  first  flanked  by  garden- walls.  After 
1/2  M.  a  road  diyerges  to  the  right  to  the  Villa  di  Papa  Giulio  (*Vi- 
colo  dell'  Arco  Oscuro',  see  below).  At  one  corner  of  this  road  rises 
the  Casino  di  Papa  Oiidio,  a  Renaissance  edifice  attribnted  to  Jac. 
Sansovino  and  Bald.  Peruzzi,  but  probably  not  erected  till  1550  or 
later.  —  The  road  to  the  Promenade  on  the  Monti  Parioll  also 
diverges  to  the  right. 

This  fine  new  promenade,  called  the  Parco  Begina  Kargherita,  was 
opened  in  1889.  On  the  slope  of  the  Monti  Parioli  the  remains  of  the 
Basilica  of  8t.  ValenUne^  dating  from  the  4th  cent.,  were  excavated  in 
1888.  Behind  is  the  entrance  to  its  catacombs.  The  promenade  leads 
along  the  ridge  of  the  hill,  commanding  beautiful  views,  then  descends  to 
the  Tiber  near  the  Acqua  Acetosa  (p.  337;  thence  back  to  the  Villa  Al- 
bani  and  Porta  Pinciana,  see  p.  172),  follows  the  course  of  the  river  as 
far  as  the  Forte  Jntemne^  and  ends  at  the  Via  Balara  (p.  341). 

To  the  right,  farther  on,  is  8.  Andrea,  founded  by  Julius  III.  in 
commemoration  of  his  deliverance  from  the  Germans  in  1527,  erected 
by  Vignola  in  an  admirable  Renaissance  style.  A  little  on  this  side 
of  the  bridge,  to  the  right,  is  a  second  Chapel  of  8t.  Andrew, 
erected  by  Pius  II.  on  the  spot  where  he  met  the  head  of  St. 
Andrew,  when  brought  hither  from  the  Peloponnesus  in  1462. 

We  then  cross  the  Tiber  by  the  Ponte  Holle ,  which  was  con- 
structed on  the  foundations  of  the  ancient  Pons  Milvius,  built  by 
the  Censor  M.  iEmilius  Scaurus  in  B.C.  109.  The  four  central  ar- 
ches are  antique.  The  last  thorough  restoration  took  place  in  1805, 
when  the  superstructure  in  the  form  of  a  triumphal  arch,  designed 
by  Valadier^  was  added. 

Beyond  the  Ponte  Molle  are  several  osterie  at  the  tramway-ter- 
minus (p.  334).  The  road  divides.  The  branch  to  the  left  is  the  Via 
Cassia,  (see  p.  389) ;  that  to  the  right ,  near  the  river ,  is  the   Via 


The  Campagna.         ACQUA  ACETOSA.    Envir.  of  Rome.   337 

Flaminia ;  while  to  the  extreme  left  is  the  road  coming  from  the 
Porta  Angelica  (see  below). 

From  the  Via  Flaminia,  a  road  diverges  to  the  left,  after  about  35  min., 
to  the  Val  di  Pussino,  with  a  picturesquely  situated  'teuuta'.  To  the 
right  of  the  road  are  the  ruins  of  an  ancient  tomb,  named  Tor  di 
Quinto.  Adjacent  is  the  new  race-course.  About  3  M.  from  the  Ponte 
Holle  the  Via  Flaminia  crosses  the  Valehetia^  a  brook  descending  from 
Veil,  the  ancient  Cremera,  where  the  Fabii  sustained  their  well-known 
defeat.  Beyond  the  Tiber  lies  Castel  Giubileo,  the  ancient  Fidenee  (p.  341). 
About  1  H.  farther  on  the  road  reaches  the  Casale  di  Prima  Porta,  with 
the  ruins  of  the  imperial  Villa  of  Livia,  or  Ad  Oallinas^  where  the  statue 
of  Divus  Augustus  (p.  313)  was  found  in  1863.  A  room  with  *Mural 
Paintings,  representing  a  garden  with  trees,  plants,  and  birds,  in  excellent 
preservation,  is  particularly  interesting  O/2  f'O.  —  Not  far  from  Prima 
Porta  is  a  station  of  the  ancient  road,  called  Saxa  Rubra;  here,  in  the 
plain  by  the  river,  Maxentius  was  defeated  in  312  by  Constantine  fighting 
under  the  sign  of  the  cross  (*labarum').  Maxentius  was  drowned  in  the 
Tiber  at  the  Ponte  Molle. 

Pedestrians  may  return  from  the  Ponte  Molle  either  by  the 
Acqua  Acetosa  or  by  the  Villa  Madama.  The  road  to  the  former, 
commanding  fine  views  of  the  Sabine  Mts.  and  of  Mt.  Soracte  on 
the  left ,  diverges  to  the  E.  from  the  high-road  on  the  left  bank 
of  the  Tiber,  immediately  beyond  the  bridge.  It  follows  the  river- 
bank  and  reaches  (I1/2  M.)  the  Acqna  Acetosa,  which  Is  also  passed 
by  the  new  promenade  of  the  Pareo  Begina  Margherita  (p.  336). 
The  mineral  spring  which  rises  here  is  much  esteemed.  The  well- 
house  ,  designed  by  Bernini ,  was  erected  under  Alexander  VII.  in 
1661,  and  restored  in  1712. 

By  the  road  leading  hence  immediately  to  the  right  towards  the 
town,  passing  between  vineyards,  we  reach  (1  M.)  the  Arco  Os- 
euro,  a  long  vaulted  gateway,  and  beyond  it  an  open  space,  on  the 
left  side  of  which  rises  the  VOla  di  Papa  Oiolio,  erected  by  Vignola 
for  Julius  III.,  long  in  a  dilapidated  state  but  lately  restored  and 
arranged  as  a  museum  for  the  interesting  objects  discovered  at  Fa- 
lerii  (p.  67). 

On  the  Qeound  Floob  are  two  rooms  with  richly- decorated  ceilings  by 
Taddeo  ZuecarOy  and  the  court  with  its  fountain  also  deserves  notice.  — 
Upper  Floob.  Boom  I :  Bude  clay  vessels  and  large  wooden  coffins  (made 
out  of  hollowed  trees)  from  the  deepest  parts  of  the  excavations.  Middle 
Boom:  Vases,  partly  of  Grecian  workmanship,  partly  rude  native  imi- 
tations; beautiful  terracotta  ornaments  and  figures  from  a  temple,  tomb- 
inscriptions  in  the  Faliscan  dialect,  painted  on  tiles,  etc.  The  ceiling- 
paintings  are  views  of  Borne  in  the  l6th  century. 

The  *Vicolo  dell'  Arco  Oscuro'  leads  hence  back  to  the  (1/4  M.) 
high-road  (p.  336). 

From  the  Ponte  Molle  a  road  leads  on  the  right  bank  of  the  Tiber 
straight  to  the  Porta  Angelica  (comp.  PI.  I,  8),  from  which,  after 
3/4  M.,  a  road  diverges  to  the  right  to  (1/2M.)  the  Villa Hadama,  sit- 
uated on  the  N.  slope  of  the  Monte  Mario,  and  about  2  M.  from  the 
Porta  Angelica.  The  villa  was  erected  by  0.  Romano  from  RaphaeVa 
designs  for  Card.  Giulio  de' Medici,  afterwards  Clement  VII.,  and 
subsequently  came  into  possession  of  the  Princess  Margaret,  daugh- 
ter of  Charles  V.,  from  whom  it  derives  its  name  (comp.  p.  192). 

Bajsdbkbb.  Italy  II.  10th  Edition.  22 


338   Envir,  of  Rome.        MONTE  MARIO.  The  Campagna. 

It  next  belonged  to  the  Farnese  family,  and  then  to  the  kings  of 
Naples.  The  building  is  in  a  very  dilapidated  condition.  It  contains 
a  pictnresqne ,  overgrown  fonntain-basin ,  and  a  fine  *Loggia  with 
mouldings  and  half-effaced  frescoes  by  Giulio  Romano  and  Giovanni 
da  TJdine.    Beautiful  view.    (Fee  1/2  ^r-) 

Honte  Mario  was  anciently  named  Clivus  Cvrmae,  in  the  middle 
ages  Monie  Malo^  and  its  present  name  is  derived  from  Mario  Mel- 
lini ,  the  owner  in  the  time  of  Sixtus  IV.  of  the  ViUa  Mellini  on  the 
summit.  This  villa  is  now  included  in  the  Forte  Monte  Mario,  and 
visitors  are  not  admitted. 

By  the  high-road  issuing  from  the  Porta  Angelica  (comp.  PI.  I,  8),  and 
running  to  the  N.W.,  the  Villa  Mellini  and  the  fort  are  about  2  M.  from 
Rome  (omn.  hourly,  No.  25,  p.  2  of  the  Appendix).  If  we  follow  the  road 
for  V«  M.  more,  passing  the  church  of  8.  Onofrio  (on  the  right),  and  then 
take  the  field-road  leading  back  towards  the  left,  we 'reach  the  Valle  delP 
Inferno,  a  deep  ravine  overgrown  with  cork-trees,  over  which  we  obtain  a 
charming  peep  of  the  dome  of  S.  Peter''s,  framed  by  the  Alban  Mountains. 

From  the  Porta  Salara. 

From  the  Porta  Salara  to  the  Fonit  Salaro,  2  M.  —  From  the  Ponte 
Salaro  to  the  Villa  Bpada  (Fidenee),  2Vs  M. 

The  Porto  Salara  (PI.  I,  27),  which,  like  the  Porta  Pia  (p.  341), 
was  seriously  injured  by  the  bombardment  of  20th  Sept.,  1870,  has 
been  restored.  The  removal  of  its  two  towers  brought  to  light  a 
well-preserved  ancient  monument  in  *peperino',  resembling  that  of 
Bibulus  (p.  163). 

The  Via  Salara  (PI.  I,  27),  a  very  ancient  load,  quits  Rome  by 
the  bank  of  the  Tiber  and  then  turns  towards  the  country  of  the 
Sablnes.   On  this  road,  to  the  right,  Va  ^-  ^^om  the  gate,  is  the  — 

♦Villa  Albani,  founded  in  1760  by  Card.  Aless.  Albani,  built  by 
C.  Marchionne,  and  embellished  with  admirable  works  of  art.  Napo- 
leon I.  sent  294  of  the  statues  to  Paris,  which  on  their  restitution 
in  1815  were  sold  there  by  Card.  Giuseppe  Albani,  in  order  to  avoid 
the  cost  of  transport ;  some  of  them  now  adorn  the  Glyptothek  at  Mu- 
nich. The  villa  was  purchased  in  1866  by  Prince  Torlonia  (d.  1886), 
to  whose  heirs  it  now  belongs. 

Three  paths  bordered  with  hedges  diverge  from  the  entrance 
(comp.  p.  122);  that  in  the  centre  leads  to  a  Circular  Space  with  a 
column  in  the  middle,  and  then  to  a  Tbhracb  with  a  fountain 
whence  a  comprehensive  survey  is  obtained :  to  the  left  is  the  Ca- 
sino with  the  galleries  on  each  side ;  opposite  is  the  so-called  Bi- 
gliardOj  a  small  building  flanked  with  cypresses ;  on  the  right  in  the 
crescent  is  the  ^Caffh\ 

I.  Casino.  Ground  Floor.  Vestibulb.  In  the  six  niches :  54.  Tiberius 
(?)^  69.  L.  Verus?  64.  Trajan.  Farther  on,  on  the  other  side  of  the  stair- 
case in  the  vestibule  mentioned  below :  72.  M.  Aurelius;  77.  Antoninus 
Pius ;  82.  Hadrian.  In  the  centre ,  61.  Sitting  female  figure  (Faustina) ; 
66,  Circular  Ara  with  Bacchus,  Ceres,  Proserpine,  and  three  Horse;  74.  An- 
other with  female  torch-bearer  and  the  Seasons ;  79.  Sitting  female  figure 
(perhaps  the  elder  Agrippina).  By  the  pillars  on  the  left  and  right  are 
^ermee :  by  the  first  on  the  right ,  52.  Hermes  \  by  the  5th  on  the  left,  68. 


The  Campagna.  VILLA  ALBANI.      Envir,  of  Rome.   339 

Female,  and  on  the  right,  67.  Male  double  herma ;  by  the  7th  on  the  right, 
80.  Euripides.  —  We  now  return  to  the  beginning  of  the  Vestibule  and 
enter  the  Atrio  dblla  Gasiatidk,  to  the  left :  16,  24.  Two  canephone,  found 
between  Frascati  and  Monte  Porzio  (baskets  new).  In  the  centre,  19.  Carya- 
tide,  by  the  Athenians  Criton  and  Nicolaut  (the  names  engraved  on  the 
back  of  the  vessel),  found  in  1766  near  the  Csecilia  Metella;  on  the  pedestal,  20. 
so-called  *Capaneus  struck  by  lightning.  In  the  Oallset  adjacent,  on  the  left : 
hermee;  the  third  to  the  right,  45.  Scipio  Africanus;  to  the  left,  29.  Epicurus. 

From  the  vestibule  we  pass  through  a  small  ante-room  on  the  left  to 
the  Staibcabb.  In  front  of  the  staircase  (left),  9.  Roma  sitting  on  trophies 
(relief).  Adjacent,  11.  Belief  of  a  butcher^s  shop.  On  the  staircase,  reliefs : 
on  the  first  landing,  (r.)  885.  Death  of  Niobe's  Children;  (1.)  889.  Philoctetes 
in  Lemnos  (?)  ^  third  landing,  above,  898,  899.  Dancing  Bacchantes. 

Upper  Floor  (when  closed,  visitors  ring;  Va  fr*)* 

I.  Sala  Ovalb.  In  the  centre,  905.  Apollo  on  the  tripod ,  with  his  feet 
on  the  omphalos.  To  the  left  of  the  door,  906.  Statue  of  a  youth  by  SU' 
phanot ,  a  pupil  of  Pasiteles.  Opposite :  *915.  Cupid  bending  his  bow,  per* 
haps  a  copy  of  Lysippus.  —  On  the  right  — 

II.  Galubsia  Obahdb,  the  principal  saloon  (on  the  ceiling  Apollo, 
Mnemosyne,  and  the  Muses,  painted  by  Raph.  Menga).  In  the  niches  of  the 
entranee-wall :  «1012.  Pallas,  and  1010.  Zeus.  Beliefs  (over  the  door) :  1004. 
Apollo,  Diana,  Leto  in  front  of  the  temple  of  Delphi  (archaistic  ehoragie 
victory  relief).  Then  to  the  right,  1013.  A  youth  with  his  horse,  from  a 
tomb  near  Tivoli ;  left,  1018.  Antoninus  Pius  with  Pax  and  Boma.  The  eight 
fragments  of  mosaic  at  the  sides  of  this  door  and  that  of  the  balcony ,  and 
in  the  four  corners,  are  for  the  most  part  antique.  —  By  the  left  wall :  1020. 
Two  women  sacrificing;  to  the  right,  1007.  Dancing  Bacchantes.  By  the 
window-wall :  1005.  Hercules  and  the  Hesporides ;  1009.  Deedalus  and  Icarus. 
Beautiful  view  from  the  balcony. 

To  THE  BiOHT  of  the  principal  saloon:  III.  First  Boom.  Over  the 
chimney-piece:  *1031.  Mercury  bringing  Eurydice  back  from  the  infernal 
regions,  an  Attic  relief  of  a  period  soon  after  that  of  Phidias,  an  exquisite 
example  of  the  noble  simplicity  for  which  ancient  ari  is  so  justly  cele- 
brated. By  the  entrance- wall,  (r.)  •1034.  Theophraatus ;  window-wall,  (1.) 
1036.  Hippocrates ;  wall  of  the  egress ,  (r.)  lOW.  Socrates.  —  IV.  Second 
Boom.  Wall  of  the  entrance,  on  the  right :  35.  JPinturicchio  (?) ,  Madonna 
with  SS.  Laurence  and  Sebastian  on  the  left,  St.  James  and  the  donor  on 
the  right;  to  the  left  of  the  entrance,  45.  Lunette  by  Cotignola:  Dead 
Christ  with  mourning  angels.  Bight  wall :  36.  Niceolb  AlunnOy  Altar-piece : 
Madonna  and  Saints  (1475).  Wall  of  the  egress:  *37.  Pietro  Perugino,  a 
picture  in  six  sections :  Joseph  and  Mary  adoring  the  Infant  Christ,  Cruci- 
fixion ,  Annunciation ,  Saints  (1491).  —  V.  Third  Boom.  Wall  of  the  en- 
trance ,  (r.)  49.  Van  der  Werff^  Descent  from  the  Cross.  Bight  wall :  55.  Van 
Dyek^  Christ  on  the  Cross.    Opposite  the  entrance,  59.  Salaino^  Madonna. 

To  THE  Left  of  the  principal  saloon :  VI.  First  Boom.  Over  the  chim- 
ney-piece, *994.  the  celebrated  Belief  of  Antinous,  from  the  Villa  of  Hadrian, 
the  only  sculpture  brought  back  from  Paris  in  1815.  Entrance-wall :  *997. 
Shepherdess  playing  the  flute.  —  VII.  Second  Boom.  To  the  left  of  the  en- 
trance :  980.  Archaic  Greek  relief  from  a  tomb.  Left  wall :  *985.  Greek  relief 
in  the  best  style,  a  group  of  combatants,  found  in  1764  near  S.  Vito.  Below 
it :  988.  Procession  of  Hermes.  Athene,  Apollo,  and  Artemis  (archaistic  style). 
By  the  window  to  the  left,  970.  Archaic  statue  of  Pallas,  found  near  Orte ;  on 
the  right,  975.  Archaic  Venus.  Wall  of  egress,  on  the  left :  Greek  tomb-relief 
(half  of  it  modern).  —  VIII.  Third  (comer)  Boom:  21.  Holbein {1)^  Portrait, 
1527;  20.  Raphael^  Fomarina,  a  copy;  *18,  *17.  Qiulio  /Romano ,1  coloured 
designs  (in  oils,  on  pai>er)  for  the  frescoes  from  the  myth  of  Psyche  in  the 
Pal.  del  Th  at  Mantua.  The  cartoons  of  Domenichino,  and  several  other 
pictures  formerly  here,  have  been  removed  to  a  room  on  the  lower  floor, 
which  is  at  present  closed.  —  IX.  Fourth  Boom.    In  front  of  the  window : 


*966.  .ffisop,  perhaps  after  Ly$ippu»^  the  head  beautifully  executed.    In  the 
niche   in   the  entrance  -  wall ,    952.   Apollo   Sauroctonus,   after  Praxiteles. 

I,  a: 
22* 


Opposite,  933.  Farnese  Hercules,  a  small  copy  in  bronze.    Window-wall  on 
the  right,  (r.)  942.  Sjmall  sUtue  of  Diogenes.    Exit-wall,  (1.)  *957.  Small 


340   Envir,  of  Rome.     VILLA  ALB ANI.  The  Campagna. 

relief  of  the  Apotheosis  of  Hercules  \  on  the  pillars  at  the  sides  a  record  of 
his  exploits  is  inscribed  (resembling  the  Tabula  Uiaca  in  the  Capitol,  p.  220). 

—  X.  Koom  with  pictures  of  inferior  value.  —  XI.  Boom  with  tapestry. 

Returning  to  the  oval  saloon,  we  again  descend  to  the  — 
Ghround  Floor,  and  inspect  the  other  wing  of  the  vestibule.    Here,  at 
the  extremity  to  the  left,  corresponding  to  the  Atrio  della  Gariatide,  is  the : 

I.  Atbio  dklla  Giukone.    91,  97.  two  Ganephoree^  93.  So-called  Juno.  — 

II.  Gallsbt.  In  the  niches,  n03.  Bacchante  with  Nebris*,  *106.  Satyr 
with  the  young  Bacchus.  Some  of  the  hermee  by  the  pillars  are  fine,  but 
arbitrarily  named.  —  In  a  straight  direction:  III.  Stanza  dbij<a  Golonha 
(generally  closed,  fee  25  c. ).  Antique  columns  of  variegated  alabaster, 
found  in  the  Marmorata.  On  the  left,  *131.  Sarcophagus  with  the  Nuptials 
of  Peleus  and  Thetis ;  above,  four  sarcophagus-reliefs  \  on  the  left,  135.  Hip- 
polytus  and  Pheedra ;  over  the  egress,  139.  Rape  of  Proserpine ;  on  the  right, 
141.  Bacchanalian  procession ;  over  the  entrance,  140.  Death  of  Alcestis.  — 
IV.  Passage :  Bearded  Bacchus  (archaistic).  —  V.  Stanza  delle  Tebsacottb. 
By  the  left  wall,  close  to  the  entrance:  146.  Greek  tomb-relief^  147.  Greek 
votive  relief.  Beyond  the  door:  157.  Love-sick  Polyphemus  and  Gupid ;  161. 
Diogenes  and  Alexander.  Opposite  the  entrance,  lo4.  Deedalus  and  Icarus, 
in  rosso  antico.  Below,  166.  Ancient  landscape-picture.  On  the  right  wall, 
171.  Hask  of  a  river-god ;  to  the  left  of  it,  169.  Bacchus  pardoning  captive 
Indians;  to  the  right  of  the  mask,  and  on  the  entrance  -  wall ,  several 
fine  reliefs  in  terracotta.  —  VI.  Rook.    In  the  centre,  Leda  with  the  swan. 

—  VII.  Room.  Above  the  entrance-door,  Bacchanalian  procession  of  children, 
from  Hadrian*s  Villa,  in  pavonazzetto ,  or  speckled  marble;  left,  statue 
of  a  recumbent  river-god ;  right,  Theseus  with  the  Minotaur ,  found  near 
Genzano  in  1740.  —  VIII.  Room.  Relief  in  the  first  window  to  the  left, 
the  God  of  Sleep.  —  The  exit  here  is  generally  closed. 

An  avenue  of  oaks,  flanked  with  eippi  (tombstones),  leads  from 
the  last-named  apartments  of  the  Casino  to  the  — 

II.  BlOLlA&l>0,  containing  a  few  unimportant  antiques,  and  to  the  — 

III.  Oaff^.  In  the  semicircular  Hall,  to  the  left:  594.  Herma  of  Alci- 
biades;  (1.)  604.  Statue  of  Hars;  610.  Ghrysippus-,  612.  Apollo  reposing; 
628.  Garyatide.  Farther  on,  beyond  the  entrance  to  the  saloon :  (1.)  on 
a  detached  column,  721.  Homer.  Adjacent,  725.  Garyatide;  (r.)  by  the 
3rd  pillar,  737.  Mask  of  Poseidon.  Obliquely  opposite,  (1.)  744.  Archaic 
Greek  portrait-head,  Pericles  (?),  or  perhaps  Pisistratus;  (1.)  749.  Sta- 
tue, called  Sappho,  perhaps  (3eres.  —  We  now  return  to  the  midd  e  of 
the  hall  and  enter  the  Antb-Room.  Here,  in  the  section  to  the  right, 
711.  Iris;  (1.)  706.  Theseus  with  ^thra,  perhaps  a  sarcophagus-relief.  In 
the  section  to  the  left,  641.  Marsyas  bound  to  the  tree;  (1.)  639.  Relief  of 
Venus  and  Oupid.  Also  several  statues  of  comic  actors.  —  In  the  Saloon 
(25-50  c),  in  the  niche  to  the  left  of  the  door,  662.  Libera  with  a  fawn. 
Below,  6d3.  Mosaic  with  meeting  of  seven  physicians  or  mathematicians. 
Oorresponding  to  the  latter,  to  the  right  of  the  door,  696.  Mosaic,  liberation 
of  Hesione  by  Hercules.  To  the  right  of  the  balcony-door,  688.  Ibis,  in 
rosso  antico ;  684.  Atlas ,  bearer  of  the  Zodiac ;  (1.)  678.  Boy  with  comic 
mask ;  676.  CSolossal  head  of  Serapis,  in  green  basalt. 

Before  entering  the  hall  of  the  Gaffe,  we  may  descend  a  flight  of  steps 
to  the  left,  leading  to  its  basement.  Fragments  of  sculpture  are  here  built 
into  the  walls,  and  a  few  Egyptian  statues  are  placed  in  a  hall.  In  the 
centre :  Ptolemy  Philadelphus,  in  gray  granite ;  (r.)  the  cat-headed  goddess 
Pasht ;  (1.)  statue  of  a  king,  in  black  granite ;  a  sphinx.  On  a  fountain  in 
front  of  the  hall:  reclining  Amphitrite;  on  the  left  and  right  two  colossal 
*Herm8e  of  Tritons. 

The  Gaeden  also  contains  many  antiqne  statues ,  among  which 
the  colossal  busts  of  Titus  on  the  left ,  and  Trajan  on  the  right, 
below  the  terrace  in  front  of  the  Casino,  deserve  mention. 

We  may  now  return  by  the  avenne  of  evergreen  oaks,  which  is 
entereid  by  an  arch  at  the  end  of  the  left  gallery  of  the  Casino.    In 


The  Campagna.,         PONTE  SALARO.     Envir.  of  Rome.   341 

the  centre  of  the  avenue  is  a  colossal  bust  of  the  Geiman  anti- 
quarian Winckelmann ,  a  friend  of  Card.  Albani,  the  founder  of  the 
villa,  hyE.  Wolffs  erected  by  order  of  Lewis  I.  of  Bavaria.  —  An  an- 
nexe of  the  villa,  in  the  Yia  Salara,  contains  a  Collection  of  Plaster 
Casts,  formed  by  Prince  Torlonia  (admission  on  Frid.  only,  after 
12  noon). 

The  Via  Salara  passes  other  lofty  houses  farther  on,  some  of 
which  are  still  unfinished.  About  1/2  M.  beyond  the  Villa  Albani  a 
broad  road  diverges  to  the  left  to  the  new  Parco  Regina  Margherita 
(to  the  Acqua  Aofetosa  about  1  M.,  p.  337).  Still  i/2  M,  farther  on 
is  the  Osteria  di  Filomarino ,  whence  a  fine  view  may  be  obtained, 
especially  towards  evening,  of  S.  Agnese  and  S.  Costanza.  On  the 
hill  to  the  left ,  now  crowned  by  the  Fortezza  Maggiore  Antemne, 
lay  Antemnae ,  which  was  destroyed  by  Romulus.  Thence  to  the 
banks  of  the  Tiber  several  avenues  are  to  be  laid  out  in  connec- 
tion with  the  new  promenade  and  continued  on  the  E.  as  far  as  the 
Via  NomentanA. 

The  Via  Salara  reaches  the  Anio  about  2  M.  from  the  city-gate. 
The  Ponte  Salaro  over  the  Anio ,  several  times  destroyed  and  re- 
newed, and  again  blown  up  during  the  invasion  of  Garibaldi  in 
1867,  has  preserved  little  of  the  original  structure.  —  Beyond  the 
bridge  is  an  ancient  tomb,  built  over  in  the  middle  ages. 

About  5  M.  from  the  gate  is  the  Villa  Spada.  From  this  point 
to  the  height  on  the  right  extended  the  ancient  Fidenae,  the  ally  of 
Veil  against  Rome,  and  only  subdued  after  protracted  struggles.  Few 
traces  of  the  ancient  city  are  now  recognisable.  The  fortress  lay  close 
to  the  river,  on  the  hill  which  is  now  occupied  by  Castel  Oiubileo 
(6  M.  from  Rome ;  p.  68).  The  summit  (265  ft.)  affords  a  beautiful  and 
extensive  *View.  The  castle  was  erected  by  Boniface  VIII.  in  1300, 
a  year  of  jubilee  (hence  the  name). 

The  road  continues  to  skirt  the  river  in  the  plain,  and  11  M. 
from  Rome  reaches  the  Scannahechi ,  the  ancient  AUia ,  on  which 
the  Romans  were  signally  defeated  by  the  Gauls,  B.C.  390.  The 
railway-station  of  Monte  Rotondo  (p.  68)  is  2  M.  farther  on. 

From  the  Porta  Pia. 

From  the  Porta  Pia  to  S.  Agnese  about  IV4  H.  (omnibiu  Ko.  18,  p.  2  of 
the  Appendix) ;  thence  to  Ponte  Nomentano  and  Mom  Sacer^  to  which  point 
most  travellers  wiU  extend  their  walk,  also  11/4  H. 

The  Porta  Pia  (PI.  I,  27,  30),  famous  in  the  annals  of  1870, 
was  begun  by  Pius  IV.  from  designs  by  Michael  Angelo  in  1564.  On 
20th  Sept.,  1870,  the  Italians  directed  their  bombardment  chiefly 
against  this  gate,  and  soon  effected  a  breach  at  the  side  of  it,  through 
which  they  entered  the  city.  The  damage  has  since  been  repaired. 
On  the  outside,  to  the  left,  a  memorial  tablet,  bearing  the  names  of 
33  soldiers  of  the  Italian  army  who  fell  on  the  occasion,  marks  the 
place  where  the  breach  was  made.  To  the  right  of  the  gate  is  the 
old  Porta  Nomentana,  walled  up  since  1564,  which  led  to  Nomentum 


342  Envir.ofRome.    S.  AONESE  FUORI.        The  Campagna. 

(p.  343).  —  A  new  suburb  is  springing  up  outside  the  gate,  like 
that  adjoining  the  Via  Salara  (see  p.  Bil). 

Following  the  main  road,  the  ancient  Via  Nomenianay  past  the 
Villa  TorUmia  (on  the  right;  no  admittance),  we  reach,  on  the  left, 
11/4  M.  from  the  gate,  — 

*  S.  Agnese  Fnoii  le  Hura,  a  church  founded  by  Constantine,  over 
the  tomb  of  St.  Agnes,  and  still  retaining  many  characteristics  of  an 
early-Christian  basilica  (p.  xlv).  It  was  re-erected  by  Honorius  I.  in 
625-38,  altered  by  Innocent  VIII.  in  1490,  and  restored  by  Pius  IX. 
in  1856.  The  principal  festival,  on  21st  Jan.,  is  the  ^blessing  of 
the  lambs'  from  whose  wool  the  arohiepiscopal  robes  are  woven. 

We  enter  hj  a  gateway,  where,  to  the  right,  is  the  entrance  to  the 
residence  of  the  canons,  with  remnants  of  old  frescoes  in  the  corridor  of  the 
ist  floor,  dating  from  1454,  and  including  an  Annunciation.  In  the  Coubt, 
through  a  large  window  to  the  right,  we  observe  a  fresco  painted  in 
conunemoration  of  an  accident  which  happened  to  Pius  IX.  on  15th  April, 
1865.  The  floor  of  a  room  adjoining  the  church,  to  which  his  Holiness 
had  retired  after  mass,  gave  way,  and  he  was  precipitated  into  the  cellar 
below,  but  was  extricated  unhurt.  On  the  farther  side  of  the  court,  on 
the  right,  is  the  entrance  to  the  church,  to  which  a  Staiboaab  with  45 
marble  steps  descends.  On  the  walls  of  the  staircase  are  numerous  ancient 
Christian  inscriptions  from  the  catacombs. 

The  Iktkbiob  is  divided  into  nave  and  aisles  by  16  antique  columna 
of  breccia,  porta  santa,  and  pavonazzetto,  which  support  arches.  Above  the 
aisles  and  along  the  wall  of  the  entrance  are  galleries  with  smaller  col- 
umns. The  Tabernacle  of  1614 ,  borne  by  four  fine  columns  of  porphyry, 
covers  a  statue  of  St.  Agnes,  in  alabaster,  a  restored  antique.  In  the  tribune, 
^MataicSy  representing  St.  Agnes  between  Popes  Honorius  I.  and  Symmachus, 
dating  from  the  7th  cent.,  and  an  ancient  episcopal  chair.  2nd  Chapel  on 
the  right :  Head  of  Christ  in  marble,  a  mediocre  work  of  the  16th  cent. ; 
also  a  beautiful  inlaid  altar  ^  above  it  a  *Eelief  of  SS.  Stephen  and  Law- 
rence ,  of  1490.  In  the  left  aisle,  over  the  altar  of  the  chapel ,  a  fine  old 
fresco.  Madonna  and  Child.  —  The  Catacombs^  to  which  there  is  an  en- 
trance in  the  left  aisle,  are  shown  by  the  sacristan,  from  whom  lights  are 
also  obtainable  (1  fr. ;  see  p.  361). 

Leaving  the  covered  flight  of  steps  which  descends  toS.  Agnese, 
and  descending  to  the  right,  we  reach  — 

8.  CoBtausa  (if  closed ,  apply  to  the  custodian  of  S.  Agnese, 
7s  fr.),  originally  erected  as  a  monument  by  Constantine  to  his 
daughter  Constantia,  but  converted  into  a  church  in  1256.  The 
dome,  70  ft.  in  diameter,  is  borne  by  24  clustered  columns  of  gra- 
nite. A  few  fragments  only  of  the  vestibule  and  the  wall  of  the 
central  part  of  the  edifice  now  exist.  In  the  tunnel-vaulting  of  the 
aisle  are  ^Mosaics  of  the  4th  cent,  with  genii  gathering  grapes,  in 
the  ancient  style,  but  bearing  traces  of  decline.  The  porphyry  sar- 
cophagus of  the  saint,  formerly  in  one  of  the  niches  (now  in  the  Va- 
tican Museum,  Sala  a  Croce  Greca,  p.  305),  is  similarly  adorned.  In 
a  niche,  Christ  as  the  ruler  of  the  world  with  SS.  Peter  and  Paul, 
and  again  in  the  opposite  niche  with  St.  John.  —  The  Coemeterium 
Ostrianum,  V4  M.  from  this  point,  see  p.  363. 

About  2^2  M.  from  the  gate ,  the  road  crosses  the  Anio  by  the 
Fonte  Nomentano »  an  ancient  bridge  which  has  been  frequently 
restored ,  surmounted  by  a  tower.    This  road  is  also  bordered  with 


The  Campagna.     S.  LORENZO  FUOBI.    Envir,  of  Rome.   343 

ancient  tombs.  Beyond  the  bridge  is  a  hill,  conjectured  to  be  the 
Mons  Sacer  rendered  famous  by  the  Secession  of  the  Plebs  (at  its 
foot  an  osteria).    View  from  the  top. 

About  4  M.  farther  are  the  Catacombs  of  Alexander  (p.  363). 

A  little  beyond  the  Catacombs,  a  poad  to  the  right  diverges  to  Palom- 
bara  (p.  374).  —  The  road  to  the  left  leads  to  Mentana,  a  village  belong- 
ing to  the  Borghese  family,  near  the  ancient  yomentunij  14  M.  from  Rome, 
where  a  hattle  between  the  Qaribaldians  and  the  French  and  Papal  troops 
took  place  on  3rd  Nov.,  1867  (p.  68).  The  district  is  extremely  bleak  at 
places,  bat  affords  beautiful  views  of  the  slopes  of  the  Sabine  Mts.  From 
Mentana  to  Monte  Roiondo  2  M.,  at  the  foot  of  which  the  railway-station 
of  the  same  name  is  situated  (p.  68). 

From  the  Porta  8.  Lovexuso. 

Tramway  from  the  Piazza  delle  Terme  to  S.  Lorenzo,  see  Tramway- 
line  '&0.  2^  p.  3  of  the  Appendix.  Omnibus  from  the  Piazza  della  Conso- 
lazione  via  the  Forum  Bomanum,  see  Omnibus-route,  No.  17.  r-  Steam 
Tramway  to  Tivoli^  see  p.  374. 

The  Porta  8,  Lorenzo  (PI.  II,  31)  stands  on  the  site  of  the 
ancient  Porta  Tiburtina,  which  led  to  Tivoll.  The  gateway,  con- 
structed by  Honorius  against  an  arch,  oyer  which,  according  to  the 
inscription,  passed  the  three  aqueducts  Marcia,  Tepula,  and  Julia, 
is  now  shut. 

The  road,  the  ancient  Via  Tiburtina,  starts  from  an  opening  in 
the  wall  to  the  S.E.  of  the  gate.  It  is  bounded  by  walls,  and  does 
not  afford  views  of  the  Sabine  Mts.  until  the  church  is  reached,  y^M. 
from  the  gate. 

The  basilica  of  *8.  Lorenzo  Fuoxi  le  Mnra  occupies  the  spot 
where  Constantino  founded  a  church  on  the  burial-place  of  St.  Law- 
rence and  St.  Cyriaca.  In  578  it  was  rebuilt  by  Pelagius  II.  This 
ancient  edifice,  which  was  entered  from  the  E. ,  was  entirely  re- 
modelled by  Honorius  III.  (1216-27),  who  added  the  present 
nave  to  the  apse,  and  transferred  the  facade  with  the  porch  to  the 
W.  end.  An  angle  formed  by  the  outer  walls  shows  where  the  new 
part  was  added.  Under  Nicholas  V.  and  Innocent  X.,  and  lastly 
under  Pius  IX.  in  1864-70,  the  church  underwent  extensive  altera- 
tions ,  and  is  now  at  least  partly  freed  from  disfiguring  patchwork. 
S.  Lorenzo  is  a  patriarchal  church,  and  one  of  the  seven  pilgrimage- 
churches  of  Rome  (p.  135).    Festival,  10th  August. 

In  the  piazza  in  front  of  the  church  is  a  Column  with  a  bronze 
statue  of  St.  Lawrence.  In  1864  the  Facade  was  embellished 
with  paintings  resembling  mosaic,  representing  the  founders  and 
patrons  of  the  church:  Pelagius  II.,  the  Emp.  Constantino,  Ho- 
norius III.,  Pius  IX.,  Sixtus  III.,  and  Hadrian  I.  The  vestibule  is 
borne  by  six  ancient  columns,  above  which  is  an  architrave  with  mo- 
saics (St.  Lawrence  and  Honorius  HI.);  it  contains  retouched  frescoes 
of  the  13th  cent.,  two  tombs  in  the  form  of  temples,  and  two  rude 
Christian  sarcophagi.    The  door-posts  rest  on  lions. 

The  Interior  consists  of  two  parts.  The  anterior  Later  Chubch,  which 
chiefly  dates  from  HoNoains  III.,  consists  of  nave  and  two  aisles,  separated 


344  Env.  of  Rome.     S.  LORENZO  FUORI.       The  Campagna. 

by  22  antique  columns  of  granite  and  cipoUino  of  unequal  thickness.  On 
the  capital  of  the  8th  column  on  the  right  are  a  frog  and  a  lizard,  and 
it  is  therefore  supposed,  hut  without  authority,  to  have  heen  brought 
from  the  colonnade  of  Octavia,  where  two  sculptors  Batrachus  (fi^g) 
and  Saurus  (lisard)  are  said  to  have  adopted  this  method  of  perpetuating 
their  names.  Above  the  plain  entablature  rises  a  wall  recently  adorned 
with  frescoes  by  Fraceassini  (on  the  right,  history  of  St.  Lawrence  j  on  the 
left,  that  of  St.  Stephen),  and  the  gaudily-painted  open  roof.  The  pavement, 
in  opus  Alexandrinum,  dates  from  the  12th  cent.  (p.  xlvii).  Under  a  mediaeval 
canopy  to  the  right  of  the  entrance  is  an  ancient  ^Sarcophagus  with  a  repre- 
sentation of  a  wedding ,  in  which  in  1256  the  remains  of  Card.  Fieschi, 
nephew  of  Innocent  IV.,  were  placed.  In  the  nave  are  the  two  elevated 
ambones,  that  to  the  *right  (p.  xlv)  for  the  gospel,  near  which  is  a  wreathed 
candelabrum  for  the  Easter  candle,  that  to  the  left  for  the  epistle  (12th 
cent.).  On  the  triumphal  arch  are  modern  paintings  (resembling  mosaics) 
of  the  Madonna  and  saints.  At  the  extremity  of  the  N.  aisle  a  flight  of 
12  steps,  on  the  left,  descends  to  a  chapel  and  the  catacombs. 

Adjoining  this  building  of  Honorius  on  the  E.  is  the  Oldbb  Chubch. 
erected  by  PslagiuBj  the  pavement  of  which  lies  3  ft.  lower.  The  raised 
central  itpace,  -  to  which  seven  steps  ascend  on  each  side  of  the  Confessio, 
dates  from  the  time  of  Honorius,  who  converted  the  nave  of  the  older 
church  into  a  choir  with  a  crypt  by  laying  a  pavement  halfway  up  the 
columns,  and  caused  the  aisles  to  be  filled  up.  The  rubbish  has  been 
recently  removed,  and  the  original  level  of  the  aisles  exposed  to  view. 
The  church  of  Pelagius ,  a  basilica  with  aisles  in  the  style  of  S.  Agnese 
Fuori  (the  only  two  examples  of  churches  with  galleries  at  Rome),  was 
originally  entered  at  the  opposite  (E.)  end.  Twelve  magnificent  fluted 
columns  of  pavonazzetto  with  Corinthian  capitals  (those  of  the  two  first 
are  formed  of  trophies ,  on  the  benches  in  front  of  them  are  mediaeval 
lions)  support  the  *  Entablature ,  which  consists  of  antique  fragments  and 
l^ears  a  gallery  with  graceful  smaller  columns.  On  the  triumphal  arch, 
of  which  this  is  the  original  front,  are  restored  mosaics  of  the  time  of 
Pelagius  II. :  Christ,  right  SS.  Peter,  Lawrence,  and  Pelagius ;  left  SS.  Paul, 
Stephen,  and  Hippolytus.  The  canopy  dates  from  1148.  The  dome  is  mod- 
em. By  the  wall  at  the  back  is  the  handsome  episcopal  throne.  —  We 
now  descend  the  flight  of  steps  leading  from  the  prolongation  of  the  aisles 
of  the  anterior  church  to  the  aisles  of  the  church  of  Pelagius.  The  nave 
of  the  old  church  has  now  been  partly  converted  into  a  crypt,  as  above 
mentioned.  In  the  vestibule  is  the  Tonib  of  PivA  IX,  (d.  Feb.  7,  1878), 
whose  body  was  transferred  hither  in  1881  from  its  temporary  resting-place 
in  St.  Peter^s.  The  monument,  which  according  to  the  injunctions  of  the 
deceased  pope  is  of  the  plainest  character,  consists  of  a  marble  sarco- 
phagus in  a  niche  like  those  in  the  catacombs. 

The  handsome  old  '^Cloistera  (^Chiostro;  generally  closed;  apply  to  one 
of  the  monks  to  the  right  in  the  sacristy)  contain  numerous  fragments  of 
sculptures  and  inscriptions  built  into  the  walls ;  in  the  comer  to  the  right 
of  the  principal  entrance  is  the  lid  of  a  sarcophagus  adorned  with  the  trium- 
phal procession  of  Cybele. 

Adjoining  the  churcli  is  the  Campo  Verano,  an  extensive 
church-yard,  consecrated  in  1837,  and  repeatedly  enlarged  since; 
the  upper  part  commands  a  beautiful  view  of  the  mountains  and  the 
Campagna.  By  the  entrance  are  colossal  figures  of  Silence,  Charity, 
Hope,  and  Meditation.  Among  the  numerous  handsome  monuments 
are  one  commemorating  the  Battle  of  Montana,  erected  in  1870, 
and  another  (with  statue)  to  the  poetess  Erminia  Fua-Fusinato  (d. 
1876).  On  the  whole,  however,  the  cemetery  is  less  interesting  than 
those  in  several  other  Italian  towns.  Fine  view  of  the  mountains 
and  the  Campagna  from  the  higher  part  of  the  cemetery ,  reached 
by  several  flights  of  steps. 


The  Campagna,        TOR  DE*  SCHIAVI.    Envir,  of  Borne.   345 

From  the  Porta  Haggiore. 

Two  high-roads  issue  from  the  Porta  Maggiore  (PI  II,  35; 
p.  180) :  to  the  left  the  Via  Praenestina  and  to  the  right  the  Via 
Labicana. 

The  ancient  Via  Praenestinaj  or  Palestrina  road,  to  the  left,  is 
little  frequented ,  but ,  as  the  city  is  left  behind ,  commands  beau- 
tiful views  of  the  mountains.  About  1 M.  from  the  gate  the  vineyard- 
walls  cease.  Numerous  ruins  of  tombs  on  the  right  indicate  the 
direction  of  the  ancient  route,  which,  lying  higher,  affords  a  freer 
view  than  the  present  lower  level  of  the  road,  and  may  be  reached 
by  crossing  the  fields.  About  21/2  M.  from  the  city-gate  is  the  Tor 
de'  Schiavi »  the  scanty  ruins  of  an  extensive  villa  of  the  time  of 
Diocletian. 

First,  to  the  left  of  the  road,  is  a  HexagoncU  Structure^  almost  entirely 
fallen  to  decay.  A  column  in  the  centre  and  the  additional  erection  on 
the  summit,  both  mediaeval,  impart  a  grotesque  appearance  to  the  place. 
—  Farther  on  is  a  Circular  Building  with  niches  and  dome,  used  in  the 
middle  ages  as  a  church ,  with  now  nearly  obliterated  frescoes  \  below, 
entered  from  the  back,  is  a  vault  supported  by  strong  pillars  in  the 
centre.  Both  these  buildings  are  supposed  to  have  belonged  to  baths. 
Among  the  extensive  ruins  on  the  right  of  the  road  are  a  few  CoUmibaria. 

The  Via  Collatina ,  diverging  here  to  the  left ,  skirts  the  Acqua 
Vergine  and  leads  to  (91/2  M.)  lAinghezza  (p.  373).  —  Beyond  this 
point  the  Via  Prsenestina  offers  little  of  interest,  except  the  con- 
tinuous view  of  the  mountains. 

On  the  Via  Freenestina,  SVa  H.  from  the  gate,  are  the  ruins  of  Tor 
tre  Teste  and  Tor  Sapienza^  the  so-called  Villa  of  the  Oordiani,  About  31/2  M. 
farther  on  the  road  crosses  the  Fbsso  di  Ponte  di  Nona  by  an  ancient  bridge 
of  seven  arches.  Near  the  Otieria  delP  Ota^  2  M.  farther  on,  to  the  left 
of  the  road ,  is  the  site  of  the  ancient  Oabii,  on  the  bank  of  the  drained 
Laffo  di  Ccutiglione.  Some  ruins  are  visible  near  the  conspicuous  tower 
of  Castiglione^  the  most  interesting  of  which  are  the  hewn  stone  remains 
of  the4celebrated  temple  of  Juno  Gabina. 

At  the  Osteria  dell'  Osa  the  ancient  Via  Preenestina  turned  to  the  right 
towards  (6  M.)  Gallicano  (see  below),  but  the  modern  road  bends  to  the  N.E. 
and  forks  at  the  foot  of  the  mountain,  the  left  arm  leading  to  the  Via 
Tiburtina,  which  it  reaches  at  the  Ponte  Lucano  (p.  374),  the  right  arm, 
passing  Coreolle  and  Passerano,  to  Qallicano  (lO  M.  from  the  Osteria  deir 
Osa).    The  ancient  and  modem  roads  unite  just  before  the  last-named 

8 lace  at  the  Osteria  di  Cavamontey  the  name  of  which  recalls  the  cutting, 
3  ft.  deep ,  made  for  the  old  road  in  the  tufa  rock.  The  Aqua  Claudia 
passes  over  it.  The  road  finally  leads  past  the  monastery  of  S.  Pattore 
to  (5Va  M.)  Palestrina  (p.  3S3). 

The  road  leading  to  the  right  from  the  Porta  Maggiore,  the  an- 
cient Via  Labicana  J  now  called  Via  Casilinaj  is  more  frequented 
than  the  preceding,  and  is  traversed  thrice  a  week  by  a  *vetturino'. 
On  this  road ,  I3/4  M.  from  the  gate ,  are  situated  the  remains  of 
the  octagonal  Tomb  of  the  Empress  Helena^  whose  sarcophagus  found 
here  is  now  preserved  in  the  Vatican  (p.  305).  The  building,  which 
has  been  fitted  up  as  a  small  church  (88.  Pietro  e  Marcellino ;  cata- 
combs, see  p.  363),  is  named  Torre  Pignattara  from  the  'pignatte', 
or  earthenware  vessels  used  for  the  sake  of  lightness  in  the  con- 
struction of  thQ  vaulting,  as  was  customary  during  the  empire,  but 


346  Envir,  of  Rome.        VIA  LATIN  A.  The  CampagfM. 

is  otherwise  uninteresting.  Tone  Pignattara  is  a  station  on  the  steam- 
tramway  to  Marino  (p.  367). 

About  8  M.  from  the  gate,  near  the  PorUe  delta  C<Uema^  is  a  modern 
aqueduct,  the  Aequo  Felice  (p.  347).  Farther  on,  to  the  left^  are  remains 
of  the  arches  of  the  ancient  Aqua  Alexandrina.  A  lake  (41  Laghetto'*), 
now  drained,  to  the  left  of  the  road,  at  the  foot  of  the  lionU  Faleonst  is 
supposed  to  be  the  famous  Lake  ReffUlut ,  where  the  Romans  defeated  the 
Latins  (6.  C..496).  —  On  an  isolated  eminence >  15  M.  from  Rome,  lies 
Golonna^  beyond  which,  nearer  the  lofty  Monte  Compatri,  lay  the  ancient 
Labicum.  —  The  road  gradually  ascends  to  the  Otteria  di  8.  Ceeareo,  a 
thatched  cottage  to  the  left  (good  wine),  beyond  which  it  forks.  The  branch 
to  the  right  leads  vi&  Lugnano  (recently  erroneously  renamed  Labico)  to  (6  U.) 
Vaimotitone  (p.  382);  the  left  branch  leads  to  (i'/s  M.)  PalestHna  (p.  383). 

Prom  the  Porta  S.  Giovanni. 

From  the  gate  to  the  Tombs  2V4  M. ;  thence  to  8.  Urbano  s/i  M.  (p.  351). 
Driving  is  practicable  as  far  as  the  tombs.  Custodian  on  the  spot  from 
noon  to  sunset,  except  in  summer  (fee  Va  f'**  for  a  party  1-1  i/a  fr.).  — 
From  this  point  we  may  cross  the  meadows  to  Porta  Furha  (Va  ^Oj  and 
thus  combine  the  two  excursions.  Those  who  are  driving  should  order 
their  carriage  to  meet  them  at  Porta  Furba. 

Porta  8.  Oiovanniy  see  p.  273,  and  comp.  PI.  Ill,  33,  36.  — 
The  ancient  Via  Latina  diverged  from  the  Via  Appia  outside  the 
Porta  Gapena ;  the  now  closed  Porta  Latina  in  the  wall  of  Anrelian 
was  destined  for  its  point  of  issue  (p.  256).  Like  the  Via  Appia  and 
the  other  roads  emerging  from  Rome ,  it  was  bordered  by  tombs  on 
both  sides ,  several  of  which ,  interesting  especially  on  account  of 
their  decorations ,  were  excavated  in  1862. 

We  follow  the  road  to  Albano  (the  7ia  Appia  Nuovd),  command- 
ing beautiful  views,  in  a  straight  direction.  At  the  Trattoria  £al- 
dinotti  the  road  to  the  left  leads  to  Frascati  Qp.  364).  The  high- 
road is  followed  as  far  as  the  second  milestone  (1.)  of  the  present 
route ,  immediately  beyond  which  we  quit  it  by  a  road  leading  to 
the  left  to  the  ancient  Via  Latina ,  passing  the  remains  of  the  old 
road,  with  two  Ancient  Tombs,  which  may  be  reached  by  carriage. 

The  IsT  Tomb,  Tothba  dei  Vakrii,  to  the  right  of  the  road ,  with  the 
two  recently-restored  Roman  pilasters,  consisted  of  an  anterior  court  and 
subterranean  tomb,  over  which  rose  the  now  re-erected  sacellum  with 
two  columns.  The  interior  of  the  chamber  is  decorated  with  interesting 
•Reliefs  in  stucco,  sea-monsters,  nymphs,  and  genii. 

The  2nd  Tomb,  Toniba  dei  Paneraiii^  under  a  shed  opposite,  contains 
in  its  single  chamber  landscapes  framed  in  stucco  '^Ornaments  and  four 
stucco  reliefs  (Judgment  of  Paris,  Alcestis,  Priam  and  Achilles,  Hercules 
playing  the  lyre  before  Bacchus  and  Minerva).  The  'Pancratii'  were  one 
of  the  burial  societies  common  in  the  Srdandith  cent.,  but  the  plan  and 
arrangements  of  the  tomb  prove  that  it  dates  from  the  2nd  century. 

The  other  tombs  are  interesting  only  for  their  tile  ornamentation  (Cor- 
inthian pilaster-capitals  and  cornices). 

In  the  immediate  vicinity  the  foundations  of  a  Batiiica^  dedicated  to 
8t.  Stephen  in  the  5th  cent.,  have  been  excavated.  It  is  now  surrounded 
by  a  wall,  of  which  the  custodian  of  the  tombs  keeps  the  key. 

From  the  Via  Appia  Nuova,  1/4  M.  farther,  a  road  diverges  to  the 
cold  mineral-baths  of  Acqua  Santa ,  passes  the  circus  of  Maxen- 
tius  and  S.  Urbano,  and  leads  to  the  Via  Appia  near  the  Catacombs 
of  Callistus  (pp.  361,  348).     The  Osteria  del  Tavolato ,  on  the  Via 


The  Campagna,  PORTA  FURBA.       Etwir.  of  Rome.   347 

Appia  Naova,  V4  M.  farther  on,  is  a  station  on  the  Marino  tramway 
(p.  367). 

PoBTA  FuHBA.  This  excorsion  of  2-3  hrs.  is  pleasanter  than  many 
others,  as  the  view  is  obstructed  by  walls  for  short  distances  only  (car- 
riage thither  from  the  gate  and  back,  3-4  fr.)- 

From  Porta  8.  Giovanni  we  follow  a  straight  direction  for  5  min, 
(see  p.  346),  and  at  the  Tratt.  Baldinotti  we  take  the  Frascati  road  to 
the  left,  which  farther  on  is  crossed  by  the  railway  to  Civiti  Vecchia. 
To  the  left  runs  the  unbroken  series  of  arches  of  the  Acqua  Felice, 
and  in  front  of  them  occasionally  appear  the  Aqua  Claudia  and  Mar- 
cia,  running  one  above  the  other.  The  Acqua  Felice^  about  13  M, 
long,  completed  by  Sixtus  V.  (Felice  Peretti)  in  1585,  and  after- 
wards frequently  restored,  begins  at  the  base  of  the  Alban  Mts.  near 
Golonna  (two-thirds  subterranean),  and  terminates  in  the  Piazza 
S.  Bernardo  (p.  168).  The  Aqua  Marcia,  56  M.  long,  constructed 
by  the  Prator  Q.  Martins  Rex  in  B.C.  146,  and  restored  in  1869, 
enters  the  city  by  the  Porta  Pia,  and  brings  a  supply  of  water  from 
the  Sabine  Mts.,  which  is  considered  the  purest  in  Rome.  Over  it 
flows  here  the  Aqua  Claudia,  erected  in  A.D.  50  by  the  £mp.  Clau- 
dius, extending  from  Subiaco,  a  distance  of  59  M.  —  To  the  right, 
a  view  of  the  Via  Appia  with  the  tomb  of  Caecilia  Metella. 

About  2  M.  from  the  gate  we  reach  the  so-called  Porta  Furba, 
an  arch  of  the  Acqua  Felice,  under  which  the  road  leads.  An  exqui- 
sie  *View  is  enjoyed  here  of  the  Campagna  and  the  Alban  Mts.,  and 
a  little  farther  on,  the  Sabine  Mts.  also  come  in  sight.  Below  runs 
the  railway  to  Naples  and  Frascati.  —  About  2  min.  from  the  Porta 
Furba,  the  *Oitefia  del  Pino  stands  by  the  pine  on  the  right.  — About 
Y2  M.  beyond  it  rises  the  Monte  del  Orano,  with  a  tower,  which 
commands  a  magnificent  *Panosama.  A  long  shaft  leads  to  an 
ancient  circular  tomb-chamber  in  the  interior  of  this  hill,  where  the 
so-called  sarcophagus  of  Alexander  Severus  (p.  217)  was  found. 

From  the  Porta  S.  Sebastiano. 

The  ezcarsion  to  the  Via  Appia  by  carriage,  including  halts,  re- 
quires 3-31/2  hrs.  (one-horse  carr.  to  Casale  Botondo  and  back,  9-10  fr.). 
Good  walkers  will  take  4i/2-5  hrs. :  from  the  arch  of  Gonstantine  to  Porta 
S.  SebMtiano ,  IV4  M.  *,  from  the  gate  to  the  Catacombs  of  St.  CallistuSy 
V/t  M.  \  thence  to  the  beginning  of  the  excavated  part  of  the  ancient  Via 
Appia ,  1  M.  i  to  the  Casale  Rotondo ,  2  M.  more.  —  The  traveller  is  re- 
commended to  drive  as  far  as  the  Catacombs  of  Callistus  (2V2  f'O?  a  visit 
to  which  is  conveniently  combined  with  this  excursion,  and  to  walk 
thence  to  the  Casale  Botondo  and  back.  —  Or  he  may  take  a  tramway- 
car  (Tramway-line  Xo.  2,  p.  3  of  the  Appendix)  at  about  11  a.m.  from  the 
Plaesa  delle  Terme  as  far  as  3.  Lorenzo  fttori,  change  there  to  the  steam- 
tramway  for  S.  Harino,  alight  at  Le  Capannelle  (p.  367,  1  fr.  20  c),  and  pro- 
ceed thence  to  (I1/2  M.)  Casale  Botondo.  It  is  not  advisable  to  adopt  this 
route  in  the  reverse  direction,  as  there  is  no  waiting-room  at  Le  Capan- 
nelle, and  the  trains  run  very  irregularly. 

The  route  by  the  Via  di  Porta  S.  Sebastiano  to  the  Porta  S.  Se- 
hastiano  (PI.  Ill,  28),  and  the  ruins  and  buildings  situated  near  it, 
are  described  at  pp.  254  et  seq. 


348     Envir.  of  Rome,  YIA  APPIA.  The  Campagna. 

Tho  *Vi»  Appia»  the  military  road  constructed  by  the  censor 
Appius  Claudius  Gscus  (in  B.C.  312),  led  by  the  ancient  Porta 
Capenay  near  the  church  of  S.  Gregorio  (p.  258),  to  Capua,  whence 
it  was  afterwards  extended  to  Beneventum  and  Brundisium.  In  1850- 
53  it  was  excavated  as  far  as  the  11th  milestone,  where  it  is  now 
intersected  by  the  railway  to  Albano.  Even  at  the  present  day  the 
Via  Appia  merits  its  proud  ancient  title  of  the  ^queen  of  roads'.  It 
affords  perhaps  the  finest  of  all  the  nearer  excursions  in  the  Cam- 
pagna. Shortly  after  leaving  the  city,  we  enjoy  a  magnificent  pro- 
spect, embracing  the  Campagna,  the  ruins  of  the  aqueducts,  and  the 
inoun tains,  while  numerous  ancient  tombs  are  situated  on  each  side 
of  the  road.  Very  few  of  the  latter  are  preserved  intact ;  but  the  re- 
mains of  others  have  been  carefully  restored,  so  as  to  convey  an 
idea  of  their  architecture  and  decorations. 

The  road  descends  from  the  Porta  8.  Sebastiano  by  a  declivity 
corresponding  with  the  ancient  Clivus  Martia ,  and  after  4  min. 
passes  under  the  railway  to  Civitk  Yecchia.  It  then  (3  min.)  crosses 
the  brook  Almo,  where  ruins  of  tombs  are  observed  on  both  sides. 
The  Via  Ardeatina  now  (5  min.)  diverges  to  the  right  j  and  on  the 
left  stands  the  small  church  of  Domine  Quo  Vadis,  so  named  from 
the  legend  that  St.  Peter,  fleeing  from  the  death  of  a  martyr,  here 
met  his  Master  and  enquired  of  him,  'Domine  quo  vadis?'  to  which 
he  received  the  reply,  'Venio  iterum  cruciflgi'}  whereupon  the  apostle, 
ashamed  of  his  weakness,  returned.  A  copy  of  the  footprint  which 
Christ  is  said  to  have  impressed  on  the  marble  is  shown  here. 

On  the  Via  Ardentina,  about  i^/s  M.  from  the  gate,  lies  the  picturesque 
CeefiiffnolOy  with  an  old  tower;  the  castle  and  garden  were  added  by  Paul  V« 
and  Leo  XII. 

By  a  small  circular  chapel,  about  a  hundred  paces  beyond  the 
church,  a  fleld-road  diverges  to  the  left,  to  the  Caffarella  Valley 
(see  p.  351).  The  road  now  ascends,  being  hemmed  in  for  the  next 
1/2  M.  by  monotonous  walls.  To  the  left,  in  the  Vigna  Vagnolini, 
are  considerable  remains-  of  the  largest  ancient  Columbarium  yet 
discovered.  Its  three  apartments,  of  which  that  to  the  left  is  now 
used  as  a  dwelling ,  and  that  in  the  centre  as  a  wine-cellar,  were 
capable  of  containing  5000  urns.  Charming  view  hence  of  the  valley 
of  the  Caffarella  and  the  Via  Latina. 

To  the  right.  No.  33,  IV4  M.  from  the  gate,  is  the  entrance  to 
the  Catacombs  of  St.  CalUstus  (p.  361),  furnished  with  an  inscrip- 
tion ,  and  shaded  with  cypresses. 

Farther  on  the  road  again  divides.  The  arm  to  the  left,  the  'Via 
Appia  Pignatelli',  is  the  new  road  which  leads  to  S.  Urbane  (p.  351) 
and  the  baths  of  Acqua  Santa  (p.  352),  and  unites  near  Le  Oapannelle 
(p.  347;  21/2M.  from  the  bifurcation)  with  the  high-road  to  Albano. 

We  follow  the  branch  of  the  road  to  the  right,  the  *Via  Appia 
Antica',  descend  past  the  entrance  (on  the  left,  No.  37,  Vigna  Ran- 
daninl)  of  the  Jewish  Catacombs  (p.  363) ,  and  reach  the  church  of 
^.Sebastiano,  situated  IV2  M.  from  the  gate.  This  church  has  from 


The  Campagna,  VIA  APPIA.         Envir.  of  Rome.   349 

a  very  early  period  been  one  of  the  seven  churches  frequented  by  pil- 
grims ,  being  erected  over  the  catacombs  where  the  remains  of  so 
many  martyrs  reposed.  Mention  of  it  is  first  made  in  the  time  of 
Gregory  the  Great.  The  form  was  originally  that  of  a  basilica,  but  in 
1612  it  was  altered  by  Flaminio  Ponzio  and  Oiovanni  Vasanzio.  The 
portico  is  supported  by  six  ancient  columns  of  granite. 

The  IST  Chapel  on  the  right  contains  the  original  ^footprint  of  Christ' 
on  stone.  The  last  chapel  on  the  right  was  designed  by  C.  Maratta.  Over 
the  High  Altas  is  a  painting  by  Innocenzo  Taceoni,  a  pupil  of  Annibale 
Carracci.  The  second  chapel  on  the  left  contains  a  good  statue  of  St.  Se- 
bastian, designed  by  Bernini  and  executed  by  Oiorgini.  A  staircase  on  the 
left,  by  the  egress,  descends  to  the  Catacombs  (p.  363). 

Immediately  before  we  come  to  the  church ,  the  Via  delle  Sette 
Chiese  diverges  to  the  right ,  intersecting  the  Via  Ardeatina  after 
10  min.,  and  in  4  min.  more  reaching  the  recently  excavated  re- 
mains of  the  Basilica  of  St.  Petronillaj  or  of  SS.  Nereo  ed  Achilleo 
(see  p.  362).  Thence  to  S.  Paolo  Fuori  U/^  M.,  see  p.  352. 

Continuing  to  follow  the  Via  Appia  we  come  to  a  large  gateway 
on  the  left,  which  we  pass  in  order  to  reach  the  *  Circus  of  Mazen- 
tiu8 ,  situated  on  the  left  side  of  the  road.  The  circus ,  which  is 
350  yds.  long,  and  86  yds.  broad,  was  constructed  in  311 ,  and  is 
now  sufficiently  excavated  to  show  the  arrangement  of  the  struc- 
ture ,  which  was  designed  for  chariot-races. 

Facing  the  Via  Appia  was  an  extensive  portico,  and  behind  it  one  of 
the  principal  Entrances,  with  another  opposite  to  it  in  the  semicircle  which 
terminated  the  building  (on  the  branch  of  the  road  mentioned  at  p.  348).  At 
the  sides  were  other  gates,  of  which  the  first  on  the  right  is  supposed  to 
be  the  Forta  Libiiina,  by  which  the  dead  were  carried  out.  On  each  side 
of  the  first-mentioned  main  entrance  were  the  carceres,  or  barriers.  The 
chariots  starting  hence  had  to  perform  seven  times  the  circuit  of  the 
course ,  which  was  formed  by  the  seats  of  the  spectators  and  the  spina, 
a  wall  erected  longitudinally  in  the  centre  of  the  arena,  and  embel- 
lished with  statues  and  obelisks,  one  of  which  last  now  stands  in  the 
Piazza  Navona  (p.  190).  At  the  ends  of  this  wall  stood  the  metae,  or 
goals.  The  spina  was  placed  somewhat  obliquely,  for  the  purpose  of 
equalising  the  distance  as  much  as  possible  to  those  starting  in  different 
positions ,  and  for  the  same  reason  the  carceres  are  in  an  oblique  line. 
The  spectators  sat  on  ten  surrounding  tiers  of  steps,  on  which  about 
18,000  persons  could  be  accommodated.  It  is  worthy  of  remark  that  pottery 
has  been  used  in  the  formation  of  the  tiers  of  seats. 

The  ruins  of  a  circular  building  near  the  circus,  on  the  Via  Appia, 
are  supposed  to  be  a  Temple  of  Romulus,  the  son  of  Maxentius,  who  died 
young,  and  in  whose  honour  the  circus  was  perhaps  also  constructed. 

The  road  again  ascends,  and,  in  35  min.  from  the  Porta  S.  Se- 
bastlano,  leads  us  to  the  *Tomb  of  Cseoilia  Metella,  which  forms  so 
conspicuous  an  object  in  the  views  of  the  Campagna.  It  is  a  circular 
structure,  65  ft.  in  diameter,  which,  as  well  as  the  square  pedestal, 
was  originally  covered  with  travertine.  The  frieze  which  runs 
round  the  building  is  adorned  with  wreaths  of  flowers  and  skulls  of 
oxen ,  from  which  last  the  tomb  is  sometimes  called  Capo  di  Bove. 
On  a  marble  tablet  facing  the  road  is  inscribed :  Caeeiliae  Q.  Cretici 
Filiae  MeteUae  Craasi,  i.e.  to  the  daughter  of  Metellus  Creticus,  wife 
of  the  younger  Crassus,  son  of  the  triumyir.    The  interior,  now  al- 


350  Enohr,  of  Rome.         VIA  APPIA.  The  Campagna. 

most  entirely  filled  up,  contained  the  tomb-chamber  of  the  deceased. 
In  the  13th  cent,  the  Caetani  converted  the  edifice  into  the  tower 
of  a  stronghold,  and  furnished  it  with  battlements.  To  this  extensive 
castle ,  which  subsequently  passed  through  various  hands ,  and  was 
destroyed  under  Sixtus  V.,  belong  the  picturesque  ruins  of  a  palace 
adjacent  to  the  tower,  and  a  church  opposite.  — A  little  beyond  the 
tomb  the  *Via  Metella*  diverges  to  the  left  (see  p.  352). 

As  far  as  this  neighbourhood  extends  a  lava-stream  which  once 
descended  from  the  Alban  Mts.  and  yielded  paving  material  for  the 
ancient  road.  The  more  interesting  part  of  the  Via  now  begins  ;  the 
ancient  pavement  is  visible  in  many  places,  the  road  is  skirted  on 
both  sides  by  continuous  rows  of  ruined  tombs,  and  the  view  be- 
comes more  extensive  at  every  step.  On  the  left  are  perceived  the 
adjacent  arches  of  the  Aqua  Marcia  and  the  Aqua  Claudia,  the  latter 
now  partly  converted  into  the  modern  Acqua  Felice  (comp.  p.  347), 
The  houses  on  the  roadside  gradually  cease ,  and  2^4  M.  from  the 
city-gate,  beside  the  osteria  of  the  Vigna  Savi^  we  reach  the  en- 
trance (indicated  by  a  notice  on  a  house  to  the  right)  to  the  exca- 
vated part  of  the  Via  Appia,  flanked  beyond  this  point  by  a  constant 
succession  of  tombs.  Many  of  these  contain  reliefs  and  inscriptions 
worthy  of  note.  The  scenery  continues  to  be  strikingly  beautiful. 
On  the  right  is  the  Fortezza  Appia  Anticaj  an  outwork  of  the  new 
fortifications  of  Rome. 

About  174  M.  from  the  Vigna  Savi,  on  the  left,  is  a  'casale' 
built  within  the  walls  of  an  ancient  church,  which  is  called  8.  Maria 
Nuova,  Beyond  it  lie  the  extensive  ruins  named  Roma  Vecchiaj 
which  appear  to  have  belonged  to  a  spacious  villa  of  the  Quintilii. 
Several  of  the  chambers  were  employed  as  baths.  Then,  on  the 
right,  are  two  conical  tombs,  overgrown  with  trees ,  commanding  an 
extensive  view  of  the  barren  Campagna.  Close  by  is  an  Vetrinum, 
or  place  used  for  cremations,  surrounded  by  a  wall  of  peperine. 

A  large  tomb  on  the  left ,  the  site  of  which  is  now  occupied  by 
a  small  farm,  %  M.  from  S.  Maria  Nuova,  is  named  the  Casale 
Rotondo.  It  may  be  ascended  for  the  sake  of  the  fine  view  (25  c. ; 
often  closed).  The  lofty  building  on  the  left ,  7  min.  from  the  Casale 
Rotondo,  is  also  an  ancient  tomb ,  on  which  the  Arabs  and  Normans 
erected  a  tower,  named  Tor  di  Selce  (tower  of  basalt). 

The  Via  Appia  from  the  Tor  di  Selce  to  Albano  (7Va  M.)  is  less 
interesting.  Among  the  tombs  may  also  be  mentioned,  on  the  left,  2  M. 
beyond  Tor  di  Selce,  the  circular  TorracciOy  or  Palomiaro.  At  the  ilth 
milestone  the  road  is  crossed  by  the  railway,  a  little  beyond  which  is  the 
Osteria  delle  Fratocchie^  where  the  old  road  and  the  Via  Appia  Xucva  unite. 
On  the  left  side  of  the  road  Clodius  once  possessed  a  villa;  to  the  right  in 
Uie  valley  lay  Bovillae^  a  colony  of  Alba  Longa,  with  a  sanctuary  of  the 
Gens  Julia,  where  the  remains  of  a  theatre  and  circus  may  still  be  traced. 
Remains  of  walls  and  tombs  are  seen  on  both  sides  of  the  road.  A  large 
square  structure,  about  33  ft  in  height,  with  three  niches,  was  long  erron- 
eously regarded  as  the  tomb  of  Clodius.  The  road  ascends.  The  high 
^ound  here  commands  a  fine  surrey  of  the  Campagna,  the  sea,  and  Rome. 
Tear  the  gate  of  Albano,  at  the  14th  milestone,  on  the  left  is  the  so-called 
omb  of  Pompey  (p.  369).      


TheCampagna.     GROTTO  OF  EGERIA.  .BnviV.  o/' jRom«.   351 

Tbmplb  of  thb  Deus  Redioultjs.  Gbotto  of  Egbbia.  S.  Ub* 
BANO.  —  From  the  Arcli  of  Constantine  to  Domine  Quo  Vadis  about  2  M., 
thence  to  B.  Urbano  U/a  M.  (thus  far  driving  is  practicable)  •,  from  this  point 
across  the  fields  to  the  Via  Appia  Nuova  and  Via  Latino  IVs  M. ;  back 
to  the  Porta  S.  Oiovanni  2»/4  M.  —  Or  from  S.  Urbano  to  the  ancient  Via 
Appia,  reaching  it  not  far  from  the  tomb  of  Geecilia  Metella,  1V«  M. 

At  the  small  chapel  beyond  the  church  of  Domine  quo  Vadls 
(p.  348)  we  take  the  field-road,  which  is  very  muddy  after  rain,  to 
the  left,  leading  for  ^2  M-  between  hedges.  On  reaching  the  open 
fields,  we  follow  the  road  descending  to  the  left  to  the  mill.  Near  the 
latter  is  situated  the  so-called  Temple  of  the  Deus  Bediculns,  a  Ro- 
man tomb  of  Hadrian's  time ,  on  an  ancient  road  which  formerly 
issued  from  the  now  closed  Porta  Latina  (comp.  p.  346).  The  building 
has  been  assumed  by  some,  but  without  authority ,  to  be  a  temple 
erected  by  the  Romans,  after  the  retreat  of  Hannibal,  to  the  deity  who 
'turned  back'  the  Carthaginians.  The  front,  facing  the  N.,  was  ap- 
proached by  a  flight  of  steps ;  the  entrance  to  the  tomb  is  in  the  left 
side-wall.  One  side  is  ornamented  with  hexagonal  pilasters  in  niches, 
the  whole  being  an  excellent  example  of  skilful  brick  architecture. 
The  interior  (25  c.)  contains  two  stories  with  groined  vaulting. 

Returning  hence  to  the  road ,  we  ascend  the  valley  of  the  Almo^ 
or  Caffarella.  The  hill  (with  the  'Grove  of  Egeria')  forming  the  ter- 
mination of  the  valley  is  conspicuous.  The  carriage-road  along  the 
brook  is  at  present  closed  by  a  fence,  at  the  point  where  the  path 
to  the  Tenuta  diverges  to  the  left.  We  may  either  climb  the  tence 
or  make  a  detour  by  the  hill  to  the  right  to  S.  Urbano  (see  below). 
Farther  on,  where  the  road  to  Urbano  ascends  to  the  right,  we 
follow  the  path  by  the  brook.  This  path  leads  to  the  so-called 
Grotto  of  Egeria,  which  was  sought  for  here  owing  to  a  misinter- 
pretation of  a  passage  of  Juvenal,  and  a  confusion  between  the  Au- 
relian  and  the  Servian  walls.  The  'grotto*  is  a  NymphaBum,  originally 
covered  with  marble,  the  shrine  of  the  brook  Almo,  which  now  flows 
past  it  in  an  artificial  channel,  and  was  erected  at  a  somewhat  late 
period.  A  niche  in  the  posterior  wall  contains  the  mutilated  statue 
of  the  river-god,  standing  on  corbels  from  which  water  used  to  flow. 
The  niches  in  the  lateral  walls  were  also  once  filled  with  statues. 

The  footpath  now  passes  a  small,  but  formerly  more  extensive 
wood  on  the  hill ,  commanding  an  admirable  view  of  the  Gampagna 
and  theAlbanMts.,  where,  according  to  the  account  of  the  ciceroni, 
Numa  is  said  to  have  held  his  interviews  with  the  nymph  Egeria. 

To  the  right  (N.),  opposite  us,  is  situated  S.  Urbano,  a  Roman 
tomb  of  the  time  of  the  Antonines,  long  regarded  as  a  temple  of 
Bacchus,  and  recognised  from  a  distance  by  its  red  brick  walls.  It 
seems  to  have  been  converted  into  a  church  in  the  11th  cent.,  from 
which  period  the  paintings  date. 

The  edifice  was  provided  with  a  portico  borne  by  four  Corinthian  col- 
umns, which  was  probably  wailed  up  during  the  restoration  in  1634,  on 
which  occasion  the  flying  buttresses  were  also  added. 

The  Intbbiob   is   adorned   with   paintings   between    the    Corinthian 


352  Envir,  of  Rome,     S.  PAOLO  FUORI.         The  Campagna. 

pilasters,  restored  under  Urban  VIII. ,  but  interesting  on  account  of 
their  origin.  They  were  executed ,  according  to  an  inscription  on  the 
Crucifixion  over  the  door,  by  a  certain  Bonixo  in  the  year  1011.  On  the 
posterior  waJl  is  Christ  on  a  throne  imparting  blessings ;  also  scenes  from 
the  lives  of  Christ,  St.  Urban,  and  St.  Cecilia.  —  A  staircase,  now  walled 
up,  is  said  to  lead  to  the  catacombs. 

To  the  W.  of  S.  Urbane  is  the  (2  min.)  'Via  Appia  Pignatelli' 
(p.  348),  which  leads  to  the  right  to  the  (9  min.)  Via  Appia  Antica 
and  to  the  left  to  the  (2  min.)  Circus  of  Maxentius  ,  which  we  may 
traverse,  in  order  to  reach  the  Via  Appia  below  the  Tomb  of  CaBcilia 
Metella  (p.  349). 

In  the  other  direction  the  pedestrian  from  S.  Urbano  may  cross 
the  fields  to  the  'Via  Metella*,  which  leads  from  the  tomb  of  Cascilia 
Metella  to  the  tombs  on  the  Via  Latina  (p.  346);  or,  traversing  the 
fields  beyond  the  Via  Metella ,  he  may  proceed  past  the  Baiha  of 
Acqua  Santa  to  the  Osteria  del  Tavolato  (station  of  the  tramway 
to  Marino  mentioned  at  p.  367;  comp.,  however,  the  remark  on  Le 
Capannelle  at  p.  347J. 

From  the  Porta  8.  Paolo. 

From  the  Piazsa  Bocca  della  Verity  (p.  249)  to  the  Porta  8,  Paolo^ 
i  M.  \  thence  to  the  church  of  8.  Paolo  Fuori^  IVs  H. ;  to  the  Tre  Fontane^ 
li/a  M.  more.  —  A  digression  to  the  three  churches  on  the  Aventine  (pp.  252, 
263),  Honte  Teataecio,  and  the  Pyramid  of  Cestius  (pp.  261,  262),  may  con- 
veniently be  made  from  the  route  to  the  Porta  S.  Paolo.  —  Trakway  direct 
to  S.  Paolo  Fuori  from  the  Piazza  Montanara  (tramway-line  No.  6,  p.  3  of 
the  Appendix  \  between  Piazza  Montanara  and  Piazza  di  Spagna,  omnibus- 
line  No.  24,  p.  2  of  the  Appendix). 

Porta  8.  Paolo  (PI.  Ill,  16),  see  p.  252.  —  A  few  hundred  paces 
from  the  gate  the  road  is  crossed  by  the  railway  to  Finmicino  and 
CivitJi  Vecchia.  About  midway  to  the  church  of  S.  Paolo  a  small 
chapel  on  the  left  Indicates  the  spot  where,  according  to  the  legend, 
St.  Peter  and  St.  Paul  took  leave  of  each  other  on  their  last  journey. 
Before  we  reach  the  church,  the  pleasant  Via  deUe  SetU  Chiese  di- 
verges to  the  left  at  an  acute  angle  to  S.  Sebastiano  on  the  Via 
Appia,  2  M.  distant;  comp.  p.  349. 

*S.  Paolo  Fuori  le  Mora ,  founded  in  388  by  Theodosius  and 
Valentinian  II.  on  the  site  of  a  small  church  of  Constantino,  was 
completed  by  Honorius  and  was  restored  and  embellished  by  many 
of  the  popes,  especially  Leo  III.  Prior  to  the  great  fire  of  the  night 
of  15th  July,  1823,  this  was  the  finest  and  most  interesting  church 
at  Rome.  It  was  a  hasilica  with  double  aisles  and  open  roof;  and 
the  architrave  was  supported  by  eighty  columns  of  pavonazzetto  and 
Parian  marble,  adorned  with  busts  of  the  popes.  It  contained  numer- 
ous ancient  mosaics  and  frescoes,  and  in  the  Gonfessio  the  sarco- 
phagus of  St.  Paul, •who,  according  to  tradition,  was  Interred  by  a 
pious  woman  named  Lucina  on  her  property  here.  The  front  to- 
wards the  Tiber  was  approached  by  a  colonnade,  and  early  in  the 
middle  ages  an  arcaded  passage  connected  it  with  the  city. 

Immediately  after  the  fire,  Leo  XII.  began  the  work  of  restora- 


TheCampagna,  S.  PAOLO  FUORI.     Envir,ofRome,  353 

tion,  which  was  presided  over  by  Bellij  and  afterwards  by  Poletti. 
The  transept  was  consecrated  by  Gregory  XYI.  in  1840,  and  the 
whole  church  by  Pius  IX.  in  1854,  on  the  occasion  of  the  meeting 
of  the  Council.  The  plan  and  the  dimensions  are  the  same,  but  for 
slight  divergences,  as  those  of  the  original  building,  with  which, 
however,  the  gorgeous  decoration  is  somewhat  inconsistent.  The 
chief  facade,  with  a  portico  borne  by  splendid  monolithic  columns 
of  Simplon  granite,  is  turned  towards  the  Tiber.  The  mosaics  on  the 
upper  part  of  it,  representing  Christ  with  SS.  Peter  and  Paul,  in  the 
symbolical  style  of  the  early  Christians,  with  the  four  great  pro- 
phets below  them,  were  executed  by  F.  Agricola  and  Consoni,  in 
the  papal  mosaic  manufactory  (18751.  —  The  chief  church  festi- 
vals take  place  on  Jan.  25th,  June  30th,  and  Dec.  28th. 

The  *Interior  (130  yds.  in  length,  65  yds.  in  width  ,  75  ft.  in 
height),  with  double  aisles  and  a  transept,  is  entered  by  the  portico 
on  the  N.  side  (or  from  the  road  at  the  E.  end,  by  a  side-door 
adjoining  the  campanile,  and  through  the  vestibules  mentioned 
below).  The  ceiling  of  the  nave,  which  is  richly  coffered  instead  of 
being  open,  or  entirely  flat,  likethatof  the  early-Christian  basilicas, 
is  borne  by  80  columns  of  granite  from  the  Simplon. 

The  imposing  effect  of  the  vast  dimensions  and  the  valuable  materials 
of  the  ehurch  is  best  perceived  from  the  W.  end  of  the  nave,  a  little 
on  one  side.  The  two  yellowish  columns  of  oriental  alabaster  at  the  en- 
trance, as  well  as  the  four  of  the  canopy  of  the  high-altar,  were  presented 
by  the  Viceroy  of  Egypt,  and  the  malachite  pedestals  by  the  Emp.  iJicholas 
of  Russia.  Above  the  columns  of  the  nave  and  aisles,  and  in  the  transept,  is 
a  long  series  of  Portrait  Medallions  of  all  the  popes  in  mosaic  (each  5  ft.  in 
diameter).  Between  the  windows  in  the  upper  part  of  the  Kavb  are  repre- 
sentations from  the  life  of  St.  Paul  by  Oagliardi,  Podesti^  Consoni,  Balbi,  etc. 
The  windows  of  the  external  aisles  are  filled  with  stained  glass  (Apostles 
and  Fathers  of  the  church,  with  their  names  surrounded  with  glories). 
On  the  sides  of  the  approach  to  the  transept  are  the  colossal  statues  of  SS. 
Peter  and  Paul  *,  the  *ConfessiOj  or  shrine,  is  richly  decorated  with  red  and 
green  marble  from  Greece. 

The  Chancel  Arch  is  adorned  with  Mosaics  of  the  6th  cent.,  exe- 
cuted by  order  of  Galla  Placidia,  sister  of  Honorius  and  Arcadius:  Christ 
with  the  24  Elders  of  the  Bevel  ation.  On  the  side  next  the  transept:  Christ 
in  the  centre,  left  St.  Paul,  right  St.  Peter.  —  Under  the  arch  is  the  HiOH- 
Altab,  with  a  *Canopy  by  Amol/o  del  Carnbio ,  the  architect  of  the  cathe- 
dral 01  Florence,  and  his  assistant  Pietro  (1285).  —  In  the  Tbibuite  *Mosaies 
of  the  beginning  of  the  13th  cent. :  in  the  centre  Christ,  with  Pope  Hono- 
rius III.  at  his  feet  \  on  the  right  SS.  Peter  and  Andrew,  on  the  left  SS.  Paul 
and  Luke.  Under  these  are  the  Apostlea  and  two  angels.  Below  them  is  the 
modem  episcopal  throne.  —  The  Left  Tbansbpt  contains  the  (1st)  Chapel 
OF  St.  Stbphen  ,  witb  a  statue  of  the  saint  by  Rinaldi ,  and  two  pictures 
(Stoning  of  St.  Stephen,  by  Podesti,  and  the  Council  of  high-priests,  by 
Coghetli).  (2nd)  Cappella  del  Cbocifisso  :  in  front  of  the  mosaic  below  it, 
Ignatius  Loyola  and  his  adherents  pronounced  the  vows  of  their  new  order, 
22nd  April,  1541.  —  On  the  right,  adjoining  the  Tribune,  the  (ist)  Gap. 
dbl  Cobo  ,  designed  by  C.  Madema,  was  spared  by  the  fiire.  (2nd)  Cap.  ni 
S.  Benedetto,  with  his  statue  by  Tenerani.  —  By  the  narrow  waJls  of  the 
Tbansbpt:  to  the  left,  altar  with  the  Conversion  of  St.  Paul  by  Camueeini 
and  the  statues  of  St.  Romuald  by  Stoeehi,  and  St.  Gregory  by  LaXtoureur; 
to  the  right,  altar  with  the  Coronation  of  the  Virgin  by  Podestiy  and 
statues  of  SS.  Benedict  and  Theresa  by  Baini  and  Tenerani,  Easter  can- 
delabrum by  mceolb  de  Angiolo  and  Pietro  VauaUetto,  with  scenes  fro<- 

Baedekbb.    Italy  II.    10th  Edition.  23 


364  Envir,  of  Rome.     TRE  FONTANE.  Tfie  Campagna. 

the  life  of  Chrlat,  and  ornamentation  of  animal  forms  and  foliage,  in  fine 
workmanship  of  the  12th  century. 

In  a  straight  direction  from  the  right  transept  is  the  entrance  to  the 
monastery  (see  helow);  to  the  left  we  pass  through  several  chapels  con- 
taining some  ancient  but  freely  restored  frescoes,  and  reach  a  Vk8tibiti.b 
with  a  colossal  statue  of  Gregory  XVI.,  and  a  few  frescoes  and  ancient 
mosaics  rescued  from  the  fire.  The  most  interesting  mosaics  are  the  half- 
figures  of  SS.  Peter  and  Haul,  dating  from  about  the  5th  century.  In 
tMs  room  is  the  side-entrance  to  the  church  beside  the  campanile  men- 
tioned above ,  and  to  the  right  is  the  entrance  to  the  Sacristy,  which 
contains  several  good  oil-paintings.  Over  the  door  the  Scourging  of  Christ 
(by  Signorelli  ?),  on  the  right  a  Madonna  with  SS.  Benedict ,  Paul ,  Peter, 
and  Justina.  Also  four  single  figures  of  the  same  saints.  In  a  room  beyond 
the  sacristy  is  a  sitting  marble  figure  of  Pope  Boniface  IX..  an  interesting 
work  of  the  beginning  of  the  15th  century.  A  closed  cabinet  here  con- 
tains the  bronze  door  of  the  ancient  basilica,  executed  at  Constantinople 
in  1070  by  order  of  the  consul  Pantaleon  \  in  spite  of  injuries  inflicted  by 
fire  and  thieves,  it  still  retains  much  of  its  former  magnificence.  It  is 
adorned  with  scenes  from  sacred  history  inlaid  in  silver. 

The  MoNASTEBY  attached  to  the  church  belonged  to  the  Bene- 
dictines from  1442  to  our  own  time,  but  has  recently  been  secu- 
larised and  declared  a  *monumento  nazionale'.  It  is  shown  by  an 
official  in  uniform  (ring  j  no  fee).  The  beautiful  ^Cloisters  (ChiosiroJ 
of  the  12-13th  cent.  (p.  xlvi)  are  inferior  to  those  of  the  Lateran 
alone.  According  to  the  mosaic  inscription  round  the  wall  they 
were  commenced  by  Petrus  de  Capua^  Abbot  of  St.  Paul's,  ^arte  sud' 
(1193-1208),  and  completed  under  John  V.  (1208-41);  the  de- 
coration is  perhaps  by  Petrua  VilssallettuSf  a  master  in  this  kind  of 
work  (comp.  p.  267). 

On  the  walls  are  numerous  heathen  and  early-Christian  inscriptions 
from  the  catacombs,  and  a  few  fragments  of  ancient  and  mediaeval  sculp- 
tures ,  among  them  a  large  sarcophagus  with  the  history  of  Apollo  and 
Harsyas.  Other  parts  of  the  convent  contain  numerous  early-Christian  in- 
scriptions and  medallions  of  popes  from  the  old  basilica  ^  the  latter  per- 
haps date  from  the  beginning  of  the  5th  cent.,  but  have  been  repainted 
and  are  on  the  whole  of  little  iconographic  value. 

The  main  road  leads  on  in  a  straight  direction  and  (7  min.  beyond 
the  church)  divides  at  the  Osteria  del  Ponticello :  on  the  right  the 
ancient  Via  Ostiensis  diverges  to  Ostia  (p.  394),  and  on  the  left  the 
Via  Laurentina  leads  in  25  mln.  to  the  — 

Abbadia  delle  Tre  Fontane  (ad  aquas  Salvias),  which  was  almost 
deserted  on  account  of  the  unhealthiness  of  the  situation  and  was 
made  over  in  1868  to  French  Trappists.  Owing  to  extensive  plan- 
tation of  the  rapidly-growing  Eucalyptus  the  sanitary  condition  of 
the  place  is  said  to  have  improved.  The  name  is  derived  from  the 
legend  that  the  apostle  Paul  was  executed  here,  and  that  his  head 
was  observed  to  make  three  distinct  leaps ,  corresponding  to  which 
there  welled  forth  three  different  fountains.  The  court  surrounding 
the  three  churches  is  approached  by  an  archway  bearing  traces  of 
painting ,  which  is  supposed  to  have  belonged  to  an  earlier  church 
of  John  the  Baptist  (visitors  ring;  25c.). 

SS.  yinoenso  ed  Anastasio,  the  largest  of  the  churches,  a  basilica 
in  the  ancient  style,  founded  by  Honorius  I.,  and  restored  in  1221  by  Ho- 
norius  III.,  as  the  inscription  to  the  left  of  the  choir  records,  has  lately 


The  Campagna,      S.  MABIA  SCALA  OCELI.       Environs.   355 

again  undergone  restoration.  It  has  retained  many  mediseval  peculiari- 
ties, and  in  particular  the  marble  windows  over  the  nave.  The  portico 
bears  traces  of  paintings,  including  the  portrait  of  Honorius  III. 

To  the  right  of  this  is  the  second  church,  the  circular  S.  Maria  Scala 
CoBli,  so  called  from  the  'vision'  here  vouchsafed  to  St.  Bernard,  to 
whom  Innocent  III.  had  presented  the  monastery,  of  a  heavenly  ladder, 
on  which  angels  were  conducting  to  heaven  the  persons  whom  his  prayers 
had  released  from  purgatory.  In  its  present  form  the  church  dates  from 
the  close  of  tilie  16th  century.  The  tribune  contains  good  mosaics  by 
F.  Zuccaro:  the  saints  Zeno(?),  Bernard,  Vincent  the  deacon,  and  Ana- 
stasius(?),  who  are  revered  by  Clement  VIII.  and  Card.  Aldobrandini,  the 
finisher  of  the  church. 

The  third  church,  8.  Paolo  alio  Tre  Fontane,  stands  on  the  spot 
where  the  apostle  is  said  to  have  been  beheaded,  and  contains  the  three 
springs  already  mentioned.  In  the  centre  is  an  antique  mosaic  represent- 
ing the  four  seasons,  found  in  Ostia,  and  presented  by  the  Pope  in  1869. 
By  the  spring  to  the  right  stands  the  column  of  white  marble  to  which 
St.  Paul  is  said  to  have  been  bound  at  the  time  of  his  execution.  The 
present  edifice  dates  from  1599. 

Before  leaving,  the  visitor  is  conducted  to  the  distilling-rooiii,  where 
a  glass  of  Eucalyptus  liqueur  is  offered  to  him  (fee  50  c). 

The  hills  above  the  ahbey,  which  are  honeycombed  with  puzzo- 
lana  pits ,  command  delightful  views.  Close  by  is  a  large  peniten- 
tiary. 

From,  the  Porta  S.  Fancrazio. 

The  Via  Garibaldi  leads  in  5  min.  from  the  Acqua  Paola  (p.  329) 
to  the  Porta  di  S.  Fancrazio  (PI.  II,  9),  on  the  summit  of  the 
Janiculum  (275  ft.),  adjoining  the  ancient  Porta  Awrelia.  It  was 
stormed  by  the  French  under  Oudinot  in  1849,  but  restored  in  1857 
by  Pius  IX.  From  the  Osteria  di  Belvedere^  to  the  right,  outside  the 
gate,  we  have  a  picturesque  view  of  St.  Peter's,  which  seems  to 
close  the  vista  at  the  end  of  a  verdant  valley.  Close  by  are  several 
other  osterie.  The  surrounding  summer-houses  and  the  church 
and  monastery  of -8^.  Fancrazio j  Y4M.  to  the  left,  were  also  seriously 
damaged  in  1849.  The  church  was  erected  bySymmachus  about  .the 
near  500,  but  has  been  frequently  restored.  —  In  a  straight  direction 
we  reach  the  entrance  to  the  — 

*Villa  Doria  Famphilj  (PI.  II,  9 ;  admission,  see  p.  123),  planned 
by  Algardi,  and  skilfully  adapted  to  the  undulating  character  of  the 
ground,  at  the  instance  of  Prince  Camillo  Pamphilj,  nephew  of  Inno- 
cent X.,  and  now  the  property  of  Prince  Doria.  It  is  sometimes 
called  by  the  Italians  BelrespirOy  and  the  grounds  are  the  most  ex- 
tensive and  perhaps  the  pleasantest  near  Rome. 

On  entering,  we  follow  the  carriage-road ,  which  passes  under  a 
triumphal  arch ,  and  leads  in  windings  (8  min.)  to  the  entrance  of 
the  Casino,  in  a  reserved  part  of  the  garden.  On  the  right  is  a  ter- 
race with  a  *View  of  M.  Mario  and  St.  Peter's,  between  which  the 
horizon  is  bounded  by  Mte.  Soracte,  and  a  part  of  the  Campagna. 

To  obtain  admission  to  the  Casino,  built  by  Algardiy  we  ring 
at  the  gate  opposite  the  terrace.  The  walls  are  adorned  with  reliefs 
(chiefly  from  ancient  sarcophagi)  and  statues.    The  stairs  ascend  to 

23* 


356   Envif,  of  Rome,    THK  GATAOOMBS.  Admission. 

the  Platfobm  of  the  villa ,  commanding  a  line  ^Panorama  of  the 
grounds  and  environs.  The  sea,  to  the  S.W.,  is  said  to  be  visible 
in  clear  weather  (fee  V2  ^'O' 

Leaving  the  Casino,  we  next  visit  the  *  Columbaria  under  the 
trees  to  the  right,  discovered  in  1838,  and  situated  on  the  ancient 
Via  Aurelia.  One  of  them  is  well-preserved,  and  contains  some 
interesting  paintings  (Prometheus  delivered  by  Hercules,  Death  of 
the  children  of  Niobe,  etc.).  Apply  for  admission  to  the  custodian 
of  the  Casino. 

The  flight  of  steps  by  the  Casino  descends  to  the  flower-garden, 
where  the  camellias  are  particularly  fine. 

The  carriage-road  by  which  we  reached  the  Casino  turns  to  the 
left  and  skirts  a  meadow,  carpeted  in  spring  with  anemones  (in  the 
centre  an  altar,  with  representations  of  seven  gods,  and  Antoninus 
Pius  holding  one  of  the  Penates).  After  5  min. ,  where  the  road  turns 
to  the  right,  a  beautiful  *View  is  obtained  of  the  Alban  Mts.  and 
the  Campagna ;  it  then  winds  past  a  celebrated  grove  of  pines  and 
leads  along  the  bank  of  a  (10  mln.)  pond  with  swans  to  the  (5  min.) 
fountain  by  which  it  is  supplied.  The  Casino  may  now  be  regained 
either  by  the  direct  path ,  or  by  the  carriage-road,  which  leads  in 
4  min.  to  the  hothouses  (r.),  and  the  pheasantry  Q.),  with  its 
beautiful  silver-pheasants.  On  the  roadside  (1.),  50  paces  farther, 
a  monument  was  erected  by  Prince  Fll.  Andr.  Doria  in  1851  to  the 
memory  of  the  French  who  fell  in  1849  and  were  interred  here. 


The  Catacombs. 


Ancient  and  Christian  Rome  seem  to  be  separated  by  a  wide  chasm, 
if  the  modem  appearance  of  the  city  alone  be  regarded.  The  most  ancient 
churches  having  disappeared,  or  being  concealed  beneath  a  modern  garb, 
the  earliest  Christian  monuments  of  any  importance  are  several  centuries 
later  than  the  last  Roman  structures.  This  interval  is  satisfactorily  filled 
up  by  the  Catacomb$\  or  burial-places  of  the  early  Christians.  —  Host 
travellers  will  be  satisfied  with  a  visit  to  the  Catacombs  of  St.  Callutus^  and 
perhaps  those  of  St.  Agnese  (both  shown  daily,  except  in  midsummer; 
comp.  pp.  861,  342).  On  22ud  Nov.  the  Catacombs  of  Callistus  are  illumin- 
ated and  open  to  the  public.  Information  as  to  admission  to  the  other 
catacombs  may  be  obtained  of  the  custodians  of  the  Callistus  Catacombs^ 

Scientific  visitors  may  apply  for  additional  information  to  Gommtnda- 
tore  Giov.  Bait,  de  Rossi^  Piazza  Aracceli  17,  upper  floor. 

I.  History  op  the  Cataoombs.  The  term  'Catacombs'  is 
modern,  having  been  extended  from  those  under  S.  Sebastiano,  to 
which  the  topographical  name  *ad  catacumbas'  was  anciently  ap- 
plied, to  the  others  also.  The  early  Christians  gave  their  burial- 
places  the  Greek  name  of  Coemetetia,  t.  e.  resting  or  sleeping-places, 
probably  with  reference  to  the  hope  of  the  resurrection.  The  Roman 
law,  frequently  re-enacted  during  the  empire,  prohibiting  the 
Interment  of  the  dead,  or  even  their  ashes,  within  the  precincts  of 
the  city,  was  of  course  binding  on  the  Christians  also.  We  accord- 
ingly find  their  burying  -  places  situated  between  the  IstandSrd 


History.  THE  CATACOMBS,    Envir.  of  Rome,   357 

milestoneB  beyond  the  Aurelian  wall,  to  which  Rome  had  extended 
long  before  the  construction  of  the  wall  itself. 

While  the  European  nations  had  become  accustomed  to  dispose 
of  their  dead  by  cremation,  the  Egyptians  and  the  Jews  retained 
the  practice  of  interment  as  being  more  in  harmony  with  their 
views  on  the  subject  of  a  future  state.  The  prevalence  of  similar 
views  among  the  Christians  gave  rise  to  the  excavation  of  subterra- 
nean passages,  in  the  lateral  walls  of  which  apertures  were  made 
for  the  reception  of  the  corpses,  Burial-places  of  this  description 
are  to  be  found  at  Naples,  Syracuse,  Chiusi,  Venosa,  in  Alexandria 
(in  Egypt),  and  elsewhere,  as  well  as  at  Rome. 

It  was  formerly  supposed  that  the  early  Christians  used  ancient 
arenaria,  or  pits  of  puzzolana  earth,  for  this  purpose,  and  extended 
them  according  to  requirement,  but  this  theory,  as  weU  as  the  belief 
that  the  different  catacombs  were  all  connected,  has  been  refuted 
by  modem  investigation.  These  subterranean  passages  are  proved 
to  have  been  excavated  almost  solely  for  the  purposes  of  Christian 
Interment,  in  the  soft  strata  of  tufa  (tufo  granolare),  of  which  most 
of  the  hills  near  Rome  consist ,  and  which  is  rarely  employed  for 
building  purposes.  The  hard  tufa  used  for  building,  and  the  puz- 
zolana, which  when  mingled  with  lime  yields  the  celebrated  Roman 
cement,  have  been  penetrated  in  a  few  exceptional  cases  only. 

The  Roman  Catacombs  took  their  rise  from  i^am%  Tombs  j  which 
were  named  after  their  original  proprietors,  such  as  those  of  Lucina, 
PontianuSj  and  others.  The  approaches  to  these  vaults  were  every- 
where wide  and  conspicuous,  without  any  indication  of  attempt  at 
concealment.  The  oldest  belong  to  the  first  century  of  our  era,  while 
the  most  recent  date  from  the  first  half  of  the  4th  century.  In  the 
3rd  century  the  Chwrch  began  to  establish  burial-places  of  its  own 
and  to  take  the  management  of  those  already  existing;  and  this 
supervision  seems  soon  to  have  embraced  all  the  Christian  burial- 
places.    Each  district  was  presided  over  by  a  presbyter. 

During  the  3rd  cent,  the  persecuted  Christians  frequently  sought 
refuge  in  the  Catacombs ;  but  they  were  sometimes  followed  into 
their  subterranean  places  of  refuge,  or  there  arrested  or  slain.  Peace 
was  at  length  restored  to  the  Church  and  security  to  the  Catacombs 
by  Constantine  the  Great* s  ediot  of  Milan.  Throughout  the  4th  cent, 
interments  here  were  customary,  but  they  became  rarer  towards  the 
beginning  of  the  6th,  and  were  soon  entirely  discontinued,  as  it  then 
became  usual  to  inter  the  dead  near  the  churches.  The  last  three  Ca- 
tacombs appear  to  have  been  constructed  by  Pope  Julius  in  336-47. 

The  Catacombs,  however,  as  well  as  the  tombs  of  the  martyrs, 
still  enjoyed  the  veneration  of  pilgrims  and  the  devout.  As  early  as 
370  Pope  Damasus  caused  numerous  restorations  to  be  made,  and 
the  most  important  tombs  to  be  furnished  with  metrical  inscriptions ; 
apertures  for  light  were  constructed,  to  facilitate  the  access  of  visit- 
ors, and  the  walls  at  a  comparatively  late  period  decorated  with 


358   Envir,  of  Rome,    THE  CATACOMBS.  History. 

paintings,  which  differ  materially  fiom  those  of  the  earliest  Christians 
in  subject  and  treatment.  During  the  frequent  deyastations  under- 
gone by  the  city,  however,  the  Catacombs  were  also  pillaged  and 
injured,  the  first  time  on  the  occasion  of  the  siege  by  the  Goths  in 
537,  and  afterwards  during  the  siege  by  theLombards  in  755,  when 
they  suffered  still  more  seriously.  *The  invaders  ransacked  the 
burial-places  of  the  martyrs  with  pious  zeal,  searching  for  the  bones 
of  saints,  which  they  deemed  more  precious  than  gold,  and  giving 
them  arbitrary  names,  carried  them  home  in  hope  of  selling  them. at 
a  great  price.  That  a  skeleton  was  found  in  Roman  soil  was  suffi- 
cient warrant  to  them  for  attributing  miraculous  virtue  to  it,  and 
thus  it  probably  happened  that  the  greatest  sinners  buried  in  the 
catacombs  frequently  had  their  remains  exhumed  and  revered  as 
as  those  of  saints'  (Gregorovius).  After  these  different  plunderings 
the  Catacombs  were  restored  by  John  III.  (560-73)  and  Paul  I. 
(757-68) ;  but  the  transference  of  the  remains  of  the  martyrs  to  the 
altars  of  the  city  had  already  taken  place  in  the  most  wholesale 
manner.  In  609,  when  Boniface  IV.  consecrated  the  Pantheon  as 
a  church ,  he  caused  twenty-eight  waggon-loads  of  the  bones  of 
^saints'  to  be  disposited  beneath  the  altar ;  and  an  extant  inscrip- 
tion records  that  no  fewer  than  2300  corpses  of  'martyrs'  were 
buried  in  S.  Prassede  on  20th  July,  817.  Hadrian  I.  (722-95)  and 
Leo  III  (795-816)  also  made  attempts  to  preserve  the  Catacombs  ftom 
ruin,  but  the  task  was  abandoned  by  Paschalis  I.  (817-24),  after 
whose  time  the  Catacombs  gradually  fell  into  oblivion,  those  under 
S.  Sebastiano  alone  remaining  accessible  to  the  visits  of  pilgrims. 
At  length  we  find  traces  of  renewed  visits  to  a  few  of  the  cata- 
combs towards  the  close  of  the  15th  cent,  partly  by  pilgrims,  and 
partly  by  members  of  the  Roman  academy  of  the  humanists,  but  the 
scientific  exploration  did  not  begin  until  fully  a  century  later.  In 
1578  some  workmen  accidentally  discovered  an  ancient Cosmeterium 
near  the  Via  Salara,  and  from  that  period  the  subject  began  to  ex- 
cite general  and  permanent  interest;  and  the  Roman  church  has 
since  then  regarded  the  supervision  of  Roma  Soiterranea  as  a  point 
of  honour.  The  pioneer  of  the  soientiflc  examination  of  the  Cata- 
combs was  Antonio  Bosio  of  Malta,  who  devoted  thirty-six  years  of 
his  life  to  the  task ,  but  his  *Roma  Sotterranea'  was  not  published 
till  1632,  three  years  after  his  death.  His  researches,  although 
afterwards  followed  up  by  other  scholars,  were  at  length  threatened 
with  oblivion,  but  within  the  last  twenty  or  thirty  years  he  has 
been  worthily  succeeded  by  the  Jesuit  Marchi  and  the  able 
brothers  De  Rossi ^  MichelCj  the  geologist,  and  Giovanni  Battista, 
the  archaBologist.  The  last  has  begun  to  publish  the  result  of  his 
indefatigable  labours  in  a  Collection  of  Ancient  Christian  Inscrip- 
Mons  (1st  vol.  1861),  in  a  work  entitled  ^ Roma  Sotterranea' (istYol. 
"^64,  2nd  vol.  1867,  3rd  vol.  1877),  and  in  the  'Bullettino  di  Ar- 
iologia  Cristiana'  (1863  et  seq.).    Comp.  also  p.  128. 


Arrangement.  THE  CATACOMBS.   Envir.  of  Rome,   359 

II.  Thb  Abbangbmsnt  of  thb  Catacombs  was  originally  ex- 
tremely simple.  Narrow  passages,  2^/2  ft.  in  width,  and  afterwards 
even  less,  were  excavated  and  furnished  with  loculif  or  recesses  in 
the  sides,  of  the  length  of  the  body  to  he  interred.  These  niches 
were  placed  one  above  the  other,  as  many  as  three  and  more  being 
sometimes  thus  disposed ,  and  when  the  body  was  interred  they 
were  closed  with  tablets  of  marble,  0£  occasionally  of  terracotta, 
which  were  either  left  plain,  or  merely  recorded  the  name  of  the 
deceased,  with  the  addition  Hn  pace\  The  older  inscriptions  are 
sometimes  in  Greek,  but  the  later  always  in  Latin.  This  change 
illustrates  the  progress  of  Christianity  from  the  position  of  an  alien 
creed  to  that  of  the  accepted  religion  of  a  native  and  national 
community.  Important  inscriptions  are  now  united  in  the  great 
collection  in  the  Lateran  (p.  271),  while  the  niches  are  generally 
empty  in  consequence  of  the  mania  for  relic-hunting,  already 
mentioned,  which  even  during  the  present  century  is  not  entirely 
extinct.  The  practic/e  is  now  being  introduced  of  leaving  all  the 
monuments  in  the  places  in  which  they  are  found. 

The  increase  of  the  community  and  the  transformation  of  burial- 
places  originally  intended  for  families  and  their  co- believers 
into  public  cemeteries  could  not  fail  to  affect  the  external  arrange- 
ments of  the  Catacombs.  By  degrees  they  were  extended ;  the  pas- 
sages became  narrower  and  higher,  or  rose  in  several  stages,  some- 
times as  many  as  five ,  one  above  another.  Catacombs  originally 
distinct  were  connected  by  means  of  new  excavations,  and  the  com- 
plicated nature  of  these  alterations  and  extensions  is  still  apparent 
to  the  observer.  These  operations  were  carried  out  by  a  regular 
society  of  Fossoret  (or  diggers),  who  ceased  to  exist  only  when  the 
use  of  the  catacombs  was  discontinued.  Altered  times  and  circum- 
stances naturally  exercised  an  influence  on  the  appearance  of  the 
catacombs.  They  originally  differed  little  from  similar  heathen  local- 
ities ;  and  the  use  of  sarcophagi ,  instead  of  Interment  in  the  rock 
without  other  receptacle,  was  not  uncommon,  while  other  distinct- 
ions between  the  burial  of  the  rich  and  that  of  the  poor  were  also 
sometimes  made.  In  most  cases  the  bodies  were  wrapped  in  cloth, 
on  their  breast  was  laid  the  consecrated  bread  of  the  sacrament,  and 
various  ornaments  and  memorials  were  interred  along  with  them. 
Adjacent  to  the  slabs  which  closed  the  niches  were  frequently 
placed  earthen  lamps,  partly  as  symbols  of  the  resurrection,  and 
perhaps  also  for  practical  purposes ,  just  as  lamps  had  always  been 
much  used  in  the  heathen  observance  of  worshipping  the  dead. 

The  system  of  monotonous  passages  was  sometimes  broken  by 
the  introduction  of  larger  chambers,  which  were  used  as  cuhicula, 
or  family  burial-places,  and  were  private  property.  Lastly  we  also 
And  chambers  that  were  set  apart  for  the  celebration  of  divine  wor- 
ship ;  but  these  all  date  from  the  4th  cent. ,  when  they  were  fitted 
up  for  the  celebration  of  ecclesiastical  festivals  in  honour  of  th'^ 


360  Envif.  of  Rome,    THE  CATACOMBS.  DecoraHon. 

martyrs,  which  came  into  vogue  at  that  period.  The  ordinary  ser- 
vices, however,  were  performed  in  the  private  dwelling-houses  in  the 
city,  and  not  in  the  Catacombs,  as  has  been  erroneously  supposed. 

III.  The  Decoration  of  thb  Catacombs  is  one  of  their  most 
interesting  features.  Christian  art  in  origin  could,  of  course,  be 
but  an  application  of  ancient  precepts  to  the  new  objects  and  con- 
ceptions introduced  by  the  new  religion.  The  paintings  and  sculp- 
tures of  the  Catacombs  are  therefore  in  no  respect  different  in  style 
from  contemporaneous  works»  and  with  them  shared  in  the  precipi- 
tate and  almost  total  degradation  of  art.  The  best  frescoes  belong 
to  the  end  of  the  1st  and  beginning  of  the  2nd  century.  With  the 
general  decline  of  the  Roman  empire  in  the  3rd  and  4th  century, 
artistic  forms  became  distorted  and  unpleasiiig,  and  in  the  case  of 
decorative  works  there  is  no  difference  in  style  between  Christian 
and  heathen  art,  especially  during  the  earlier  periods. 

On  the  other  hand,  a  peculiar  significance  in  the  choice  and 
treatment  of  the  subjects  is  observable  from  the  earliest  period. 
Comparatively  few  historical  paintings  are  met  with,  and  these  have 
no  other  object  in  view  than  the  illustration  of  some  simple  fact 
fifom  Jewish  or  Christian  lore.  Once  the  Madonna  and  Child  by 
themselves  are  observed  (Catacombs  of  Priscilla) ;  generally  they 
are  accompanied  by  the  Magi,  varying  in  number,  who  present  their 
offerings,  as  in  the  Catacombs  of  St.  Callistus,  Domitilla,  and  Pris- 
cilla. Scenes  of  martyrdom  do  not  occur  earlier  than  the  5th  century. 

The  great  majority,  however,  of  the  paintings  represent  scenes 
symbolical  of  the  doctrines  and  hopes  of  Christianity.  That  of  most 
frequent  recurrence  is  the  Resurrection,  typified  either  by  the  rais- 
ing of  Lazarus,  who  appears  at  a  door  wrapped  in  his  grave-clothes, 
while  Christ,  represented  beardless,  stands  before  it  with  a  wand, 
or  by  the  history  of  Jonah  sitting  under  the  gourd ,  the  prophet 
swallowed  by  the  whale,  and  his  final  escape.  The  Good  Shepherd 
also  frequently  appears ,  with  the  lost  sheep  on  his  shoulders ,  and 
sometimes  surrounded  by  lambs.  Abraham's  Sacrifice,  Noah  in  the 
Ark,  and  the  Hebrew  Children  in  the  fiery  furnace  belong  to  the 
same  category.  Daniel  in  the  lions'  den  is  another  favourite  subject, 
and  he  is  generally  represented  with  his  hands  raised  in  prayer, 
an  attitude  in  which  the  deceased  themselves  are  often  depicted 
(*orante8*).  The  Miracles  of  Christ  also  recur  frequently.  In  the 
'sacrament-chapels'  of  the  Callistus  Catacombs  we  also  meet  with 
representations  of  Baptism,  in  realistic  style,  and  the  Last  Supper, 
treated  symbolically.  The  fish,  too,  by  a  kind  of  acrostic,  formed 
an  important  Christian  symbol ,  as  the  Greek  ix^-vs^  (fish)  consists 
of  the  initial  letters  of:  Iriaovg  XqitSiog  &sov  Yiog  Eioxriq  (Jesus 
Christ  the  Saviour,  Son  of  God).  All  these  subjects  and  many 
others,  especially  the  traditions  of  the  Old  Testament  which  contain 
a  typical  reference  to  New  Testament  history  (such  as  Moses  smit- 
ing the  rock),  recur  continually  in  the  paintings  of  the  Catacombs 


Cat,of8tCalli8tu8,  THE  CATACOMBS.    Envir,  of  Rome.   361 

and  in  the  scnlptureB  on  the  ancient  Christian  sarcophagi.  The 
Inscriptions  corresponding  to  these  'were,  as  already  mentioned,  of  a 
very  simple  description  down  to  the  middle  of  the  3rd  cent.,  after 
which  they  become  more  lengthy,  and  contain  more  elaborate 
ejaculations  of  grief  and  hope.  —  For  purpose  of  study,  the  collec- 
tions of  pictures,  inscriptions,  and  sarcophagi  in  the  Christian 
museum  of  the  Lateran  (p.  270)  will  be  found  indispensable. 

The  Catacombs  extend  around  the  city  in  a  wide  circle,  the  major- 
ity, however,  being  concentrated  between  the  Via  Salara,  the  Via 
Nomentana,  the  Via  Latina,  the  Via  Appia,  and  the  Via  Ostiensis. 
Upwards  of  forty  different  Catacombs ,  varying  greatly  in  extent, 
and  only  partially  accessible,  have  been  discovered.  That  of  Cal- 
listus  alone  has  been  thoroughly  excavated.  According  to  Michele 
de  Rossi's  careful  calculations,  they  cover  an  area  of  615  acres.  In 
order,  however,  to  form  an  accurate  idea  of  their  extent,  it  must  be 
borne  in  mind  that  the  passages  run  one  above  another,  as  many  as 
five  being  sometimes  thus  disposed.  The  highest  of  these  lie  22-25 
ft.  below  the  surface  of  the  earth ,  while  the  lowest  are  40-50  ft. 
deeper.  If  the  whole  of  these  subterranean  passages  were  placed 
in  a  continuous  line,  their  total  len^h  would  be  about  545  English 
miles.  The  most  important  of  the  Catacombs  only  need  be  enumer- 
ated here,  and  of  these  the  most  instructive  are  the  — 

*Cataeomb8  of  St.  Callistas  on  the  Via  Appia,  IV4  ^*  beyond 
the  Porta  S.  Sebastiano  (p.  348).  On  entering  the  vigna  in  which 
they  are  situated,  we  perceive  a  small  brick  building  with  three  apses. 
This  having  been  identified  by  Glov.  de  Rossi  as  the  ancient  Orct- 
torium  8.  CalliBti  in  ArenariiSj  he  induced  Pius  IX.  to  purchase  the 
ground,  and  his  investigations  were  speedily  rewarded  by  most  im- 
portant discoveries.  Admission  to  the  catacombs  (1  fr.)  is  paid  at  an 
adjoining  cottage.  Three  Trappist  monks,  absolved  from  the  vow 
of  silence,  act  as  guides,  and  provide  lights.  The  Oratorium  con- 
tains inscriptions  and  reliefs  from  the  catacombs,  a  plan  of  this 
city  of  tombs,  and  copies  of  the  most  important  mural  paintings. 
The  present  entrance  to  the  catacombs  immediately  adjoins  this 
building.  A  passage  with  tombs  is  traversed,  and  the  *  Camera 
Papale,  or  Cubiculum  Pontifieiumy  a  chamber  of  considerable  di- 
mensions, is  soon  reached  on  the  left,  containing  the  tombs  of 
several  popes  (Anteros,  Lucius,  Fabianus,  and  Eutychianus) ;  ori- 
ginally also  that  of  Sixtus  II.,  who  died  as  a  martyr  in  the  Cata- 
combs in  258.  In  front  of  the  central  wall  is  a  long  metrical  in- 
scription in  honour  of  those  interred  here,  composed  by  Pope  Damasus 
about  the  close  of  the  4th  cent.,  and  engraved  in  elegant  and  de- 
corated characters  invented  specially  for  the  purpose  by  Furius  Dio- 
nysius  Philocalus,  the  secretary  of  thai  pope.  Outside  the  entrance, 
on  both  sides,  a  great  number  of  inscriptions  have  been  scratched  by 
devout  visitors  of  the  4th-6th  centuries.  We  next  enter  a  *Ohamber, 
open  above,  which  once  contained  the  Tomb  of  St.  Ceeiliaj  whose 


362   Envir.ofRome,   THE  CATACOMBS.      Cat.  of  Domitilla. 

remains  are  now  in  the  chnrcli  of  S.  Cecilia  in  Trastevere  (p.  331}. 
On  the  wall  here  are  several  Byzantine  paintings  of  the  7th-8th 
cent. :  St.  Cecilia,  St.  Urban,  and  a  head  of  Christ.  The  walls  of 
the  aperture  for  light  hear  traces  of  other  frescoes.  On  St.  CeciUa's 
Day  (22nd  Nov.)  mass  is  celebrated  here,  on  which  occasion  the 
chapel  and  the  adjoining  chambers  are  illuminated  and  open  to  the 
public.  In  the  sides  of  the  passages  near  these  chapels  are  several 
chambers  known  as  'sacrament  chapels',  which  are  adorned  with 
symbolical  representations  of  the  communion,  baptism,  and  other 
scenes  of  the  kind  already  mentioned.  Then  follow  the  Tomb" 
Chamber  of  Pope  Eusebius  (309-11),  with  an  old  copy  of  an  in- 
scription by  Damasns,  and  another  with  two  sarcophagi  still  con- 
taining the  remains  of  the  deceased,  one  of  them  preserved  in  a 
mummy-like  form,  the  other-almost  entirely  destroyed.  The  Tomb 
of  Pope  Cornelius  (251-52)  originally  belonged  to  the  separate 
cemetery  of  Luema. 

The  Catacombs  of  SS.  Nerens  and  AohiUeiui,  or  of  Domitillay 
near  the  Catacombs  of  Callistus,  on  the  Yia  delle  Sette  Chiese  (p.  349), 
contain  the  greatest  number  of  inscriptions  (upwards  of  900),  and 
are  among  the  earliest  foundations  of  the  kind,  vying  in  antiquity 
with  the  Crypts  of  St.  Lucina ,  and  the  Catacombs  of  St.  PriscUla. 
Domitilla  is  said  to  have  been  a  member  of  the  imperial  house  of 
the  Flavii.  In  two  of  the  five  ancient  entrances  are  frescoes  of  the 
beginning  of  the  2nd  cent.,  representing  genii  in  the  Pompeian 
style,  figures  of  the  Good  Shepherd,  Daniel,  and  others  of  the  ear- 
liest type.  In  the  centre  of  the  catacomb  is  the  large  and  nearly 
quadrangular  Basilica  of  St.  PetronUla,  who,  according  to  the  leg- 
end, was  the  daughter  of  St.  Peter.  The  basilica,  built  in  the 
second  story  of  the  catacomb,  projects  with  its  roof  into  the  open 
air.  On  the  column  of  a  canopy  is  represented  the  martyrdom  of 
St.  Achilleus  in  relief,  perhaps  the  earliest  work  of  the  kind  (5th 
cent.).  Everything  else  is  in  a  ruined  condition,  but  the  church 
has  recently  been  partly  restored.  It  was  used  from  the  5th  to  the 
8th  cent.  only. 

The  Catacombs  of  St  PreBteztatus ,  on  the  Via  Appia  towards 
S.  Urbano  (p.  351),  contain  decorations  similar  to  those  of  the  sta- 
tion of  the  Vigiles  at  Trastevere  (p.  337).  In  the  burial  chapel  of 
Vibia  here  are  still  to  be  seen  gnostic  heretical  representations  (Her- 
mes as  conductor  of  the  dead,  etc.). 

The  Catacombs  of  St.  Pxiscilla  lie  on  the  Via  Salara,  1^/4  M. 
from  the  gate  (p.  838).  The  oldest  part  consists  of  a  square  cham- 
ber, called  the  'Cappella  Greca',  owing  to  its  Greek  inscription, 
which  contains  interesting  paintings  of  the  3rd  century.  Farther 
on,  among  the  decorations  of  the  ceiling,  are  a  Madonna  and  the 
Child,  with  Joseph,  the  oldest  Madonna  in  existence ,  dating  from 
the  latter  half  of  the  2nd  century.  Coloured  inscriptions  on  tiles, 
'^f  the  earliest  and  simplest  type ,  are  also  occasionally  found  here. 


Jewish  Catacombs.    THE  CATACOMBS.     Envir,  of  Rome.   363 

The  Catacombs  of  S.  Agnese,  under  the  church  of  S.  Agnese  Fuori 
le  Mura  (p.  342),  are  destitute  of  painting,  but  are  to  a  great  extent 
still  in  their  original  condition.  They  are  shown  by  the  sacristan 
without  a  permesso.  —  About  ^/^  M.  beyond  the  church  is  another 
catacomb,  called  the  Coemeterium  Ostrianumj  which  contains  numer- 
ous family  burial-places. 

The  C^taeombs  of  S.  SebastianOy  below  the  church  of  that  name 
on  the  Via  Appia  (see  p.  348),  the  only  burial-places  of  the  kind 
which  continued  to  be  visited  in  mediseval  times ,  have  been  almost 
entirely  deprived  of  their  enrichments.  One  chamber  recently  ex- 
cavated is  interesting  on  account  of  the  portrait  of  a  Christian  gladi- 
ator which  adorns  it.  —  In  the  vicinity  are  the  — 

•  Jewish  Catacombs,  in  the  Vigna  Randanini  (p.  348 ;  adm.  1  fr.), 
which  were  excavated  about  the  3rd  century.  They  rather  resemble 
the  catacombs  of  Naples  than  the  other  Roman  catacombs.  The  in- 
scriptions are  exclusively  Greek  and  Latin.  The  most  frequently  re- 
curring symbol  is  the  seven-branched  candelabrum.  Two  chambers 
are  enriched  with  decorative  paintings ,  in  which,  contrary  to  the 
Mosaic  law ,  figures  of  animals  are  depicted.  A  sarcophagus  here 
bears  traces  of  gilding. 

The  Catacombs  of  SB.  Peter  and  K&rcellinus ,  near  Torre  Pignattara 
(p.  345),  are  among  the  most  extensive.  The  ceiling  of  a  lofty  chapel  bears 
an  Enthroned  Christ,  with  St.  Paul  on  the  right,  and  St.  Peter  on  the  left, 
with  four  saints  below,  quite  in  the  style  of  the  earlieat  mosaics.  Other 
frescoes,  such  as  two  scenes  of  AgapsB  (love-feasts),  belong  to  the  3rd  cen- 
tury. The  representation  is  often  very  realistic.  A  very  fine  cemeterial 
glass,  with  a  design  of  the  Temple  of  Jeruaalem  in  gilt  outline,  was  found 
in  these  catacombs  in  1883. 

The  Oatacombs  of  St.  Pontianus,  situated  in  the  Vigna  di  S.  Michele, 
1/2  M.  from  the  Porta  Portese  (to  the  right  before  the  Strada  di  Honte- 
verde),  are  excavated  in  the  breccia  of  Monte  Verde.  At  the  foot  of  a  stair* 
case  descending  into  it  is  a  basin  with  water,  serving  as  a  baptistery. 
On  the  wall  beyond  is  the  Baptism  of  Christ  (with  a  stag  near  the  Jor- 
dan), above  a  large  cross  in  the  later  style.  Above  the  staircase  are  two 
large  medallions  with  heads  of  Christ  of  the  6th  and  9th  (?)  centuries. 

The  Oratorio  of  8.  Aleuandro,  6  M.  from  the  Porta  Pia  (p.  341),  in  the 
Tenuta  del  CoazKO  is  a  long,  half-subterranean  building,  the  very  poor 
masonry  of  which  is  well  preserved  in  the  lower  part.  According  to  an 
inscription  on  the  altar,  this  was  the  tomb  of  a  certain  Alexander,  perhaps 
the  bishO]^  of  that  name.  The  oratory  is  surrounded  with  lofty  passages 
still  containing  undisturbed  tombs. 

Catacomb  of  St.  Oenerosa^  see  p.  393. 

2.  The  Alban  Monntains. 

The  Alban  Mountains,  IQVa  M.  to  the  S.E.  of  Rome,  form  a  volcanic 
group  with  several  extinct  craters,  two  of  which  are  occupied  by  the  AV>an 
Lake  and  the  Lago  di  Ifemi.  Monte  Cavo  (3145  ft.)  is  the  highest  summit. 
On  the  N.  slope  of  the  group  lies  Frascaii,  and  on  the  E.  slope  Albano, 
both  of  which  have  been  surrounded  since  the  most  ancient  times  with 
the  country-hOoses  of  wealthy  Romans.  The  greenish-grey  tufa,  known  as 
pepeiHno,  which  is  quarried  near  Albano,  is  a  favourite  building  stone. 
Attfan  Wine  was  praised  by  Horace  and  is  still  much  esteemed.  The  great 
natural  beauty  of  the  scenery  here  has  always  made  these  mountains  a 
favourite  resort  of  visitors  from  Rome.    The  inhabitants  have  preserved 


364    Environi  of  Rome,        FRASCATI.  Alban  MU. 

many  of  tbeir  pecnliMritiefl.  tliongli  the  famimt  eostosne  of  the  Alban  women 
is  seldom  seen  except  on  Sundays  and  holidays. 

Plan  of  Excdksioh,  WI%  day.  1st  Day:  afternoon  train  from  Rome 
to  Frateati  or  Albanoy  the  only  places  where  there  are  good  inns:  in  the 
eyening  visit  Tnscnlum  from  Frascati,  or  Castel  Gandolfo  from  Albano.  — 
2nd  Day:  walk  from  Frascati  in  2Vxhr8.,  or  drive  by  the  high-road  (one- 
horse  carr.  about  8  fr.),  to  Rocca  di  Papa  (p.  372)-,  ascend  Monte  Cavo 
(p.  372),  V*  hr.  i  descend  to  Ifemi  (p.  371),  in  IV4  hr.,  and  walk  thence  to 
Omtmc  (p.  370 ;  *k  ^r.),  Ariceia  (p.  370;  i/s  hr.),  and  Albano  (p.  368 }  ^U  hr.). 
This  excursion  may  be  made  in  the  reverse  order  from  Albano ,  the  tra- 
veller, however,  proceeding  from  Bocca  di  Papa  to  Frascati  by  a  footpath 
(2V2  hrs.)  passing  Tusculum.  The  Orotta  Ferrata  is  interesting  mainly  on 
aocount  of  the  frescoes  by  Domenichino  (p.  367)  \  this  part  of  the  monn- 
iainB  as  far  as  Marino  and  Rocca  di  Papa  offers  least  in  the  way  of  scen- 
ery. —  The  excursion  from  Albano  to  Monte  Cavo^  returning  by  ITemi. 
Oenzano^  and  Ariceia  (6-7  hrs.)  may  be  accomplished  in  a  single  day  j  and 
Frascati  and  its  neighbourhood  may  be  visited  in  the  course  of  one  after- 
noon.   In  this  case  the  night  need  not  be  spent  out  of  Rome. 

Those  who  have  plenty  of  time,  and  do  not  object  to  an  occasional 
deviation  from  the  direct  route,  will  have  no  difficulty  in  finding  their 
way  with  the  aid  of  the  map  and  following  directions.  When  Gdides 
(about  8  fr.  a  day)  are  made  use  of,  a  precise  programme  of  the  excursion 
should  be  agreed  upon  beforehand,  as  they  are  apt  to  cut  the  journey  short 
to  the  traveller's  disadvantage.  In  spring  and  autumn  Walkimo  in  this  dis- 
trict will  be  found  pleasant ;  but  in  the  warmer  months  the  traveller  will 
find  it  convenient  to  follow  the  native  custom  of  using  Donkbys  (about 
6  fr.  per  day,  including  driver).  Cabbiages  may  be  hired  at  Frascati  and 
Albano,  but  the  most  interesting  routes  are  only  practicable  for  pedestrians 
and  riders.    The  charges  are  as  high  as  at  Rome  (25-30  fr.  per  day). 

Fbascati  and  its  Neighbourhood. 

Railway  fbou  Romb  to  Fbascati,  15 M.,  ^in  48min.  (faies 
2  fr.  75,  1  fr.  90,  and  1  fr.  25  c. ;  return- tickets,  comp.  p.  xix). 
—  Journey  to  (8^/4  M.)  stat.  Ciampino,  see  p.  368.  The  train  to 
Frascati  gradually  ascends.  The  station  lies  immediately  helow  the 
Piazza,  where  the  high-road  to  Rome  begins. 

Frascati.  —  ''Albebqo  di  Fbascati  (branch  of  the  Alb.  Milano  in 
Rome),  in  the  Villa  Zuccala,  R.  21/2,  B.  I1/4,  lunch  2V»,  D.  4fr.;  *Al- 
bbboo  01  LoNDBA,  in  the  piazza.  —  On  the  left,  at  the  entrance  to  the 
town,  in  the  Via  Romana,  Trattoria  del  Sole.  Near  the  piazza,  the  Nuova 
Trattoria  delta  JUpreea,  well  spoken  of,  kept  by  E.  Filipponi^  best  rooms 
on  the  Ist  floor.  Good  wine  at  [the  Nuova  Trattoria  di  Cipoletta,  in  the 
street  to  the  left  of  the  church.  —  Lodgings  easily  obtained  in  the  Villas 
Piccolomini ,  Falconieri ,  Muti,  and  others  (single  rooms  30-40  fr.,  3-4 
rooms  about  i(X)  fr.  per  month). 

A  visit  to  the  Villas,  which  are  always  open  to  the  public,  and  to 
Tusculum,  takes  2»/2-8  hrs.,  the  best  route  being  by  Villa  Aldrobrandini 
and  Ruffinella  in  going,  and  by  Camaldoli  and  the  Villas  Hondragone 
and  Taverna  in  returning.  Guides  and  Donteyt.  necessary  only  when  time 
is  limited,  2-3  fr. 

Frascati ,  in  a  cool  and  healthy  situation ,  on  the  slope  of  the 
mountains,  with  its  beautiful ,  shady,  and  well-watered  villas,  is  a 
favourite  summer-resort  of  foreigners  as  well  as  natives.  The 
ancient  Tusculum  having  been  destroyed  by  the  Romans  in  1191, 
this  town  (with  7000  inhab.,  incl.  environs),  which  is  insignificant 
and  comparatively  modern,  sprang  up  on  the  ruins  of  a  former  viUa, 
overgrown  with  underwood  ("/Vasc/w^,  from  which  it  derives  its  name. 


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fcv   .m  «»«x  u»ui  juia  a  lavonnte  resioence  oi  uicero.    m  tne  miaoie  ages 
ffl^    ^  ancient  castle  on  the  summit  of  the  hill  was   occupied  by  a 


Alhan  Mts.  TUSCULUM.  Envir.  of  Rome.   365 

At  the  S.W.  entrance  to  the  town,  which  is  reached  by  the  high- 
road from  Rome  (and  also  from  the  station)  in  a  wide  curve,  lies 
the  VUla  Conti ,  with  fountains  and  beautiful  points  of  view,  the 
property  of  the  Duca  Torlonia. — In  the  piazza,  which  is  embellish- 
ed with  a  pretty  fountain,  rises  the  cathedral  of  8.  PietrOy  erected  in 
1700  under  Innocent  XII.  To  the  left  of  the  high- altar  is  a  memorial- 
tablet  to  Charles  Edward,  the  young  Pretender,  grandson  of  James  II., 
who  died  at  Frascati  on  31st  Jan.,  1788.  — The  more  ancient  cathe- 
dral of  8.  Bocco  dates  from  1309. 

From  the  piazza  we  ascend  the  street  (CorsoYittorioEmanuele) 
to  the  right,  past  the  cathedral  of  S.  Pietro  and  the  donkey-station. 
Above  the  town ,  on  the  left,  rises  the  Villa  Piccolommij  once  the 
residence  of  the  learned  Cardinal  Baronius  (d.  1607). 

Farther  on  we  reach,  on  the  right,  the  handsome  *Villa 
Aldobrandinij  erected  by  Oiacomo  deUa  Porta  for  Card.  Pietro  Aldo- 
brandini ,  nephew  of  Clement  VIII. ,  and  now  the  property  of  the 
Borghese.  The  palace  contains  paintings  by  the  Cavaliere  d'Arpino. 
The  grounds  are  adorned  with  cascades  and  beautiful  oaks,  and 
the  views  are  very  extensive ,  especially  from  the  roof  of  the  semi- 
circular building. 

The  road  to  Tusculum  next  passes  the  Capuchin  Church  (1  M. 
above  the  town ,  containing  a  few  pictures),  and  soon  reaches  the 
entrance  to  the  *ViUa  Ruffinella,  or  TiuculaTha^  of  the  16th  cent., 
formerly  the  property  of  Lucien  Bonaparte,  afterwards  that  of  King 
Victor  Emmanuel,  and  now  belonging  to  Prince  Lancelotti.  In 
Nov.,  1818,  Lucien  was  attacked  and  robbed  here,  an  event  ad- 
mirably described  in  Washington  Irving's  'Adventure  of  the  Artist'. 
The  celebrated  VUla  of  Cicero  (the  'Tusculanum')  is  generally  be- 
lieved to  have  occupied  this  site.  Inscriptions  and  antiquities  found 
in  the  neighbourhood  are  shown. 

The  other  villas  lie  on  the  height  to  the  E.  of  Frascati.  The 
nearest  is  the  Villa  Tavema  and  a  little  farther  on  is  the  Villa 
Mondragone,  erected  by  Cardinal  Altemps  under  Gregory  XIII., 
both  the  property  of  the  Borghese,  surrounded  by  delightful  gardens 
and  points  of  view.  The  latter  is  now  occupied  by  the  Jesuits  as  a 
school.  —  Above  the  Villa  Taverna  is  situated  the  Villa  Falconieri^ 
the  oldest  in  Frascati,  planned  by  Cardinal  Rufflni  before  the  year 
1550,  and  erected  by  Borromini,  possessing  pictures  by  C.  Maratta 
and  others ,  and  shady  gardens.  —  On  the  height  to  the  E.  lies  the 
suppressed  monastery  of  Camaldoli ,  founded  by  Pope  Paul  V. 

From  Villa  Ruffinella  (ascending  to  the  right  from  the  palace)  a 
shaded,  and  partly  ancient  road ,  leads  to  the  site  of  the  venerable 
town  of  TuscaliUDi,  the  foundation  of  which  is  traditionally  ascribed 
to  Telegonus ,  the  son  of  Ulysses  and  Circe,  the  birthplace  of  the 
elder  Cato  and  a  favourite  residence  of  Cicero.  In  the  middle  ages 
the  ancient  castle  on  the  summit  of  the  hill  was   occupied  by  a 


366   Envir.  of  Rome.         TUSCULUM.  Alhan  Mts. 

warlike  race  of   counts ,    who  were  generally  in  league  with  the 
emperors  against  the  Romans.  The  latter,  having  been  signally  de-  ' 
feated  in  the  reign  of  Frederick  I.  in  1167 ,  retaliated  by  dismant- 
ling the  castle  in  the  pontificate  of  OoBlestinelll.,  in  1191.  Nothing 
therefore  now  remains  of  the  ancient  Tusculum  but  a  heap  of  ruins. 

In  ascending  from  the  Villa  Rufflnella,  we  soon  obtain  a  view  of 
the  Amphitheatre ,  outside  the  town-walls  (longer  diameter  77  yds. , 
shorter  57  yds. ;  arena  52  yds.  by  31  yds.),  which  is  called  by  the 
guides  Scuola  di  Cicerone.  The  so-called  ViUa  of  Cieero^  excavated 
in  1861  by  Prince  Aldobrandini,  is  next  reached.  On  the  right  is 
the  ancient  Forum  and  the  ^Theatre  (about  3  M.  above  Frascati), 
excavated,  as  an  inscription  records,  in  presence  of  Maria  Christina, 
dowager  Queen  of  Sardinia ,  on  the  occasion  of  the  arrival  of  Gre- 
gory XVI.,  7th  Oct.,  1839,  and  remarkably  well  preserved.  At  the 
back  is  a  Piscina^  or  reservoir,  in  four  compartments.  The  guides 
generally  propose  to  return  from  this  point,  as  the  path  to  the 
castle  is  rough  and  hardly  practicable  for  donkeys. 

The  ^Castle  (arx)  lay  on  an  artificially  hewn  rock,  now  surmount- 
ed by  a  cross ,  174  ft.  above  the  ancient  town  (an  ascent  of  about 
1^4  hr.  from  the  piazza).  Two  gateways  and  the  direction  of  the 
walls  are  still  traceable.  Magnificent  *Vibw  from  the  top  (2220  ft.). 
On  the  right  are  Camaldoli  and  Monte  Porzio ;  farther  distant  the 
Sabine  Mts.,  with  Tivoli  and  Monticelli;  then  Soracte  and  the  Gi- 
mlnianMts. ;  towards  the  sea  the  broad  Oampagna  with  its  aqueducts, 
Rome,  and  the  dome  of  St.  Peter's ;  to  the  left,  the  Alban  Mount 
(M.  Oavo),  Oastel  Gandolfo,  Marino,  and  Grotta  Ferrata. 

Descending  from  the  theatre  and  turning  to  the  right,  we  ob- 
serve a  fragment  of  the  old  wall ,  and  adjoining  it  a  very  ancient 
^Reservoir  of  peculiar  construction,  formed  of  massive  blocks,  and 
vaulted  in  an  almost  pointed  arch.  We  now  take  the  longer  way 
back  by  Camaldoli,  and  the  villas  Mondragone,  Taverna,  and  Fal- 
conieri  (see  p.  365). 

The  Road  prom  Feascati  to  Palbstbina,  ISVa  M.  (comp.  Maps, 
pp.  364.  382),  especially  the  first  half,  is  beautifnl,  but  destitute  of  shade. 
From  tiie  N.E.  corner  of  the  town  the  road  leads  past  the  lower  entrance 
to  the  Villa  Mondragone,  which  is  approached  by  an  avenue  of  cypresses. 
Farther  on  are  the  ruined  vaults  of  an  ancient  villa,  arbitrarily  said  to  have 
belonged  to  Cato.  After  2  M.  the  road  passes  (r.)  the  olive-clad  hill  on 
which  Monte  Porzio  (1530  ft.)  Ib  picturesquely  situated ;  IVs  M.  farther  it 
reaches  Monte  Compatri  (1745  ft.) ,  with  a  chateau  of  the  Borghese.  'We 
do  not  enter  the  village ,  but  pass  the  approach  to  it ,  and  descend  by  a 
somewhat  rough  road,  passing  a  washing-trough.  Near  a  (1  M.)  consider- 
able group  of  trees  we  turn  to  the  right ,  and  close  to  O/a  M.)  a  small 
chapel  with  an  image  of  the  Madonna ,  again  ascend  to  the  right.  About 
2  M.  farther  the  broad  road  leads  us  to  the  high-road  from  Borne  ( Via 
Ldbicana^  Strada  di  Falestrina);  and  following  the  latter  for  »/4  M.  we 
reach  the  Osteria  S.  Cesario  (p.  346). 

Two  routes  lead  from  Frascati  to  (21/2  M.)  Grotta  Ferbata: 
the  carriage-road  to  Marino,  and  the  shorter  route  by  a  path  through 
the  wood,  diverging,  below  the  Villa  Torlonia,  to  the  left  from  the 
street  which  leads  to  the  railway.    (In  descending,  keep  to  the  left ; 


AlbanMU,  MARINO.  Envir.ofRome.   367 

1/4  hi.  farther,  vrhere  the  path  divides,  turn  to  the  left ;  and  also 
to  the  left  5  min.  farther,  at  the  entrance  to  the  wood.) 

Orotta  Ferrata,  aGreek  monastery  of  the  Basilians,  was  founded 
by  St.  Niliis  under  Otho  IH.  in  1002.  In  the  15th  cent,  it  was  the 
property  of  Card.  Giul.  della  Rovere,  afterwards  Pope  Julius  II., 
who  fortified  it  with  moats  and  towers.  Of  the  old  Church  nothing 
now  remains  but  the  vestibule,  with  (r.)  a  beautiful  statue  of  the 
Madonna.  The  Portal,  with  arabesques  and  a  Greek  inscription, 
dates  from  the  11th  cent. ;  over  the  door  are  mosaics  of  the  Saviour, 
the  Madonna,  and  St.  Basil.  The  present  church,  built  by  Cardinal 
Guadagnl  in  1754,  contains  nothing  worthy  of  mention. 

Intbriob.  From  the  right  aisle  we  enter  the  Chapbl  op  St.  Nilus,  decor- 
ated with  •Freflcoea  from  the  life  of  the  saint  by  Domeniehino  in  1610  (p.  lix), 
restored  in  1819  by  V.  Gamnccini.  At  the  entrance  of  the  chapel,  on  the 
left,  is  represented  the  meeting  of  the  saint  with  Otho  III. ;  the  attendant 
in  green,  holding  the  emperor''s  horse,  is  Domeniehino  himself;  to  the  right 
fo  the  horse.  Guide  Reni  is  also  represented  in  a  green  costume,  and  be- 
hind him  Guercino.  The  boy  in  front  of  the  horse,  with  blue  cap  and 
white  feather,  bears  the  features  of  a  girl  of  Frascati  to  whom  the  artist 
was  attached.  On  the  right  St.  Bartholomew  arrests  the  fall  of  a  column, 
and  saves  the  lives  of  the  workmen.  At  the  altar  on  the  left,  St.  Nilus 
heals  a  boy  possessed  by  an  evil  spirit  with  oil  from  a  lamp  of  the  Ma- 
donna. On  the  right,  the  Madonna  presenting  a  golden  apple  to  St.  "Si- 
lus  and  St.  Bartholomew.  In  the  lunette,  Death  of  St.  Nilus.  Outside  the 
chapel ,  St.  l^ilus  calming  a  storm  by  which  the  harvest  is  endangered  •, 
the  saint  kneeling  before  the  cross.    On  the  ceiling,  the  Annunciation. 

A  monument  of  Cardinal  Consalvi,  who  died  as  abbot  of  Grotta 
Ferrata  in  1824,  and  several  ancient  sculptures  are  shown  in  the 
handsome  Abbey.  The  small  Madonna  over  the  altar  is  by  Ann.  Car- 
racci ;  a  bust  of  Domeniehino  is  by  Teresa  Benincampi,  a  pupil  of 
Canova.  Fairs  held  here  on  25th  March  and  8th  Sept.  attract 
numerous  peasants  from  the  neighbourhood,  as  well  as  strangers 
from  Rome. 

About  2  M.  farther  S.,  and  reached  either  by  a  footpath  or 
by  the  high-road,  is  Marino  (^Trattoria  del  Tramway j  at  the  foun- 
tain), a  small  town  famous  for  its  wine,  and  picturesquely  situated 
on  a  spur  of  the  Alban  Mts.,  1320  ft.  in  height,  the  site  of  the 
ancient  Castrimoenium.  It  lies  about  3  M.  from  the  railway-station 
of  Marino,  mentioned  at  p.  368.  In  the  middle  ages  it  was  a  strong- 
hold of  the  Orsini,  who  defended  themselves  here  against  their 
enemies,  particularly  the  Colonna's ;  but  the  latter  captured  Marino 
under  Martin  Y.  in  1424,  and  stiU  possess  it.  The  town  contains  a 
Corso  (the  principal  street),  a  Fountain,  and  a  Cathedral  dedicated 
to  St.  Barnabas.  The  church  of  ia  Trinithj  to  the  left  of  the  Corso, 
contains  a  Trinity  by  Guide  Reni.  In  the  church  of  the  Madonna 
delle  Graziey  St.  Rochus  by  Domeniehino.  In  the  Cathedral  a  badly- 
preserved  St.  Bartholomew  by  Guercino. 

Marino  is  connected  with  Rome  by  a  steam-tramway  (4-5  times  daily  in 
1V«  hr.  ^  fares  2  fr.  40,  1  fr.  95,  1  fr.  30  c).  Intermediate  stations:  Scuione, 
Ciampino  (p.  368),  Le  CapanmlU  (p.  347),  II  Tavolato  (p.  347),  Torre  Pignat- 
tara  (p.  341),  and  Portonaccio  (p.  374).  The  terminus  at  Rome  is  outside 
the  Porta  8.  Lorenzo,  where  the  tramway  to  Tivoli  also  starts. 


dOO   Emokona  of  Borne.         ALBANO.  Atban  Mta. 

From  the  town  of  Marino  a  shady  road,  comnunding  extensive 
views,  leads  through  the  Parco  di  Colonruij  the  well-wooded  valley 
of  the  Aqua  Fertntinay  a  brook  often  mentioned  in  history  as  a 
raliying-point  of  the  Latins,  to  the  Alban  lake ,  and  by  Castel  Qan- 
dolfo  to  (33/4  M.)  Albano  (see  p.  369). 

Albako  and  its  Nbiohboushood. 

Fbom  Rokb  to  Albano.  —  Railway  to  Obochina  (Rome  and 
Naples  Railway) ,  18  M. ,  in  35-50  min.  (fares ,  express  3  fr.  65, 
2  fr.  55  c. ;  ordinary  train  3  fr.  30,  2  fr.  30,  1  fr.  50  c. ;  through 
ticket  to  Albano  4  fr.  10,  2  fr.  90,  1  fr.  90  c,  return  6  f^.  40, 
4  fr.  55,  2  fr.  95  c).  The  line  emerges  from  the  city-walls  to  the 
left  of  the  Porta  Maggiore.  On  the  right  the  arches  of  the  Acqua 
Felice ,  partly  upon  and  partly  beside  the  remains  of  the  ancient 
Aqua  Claudia ;  then  the  tombs  of  the  Via  Appia.  To  the  left  the 
Sabine  and  Alban  Mts. ;  at  the  foot  of  the  latter,  Frascati  (p.  364) 
is  a  conspicuous  object.  At  (S*/^  M.)  Ciampino  the  line  to  Frascati 
diverges  to  the  left  (p.  364;  the  tramway -station  mentioned  at 
p.  367  is  about  3/^  M.  from  the  railway ;  no  path).  —  10»/2  M.  Ma- 
rino ;  above  the  town  (p.  367),  on  the  mountain,  is  Rocea^  adjoin- 
ing which  on  the  right  rises  Monte  Gavo  with  the  white  monastery 
walls.  The  train  then  passes  through  a  cutting.  To  the  left,  on  the 
olive-clad  hill,  appears  Castel  Gandolfo,  immediately  beyond  which 
Albano  and  Ariccia,  connected  by  a  viaduct,  are  visible  in  the 
distance.  —  18  M.  Cccchma^  the  station  for  Albano  and  Oenzano. 

From  Cbochina  to  Albano  (and  to  Nettuno,  p.  398),  2^/2  M  , 
steam- tramway  in  20  min.  (fares  80,  60,  and  40  c).  The  tram- 
way, however,  does  not  always  run  in  connection  with  the  trains. 
Walkers  take  1  hr.  between  Cecchina  and  Albano.  —  The  tramway 
follows  the  high-road.  The  ruins  of  Castello  Savelli  soon  appear  on 
the  right ;  La  Turre,  or  Torretta^  on  the  left.  A  magnificent  view 
of  Ariccia  is  then  obtained,  with  the  ancient  castle  (p.  370)  on  the 
right,  and  the  imposing  viaduct  on  the  left,  and  farther  to  the  left, 
Albano;  to  the  right,  by  the  entrance  to  the  town,  stands  the  Villa 
Boncompagni.   The  tramway  stops  in  the  Piazza  Umberto. 

Albano. —  Ville  db  Pabis,  Palazzo  Feoli,  R.  3  fr.,  dear;  Roma,  at  the 
end  of  the  town,  near  the  bridge  leading  to  Ariccia;  Edsopa,  or  Posta, 
R.  2  fr.,  caf^  on  the  gronnd-floor;  Russia,  at  the  Porta  Romana. 

Bittorante  Baltutri  in  the  Piazza  Umberto;  the  landlord  procures  bed- 
rooms for  visitors.  —  C^fi  in  the  Corso. 

Those  who  desire  to  make  the  tour  mentioned  at  p.  364,  vi&  Palaz- 
guola  and  Roeea  di  Papa  to  MonU  Gavo  and  back  by  Ntmi^  Oengano^  and 
Ariccia  (6-7  hr.),  must  turn  to  the  right  on  their  arrival  in  Albano,  cross  the 
Piazza,  take  the  first  turning  to  the  left  in  the  Via  Appia,  and  ascend 
to  the  Capuchin  convent.  —  The  walk  through  the  Galleria  di  Sotto  to 
OasUl  Qandolfo^  and  back  by  the  Galleria  dl  Sopra  requires  about  1  hr.,  and 
may  sometimes  be  added  to  the  above  tour  before  the  departure  of  the 
last  train. 

Albano ,  officially  Albano  LaziaU  (1250  ft.  above  the  sea) ,  a 


Albtm  Mia.  CASTEL  GANDOLFO.  Envir,  of  Rome.   369 

small  town  with  6500  inhab.  (inol.  suburbs),  situated  on  the  ruins 
of  the  villa  of  Pompey  and  of  the  Alhanum  of  Domitian^  is  mention- 
ed as  early  as  460  as  the  seat  of  a  bishop,  and  again  in  the  11th  cent, 
in  the  contests  of  the  popes  with  the  citizens  of  Rome.  In  the 
13th  cent,  it  belonged  to  the  Savelli ,  from  whom  it  came  into  the 
possession  of  the  papal  government  in  1697.  The  lofty  site  and  beau- 
tiful environs  of  Albano  attract  many  visitors  in  summer,  but  it  is 
not  entirely  exempt  from  fever.  It  is  an  excellent  centre  for  a 
number  of  interesting  excursions. 

Above  the  station  is  the  little  Piazza  Umberto,  skirted  by 
the  Via  Appia,  which  forms  the  S.W.  boundary  of  the  town.  In 
the  upper  part  of  the  town,  which  stretches  up  the  side  of  the  hill, 
between  the  monastery  of  8.  Paolo  and  the  loftily-situated  Capuchin 
Monastery  (to  the  right  from  the  Piazza,  then  the  first  turning  to  the 
left),  lay  an  AmpMiheatre^  the  scanty  remains  of  which  are  seen  from 
the  road.  The  church  of  5.  Maria  dtllaRotonda  stands  on  the  found- 
ations of  an  ancient  circular  temple.  The  ruins  in  the  street  of  Gesd 
e  Maria  are  supposed  to  be  the  remains  of  baths. 

In  front  of  the  N.W.  entrance  to  the  town,  to  the  right  of  the 
Via  Appia,  rise  the  remains  of  a  large  tomb,  called  without  author- 
ity the  Tomb  of  Pompey.  The  avenue,  diverging  to  the  right  by  this 
tomb,  is  known  as  the  Galleria  di  Sotto,  see  below.  —  On  the  S.E. 
side  of  the  town,  to  the  right  on  the  road  to  Ariccia  (to  the  left  of 
the  ancient  road) ,  stands  another  ancient  *Tomb  in  the  Etruscan 
style,  consisting  of  a  massive  cube,  originally  surmounted  by  five  ob- 
tuse cones,  of  which  two  are  still  standing.  It  was  formerly  regarded 
as  the  tomb  of  the  Horatii  and  Ouriatii,  and  now,  with  no  better 
reason,  as  that  of  Aruns,  a  son  of  Porsenna,  who.  was  killed  near 
Ariccia. 

About  11/4  M.  to  the  N.W.  of  Albano  lies  Caatel  Gandolfo, 
which  is  reached  by  two  shady  avenues  of  beautiful  evergreen  oaks : 
the  so-called  *Oalleria  di  Sopra,  or  'upper  gallery',  beginning  at 
the  Capuchin  monastery  above  Albano ,  and  affording  fine  views  of 
the  lake ;  and  the  Qalleria  di  Sotto ,  beginning  near  the  tomb  of 
Pompey  at  the  N.W.  entrance  to  the  town ,  passing  the  ViUa  Bar- 
herini  and  Castel  Gandolfo,  and  leading  to  (33/4  M.)  Marino  (p.  367). 

Castel  Gandolfo,  the  seat  of  the  Savelli  in  the  middle  ages,  has 
belonged  to  the  Popes  since  1596.  It  is  an  insignificant  place  with 
a  large  Papal  Palace,  erected  by  Urban  VIII.  from  designs  by  Carlo 
Madema,  and  splendidly  situated  high  above  the  Alban  lake.  The 
chateau  (now  a  convent)  was  formerly  a  favourite  summer-resort  of 
the  popes,  and  enjoys  the  privilege  of  exterritoriality. 

The  *Lake  of  Albano  (965  ft.  above  the  sea-level,  490  ft.  deep), 
about  6  M.  in  circumference,  is  the  crater  of  an  extinct  volcano,  of 
sombre  and  melancholy  aspect,  although  its  banks  are  well  cultivat- 
ed. It  is  fed  by  abundant  subterranean  springs,  and  is  drained  by 
a  very  ancient  Emissarium  which  issues  below  Castel  Gandolfo. 

Bajidbksb.    Italy  II.    10th  Edition.  24 


Z70  Environs  of  Rome.       AKICCIA.  Alban  Mis. 

The  path  to  the  ancient  Emissariiun  descends  steeply  from  the  Galleria 
di  Sopra  a  little  before  the  village  ia  reached,  but  the  costodian  mnst  first 
be  summoned  from  the  Tillage  (fee  1  fr.  \  for  a  party  more  in  proportion). 
The  descent  occupies  nearly  1/4  hr.,  and  the  whole  inspection  about  1  hr. 
The  Emissarinm,  an  imposing  work ,  was  constructed  according  to  tradi- 
tion by  the  Romans  in  B.C.  997,  during  the  siege  of  Veii,  when  the  lake 
rose  to  an  unusual  height ,  but  it  is  probably  of  still  more  remote  origin. 
It  is  hewn  in  the  solid  rock.  At  the  entrance  is  a  large  stone  building 
resembling  a  nymphseum.  The  channel  is  7-10  ft.  in  height,  and  issues 
>/4  M .  below  Albano  by  the  village  of  La  Mola ,  where  the  water  is  used 
as  a  motive  power  for  mills,  descending  thence  to  the  Tiber.  The  custod- 
ian floats  lighted  pieces  of  candle  on  boards  down  the  stream,  in  order 
to  give  visitors  an  idea  of  its  length  (about  1300  yds.)- 

From  Albano  to  Palazznola,  and  thence  to  the  top  of  Monte  Cavo, 
see  p.  372. 

About  ^1^  M.  to  the  S.E.  of  Albano  lies  Arlccia.  Beyond  tlie 
Etruscan  tomb  mentioned  at  p.  369 ,  the  road  crosses  the  Imposing 
*  Viaduct  which  connects  Albano  with  Arlccia,  erected  by  Pins  IX. 
in  1846-53,  334  yds.  in  length,  and  192  ft.  in  height,  consisting 
of  three  series  of  arcades  of  six,  twelve,  and  eighteen  arches 
respectively ,  one  above  the  other.  To  the  right  we  obtain  a  view 
of  the  extensive  plain  as  far  as  the  sea ;  to  the  left  we  observe  the 
♦Park  of  the  PoLazzo  Chigi,  a  mansion  bnilt  by  Bernini.  This  park, 
containing  fine  old  timber ,  is  kept  in  as  natural  a  condition  as  pos- 
sible. Permission  to  visit  it  should  be  obtained  from  the  porter  or 
gardener  in  the  palace  (fee  72"!  ^'0- 

Ariooia  {CafS  in  the  piazza),  a  small  village,  frequently  attracts 
visitors  in  summer  on  account  of  the  proximity  of  the  woods. 
The  women  of  Arlccia  and  Genzano  are  famed  for  their  beauty. 
The  ancient  Ariciaj  which  belonged  to  the  Latin  League,  lay 
towards  the  S.,  in  the  Valle  Aricciana  (980  ft.),  an  extinct  crater 
below  the  modern  town ,  while  the  latter  occupies  the  site  of  the 
ancient  Arx  or  citadel.  It  was  the  fifth  station  on  the  Via  Appia, 
which  runs  towards  Genzano  on  massive  and  still  visible  substruc- 
tures, at  the  foot  of  the  modern  town.  (A  circuit  of  ^2  ^^-  ^7  *^® 
valley ,  instead  of  the  direct  route  from  Albano  to  Arlccia,  is  In- 
teresting.) In  the  middle  ages  Arlccia  came  into  the  possession  of 
the  Savelli,  and  in  1661  was  purchased  by  the  Chigi ,  who  are  still 
the  proprietors  of  the  place. 

The  beautiful  and  shady  new  road  from  Aricoia  to  Genzano  at 
first  leads  a  little  to  the  left  and  crosses  four  viaducts,  which  com- 
mand fine  views.  After  1/2  M.  it  passes  GallorOj  formerly  a  Jesui- 
church.  At  the  17th  milestone,  about  3/^  M.  farther ,  the  road  dit 
vides ;  the  branch  to  the  left  descends  to  a  Capuchin  monastery  and 
to  the  Lake  of  Nemi  (below  is  a  partly  ancient  road  to  Nemi) ;  that 
in  the  middle  leads  through  an  avenue  to  the  Palazzo  Oesarini  (see 
below) ;  and  that  to  the  right  descends  to  the  town. 

CtonzanOy  a  town  with  5000  inhab.,  loftily  situated  above  the 

S.W.  bank  of  the  Lago  di  Nemi,  is  also  much  visited  in  summer, 

ut  there  are  no  good  inns,  and  intermittent  fever  is  not  uncommon 


AWanMts,  LAGO  DI  NEMI.      Enmir.ofR<me.   371 

here.  In  the  piazza,  opposite  the  fountain,  is  the  *  Trattoria  delta 
Grotia  Azzurra,  the  landlord  of  which  can  procure  sleeping-quar- 
ters in  an  adjoining  house  (bargain  desirable).  The  wine  of  Gen- 
zano  is  esteemed.  The  place  presents  no  attraction  beyond  its  fine 
situation.  The  best  *yiew  of  the  lake  is  from  the  garden  of  the  Pa- 
lazzo Cesarini,  which  slopes  rapidly  towards  the  water  (entrance  to 
the  left,  opposite  the  palace ;  admission  granted  on  application  at 
the  palace).  —  At  Genzano ,  on  the  8th  day  after  Corpus  Chris ti 
(but  not  every  year),  is  held  the  famous  Infiorata  di  Oenzano,  or 
flower-festival,  consisting  of  a  procession  through  a  street  carpeted 
with  flowers,  followed  by  fireworks  and  merry-makings. 

The  ^'^ago  di  Nemi  (1065  ft.)  is  an  extinct  crater,  about  3  M. 
in  circumference,  and  like  the  Alban  lake,  which  lies  100  ft.  lower, 
is  of  considerable  depth  (330  ft.),  and  is  also  drained  by  an  artificial 
emissarium.  The  water  is  beautifully  clear ,  and  rarely  ruffled  by 
wind.  The  precipitous  lava-slopes  of  the  crater ,  330  ft.  in  height, 
are  carefully  cultivated.  In  ancient  times  it  was  called  the  Lacus 
Nemorensis,  and  sometimes  the  'Mirror  of  Diana' ,  from  a  temple,  of 
which  substructures  have  been  discovered  below  Nemi,  and  from  a 
nemus ,  or  grove  sacred  to  that  goddess,  whence  the  present  name 
is  derived.  This  exquisite  lake  is  the  gem  of  the  Alban  Mts. 

From  Genzano  to  Nemi  2^/2-3  M. ;  by  the  Palazzo  Cesarini  we 
follow  the  road  to  the  right,  through  the  town,  and  past  the  church 
of  SS.  Annunziata.  The  pleasant  road  skirts  the  upper  margin  of  the 
lake,  affording  several  fine  views.  —  A  footpath  descends  to  the  lake 
from  SS.  Annunziata,  and  ascends  again  near  the  mills  below  Nemi. 

Kemi  is  a  small  medisBval  town  with  an  ancient  fort.  The  inn 
CTrattoria  DesartetiSj  tolerable,  bargaining  advisable)  possesses  a 
small  verandah  which  commands  a  delightful  *View  of  the  lake 
and  the  castle  of  Genzano,  of  an  old  watch-tower  beyond  them, 
and  of  the  extensive  plain  and  the  sea. 

From  Nemi  to  the  (I72  ^r.)  Monte  Cavo  (p.  372)  a  guide  is 
necessary  on  account  on  the  intricacy  of  the  forest-paths  (1-1 72  ^'0- 
Albano  is  a  little  farther  distant. 

Monte  Cavo. 

The  aiicent  of  Monte  Gavo  may  be  accomplisbed  in  about  3V4  hrs.  from 
Fraseaii^  in  about  2*1^  bra.  from  Albano^  and  in  about  2  hrs.  (with  guide) 
from  Nemi,  The  traveller  had  better  take  refreshments  with  him;  the 
monks  are  very  civil,  but  the  food  (merely  wine,  bread,  and  cheese,  1/2" 
1  fr.)  and  sleeping  accommodation  (for  gentlemen)  which  they  offer  are 
exceedingly  poor. 

Fbom  Fbascati  to  Rooca  di  Papa  is  a  distance  of  about  5  M. 
which  on  account  of  the  ascent  represents  a  walk  of  not  less  than 
21/2  brg.  The  day's  journey  indicated  at  p.  364  may  be  lightened 
by  taking  a  carriage  to  Rocca  di  Papa  (p.  372).  The  road  diverges 
to  the  left  from  the  road  to  Marino,  at  a  point  a  little  more  than 
halfway  (comp.  the  Map).      Rocca  di  Papa  may  also  be  reached 

24* 


372  Environs  of  Rome.  MONTE  CAVO.  Alban  MU. 

from  Tusculnm  (p.  365)  direct  in  11/2  ^-  ^Y  ^eld  and  forest-paths 
(guide  desirable,  1-1 V2  fr.). 

The  Route  fkom  Albano  to  Rocca  di  Papa  leads  to  the  right 
at  the  above-mentioned  Capnchin  conyent,  where  the  Galleiia 
di  Sopra  begins  to  the  left.  Fine  view  of  the  lake.  Where  the  road 
forks  we  keep  to  the  left,  in  the  direction  of  tbe  lake ,  even  when 
the  path  seems  to  descend  steeply.  In  about  1  hr.  we  reach  the 
suppressed  Franciscan  monastery  of  Palasinola,  dating  from  the 
13th  cent.,  and  situated  above  the  E.  margin  of  the  lake.  The  gar- 
den contains  a  curious  rock-tomb  in  the  Etruscan  style,  about  which 
little  is  known.  —  Above  the  monastery ,  on  the  narrow  space  be- 
tween the  base  of  Monte  Cavo  and  the  Alban  Lake,  once  lay  In  a  pro- 
longed line,  as  its  name  indicates ,  the  city  of  Alba  Longa,  of  which 
no  traces  now  remain.  It  will  be  observed,  howoTor,  that  the  rocks 
in  the  direction  of  Palazzuola  have  been  hewn  perpendicularly ,  in 
order  to  render  the  town  more  Impregnable. 

The  fonndation  of  Alba  Longa  belongs  to  a  prehistoric  period,  and 
tradition  has  attributed  it  to  Ascanius,  the  son  of  iSneas.  It  was  the  an- 
cient capital,  and  the  political  and  religions  centre,  of  the  Latin  League, 
but  was  destroyed  at  an  early  period  by  its  younger  rival  on  the  banks 
of  the  Tiber,  after  which,  however,  the  ancient  festivals  of  the  League  on 
the  Alban  Mt.  still  continued  to  be  celebrated  here. 

Rocca  di  Papa  lies  3  M.  farther  on,  the  route  passing  through 
wood.  We  follow  the  most  beaten  path  (which  keeps  to  the  right, 
along  a  fence,  at  the  fork,  about  1  M.  from  Palazzuola),  and  avoid 
those  on  the  left,  leading  to  Marino  and  Grotto  Ferrata. 

Booea  di  Papa  (2645  ft.;  Caffh  deW  AurorOt  in  the  upper  part 
of  the  town;  the  two  TrattorU  very  poor),  a  favourite  summer- 
resort  of  the  Romans,  Yrith  numerous  villas,  lies  on  the  slope  of  the 
great  extinct  crater  of  Campo  d'AnnibalCj  so  named  from  the  un- 
founded tradition  that  Hannibal  once  pitched  his  camp  here  during 
his  campaign  against  Rome.  The  garrison  of  Rome  occupies  summer- 
quarters  here  in  July,  August,  and  September. 

In  order  to  reach  the  summit  of  Monte  Cavo  we  turn  to  the 
right  on  the  rim  of  the  crater,  which  is  reached  by  a  walk  of 
15-20  min.  through  the  steep  streets  of  the  town,  and  ascend  the 
well-preserved  and  shady  Via  TriumphaliSy  an  ancient  road,  paved 
with  basalt,  once  traversed  in  triumphal  procession  by  the  generals 
to  whom  the  Senate  refused  a  triumph  at  Rome.  From  two  open 
spaces,  about  three-quarters  of  the  way  up,  a  better  ♦View  than 
from  the  top  is  obtained  of  Marino  on  the  right,  the  Lago  d'Albano, 
Ariccia  with  the  viaduct,  Genzano,  the  Lago  di  Nemi,  and  Nemi  itself. 

On  the  summit  of  the  Monte  Cavo  (3145  ft.),  the  ancient  Mons 
Albanus  (an  ascent  of  ^/^hr.  from  Rocca  di  Papa),  stood  the  venerable 
sanctuary  of  the  Latin  League,  the  Temple  of  Jupiter  Latiaria, 
where  the  great  sacrificial  festival  of  the  Feriae  Latinae  was  cele- 
brated annually.  Its  ruins,  82  yds.  long  and  38  yds.  wide,  vnth  col- 
-uns  of  white  and  yellow  marble,  were  in  tolerable  preservation  till 


Sabine  Mountains.  BAGNI.         Environs  of  Rome.   373 

*  1783 ,  when  Cardinal  York,  the  last  of  the  Stuarts,  converted  them 
into  a  Passionist  Monastery.  A  portion  only  of  the  ancient  founda- 
tions is  preserved  on  the  S.E.  side  of  the  garden-wall. 

The  **ViEW  from  several  different  points  is  incomparable.  It  embraces  the 
aea,  the  coast  from  Terracina  to  Civitk  Vecchia,  the  Volscian  and  Sabine 
Mts.,  Bome  and  the  Campagna  with  a  number  of  towns  and  villages,  and 
below  the  spectator  the  beautiful  Alban  Mts.  The  distant  view,  generally 
obscured  by  mist,  is  seen  to  the  best  advantage  immediately  before  sunrise, 
after  sunset,  or  when  a  passing  shower  has  cleared  the  atmosphere. 

From  Nemi  to  Monte  Cavo,  see  p.  371 ;  the  descent,  through 
wood,  takes  1-1 V4  ^^'  A.  guide  is  almost  indispensable,  especially 
when  the  traveller  is  hurried  and  wishes  to  avoid  deviations. 

3.  The  Sabine  Mountains. 

That  chain  of  the  Apennines  which  descends  abruptly  and  bounds  the 
Roman  plain  on  the  E.,  named  Sabine  Mts.  from  the  ancient  inhabitants, 
is  full  of  interest  for  lovers  of  the  picturesque.  The  formation  of  these 
mountains  is  limestone ,  differing  entirely  from  that  of  the  volcanic  Alban 
Mts. ,  and  their  height  is  much  greater ,  attaining  to  4200  ft.  As  a  rule 
the  Inns  are  good ,  though  plain ,  bat  enquiry  as  to  charges  should  be 
made  beforehand  •,  usual  charge  for  board  and  lodging  5-6  fr. ,  and  V2  ^^' 
gratuity. 

Those  whose  time  is  short  must  be  satisfied  with  a  visit  to  Tivoli,  which 
was  a  favourite  summer -resort  of  the  Romans  in  the  time  of  Horace.  A 
fine  day  in  April  or  May,  when  the  vegetation  is  at  its  freshest,  is  the  best 
time  for  this  excursion.  Those  who  are  indifferent  to  the  saving  effected 
by  taking  return-tickets  may  go  by  railway  and  return  by  steam-tramway 
(or  vice  vers&).  —  If  several  days  are  devoted  to  the  Sabine  Mts.,  and  they 
are  well  worth  it,  the  following  tour  may  be  made,  ending  with  Tivoli, 
the  culminating  point:  1st  day,  from  Rome  by  early  train  to  Valmontone 
(p.  382)  or  to  FraseaH  (p.  864),  and  thence  by  diligence  or  on  foot  to  Pa- 
lestrina ;  in  the  afternoon,  walk  or  drive  to  Olevano ;  2nd,  to  Subiaco ;  3rd, 
to  Tivoli;  4th,  back  to  Rome.  The  whole  trip  may  be  accomplished  by 
carriage  (not  always  to  be  had.  however,  except  at  Tivoli),  but  some  of 
the  excursions  at  least  should  oe  made  on  foot  or  on  donkey-back.  The 
public  conveyances  are  not  recommended  when  ladies  are  of  the  party,  in 
which  case  a  private  carriage  should  be  hired.  Tivoli  affords  the  best 
summer^quarters,  but  Subiaco  and  Olevano  are  also  pleasant. 

From  Bome  to  Tivoli. 

1.  Railway,  25  M.,  in  !»/«  hr.  (return-fares  4  fr.  56,  3  fr.  30,  2  fr. 
5  c).  This  route  is  more  picturesque  than  that  of  the  steam-tramway  (see 
p.  374).     Trains  start  from  the  Principal  Station  at  Rome. 

Outside  the  city-walls  the  railway  crosses  the  steam-tramway  to 
Marino  (p.  367).  On  the  right  appears  the  ruined  Tor  d«'  Schiavi 
(p.  345).  —  6Y2  M.  Cervara ,  the  grottoes  near  which  used  to  be 
celebrated  for  the  artists'  festivals  held  in  them.  —  7^/2  M.  Salone. 
—  91/2  M.  Lunghezzaj  the  ancient  Collatia^  a  'tenuta'  belonging  to 
the  Duca  Strozzi ,  with  an  old  baronial  castle ,  prettily  situated  In 
the  well-wooded  valley  of  the  Teverone. 

13  M.  Bagniy  the  station  for  the  sulphur-baths  of  Acque  AlbuUj 
the  Roman  Aquae  AlbvXae^  which  were  much  frequented  in  ancient 
times ,  and  were  again  fitted  up  for  the  reception  of  patients  in 
1879-80  (handsome  Curhaus ;  swimming-baths  for  ladies  and  gen 
tlemen;  68®  Fahr.). 


374   Environs  of  Rome,  VILLA  ADRIANA.  Sabine  MU, 

The  railway  next  crosaefl  the  high-road  to  Tivoli.  To  the  righ  " 
fine  Tiew  of  the  road  and  of  the  railway -viaducts  farther  on, 
with  the  mountains  in  the  background.  —  16  M.  Monie  Celio, 
formerly  called  Monticelli ,  said  to  occupy  the  site  of  the  ancient 
Comicidum  and  now  belonging  to  the  Borghese  family.  —  2OI/2  M. 
Palombara  is  situated  on  an  isolated  hill ,  with  a  chateau  of  the 
14th  cent,  belonging  to  the  Savelli  family.  —  View  of  the  0am- 
pagna  to  the  right ;  in  front ,  Tivoli ,  with  the  beautiful  cypresses 
of  the  Villa  d'Este.  Beyond  two  tunnels  and  two  viaducts  we 
enjoy  a  ♦View  to  the  right  of  Le  Cascatelle  (p.  378)  and  the  town. 
A  short  and  a  long  tunnel  follow.  —  26  M.  Tivoli ,  the  station  of 
which  is  outside  the  Porta  S.  Angelo. 

2.  Stkam  Tkamwat,  18  M.,  in  2>/4  brs.  (fares  2  fr.  BO,  1  fr.  85  c,  return 
8  fr.,  2  fr.  20  c).  This  is  the  most  convenient  route  for  a  visit  to  Hadrian^s 
Villa.  The  steam-cars  start  outside  the  Porta  Lorenzo,  for  which  a  horse- 
car  in  connection  leaves  the  Piazza  Venezia  (Via  Kazionale  131)  1/2  hr. 
before  their  departure,  running  via  the  Piazza  delle  Terme  (tramway- 
lines  1  and  2,  p.  3  of  Appx. ;  through-tickets  to  Tivoli  may  be  obtained 
at  the  Piazza  Venezia).  Those  who  drive  to  the  steam-tramway  should 
dismiss  their  cab  at  the  Porta  8.  Lorenzo  to  avoid  paying  the  extra-mural 
tariflf  (see  Appx.).  —  Travellers  with  through-tickets  are  allowed  to  breaJc 
their  journey  in  order  to  visit  Hadrian's  Villa,  which  takes  about  2  hrs. 
There  is  no  osteria  at  the  Villa,  so  that  visitors  must  either  bring  provisions 
with  them,  or  postpone  luncheon  until  they  reach  Tivoli.  Those  who 
intend  to  walk  from  the  Villa  to  Tivoli,  as  suggested  at  p.  377,  should  cer- 
tainly bring  luncheon. 

The  high-road,  along  which  the  steam-tramway  runs,  quits  Rome 
by  the  Porta  S.  Lorenzo  (p.  343) ,  passing  the  church  of  that  name 
on  the  right.  It  then  crosses  a  bridge  over  the  railway.  The  first 
halting-place  is  Portonaccio ,  where  the  line  to  Marino  diverges  on 
the  right  (p.  367).  The  road,  which  is  generally  identical  with  the 
ancient  Via  Hburtina ,  crosses  the  Anio ,  here  called  the  Teverone, 
by  the  Ponte  Mammolo  (station ,  4  M.).  The  river  rises  on  the 
mountains  near  Filettino,  passes  Subiaco,  Vicovaro,  and  Tivoli, 
where  it  forms  the  celebrated  cascades,  and  falls  into  the  Tiber  at 
the  Ponte  Salaro  (p.  341).  The  bridge  is  said  to  be  named  after 
MammaBa,  the  mother  of  Alexander  Severus.  To  the  right  an  undu- 
lating district  with  ancient  towers. 

7  M.  Settecamini.  —  12*/2  M.  Bagni ,  station  for  Acque  Albule 
(p.  373).  —  In  the  vicinity  are  the  quarries  of  Lapis  TiburtinuSj  or 
travertine,  which  furnished  building -material  for  ancient  and  for 
modern  Rome,  for  the  Colosseum  and  for  St.  Peter's  alike.  In  Y2  hr. 
more  the  Anio  is  crossed  by  the  Ponte  Lucano  (station ,  14^2  M-)* 
near  which  is  the  well-preserved  Tomb  of  the  Plautii ,  dating  from 
the  early  empire ,  and  resembling  that  of  CaBcilia  Metella  (p.  349). 

Beyond  the  Ponte  Lucano  we  see  on  the  right  two  pillars, 
which  are  supposed  to  mark  the  ancient  entrance  to  Hadrian's 
Villa;  one  is  adorned  with  reliefs. 

15 Y2  ^'  Villa  Adriana  (no  osteria  in  the  vicinity;  see  above). 
We  follow  the  road  which  ascends  gradually  from  the  station,  turn 


Sabine  Mt8.  VILLA  ADRIANA.     Envir.  of  Borne.   375 

to  the  right  at  a  (4  min.)  finger-post,  and  soon  reach  the  (^4  hi.) 
present  entrance  of  the  villa.  A  fine  avenue  of  cypresses  leads  to 
the  lower  Casa  della  Ouardia,  where  tickets  are  sold  (1  fr.). 

The  *ViLLA  OP  Hadbian  ,  v^hich  with  its  magnificent  grounds 
occupies  an  area  of  several  square  miles,  dates  from  the  later  years 
of  the  far-travelled  emperor  (d.  138  A.D.).  Hadrian,  as  his  bio- 
grapher Spartian  relates,  'created  in  his  villa  at  Tivoli  a  marvel  of 
architecture  and  landscape-gardening;  to  its  different  parts  he  as- 
signed the  names  of  celebrated  buildings  and  localities,  such  as  the 
Lyceum,  the  Academy,  the  Prytaneum,  Ganopus,  the  Stoa  PoBcile, 
and  Tempe,  while  in  order  that  nothing  should  be  wanting  he  even 
constructed  a  representation  of  Tartarus'.  After  the  death  of  its 
founder  little  use  seems  to  have  been  made  of  this  gigantic  con- 
struction ,  which  does  not  again  appear  in  history  till  the  period 
of  the  Gothic  invasions ,  when  it  served  Totila  as  a  fortress  (544 
A.D.)  and  suffered  great  injury.  During  the  following  centuries 
the  ruins  afforded  valuable  building  material  for  the  churches  and 
palaces  of  Tivoli.  At  the  beginning  of  the  Renaissance  a  profitable 
search  for  works  of  ancient  art  was  instituted  here,  and  from  the 
16th  cent,  to  the  present  day  the  ruins  have  furnished  an  almost 
inexhaustible  series  of  works  of  art,  including  many  of  the  prin- 
cipal treasures  of  the  Vatican ,  Oapitoline ,  and  other  museums. 
Unfortunately,  however,  the  destruction  of  the  buildings  kept 
pace  with  the  search  for  treasures  of  art.  In  1871  the  Italian  govern- 
ment purchased  the  Villa  from  the  family  of  the  Braschi. 

The  Roman  archaeologists  have  tried  to  identify  the  extant 
ruins  with  the  buildings  mentioned  by  Spartian  in  the  passage 
cited  above,  and  though  it  is  often  doubtful  we  here  follow  the  usual 
terminology. 

Adjoining  the  watcliman''3  hut  is  the  so-called  Teatro  Oreeo^  of  which 
the  foundations  of  the  stage  and  the  rows  of  seats  are  still  dastinguish- 
able.  Skirting  the  posterior  wall  of  the  stage,  we  then  ascend  through 
an  avenue  of  cypresses  to  the  Poecile^  an  imitation  of  the  oroa  tioixiXtj, 
or  painted  porch,  at  Athens.  Of  this  huge  colonnade,  250  yds.  long  and 
110  yds.  wide,  nothing  now  remains  but  the  N.  wall  and  a  few  fragments 
of  the  parallel  arcades.  In  the  centre  of  the  space  enclosed  by  the  colon- 
nade traces  have  been  discovered  of  a  large  oblong  Water  Basin.  As  the 
natural  plateau  of  the  hill  was  not  capacious  enough  to  receive  so  exten- 
sive a  building,  it  has  been  enlarged  on  the  W.  and  S.W.  by  gigantic  sub- 
structures, which  contain  three  stories  of  vaulted  chambers,  accessible 
through  an  entrance  on  the  S.  side  of  the  square  (PI.  1).  These  chambers, 
generally  called  Le  Cento  Camerelle^  are  supposed  to  have  been  occupied 
by  the  imperial  guards  or  slaves.  —  At  the  N.E.  corner  of  the  square  is 
the  entrance  to  the  Bala  dei  Filosofi^  with  niches  for  statues.  From  it  we 
enter  a  Circular  Building  (PI.  3)  containing  a  water-basin  and  an  artificial 
island  adorned  with  columns  '■,  this  is  usually  described  as  a  Natatorium  or 
swimming-bath,  but  it  is  more  probably  a  Kymphseum.  To  the  E.  of  this 
building,  at  a  somewhat  higher  elevation,  is  a  rectangular  court,  the  left 
side  of  which  is  occupied  by  the  so-called  Library  (PI.  4).  To  the  N.  lay 
a  Garden.  A  corridor,  on  the  left  side  of  which  was  a  fine  vestibule,  leads 
K.E.  to  a  room  supposed  to  have  been  a  Triclinium  ^  commanding  a  fine 
view  of  Tempe,  Tivoli,  and  the  mountains.  Hence  we  proceed  to  the  8. 
(right),  through  a  plantation,  to  the  Doric  Perittyle  (PI.  5),  and  to  a  large 


376  Environs  of  Rome.  VILLA  ADRIANA,  Sabine  Mt8. 

rectangular  space  known  as  the  Oiardino.  Some  of  the  finest  mosaics  (now^ 
in  the  Vatican,  p.  909)  were  found  in  the  adjoining  rooms  (THcfmttf,  PI.  6). 
On  the  E.  side  of  the  Giardino  is  the  (Ecu*  Corinthiiu  (PI.  8),  a  hall  the 
ends  of  which  are  occupied  by  large  semicircular  recesses.  In  front  of 
the  K.  recess  are  two  small  fountain-basins.  To  the  right  is  the  BasOiea^ 
with  36  marble  pillars  and  remains  of  a  magnificent  marble  flooring,  re- 
cently excavated  for  the  second  time.  On  the  W.  it  is  adjoined  by  a  room 
with  an  exedra,  in  which  is  an  elevated  basis  or  platform ;  this  is  supposed 
to  be  the  throne-room.  —  We  now  return  to  the  CEcus  Oorinthius,  and  on 
quitting  it  turn  to  the  right.  The  following  rooms  also  belong  to  the  state- 
apartments.  Beyond  an  octagonal  vestibule  we  enter  the  so-called  Piazza 
d^OrOj  a  court  surrounded  with  a  colonnade  of  68  columns,  alternately  of 
Oriental  granite  and  cipollino,  of  which  the  bases  alone  are  now  in  iiiu. 
The  costly  material  of  the  decorations  found  here  in  the  excavations  of 
the  18th  cent,  gave  rise  to  the  name.  On  the  S.E.  side  of  the  Piazza  d^Oro 
is  a  room  surmounted  with  a  dome,  with  a  semicircular  apse,  contain- 
ing water-works  and  a  fountain. 

We  now  return  to  the  Giardino,  skirt  its  S.  side,  and  follow  the  path 
leading  to  the  S.  past  a  handsome  semicircular  Exedra  (PI.  10),  with  a 
water-basin,  to  the  Q/uartiere  dei  Viffili,  a  lofty  building  supposed  to  have 
been  occupied  by  soldiers  or  by  imperial  officials.  Farther  on  is  a  large 
block  of  buildings  facing  the  W.  We  pass  through  a  Cryptoportieu*  and 
enter  a  suite  of  rooms  from  which  we  overlook  the  Stadium.  On  leaving 
this  building  we  proceed  to  the  8.  along  the  substructures.  In  the  middle 
of  the  space  which  they  enclose  are  the  Thermae^  with  remains  of  taste- 
ful stucco  ornamentation.  To  the  left  as  we  leave  the  Thermae  opens 
the  Valley  of  Canopus,  artificially  cut  in  the  tufa  rock.  'Canopus',  says 
Strabo,  ^is  a  town  120  stadia  from  Alexandria,  named  after  the  steersman 
of  Henelaus,  who  is  said  to  have  died  here,  and  containing  a  highly- 
revered  temple  of  Serapis  ....  Troops  of  pilgrims  descend  the  canal 
from  Alexandria  to  celebrate  the  festivals  of  this  goddess.  The  neigh- 
bourhood of  the  temple  swarms  day  and  night  with  men  and  women, 
who  spend  the  time  in  their  boats  dancing  and  singing  with  the  most 
unbri^ed  merriment,  or  find  accommodation  in  the  town  of  Canopus  and 
there  prosecute  their  orgies'.  Hadrian  constructed  the  canal,  with  the 
temple  in  the  background,  and  also  numerous  small  chambers,  where  he 
caused  festivals  to  be  celebrated  in  the  Egyptian  manner.  At  the  end 
of  the  valley  is  a  large  and  well-preserved  recess,  with  a  fountain,  beyond 
which  was  a  system  of  subterranean  halls,  terminating  in  a  cella  with  a 
statue  of  Serapis.  Many  of  the  works  of  art  in  the  Museo  Egizio  in  the 
Vatican  (p.  316)  were  discovered  here. 

[The  Canopus  is  the  last  part  of  the  Villa  usually  visited  by  travellers. 
The  more  distant  parts,  to  the  S.,  now  occupied  by  private  owners,  are 
more  difficult  to  reach  and  to  identify.  About  4  min.  from  the  Canopus, 
a  square  building  with  a  modern  tower  (fine  view)  is  known  as  the  Torre 
di  Timont  (see  lower  part  of  Plan).  To  the  S.E.  lies  Ihe  Academy^  a  re- 
production of  the  celebrated  grove  at  Athens.  Farther  to  the  S.E.  is 
the  Odeum  ^  with  the  remains  of  a  stage  and  rows  of  seats.  To  the 
E.  of  the  Odeum  is  a  construction  called  the  Jn/eri,  supposed  to  be  the 
Tartarus  mentioned  by  Spartian.  A  ravine  ( Valley  of  the  Styx)^  220  yds, 
long  and  20  yds.  wide,  is  hewn  in  the  tufa  rock  and  connected  with  two 
subterranean  passages.  To  the  S.  lies  an  extensive  Cryptoporticus,  in  the 
form  of  a  trapezium.  Still  farther  to  the  S.  are  the  ruins  of  an  Aqueduct, 
and  a  colonnade  supposed  to  be  the  Lyceum.  The  extensive  ruins  on  the 
Colle  di  S.  Ste/ano,  to  which  the  name  of  Prytaneum  has  been  attached, 
perhaps  belonged  to  a  private  villa.] 

Returning  from  the  Canopus  and  passing  in  front  of  the  above- 
mentioned  Thermae,  we  reach  a  second  series  of  Baths,  not  yet  easily  ac- 
cessible. We  then  return  to  the  Stoa  Poecile,  pass  through  the  door  in 
the  N.  wall,  and  reach  the  cypress  avenue  leading  to  the  exit.  —  On  our 
way  back  we  have  an  opportunity  of  enjoying  the  grateful  shade  of  the 
grove  below  the  Giardino  (see  Plan)  and  the  view  of  Tivoli  and  the  Vale 
of  Tempe. 


.c  tWi  ^«r  £-Dsb^  L  li  n'ly  >t|. 


^ 


^ 


Sabine  MU,  TIVOLI.         Environn  of  Romt.    377 

Pedestiians  on  their  way  to  (1  hr.)  Tivoli  keep  straight  on  at  the 
finger-post  mentioned  at  p.  375,  pass  under  the  tramway,  and  reach 
the  town  at  the  Porta  del  CoUe^  or  lower  gate.  [About  one-half  of 
the  time  otherwise  required  for  a  visit  to  the  Cascatelle  may  be  sav- 
ed by  turning  to  the  left  about  3/4  M.  before  reaching  the  gate,  at 
the  factory  in  the  so-called  Villa  of  Maecenas ,  crossing  the  Ponte 
deir  Acquoria ,  and  thence  making  the  tour  described  at  p.  378  in 
thf  jeverse  direction.]  —  The  tramway-line  makes  a  wide  curve  to 
the  S.E.,  ascends  steeply  through  olive-groves  past  the  station  of 
(  .14/2  M.)  RegressOj  and  ends  at  the  (18  M.)  Porta  8.  Croee, 

Tivoli.  —  Rboina,  in  the  piazea,  clean,  R.  2,  D.  3V2-4  fr.  ^  Sibtlla, 
beautifally  situated  near  the  temples,  with  view,  not  dear  if  bargain  be 
made,  pens,  per  week  49  fr. ;  Yessillo  dItalia,  Pace,  both  unpretending. 

Donkeys  and  Guides  (superfluous)  to  the  waterfalls  1  fr.  (3-4  fr.  are  gener- 
ally demanded  at  first).     Beggars  are  numerous  and  importunate. 

Tivoli^  the  Tihur  of  antiquity,  existed,  according  to  tradition, 
as  a  colony  of  the  Siculi  long  before  the  foundation  of  Rome.  In 
B.C.  380  Camillus  subjugated  Tibur  along  with  Prasneste,  after 
which  it  formed  a  member  of  the  league  of  the  Latin  towns  allied  with 
Rome.  Hercules  and  Vesta  were  the  deities  chiefly  revered  at  Tibur. 
Many  of  the  Roman  nobles ,  including  Maecenas ,  and  the  emperor 
Augustus  himself,  founded  beautiful  villas  here ;  under  Hadrian  the 
splendour  of  the  place  attained  its  climax ;  and  in  the  middle  ages 
it  participated  in  the  fate  of  Rome.  In  1460  Pius  II.  founded  the 
citadel  on  the  ruins  of  the  amphitheatre.  The  modern  town  (7500 
inhab.),  with  its  narrow  streets,  lighted  by  electricity  since  1887, 
offers  few  attractions  beyond  its  charming  situation.  It  is  more- 
over somewhat  damp  and  windy,  especially  in  spring. 

From  the  piazza  we  proceed  straight  to  a  small  piazza  near  the 
bridge,  by  which  the  high-road  to  Vicovaro,  Subiaco,  etc.  (p.  381) 
crosses  the  Anio  above  the  falls.  The  Vioolo  della  Sibylla  here  leads 
to  the  left  to  the  inn  of  that  name  (on  the  right),  in  the  court  of  which 
stands  the  fine  *Tbmplb  of  thb  Sibyl,  a  circular  edifice,  surround- 
ed by  a  colonnade  of  18  Corinthian  columns,  10  of  which  are  pre- 
served. This  temple,  called  by  other  authorities  that  of  Veata,  or  of 
Hercules  Saxanus,  was  used  as  a  church  in  the  middle  ages,  to  which 
period  the  round  niche  in  the  interior  belongs.  The  door  and  windows 
contract  at  the  top.  It  stands  on  a  rock  above  the  waterfalls,  of  which 
it  commands  an  admirable  *Vibw.  —  Close  to  the  Alb.  Sibylla  is  a 
small  piazza  with  another  fine  old  temple  of  oblong  shape ,  with 
4  Ionic  columns  in  front,  supposed  to  have  been  dedicated  to  Tihur- 
tu8,  or  to  the  Sibyl,    Until  1884  it  was  incorporated  with  a  church. 

The  ruins  visible  from  the  projecting  rock  near  the  temple  of 
the  Sibyl  to  the  right,  were  caused  by  an  inundation  in  1826,  which 
carried  away  part  of  the  village.  To  prevent  the  recurrence  of  a  sim- 
ilar disaster,  two  shafts  were  driven  through  the  limestone-rock  of 
Mte.  Catillo,  290  and  330  yds.  long  respectively,  to  draw  off  part  of 
the  water  of  the  Anio.    In  1834  the  river  was  admitted  to  its  new 


378   Environs  of  Rome,        TIVOLI.  Sahine  Mts. 

channel,  in  presence  of  Gregory  XYI. ,  by  the  engineer  FolcM^  and  a 
♦JVetr  Waterfall  of  imposing  appearance,  about  330  ft.  in  height,  was 
thus  formed  (to  the  left  of  a  spectator  at  the  temple  of  the  Sibyl).  Two 
ancient  bridges  and  several  tombs  were  discoyered  on  this  occasion. 

The  present  entrance  to  the  falls  is  by  an  iron  gate  beyond  the 
Ponte  Gregoriano,  to  the  right  (see  Plan,  'Ingresso').  Admission 
^2  fr-  >  Sun.  free ;  guide  for  the  round  of  the  falls  (*giro')  1  fr.  —  On 
entering  we  first  turn  to  the  left  (straight  on,  in  the  direction  of  the 
ends  of  the  two  tunnels,  is  the  arch  of  an  ancient  bridge  in  'opus 
reticulatum'),  pass  through  an  archway  below  the  road,  and  follow 
the  margin  of  the  valley,  enjoying  a  view  of  the  two  temples  on 
the  left.  We  then  reach  a  Terrace  planted  with  olives,  whence  we 
obtain  a  charming  •View  of  the  temple  of  the  Sibyl,  above  us,  and 
of  the  new  waterfall  below.  Passing  through  a  door,  which  a  custo- 
dian opens  (fee),  we  may  proceed  to  the  fall  and  the  entrance  of  the 
two  tunnels  by  which  the  Monte  Gatlllo  is  penetrated  (see  above ; 
372  paces  long ;  to  persons  Inclined  to  giddiness  the  walk  by  the 
roaring  stream  is  not  recommended).  —  From  the  terrace  we  follow 
the  footpath  descending  to  the  valley ;  halfway  down,  near  some 
cypresses,  a  path  diverges  to  the  right,  at  first  ascending  a  few  steps 
and  then  descending  to  a  Platform  of  masonry,  immediately  above 
the  new  fall.  —  We  now  return  to  the  path,  which  descends  at  first 
in  zigzags  and  afterwards  in  steps.  We  descend  to  the  lowest 
point  to  which  it  leads,  and  finally  mount  a  flight  of  stone  steps, 
wet  with  spray,  to  the  fantastically-shaped  ^Sirens'  Orotto.  —  From 
the  grotto  we  return  to  the  point  where  the  paths  cross,  and  ascend 
the  path  on  the  other  side  of  the  valley  to  a  OaUery  hewn  in  the 
rock.  At  the  end  of  the  gallery  the  path  again  divides;  that  in  a 
straight  direction  leads  across  a  wooden  bridge  to  the  Grotto  of  Nep- 
tune, which  was  formerly  the  channel  of  the  main  branch  of  the 
Anio.  The  new  works  drew  off  the  greater  part  of  the  water  from 
this  channel,  but  the  fall  is  still  very  fine.  —  We  now  return  to  the 
gallery  and  follow  the  path  to  the  left,  ascending  in  zigzags  to  the 
exit  near  the  temples  (10-15  c). 

The  Via  delle  Cascatelle ,  the  road  issuing  to  the  left  from  the 
Porta  S,  AngelOj  skirts  the  slopes  above  the  right  bank  of  the 
Anio,  between  fine  olive-trees.  It  affords  beautiful  views  of  Tivoli 
and  its  waterfalls ,  especially  from  (8/4  M.)  the  first  and  (I/2  M. 
farther)  the  second  terrace,  whence  also  are  seen  the  smaller  water- 
falls below  the  town,  known  as  L^e  Cascatelle. 

It  is  usual  to  turn  here.  Visitors  who  wish  to  return  by  another 
route  may  continue  to  follow  the  same  road.  About  1/4  M.  farther,  various 
ancient  ruins,  said  to  be  the  remains  of  a  villa  of  Quintilius  Varius,  are 
seen  near  the  small  church  of  S.  Maria  di  Quinttliolo.  A  ^  Villa  of  Horace\ 
although  the  poet  never  had  one  at  Tibur,  is  also  pointed  out  by  the  guides. 
From  8.  Maria  we  cross  the  meadows  between  old  olive-trees,  and  in 
about  20  min.  reach  a  road  descending  in  a  few  minutes  to  the  left  to  the 
Ponie  delV  Acquoria,  by  which  we  cross  the  Anio.  On  the  left  bank  of 
the  river  we  ascend  the  hill  to  the  left,  partly  by  an  ancient  pavement, 


rvrue  »e»»    ^ctfavfu*,    uy     wmou    wo    ciuoo    tuo  auiu.      v/»»  wmv.  *v.»«»   wwua..    »,- 

the  river  we  ascend   tbe  hill   to  the  left,  partly  by  an  ancient  pavement, 


Sabine  Mi9.      MONTE  GENNARO.       Environs  of  Rome.   379 

and  join  the  road  from  Borne.  Here,  to  the  left,  are  the  colonnades,  which 
have  long  been  visible  from  the  opposite  bank,  of  the  so-called  Villa  of 
Maecenas^  where  an  iron  manufactory  and  the  motors  for  the  electric 
lighting  of  the  town  are  now  established.  On  the  other  side  of  the  road 
is  an  ancient  circular  building,  known  by  the  carious  name  of  Tempio  deUa 
ToMe,  or  'temple  of  the  cough\  probably  a  tomb  of  the  Turcia^  or  Tuscia 
family.    From  this  point  to  the  Porta  del  Colle  of  Tivoli  about  1/2  M. 

Hnrried  visitors  may  omit  the  walk  on  the  Oasc&telle  road,  espe- 
cially if  they  arrive  or  depart  by  railway;  bnt  no  one  should  fail  to 
visit  the  beautiful  •  Ft Wa  d^Este,  to  the  W.  of  the  town  (sometimes 
closed).  The  entrance  adjoins  the  church  of  S.  Francesco.  The  Villa, 
one  of  the  finest  Renaissance  structuies  of  the  kind,  was  erected 
by  Pirro  Ligorio  in  1549  for  Card.  Ippolito  d'Este ,  and  presented 
by  the  Duke  of  Modena  to  Card.  Hohenlohe.  In  the  casino  are  fres- 
coes by  Fed.  Zuccari  and  Muziano  (damaged).  The  garden  con- 
tains terraces  (best  seen  from  the  cypress  plateau  with  the  foun- 
tains), grottoes  with  cascades,  densely-shaded  avenues,  magnificent 
groups  of  trees,  and  charming  points  of  view. 

The  Villa  Braschij  founded  by  Pius  VI.,  and  the  Terrace  of  the 
Jesuits*  College  near  the  Porta  S.  Croce  (steam-tramway  station)  also 
afford  magnificent  views  of  the  Campagna  and  Rome. 

The  Aboemt  of  Montx  Gbnnabo  from  Tivoli  takes  6-6  hrs.,  and  the 
excursion  there  and  back  occupies  a  whole  day.  Guides  at  Tivoli  ask 
5-6  fr.,  those  at  S.  Polo,  which  the  traveller  may  reach  unaided,  2-3  fr.  A 
luncheon-basket  should  be  provided,  including  something  to  drink,  as 
there  is  little  water  on  the  mountain.  We  quit  Tivoli  by  the  Porta  S. 
Angelo,  and  follow  the  high-road  nearly  as  far  as  the  railway-station  of 
S.  Polo  (see  below).  At  this  point  a  new  road  diverges  to  the  left,  leading 
along  the  mountain-slopes  in  I'/a  hr.  to  the  lofty  (2340  ft.)  village  of  S.  Polo 
dt*  Cavalieri.  The  real  ascent  now  begins  (guide  necessary),  the  last  part 
being  very  fatiguing.  On  the  summit  stands  a  rude  pyramid  of  stone,  which 
has  been  used  for  trigonometrical  surveys. 

Konte  GTennaro  (4160  ft.),  one  of  the  highest  peaks  of  the  Sabina,  is 
familiar  to  the  eye  of  every  visitor  to  Rome.  The  view  from  the  top  is 
very  extensive ,  comprising  the  coast  from  Mte.  Circeo  as  far  as  the  lake 
of  Bracciano,  the  broad  plain  with  innumerable  villages,  from  the  Volscian 
and  Alban  Mts.  as  far  as  Soracte  and  the  Ciminian  Forest;  then  the 
Apennines,  as  far  as  the  snowy  peaks  of  the  central  range.  —  The  descent 
may  be  made  to  Roeca  Oiovine  and  through  the  Valley  of  t?te  Licenta  (p.  380), 
but  the  night-quarters  are  very  poor. 

From  Tivoli  to  Subiaco. 

25  H.  Railwat  (continuation  of  line  from  Rome  to  Tivoli)  to  (11  M.) 
Cineto  Romano  in  about  50  min.  (fares  2  fr.  5,  1  fr.  40,  90  c.).  Diligence 
thence  twice  a  day  to  (14  M.)  Subiaco,  in  connection  with  the  trains.  To 
Subiaco  walkers  should  allow  4-5  hrs.  —  A  pleasant  route  for  pedestrians 
to  Subiaco  (7-8  hrs.,  guide  necessary)  leads  along  the  left  bank  of  the  Anio, 
ascends  the  lonely  valley  of  the  Empiglione ,  and  finally  traverses  a  hilly 
region.  —  Carriage  from  Tivoli  to  Subiaco,  30  fr.  (or  more)  and  fee. 

The  railway-station  of  Tivoli  lies  outside  the  Porta  S.  Angelo 
(p.  378).  The  train  follows  the  right  bank  of  the  Anio,  to  the  left 
of  the  road,  the  ancient  Via  Valeria,  and  the  Acqua  Marcia.  Fine 
view  of  the  green  valley  to  the  right,  —  3  M.  -S.  Polo  /  the  village 
(see  aliove)  lies  2Y4  M.  to  the  left  of  the  station.  Two  tunnels.  — 
6  M.  Castel  Madama ;  the  conspicuous  village  (1460  ft.)  lies  high  up 


380  JBhrif .  of  Rome.    ROCCA  GIOTINE.  Sabine  MU. 

on  the  other  hank  of  the  Anio,  21/4  M.  distant.   —  We  now  pass 
through  another  tunnel  and  cross  to  the  left  hank. 

7  M.  Vicovaro.  The  small  town  is  on  the  right  bank  of  the 
Anio,  ^/4  M.  distant.  On  the  way  to  it  we  pass,  on  the  left,  the 
church  of  8,  Antonio ,  with  a  portico  of  ancient  columns.  Just 
below  the  entrance  to  the  town  are  some  remains  of  the  walls  of 
VariGj  the  ancient  town  now  represented  by  Yicovaro.  The  octagonal 
chapel  of  8,  Oiaeomo  is  ascribed  to  a  pupil  of  Brunelleschi. 

Above  Vicovaro  opeiu  the  Valley  of  the  Licenza,  the  ancient  Digentia, 
believed  to  be  the  spot  in  which  lay  the  Sabine  farm  of  Horace.  The 
natural  beanty  of  the  valley  would  alone  render  it  worth  a  visit,  even 
apart  from  its  classical  associations.  From  Vicovaro  we  proceed  in  the 
direction  of  the  (iVs  M.)  convent  of  8.  Rocco  (see  below),  situated  on  a  hill. 
Where  the  road  forks,  a  little  on  this  side  of  the  convent,  we  follow  the 
branch  leading  back  to  the  left  In  about  21/2  H.,  a  little  beyond  a  ruined 
cottage,  we  cross  a  small  bridge  and  ascend  by  a  steep  path  to  Bocca 
Oiovine  (new  road  in  progress),  which  does  not  become  visible  till  we  are 
close  upon  it. 

Kocca  Giovine  is  a  small  village  charmingly  situated  on  a  precipitous 
rock.  An  old  inscription  built  into  the  Palazzo  refers  to  the  restoration 
of  a  temple  of  Victoria  by  Vespasian.  According  to  Varro,  Victoria  is 
identical  with  the  Sabine  Vaeuna^  and  consequently  Kocca  Giovine  is  sup- 
posed to  be  the  Fanvm  Vacunae  of  Horace  (Epist.  I.  14).  A  guide  should 
be  obtained  to  take  us  to  the  chapel  of  Madonna  delle  Case^  the  Colle  del 
Poetetlo^  and  the  Fonte  degli  Oratini.  These  names  refer  to  the  villa  of 
Horace,  which  more  likely  lay  here,  at  the  foot  of  Montt  Corrignaleto  (Mons 
Lucretilis),  than  in  the  bottom  of  the  valley  near  Licenza.  The  ancient 
remains  are  insignificant,  but  the  views  of  the  valley  are  very  beautiful. 
High  up  lies  Civitella  S.  Paolo  ^  below,  on  an  isolated  hill,  the  village  of 
Licenza. 

From  Rocca  Giovine  we  may  proceed  (with  a  guide;  1/2  fr.)  via  the 
Madonna  delle  Case  to  (1  hr.)  Licenzai  which  derives  its  name  from  the 
stream  skirting  the  base  of  the  hill,  the  ancient  Digentia  (^me  quotiens 
reficit  gelidus  Digentia  rivus"",  Hor.  Epist.  I.  18,  104).  We  then  return  by 
the  new  road  to  the  mill,  cross  the  brook  to  the  left,  and  follow  a  field- 
path  to  (I1/2  hr.)  Mandela.  The  descent  to  the  station  takes  1/2  hr.  more 
(see  below). 

Beyond  Vicovaro  we  traverse  a  long  tunnel,  penetrating  the 
rocky  hill  on  which  the  convent  of  8,  Rocco  stands. 

91/2  M.  Mandela ;  the  village  lies  on  the  hill  to  the  N. ,  at  a  height 
of  1600  ft.  above  the  sea.  Until  lately  it  was  known  as  Cantalwpo^ 
but  it  has  resumed  its  ancient  name  ('rugosus  frlgore  pagus',  Epist. 
I.  18,  105). 

11  M.  Cineto  Bomano,  near  the  Osteria  delta  Ferrata  (see  left- 
hand  top  corner  of  the  Map) ,  the  starting-point  for  the  diligence 
to  Subiaco.  —  Railway  hence  to  Solmona,  etc.,  see  Baedeker's 
Southern  Italy. 

The  Road  to  Subiaco  (about  14  M.)  ascends  the  valley  of  the 
Anio,  passing  Roviano  (railway-station).  On  the  opposite  bank  is  An- 
ticoli.  Beyond  Roviano  the  Via  Valeria  diverges  to  the  left  to  Arsoli. 
The  valley  of  the  Anio  now  expands  picturesquely,  and  again  con- 
tracts at  Agosta,  To  the  left  lies  Cervara,  on  a  lofty  rock ;  on  the 
right  Canterano  and  Rocca  Canterano.  Subiaco,  charmingly  sit- 
uated amidst  wood  and  rock,  now  soon  becomes  visible. 


l|L»AIJ,^Ll.lK.M.'.JIA 


SUBIACO.         Environs  of  Rome,   381 


N*^: 


i^ 


'/• 


[jQ  Pemice,  pleasant  for  a  long  stay,  pension  6  fr.)  is 

(6000  inhab.)  of  mediaeval  appearance,  commanded  by 

1  was  formerly  often  occupied  by  the  popes.  It  was  the 

jiqueum,  situated  in  the  territory  of  the  JEqui ,  and  is 

.tal  of  the  Gomarca.    It  sprang  up  on  the  grounds  of  an 

Y        Ula  of  Nero,  which  was  embellished  by  three  artificial 

Simbruina  stagna'  of  Tacitus  (Ann.  14,  22),  which  were 

:*       y  an  inundation  in  1305,   and  have  given  the  village  Its 

?      .  the  left  side  of  the  Anio ,  opposite  the  monastery  of  S. 

*       are  seen  walls  and  terraces  of  the  time  of  Nero,  who,  ac- 

Tacitus,  narrowly  escaped  being  struck  by  lightning  while 

re. 

anvirons  are  delightful,    and   the   far-famed   monasteries 

2-3  p.  m.)  are  very  interesting.    Guide  unnecessary.    The 

a  takes  about  3  hrs.,   and  affords  a  succession  of   beau- 

ws.    We  follow  the  main  street  which  intersects  the  town, 

♦  of  Y2  M.  in  length,  and  afterwards  ascends  the  right  bank 

Inio.    About  3/4  M.  from  the  last  houses  of  the  suburb  of 

tino,  before  the  road  crosses  the  gorge  by  the  lofty  bridge,  a 

ipported  by  masonry  ascends  to  the  left,  passing  several  cha- 

jid  leading  to  the  (1/4  hr.)  three  — 

foNASTBBiBS  OP  S.  ScoLASTicA.    The  flrst  was  founded  in  530 

.  Benedict,  who  retired  to  this  spot,  and  took  up  his  abode  as 

aiit  in  one  of  the  grottoes,  now  converted  into  chapels  (II  Sagro 

I      0'    The  monastery  was  afterwards  confirmed  in  its  possessions 

I      regory  I.  and  his  successors.    In  the  7th  cent,  it  was  destroyed, 

•^      05  it  was  rebuilt,  and  it  is  now  entirely  modern.     In  1052  a 

nd  monastery  was  erected,  and  a  third  was  added  in  1235  by 

Abbot  Landus.    (If  time  is  limited  the  monasteries  should  be 

ted  in  returning  from  the  Sagro  Speco.) 

Tbe  FiBST  MoNASTEST  (entrance  to  the  right  in  the  passage ,  beyond 
anterior  court)  possesses  a  few  antiquities ;  by  the  fountain  a  sarco- 
^s  with  Bacchic  scenes,  fine  columns,  etc.,  probably  found  during 
i  erection  of  the  building.  The  monastery  formerly  had  a  library  con- 
ning valuable  MSS.  In  1465  the  Germans  Arnold  Pannartz  and  Conrad 
hw-einheim  printed  here  the  first  book  published  in  Italy,  an  edition 
IJpnatus,  which  was  followed  by  Lactantius,  Cicero,  and  Augustine 
.4o7),  of  which  copies  are  still  preserved  here  (comp.  p.  199). 

The  Second  Monastbkt,  dating  from  1062,  is  one  of  the  earliest 
pecimens  in  Italy  of  the  pointed  style.  The  court  contains  a  quaint 
*iief  and  two  mediaeval  inscriptions. 

The  Thikd  Monastery,  of  1236,  has  an  arcaded  court  with  mosaics. 
fl7R  (^^^trch  of  S.  Scolastica,   originally  founded  by  Benedict  VII.  in 

w'O,  was  completely  modernised  in  the  18th  cent.,  and  now  contains  nothing 
wortfty  of  note,  excepting  the  fine  carved  choir-stalls. 

An  ascent  of  25  min.  from  S.  Scolastica  brings  us  to  8.  Bene- 
aetto ,  or  II  8agro  Speco ,  built  against  the  rock ,  overtopped  by  a 
huge  mass  of  stone,  and  shaded  by  oaks. 

hie  Iw  ^'o*  corridor  contains  scenes  from  the  lives  of  St.  Benedict  and 
phln  1  'j®**  Scholastica,  painted  in  1466.  We  then  descend  to  two 
cuapeis,  adorned  with  paintings  of  the  Madonna,  Massacre  of  the  Innocents, 
eic.,  wiuch  were  executed  in  1219  by  the  otherwise  unknown  master  Con- 


3S2  ESnvironsofRome.      VELLETRI.  Sabine  Mts. 

xoltu  (earlier  than  Cimabue).  The  grotto  of  St.  Benedict  contains  the  statue 
of  tibe  saint  by  jB«m«n«  (?).  The  walls  are  decorated  with  yenerable  paintings. 
The  Gabdkn  of  the  monastery  is  well  stocked  with  beautiful  roses. 
They  were ,  according  to  tradition ,  originally  thorns ,  cultivated  by  St. 
Benedict  for  the  mortification  of  the  flesh,  but  conyerted  into  rosea  by 
St.  Francis  when  he  visited  the  monastery  in  1223. 

Haying  returned  to  the  high-road  after  visiting  the  monasteries, 
we  may  cross  the  Anio  by  the  bridge ,  and  return  to  the  town  by  a 
footpath  on  the  right. 

By  the  high-road,  which  is  mentioned  at  p.  384,  Olevano 
(p.  384)  is  about  10  M.  distant. 

From  Borne  to  Falestrina. 

Railway  (Rome  and  ITaples  line)  to  (36  M.)  Vttlmontone  in  about  ls/4  hr. 
(fares  6  fr.  45,  4  fr.  66,  2  fr.  90  c).  The  express  trains  do  not  stop  at  Val- 
montone.  Diligence  thence  twice  daily,  in  connection  with  the  trains, 
to  (1  hr.)  JWestrina  and  (IV4  hr.)  Oenezzano,  proceeding  once  daily  (morn- 
ing) to  Olevano. 

The  Ck>ACH  from  Borne  to  Falestrina  (6  hrs.  \  comp.  p.  346)  offers  no  in- 
duc^nents  to  the  traveller.  But  the  stage  between  Frascati  and  Falestrina 
(p.  366)  may  be  advantageously  made  either  on  foot,  or  on  donkey-back 
(4  hrs.),  or  by  carriage.    Comp.  the  Uapt,  pp.  382,  380. 

From  Rome  to  Cecchina  (Alhano),  see  p.  368.  —  To  the  right, 
rising  abruptly  from  the  sea,  is  the  Monte  Cireello  (1800  ft.),  and 
nearer  us  rise  the  Volscian  Mts.  —  20  M.  Civtth  Lavinia.  The  in- 
significant town  lies  IY2  M.  from  the  station,  on  a  W.  spur  of  the 
Alban  Mts.  It  is  the  ancient  Lanuvium,  which  was  celebrated  for  its 
worship  of  Juno  Sospita.  A  few  remains  of  her  temple  have  re- 
cently been  found.  At  the  W.  end  of  the  town  are  considerable  re- 
mains of  the  ancient  walls,  built  of  massiye  blocks  of  peperine,  and 
also  the  pavement  of  a  street  skirting  the  walls.  In  the  piazza,  a 
sarcophagus  and  several  fragments  from  tombs  and  villas  in  the 
neighbourhood. 

25V2M.  Velletri(*Loc.  Campana,  *QaUo^  each  "with  a  trattoria), 
the  ancient  Velitrae,  a  town  of  the  Volscians,  which  became  sub- 
ject to  Rome  in  B.  C.  338,  famous  for  its  wine,  lies  picturesquely 
on  a  spur  of  the  Monte  Artemisio,  ^WM.,  from  the  station.  The  town 
(8000  inhab.) ,  with  its  narrow  and  crowded  streets,  is  the  seat  of 
the  bishop  of  Ostia.  The  loggia  of  the  Palazzo  Lancelotti ,  in  the 
piazza,  commands  an  extensive  view.  In  1883  a  Column  of  Victory 
was  erected  in  the  new  Cemetery,  where  Garibaldi  successfully 
encountered  the  Neapolitan  troops  on  May  19th,  1849.  —  From 
Yelletri  to  the  Volscian  Mts.,  see  p.  386. 

The  railway  continues  to  run  towards  the  E.,  between  the  Alban 
and  the  Volscian  Mts.  —  30  M.  Ontanese. 

35  M.  Valmonton€j  a  small  town,  with  a  handsome  chateau  be- 
longing  to  the  Doria-Pamphilj,  on  an  isolated  volcanic  cone,  is  the 
starting-point  of  the  diligence  to  the  Sabine  Mts.,  Falestrina,  Ge- 
nezzano,  and  Olevano.  —  Railway  hence  to  Naples ,  see  Baedeker^ a 
Southern  Italy. 


V  a; 


SMnbitrd  i  T  ivoli 


^v^^^^nei-    _   Wagner  &Del,.3.1«p«ft 


yine  Mis.  PALESTRINA.        Envir.  of  Rome,    383 

alestrina  is  51/2  M.  distant,  a  walk  of  1^/4-2  hrs.  The  view  of 
loun tains  is  the  only  point  of  interest  on  the  road. 
'aleBtrina ,  a  small ,  closely-hnilt  town ,  with  steep  and  dirty 
its,  lies  most  picturesquely  on  the  hillside.  On  arriving,  the 
Bller  should  ask  a  boy  to  take  him  to  the  unpretending  *Inn  of 
/^edova  AntM  Bcmardmt,  Via  delle  Concie  1  (about  5  fr.  per  day). 
Palestrina ,  the  Roman  Praeneate ,  one  of  the  most  ancient  towns  in 
',  was  captured  by  Camillus,  B.C.  380,  and  was  thenceforth  subject  to 
le.  In  the  civil  wars  it  was  the  chief  arsenal  of  the  younger  Marius, 
after  a  long  siege  was  taken  and  destroyed  by  Sulla,  who  afterwards 
lilt  it  in  a  magnificent  style  as  a  Roman  colony.  Under  the  emperors 
ras  a  favourite  resort  of  the  Romans  on  account  of  its  refreshing  at- 
iphere,  and  it  is  extolled  by  Horace  (Carm.  iii,  4,  22)  together  with  Tibur 
Baiee.  A  famous  Temple  of  Fortune  and  an  Oracle  ('sortes  Prsenes- 
e%  Cic.  Div.  ii,  41)  attracted  numerous  visitors.  In  the  middle  ages 
eatrina  was  long  the  source  of  sanguinary  conflicts  between  the  power- 
Colonnas  and  the  popes,  the  result  of  which  was  the  total  destruction 
the  town  in  1436.  The  territory  was  purchased  in  1630  by  the  Bar- 
ini,  who  still  own  it.  —  The  great  composer  Giovanni  Pierluigi  da 
lestrina  (1524-94),  director  of  the  choir  of  St.  Peter's,  was  born  here. 

The  town  stands  almost  entirely  on  the  ruins  of  the  temple  of 
>rtuna,  which  rose  on  vast  terraces,  surrounded  by  a  semicircular 
lonnade,    and  occupied  the  site  of  the  Palazzo  Barberini.     On 
iterlng  the  town  we  observe  the  lowest  of  these  terraces,  con- 
;nicted  of  brick.    The  precise  plan  of  the  ancient  building  cannot 
ow  be  ascertained.    The  arcades  with  four  Corinthian  half-columns 
1  the  piazza  near  the  cathedral,  now  converted  into  a  wine-cellar, 
ppear  to  have  belonged  to  the  second  terrace.    The  Qrottini^  as  the 
nterioT  of  these  foundations  is  called,    may  be  examined  in  the 
Barberini  garden  (in  the  Corso) ,  but  more  conveniently  in  autumn 
;han  in  spring ,  when  they  are  often  filled  with  water.    The  garden 
contains  statues  and  inscriptures.  —  From  the  Corso  we  ascend  in 
about  10  min.  to  the  Palazzo  Barheriniy  which  rests  almost  entirely 
on  these  ancient  substructures,  and  deserves  a  visit  (fee  V2~l  ^^0* 
It  contains  a  large  Mosaic^  probably  executed  in  the  reign  of  Bomitian, 
representing  scenes  from  the  Xile,  with  numerous  animals  and  figures  in 
Egyptian  and  Greek  costume.    It  was  found  near  the  cathednd.    The  bur- 
ial chapel  of  the  palace  contains  the  design  of  a  Pietli  by  Michael  Angelo. 

The  ancient  *  Walls  of  Palestrina,  of  which  various  fragments 
are  visible ,  exhibit  four  different  systems  of  building ,  from  the 
Cyclopean  mode  of  heaping  huge  blocks  of  stone  together,  to  the 
brick-masonry  of  the  empire.  Two  walls,  of  which  that  to  the  N,  is 
the  "best  preserved ,  connected  the  town  with  the  citadel  (Arx)  on 
the  summit  of  the  hill,  now  CasUl  8.  Pietro,  consisting  of  a  few 
poor  houses.  A  somewhat  fatiguing  path  ascends  from  the  Palazzo 
Barberini  in  1/2  ^^' »  for  which ,  however ,  the  noble  prospect 
from  the  summit  (2545  ft.)  amply  compensates.  The  vast  Cam- 
pagna ,  from  which  the  dome  of  St.  Peter's  rises,  is  surveyed  aa 
far  as  the  sea;  to  the  right  rise  Soracte  and  the  Sabine  Mts.,  then 
the  Alban  range ;  to  the  left  is  the  valley  of  the  Sacco ,  bounded 
by  the  Yolscian  Mts.     The  picturesque ,   half-dilapidated  Fortezza 


384  Environs  of  Rome.      OLEVANO.  Sabine  MU. 

was  erected  by  the  Colonnas  in  1332.  The  door  is  opened  on  ap- 
plication (V2-i  ^r«) ;  ^^  approach  is  uncomfortable,  but  the  view 
from  the  interior  is  particularly  fine. 

The  ruins  of  tlie  Villa  of  Hadrian^  where  the  beautiful  Antinous  Braschi, 
in  the  Botonda  of  the  Vatican  (p.  306)  was  found,  are  near  the  church  of 
S.  Maria  delta  Villa^  s/4  M.  from  the  town.  In  the  forum  of  the  ancient 
Prseneste,  in  1773,  was  found  the  calendar  of  Verrius  Flaccus,  now  in  the 
Pal.  Vidoni  at  Some  (p.  196).  The  excavations  at  Palestrina  have  always 
yielded  a  rich  harvest-,  the  so-called  cistse,  or  toilet-caskets,  including  the 
celebrated  Ficoronian  (p.  166),  were  almost  all  found  here. 

The  distance  from  Palestrina  to  Tivoli  via  Zagaxolo  and  Passe- 
rano  is  about  15  M. 

From  Palestnna  to  Snbiaco  vi&  Olevano. 

Fbom  Palestkina  to  Olevano,  about  11  M.,  diligence  in  27a  hrs.  (one- 
horse  carriage  8-10  fr.)5  comp.  p.  382.  Walkers  require  about  4  hrs.  — 
Fbom  Olevano  to  Subiaco,  about  91/2  M.,  a  drive  of  2V2,  a  walk  of  about 
4  hrs.  (comp.  p.  382).  —  Comp.  the  Mapt^  pp.  382,  380. 

The  road,  which  is  a  continuation  of  that  from  Rome  (see  p.  382), 
passes  below  Palestrina  and  runs  towards  the  E. ;  it  is  interesting 
also  for  pedestrians.  To  the  left,  and  before  us,  rise  the  Sabine  Mts., 
to  the  right  the  Yolscian,  and  behind  us  the  Alban  Mts.  Beyond  a 
seven-arched  bridge  across  the  Flume  di  Cave  we  reach  (2  M.)  Cave^ 
a  village  with  2000  inhab.,  the  property  of  the  Colonna's.  The  road 
pursues  a  straight  direction,  and  soon  passes  the  church  of  the  Ma- 
donna del  CampOy  2  M.  beyond  which  a  road  to  Genazzano  diverges 
to  the  left. 

Genazzano,  a  pleasant  little  town  with  3000  inhab.,  is  famed  for  its 
richly-endowed  pilgrimage-chapel  of  the  Madonna  del  Buon  Consiglio,  which 
attracts  crowds  of  devotees  in  their  picturesque  costumes  on  festivals  of  the 
Virgin.  We  may  now  return  to  the  high-road,  or  proceed  through  the  valley 
direct  to  Olevano  by  a  picturesque,  but  rugged  route. 

The  road  farther  on  again  crosses  two  bridges,  beyond  the  second 
of  which,  the  Ponte  d'Orsino,  it  divides ;  the  branch  to  the  left  leads 
to  Olevano ,  that  to  the  right  to  Paliano.  The  former  road  at  first 
gradually  ascends,  and  then  describes  a  long  curve,  causing  Olevano 
to  appear  much  nearer  than  it  really  is. 

Olevano  (^Alb.  di  Roma,  outside  the  town,  clean,  R.  2^21  pens. 
331/2  fr.  per  week),  a  mediasval  place,  containing  traces  of  an  ancient 
wall,  with  about  3500  inhab.,  the  property  of  the  Borghese,  lies 
most  picturesquely  on  the  slope  of  a  hill,  and  is  commanded  by  the 
ruins  of  an  ancient  castle.  The  interior  of  the  town,  with  its  narrow 
and  dirty  streets ,  presents  no  attraction.  The  top  of  the  hill  com- 
manding the  town  affords  a  splendid  *View,  especially  fine  towards 
evening.  To  the  right  are  visible  the  barren  summits  of  the  Sabine 
Mts.,  with  Civitella,  S.  Vito,  Capranica,  and  RoccadiCave;  then 
the  narrow  plain,  bounded  by  the  Alban  and  Sabine  Mts.  In  tlie 
distance  lies  Velletri.  Nearer  is  Yalmontone  with  its  chateau,  sltuat- 
ed  on  a  hill ;  then  Rocca  Massima,  Segni,  and  Paliano.  Towards  tlie 
S.  stretches  the  valley  of  the  Sacco,  until  lost  to  view.  The  town 
with  its  ruined  castle  forms  a  charming  foreground.    The  inn,   Caaa 


Sabine  MU.  OLEVANO.      Environs  of  Rome.   385 

Baldi,  on  the  top,  formerly  a  well-known  resort  of  artists,  has  much 
deteriorated.  —  On  the  left  of  the  road  to  Clvitella  is  the  Serpen- 
taray  a  fine  grove  of  oaks,  saved  from  destruction  by  the  subscrip- 
tions of  artists  for  that  purpose. 

From  Olbvano  to  Subiaco,  three  beautiful  routes  (comp.  Map, 
p.  380). 

1.  The  high-road,  which  diverges  from  the  Tivoli  road  to'the 
right,  2  M.  below  Olevano,  before  reaching  Civitella,  is  the  shortest 
(12  M.)  and  most  convenient  (on  foot  4  hrs.,  by  carr.  2*/2  hrs.). 
Beyond  the  bridge  over  the  Anio,  almost  at  the  end  of  the  route, 
V4  hr.  before  Subiaco  is  reached ,  a  path  to  the  right  diverges  to 
the  monasteries  (p.  381). 

2.  The  route  vi&  Civitella,  Rocea  S.  Stefano,  and  S.  Francesco, 
the  most  beautiful  (5  hrs.),  must,  like  the  following,  be  traversed 
on  foot,  or  on  the  back  of  a  donkey  (which  the  landlord  procures-, 
3  fr. ,  and  as  much  more  to  the  attendant).  From  the  Casa  Baldi 
by  the  above-mentioned  road  we  reach  Civitella  in  IV4  hr.,  a 
poor  village  lying  on  an  isolated  peak  in  a  barren ,  mountainous 
district.  Owing  to  its  secure  situation  it  was  inhabited  even  in  an- 
cient times,  but  its  former  name  is  unknown.  The  fragments  of  a 
fortification  which  commanded  the  narrow  approach  on  the  W.  side, 
constructed  of  large  masses  of  rock,  are  still  visible.  From  the 
farther  end  of  the  village  a  beautiful  view  of  the  valleys  and  moun- 
tains towards  Subiaco  is  enjoyed.  Archaeologists  should  not  omit 
to  follow  the  wall  to  the  left  from  this  gate  (although  a  rough 
walk) ,  in  order  to  inspect  the  remains  of  the  very  ancient  *Wall, 
constructed  of  rough-hewn  blocks ,  by  which  this ,  the  less  preci- 
pitous side  of  the  mountain,  was  guarded.  The  path  then  leads  by 
Rocca  S.  Stefano  and  S,  Francesco  into  the  valley  of  the  Anio,  and 
to  Subiaco,  a  beautiful  route  the  whole  way. 

3.  The  third  route  (5-6  hrs.,  guide  necessary),  the  longest,  and 
in  some  respects  the  most  fatiguing ,  but  also  highly  interesting, 
leads  ^ik  Rojate  a.nd.  Affile.  Rojate  is  a  small  village.  Affile,  a 
place  of  more  importance  ,  boasts  of  a  few  reUcs  of  ancient  walls 
and  inscriptions.  From  this  point  to  Subiaco  (p.  381)  we  follow 
the  high-road  (see  above). 

4.  The  Volscian  Mountains. 

Railtoap  from  Rome  to  VeUetri  (from  which  Cori  is  most  conveniently 
reached),  26  M.,  in  i-lVs  hr.  (fares  4  fr.  75,  3  fr.  35,  2  fr.  15  c.  t  express,  5  fr. 
25,  3  fr.  70  c).  From  VeUetri  to  Cori  diligence  twice  daily  in  2V«  hrs.  (2  fr.). 
—  From  Rome  to  Segni,  4OV2  M.,  railway  in  IV4-2V2  hrs.  (fares  7  fr.  36, 
5  fr.  15,  3  fr.  36  c,  or  8  fr.  10,  5  fr.  70  c.) ;  the  place,  however,  lies  6V«M. 
from  the  station  (diligence).  —  About  2^/2  days  may  be  advantageously  de- 
voted to  this  region,  as  follows:  afternoon  train  to  Vellelriy  and  diligence 
thence  to  CoH.  2nd  day,  excursion  to  Norma  and  Ninfa  (not  advisable 
in  summer,  see  p.  38*0  and  back  to  Cori ;  3rd  day,  to  Velletri^  railway  to 
Segni.  returning  to  Borne  in  the  evening. 

The  Volscian  mountain-range,  which  attains  an  elevation  of  5000  ft.,  is 
Babdekbu.    Italy  II.    iOth  Edition.  25 


386  Environs  of  Rome,  CORT.  Volscian  Mts, 

separated  on  the  E.  from  the  principal  chain  of  the  Apennines  by  the  vallc 
of  the  Sacco,  and  on  the  N.  from  the  Alban  Mta.  by  a  narrow  depreMion  ; 
extends  to  the  S.  as  far  as  the  Bay  of  Oaeta,  and  on  the  W.  is  bounded  I 
a  dreary  and  in  some  places  marshy  plain  adjoining  the  sea.  This  distri< 
was  anciently  the  chief  seat  of  the  Volsci,  but  was  at  an  early  period  sul 
jugated  by  the  Romans  and  Latinised.  Its  towns,  picturesquely  rising  o 
the  slopes ,  still  bear  many  traces  of  the  republican  epoch  of  Italy ,  whic 
add  great  interest  to  the  natural  attractions  of  the  scenery.  Hitherto  the£ 
mountains  have  seldom  been  visited ,  partly  on  account  of  the  poorness  < 
the  inns  (except  at  Cori),  and  partly  owing  to  their  former  reputation  a 
a  haunt  of  bandits. 

From  Rome  to  Velletriy  see  p.  382.  —  The  Road  fbom  YBi<iiBTB 
TO  Gobi,  10^2  M.,  especially  the  first  pait,  traveising  a  dreary  plain 
is  uninteresting.  To  the  right  lies  the  (372^0  Lago  diOiutianello 
an  extinct  crater.  Beyond  the  poor  village  of  GiulianeUo  (6  M.  fron 
Yelletri)  the  mountain-slopes  become  more  attractive.  About  21/2  M 
farther  on,  at  the  chapel  of  the  Madonna  del  Monte,  a  road  to  th< 
left  diverges  to  the  upper  part  of  the  town  of  Cori.  The  road  t< 
the  right,  descending  to  the  lower  part  of  the  town,  concealec 
among  olive-plantations,  is  preferable. 

Cori. —  Locanda  di  FilippucHo,  at  the  gate,  poor;  Albergo  deW  Unione 
farther  up,  better.  —  Guide,  to  save  time,  i/»-l  fr.  —  Two  Jlorses  to  Norma 
and  ^infa,  with  mounted  guide,  about  12  fr.,  incl.  Sezze  about  18  fr. 

Cori  is  the  ancient  Cora,  -which  claimed  to  have  been  founded  by 
the  Trojan  Dardanus  or  by  Coras  and  was  at  an  early  period  a  membei 
of  the  Latin  League.  Even  in  antiquity  it  consisted  of  an  upper  and 
a  lower  town.  The  remains  of  the  ancient  walls,  constructed  of 
huge  polygonal  blocks,  are  still  considerable.  During  the  empire  it 
still  prospered,  but  its  name  afterwards  fell  into  oblivion.  In  the 
early  part  of  the  middle  ages  it  seems  to  have  been  wholly  deserted, 
but  in  the  13th  cent,  it  was  rebuilt  by  the  Conti  di  Segni  and  forti- 
fied with  a  wall,  the  greater  part  of  which  is  still  extant.  Pop.  6200. 
Tobacco  is  largely  cultivated  in  the  neighbourhood. 

The  *Via  Pelasga',  skirting  a  portion  of  the  ancient  wall,  as- 
cends from  the  piazza  to  the  upper  town.  Following  this,  we  reach 
first  the  church  of  S.  Oliva,  whic  is  built  on  ancient  foundations 
and  possesses  antique  columns  and  two-storied  cloisters.  Beside  the 
church  is  a  fragment  of  the  ancient  wall  in  unusually  good  preser- 
vation J  and  farther  up  some  scantier  remains.  Adjoining  the  church 
of  8.  Pietro  is  the  portico  of  a  *  Temple,  generally  called  the  Temple 
of  Hercules,  but  perhaps  dedicated  to  the  three  Capitoline  deities, 
Jupiter,  Juno,  and  Minerva.  The  statue  of  Minerva  which  now 
adorns  the  fountain  in  the  Palace  of  the  Senators  in  Rome  (p.  211), 
and  which  has  been  restored  as  Roma,  is  believed  to  have  been  found 
here.  The  cella  of  the  temple  is  incorporated  with  the  church  of 
8.  Pietro;  but  8  columns  of  the  Doric  colonnade,  with  a  frieze  of  tra- 
vertine bearing  traces  of  stucco  decoration,  are  preserved.  The  inscrip- 
tion, recording  the  erection  of  the  edifice  by  the  duumviri,  or  chief  ma- 
gistrates of  the  place,  dates  from  the  time  of  Sulla.  ♦View  hence  over 
the  town  towards  the  sea,  and  of  the  plain  with  the  isolated  M.  Cir- 


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VolscianMts.  SEZZE.  Environs  of  Rome.   387 

ceio.    Within  the  church  (opened  on  application;  25  c.)  is  an  an- 
cient marhle  am,  used  as  a  font. 

"We  now  descend  to  the  Via  S.  Salvatore,  where  two  admirably 
executed  *  Corinthian  Columns  are  still  standing.  On  the  epistyle 
above  is  part  of  the  ancient  inscription,  and  another  part  is  pie- 
served  in  a  fragment  built  Into  the  wall  of  the  Casa  Moroni.  From 
these  it  appears  that  the  columns  belonged  to  a  Temple  of  Castor 
and  Pollux.  They  probably  were  the  two  in  the  centre  of  six  columns 
on  the  front  of  the  temple.  —  Still  lower  down,  in  the  Vicolo  di 
Pozzo  Dorlco  and  the  Piazza  Pizzitonlco,  are  the  remains  of  the 
substructures  of  some  large  cisterns. 

Near  the  Porta  Ninfesina  is  another  large  fragment  of  the  earl- 
iest polygonal  wall.  Outside  the  gate  is  a  deep  ravine ,  spanned 
by  the  ancient  Ponie  della  Catena,  constructed  of  blocks  of  tufa. 
The  solidity  of  the  arch  with  its  double  layers  of  masonry  is  best 
appreciated  when  surveyed  from  below. 

Fkom  Gobi  to  Norma  (about  7*/2  M.)  a  road  leads  across  the 
plain,  and  another  route  is  by  a  narrow  bridle-path  over  the  moun- 
tains ,  generally  skirting  a  steep  slope.  The  latter  leads  in  about 
3  hrs.  riding  to  the  ruins  of  Norba,  which  became  a  Latin  colony, 
B.C.  492,  and  was  captured  and  destroyed  by  the  troops  of  Sulla 
during  the  civil  wars.  The  well-preserved  wall,  in  the  polygonal 
style,  was  1^2  M.  in  circumference,  and  several  towers  and  a 
gateway  are  still  traceable.  In  I/4  hr.  more  the  small  mountain- 
village  of  Norma  (Locanda,  poor)  is  reached.  On  the  road  below 
it  lie  the  remains  of  the  mediaeval  town  of  *Hinfa ,  surrounded  by 
a  marsh  which  has  been  the  cause  of  its  abandonment.  The  ivy- 
clad  ruins  date  mainly  from  the  12th  and  13th  cent,  and  include 
a  palace ,  a  monastery ,  a  church  with  faded  frescoes ,  and  several 
streets.  In  summer  the  malaria  makes  a  visit  to  Ninfa  unad- 
Tisable ,  while  the  crops  also  render  a  closer  investigation  of  the 
ruins  impracticable. 

From  Ninfa  to  Sezze  ,  3V«  lira.  The  road  diverges  to  the  left  from 
the  Sermoneta  road  at  the  Abbep  of  Valffiseiolo  (abbey-church  of  the  13th 
cent.) ,  and  leada  through  a  beautiful  wooded  valley,  below  Battiano.  It 
then  traverses  a  well- cultivated  region ,  with  Monte  Semprevita  (5035  ft.), 
the  highest  summit  of  the  Volscian  Mts.,  on  the  left. 

Sezze  (Loeanda  Ifazionale,  in  the  piazza,  unpretending)  is  the  ancient 
/Setia  of  the  Volscians,  a  Roman  colony  after  382  B.C.,  and  frequently 
mentioned  in  the  Italian  wars  up  to  the  time  of  Sulla.  Under  the  em- 
pire its  name  was  remembered  only  on  account  of  its  wine,  which  Augustus 
preferred  even  to  Falernian.  Considerable  remains  of  its  ancient  walls 
have  been  preserved;  they  are  built  of  massive  polygonal  blocks,  but  with 
more  attention  to  horizontal  courses  than  was  the  case  at  Cori.  The  rough 
rusticated  worV  here  is  an  unusual  feature  in  ancient  town-walls,  which 
in  most  other  examples  are  carefully  smoothed.  A  massive  substructure 
in  the  same  style,  below  (to  the  right)  the  entrance  of  the  town,  has 
heen  arbitrarily  named  Tempio  di  Satumo.  —  A  diligence  runs  daily  from 
Sezze  to  Foro  Appio,  in  connection  with  the  diligence  between  Velletri 
and  Terracina. 

Fbom  Sezze  to  Pifbbho,  9Vs  ^'i  carriage-road  (bridle-path  shorter^ 
mule  3  fr.,  in  2>/s  hrs.).    On  the  Monie  Tr$vi  (1640  ft),  between  these  two 

26* 


388   Environs  of  Rome.         SEGNI.  VoUeian  MU. 

routes,  are  the  ruins  of  «  town  destroyed  in  the  16th  cent,  by  the  in- 
habitants of  Sezse. 

Pipemo  iLocanda  delta  Eotetta,  tolerable)  was  founded  early  in  the 
middle  ages  by  refugees  from  the  ancient  Volscian  town  of  Prwemum^ 
remains  of  which  may  be  seen  on  the  road  to  Frosinone,  near  the  streamlet 
Amaseno.  The  Cathedral^  in  thepicturesque  piazza^  was  built  in  1233 
and  modernised  in  the  interior  in  1782.  —  An  interesting  excursion  (IV2  hr.^ 
carr.  there  and  back  6  fr.)  may  be  made  hence  to  the  Cistercian  convent 
of  *FossANUovA,  where  St.  Thomas  Aquinas  died  in  1274  while  on  his 
way  to  the  Council  of  Lyons.  The  convent-church,  built  about  1225,  with 
rectangular  choir  and  a  rectangular  tower  over  the  crossing,  is  one  of  the 
earliest  examples  of  ItaJian  G-othic.  It  has  recently  been  restored.  The 
cloisters,  chapter-house,  and  refectory  are  also  interesting.  One  of  the 
rooms  contains  a  relief  of  St.  Thomas  Aquinas,  bv  Bernini.  —  From 
Piperno  to  Froiinone^  diligence  in  S'/s  hrs.  (fare  2^/s  fr.),  starting  at 
4  a.m.;  see  Baedeker's  Southern  Italy. 

Sboni  is  the  first  railway-station  beyond  ValmonUme  (p.  382). 
From  the  station  we  take  about  2  hrs.  to  ascend  to  the  town.  We 
skirt  the  slopes  of  the  mountains  enclosing  the  valley  of  the  Sacco ; 
to  the  left,  on  a  solitary  hill  below  us,  is  the  picturesque  Qavignano, 
the  birthplace  of  Innocent  III.  The  remains  of  the  old  walls  of  Segni 
and  the  Porta  Sarracinesca  come  into  sight  on  the  height  rising 
above  a  lateral  valley  to  the  left.  The  last  part  of  the  way  ascends 
in  numerous  windings. 

Segni  (hoc,  di  Oaetanino),  the  ancient  Sigma,  said  to  have  been 
colonised  by  the  Komans  under  Tarquinius  Prisons,  lies  on  a  moun- 
tain-slope (rising  to  a  height  of  2300  ft.),  in  a  secure  position,  with 
fine  views  of  the  vaUey  and  the  towns  of  the  Hernici.  The  present 
town  (6000  inhab.)  occupies  the  lower  half  of  the  old  site. 

Ascending  through  the  streets,  we  reach  the  church  of  8,  IHetrOf 
standing  on  the  foundations  of  an  ancient  temple,  the  walls  of  which 
sonsist  of  rectangular  blocks  of  tufa,  with  two  courses  of  polygonal 
masses  of  limestone  below.  A  cistern  near  the  church  is  also  of 
the  Roman  epoch.  The  *To'wn  Walls  j  in  the  massive  polygonal 
style,  IV4M.  in  circumference,  are  to  a  great  extent  well  preserved. 
From  S.  Pietro  we  follow  an  easy  path  to  the  summit  of  the  hill, 
which  is  indicated  by  a  cross ;  fine  view  of  the  town  and  the  valley 
of  the  Sacco.  Hence  we  follow  the  wall,  passing  a  small  sally-port 
at  the  N.  angle,  to  the  half-buried  Porta  in  Lticino.  Farther  on,  on 
the  slope  of  the  N.W.  spur,  is  the  curious  *Porta  Sarracinesca,  ap- 
parently built  before  the  discovery  of  the  arch  principle,  as  a  sub- 
stitute for  which  the  lateral  walls  gradually  approach  until  they  meet  at 
an  angle.  From  this  point  we  may  follow  the  footpath  along  the  slope, 
which  passes  a  large  washing-bench  and  descends  to  the  lower  gat  e. 

From  Segni   a  fine  but  fatiguing  mountain-path  leads   to  Norxaa  in 
6  hrs.  (horse  and  guide  5  fr.)^  Montelanico  may  be  incluaed. 

The  station  of  Segni  Is  4-5  M.  from  Anagni.    Regarding  this  and  oilier 
towns  of  the  Hernici,  see  Baedeker's  Southern  Italy. 


389 


5.  Etruscan  Towns. 


That  part  of  the  Roman  Campagna  which  extends  N.  from  the  Tiber  to 
the  Ciminian  Forest  and  the  mountains  of  Tolfa  was  the  Southern  Etruria  of 
antiquity.  Originally  occupied  by  a  tribe  akin  to  the  Latins,  then  con- 
quered by  the  Etruscans ,  it  was  finally,  after  the  protracted  contests  with 
which  the  first  centaries  of  the  annals  of  Rome  abound ,  reconquered  and 
Latinised.  The  fall  of  the  mighty  Veii,  B.C.  396 ,  mainly  contributed  to 
effect  this  memorable  change.  Excursions  are  frequently  made  to  the  re- 
mains of  the  Etruscan  tombs  at  Gervetri  and  Veil.  Malaria  is  unfortunately 
very  prevalent  throughout  this  whole  district. 

Vbii. 

An  excursion  to  Veii  takes  one  day  (carr.  there  and  back  about  26  fr.). 
Pedestrians  should  drive  at  least  as  far  as  the  Tomba  di  Kerone  (AVs  M., 
fiacre  4  fr.),  or  La  Storta  (8V2  M.).  Provisions  for  the  journey  should  be 
carried  from  Rome,  as  the  tavern  at  Isola  is  extremely  poor. 

From  Rome  to  the  Ponte  Molle^  see  p.  334  etseq.  By  the  Osteria, 
where  the  Via  Flaminia  diverges  to  the  right ,  we  follow  the  Via 
Cassia,  gradually  ascending  to  the  left.  The  district  soon  becomes 
desolate,  hut  fine  views  are  enjoyed  of  the  Alban  and  Sabine  Mts., 
Mt.  Soracte,  and  the  lateral  valleys.  About  41/2  M.  from  Rome,  on  a 
dilapidated  pedestal  to  the  left,  stands  a  sarcophagus ,  erroneously 
called  the  Tomb  of  Nero.  The  long  inscription  (at  the  back,  facing 
the  ancient  road)  expressly  records  that  the  monument,  which  dates 
from  the  2nd  cent,  after  Christ,  was  erected  by  Vibia  Maria  Maxima 
to  the  memory  of  her  father  P.  Vibius  Marianus  and  her  mother  Re- 
gina  Maxima.  — •  An  ancient  route,  somewhat  shorter  than  the 
modern ,  diverges  here  to  the  right  to  Veii ,  but  as  it  is  .not  easily 
traced  the  high-road  is  preferable. 

8y2  M.  La  Storta  (Inn),  anciently  the  last  post -station  on  the 
route  to  Rome.  One  mile  beyond  it  the  road  to  Isola  Farnese  di- 
verges to  the  right;  V2  M.  farther  on  we  take  the  road  to  the  right, 
that  on  the  left  leading  to  Formello. 

Isola  Farnese,  a  poor  village,  belonging  to  the  Rospigliosi, 
numbering  about  100  inhab.,  owes  its  foundation  to  the  security  of 
its  site,  and  was  a  place  of  some  consequence  in  the  middle  ages. 
We  engage  a  guide  here  (1-1 V2  ^-j  bargaining  necessary)  to  con- 
duct us  to  the  site  of  Veii ,  which  is  interesting  and  picturesque ; 
but  the  ruins  are  scanty. 

Veii  was  one  of  the  most  powerful  of  the  Etruscan  cities.  After 
contests  protracted  for  centuries,  which  at  first  centred  round  Fidenae 
(p.  341) ,  the  frontier-stronghold  of  the  Etruscans  on  the  S.  bank  of  the 
Tiber,  and  after  manifold  vicissitudes  and  a  long  siege,  the  city  was  taken 
by  Camillas  in  B.C.  396.  Its  circumference,  which  may  still  be  traced, 
was  5*/2  M.  After  its  capture  It  fell  to  decay,  and  was  repeopled  by  Csesar 
with  Romans-,  but  this  colony  scarcely  occupied  one-third  of  the  former 
area.  Excavations  here  have  led  to  the  discovery  of  inscriptions,  statues, 
and  the  columns  mentioned  at  p.  164. 

The  ancient  site  of  the  city  was  a  triangle  between  two  brooks, 
which  united  with  each  other  farther  down,  viz,  the  Fossa  ddV  Isola, 
washing  the  N.E.  base  of  the  hill  of  Isola,  and  the  Fosso  di  For- 
mello or  di  Valca  (the  ancient  Oremera'),  flowing  from  N.  to  S.  The 


390   Environs  of  Rome.        6ALERA.  Etruscan  Towns. 

ancient  citadel  (Arx),  now  the  Piasza  d'Armi  or  Ciiiadellaj  occu- 
pies a  separate  plateau  at  the  confluence  of  the  brooks,  connected 
with  the  site  of  the  town  by  a  narrow  isthmus  only. 

A  visit  to  the  principal  points  takes  2-3  hrs.  We  descend  from 
Isola  to  the  N.W.  to  the  Fosso  dell'  Isola ,  which  forms  a  pretty 
waterfall  beside  the  mill  (molino),  —  Thence  we  proceed  to  the 
Pohte  8odo ,  a  tunnel  hewn  in  the  rock ,  through  which  flows  the 
Fosso  di  Formello.  Then  to  the  Orotta  Campanay  a  rock-tomb  dis- 
covered in  1842,  with  two  interior  chambers,  the  wall-paintings  in 
which  date  from  a  high  antiquity.  The  skeletons  which  were 
found  on  the  benches  when  the  tomb  was  opened  rapidly  crumbled 
into  dust  on  the  admission  of  air.  A  few  remains  of  armour  and 
clay  vessels  are  still  extant.  —  "We  now  recross  the  Fosso  di  For- 
mello to  the  Porta  SpezUria  (drug-shop),  with  remains  of  a  colum- 
barium, the  recesses  of  which  explain  the  name.  On  the  hill 
above  are  some  singularly  well-preserved  remains  of  the  fortifi- 
cations ,  a  gate ,  and  a  street  paved  with  lava.  —  We  may  either 
follow  the  hill  or  the  valley  of  the  Fosso  di  Formello  to  the  S.  to  the 
above-mentioned  Piazza  d'Armiy  which  commands  a  fine  view.  To 
the  N.  is  the  conspicuous  Tumulus  of  Vaccareccia ,  crowned  with 
battlements.  —  We  return  from  the  piazza  to  Isola ,  in  the  rocks 
near  the  entrance  to  which  are  numerous  sepulchral  niches. 

Walkers  may  descend  the  valley  of  the  Gremera  from  the  Piazza 
d'Armi  and  in  about  2  hrs.  strike  the  Via  FUxminia  (p.  337) ,  about  6  M. 
from  Borne.  The  camp  of  the  Fabii ,  whose  whole  family  was  destroyed 
by  the  Yeientines,  lay  about  IVs  M.  from  the  Piazza  d'Armi. 

Galbaa. 

Oaleroy  15  M.  from  Borne,  may  be  visited  on  the  way  to  Bracciano, 
or  by  carriage  (about  25  fr.),  in  one  day  from  Bome.  Provisions  necessary. 

About  1/2  M.  beyond  La  Storta  (p.  389)  the  Via  Clodia  diverges 
to  the  left  from  the  Via  Cassia,  which  leads  to  Viterbo  (p.  69).  We 
follow  the  Via  Clodia,  the  old  pavement  of  which  is  seen  at  intervals. 
On  the  roadside  is  the  entrance  to  the  subterranean  conduit  of  the 
Acqua  Paola^  which  descends  from  the  lake  of  Bracciano  (p.  326}. 
On  the  left,  about  5  M.  from  La  Storta,  appears  the  church  of  8.  Ma- 
ria di  Cesareo ;  Y2  M.  farther  is  the  Osteria  Nuova,  where  the  carriage 
may  be  left.  The  land  here  is  weU-watered,  and  occupied  by  several 
large  farms.  A  path  to  the  left  in  the  direction  of  these,  then  turn- 
ing to  the  right,  leads  in  1/2  ^r.  to  the  ruins  of  Oalera.  The  town 
sprang  up  in  the  middle  ages  near  the  ancient  Careiae,  and  was  at 
first  governed  by  powerful  nobles;  in  1226-1670  it  belonged  to  the 
Orsinl.  At  the  beginning  of  the  present  century  the  inhabitants 
were  driven  from  the  place  by  malaria.  It  stands  on  an  abrupt  tufa- 
rock,  around  which  flows  the  Arrone,  the  outlet  of  the  Lake  of  Brac- 
ciano. The  walls  are  of  the  14th  and  15th  centuries.  Two  churches 
■^th  their  towers,  the  palace  of  the  Orsini,  and  many  houses  are  re- 
alisable, all  densely  overgrown  with  ivy  and  creepers. 


Etruscan  Towns.  BRACCIANO.      Environs  of  Rome.   391 

B&ACCIANO. 

24i/s  M.  from  Borne :  Vetturino  several  times  weekly  from  the  Piazza  of 
the  Pantheon,  in  5-6  hrs.  (fare  4  fr.),  returning  next  day.  In  Hay  and 
June,  the  bathing-season  at  Vicarello,  the  traffic  is  brisker.  —  Bracciano  is 
9»|a  M.  from  Cervetri  (p.  392). 

Beyond  the  Osteria  Nuova  (p.  390)  the  Arrone  is  soon  reached. 
A  road  to  the  right  then  diverges  to  Angnillara  (see  below),  situated  on 
the  lake.  The  country  continues  dreary.  About  3  M.  before  Bracciano 
is  reached,  the  Lake  of  Bracciano  becomes  visible,  with  Trevignano 
and  Rocca  Romana,  the  highest  point  (2020  ft.)  of  the  surrounding 
lange  of  hills.  The  lake,  the  Lacus  Sahatmus  of  antiquity,  is  20  M. 
in  circumference ,  and  lies  nearly  500  ft.  above  the  sea-level.  Its 
form  and  the  heights  encircling  it  indicate  that  it  was  once  a  crater. 
It  is  famed  for  its  eels  and  abundance  offish,  and  the  slopes  are  well- 
cultivated,  the  upper  parts  being  wooded,  but  malaria  is  prevalent. 

Near  Bracciano  the  road  divides :  the  upper  branch,  to  the  left, 
leads  to  the  Capuchin  monastery ;  the  other  to  the  right,  to  the  town. 

Braceiano  (Loc.  Piva,  a  fair  second-class  Inn),  a  modern  town 
with  3000  inhab.,  possesses  a  picturesque  castle  of  the  15th  cent.,  and 
several  iron-works  in  the  vicinity.  The  ♦  Castle^  erected  by  the  Or- 
sini,  now  the  property  of  Prince  Odescalchl,  is  very  interesting,  and 
its  towers  and  fortifications  convey  a  good  idea  of  the  oharacter  of  a 
mediasval  stronghold.  It  is  said  on  this  account  to  have  riveted  the 
attention  of  Sir  Walter  Scott  far  more  powerfully  than  the  ruins  of 
antiquity.  The  Interior,  stiU  inhabited,  contains  nothing  worthy 
of  note.  The  ♦View  from  the  tower,  extending  over  the  beautiful 
lake  to  Trevignano  and  Anguillara,  with  Soracte  and  the  Sabine 
Mts.  in  the  background,  is  remarkably  fine. 

A  pleasant  excursion  may  be  made  from  Bracciano  to  Trevignano 
(6  M.).  The  road  skirts  the  lake.  After  i»/i  M.  a  path  ascends  to  the  left 
to  the  OA  br.)  old  church  of  the  martyrs  SS.  Marco,  Harciano,  and  Liberato, 
erected,  as  the  inscription  states,  on  the  site  of  an  ancient  villa  named 
PoMilypon^  and  affording  a  fine  view.  In  the  vieimty  stood  Fornm  Clodii^ 
from  which  inscriptions  and  other  relics  are  preserved.  Pedestrians  may 
regain  the  road  to  Vicarello  by  another  forest-path.  —  Vioarello  is  4  M. 
from  Bracciano.  The  baths,  >/«  M.  from  the  road ,  with  a  hot  sulphureous 
spring,  are  the  Aquae  Apollinare*  of  antiquity.  A  proof  of  the  estimation  in 
which  they  were  held  was  afforded  in  1^2  by  the  discovery  of  great  num- 
bers of  coins  and  votive  offerings ,  most  of  which  are  now  in  the  Museo 
Kircheriano  (p.  156;  others  in  the  Vatican,  p.  318).  Owing  to  the  malaria, 
the  bathing  season  is  not  prolonged  beyond  the  early  part  of  summer.  — 
By  the  road  are  seen  many  ronains  of  *opus  reticulatum",  belonging  to 
villas  of  the  imperial  epoch.  TrevignanOy  occupying  the  site  of  the  Etrus* 
can  town  of  Sabate^  which  fell  early  into  oblivion,  formerly  the  property 
of  the  Orsini,  now  that  of  the  Conti,  is  a  poor  village.  Roman  remains 
very  scanty.  In  the  principal  church  two  pictures  of  the  school  of  Perugino. 
The  ruined  castle  above  the  village  commands  a  fine  view  \  its  destruction 
was  due  to  Csesar  Borgia. 

A  bridle>path  leads  hence  in  iVa  hr.  to  Buiri  (p.  73),  another  in  about 
3  hrs.  to  Anguillara,  tibe  ancestral  seat  of  the  once  powerful  counts  of  that 
name.  If  the  wind  be  favourable  it  is  preferable  to  cross  the  lake  from 
Trevignano  by  boat.  From  Anguillara  to  Bracciano  an  uninteresting  route 
of  6-6 Vz  M. ;  the  tour  of  the  lake  may  thus  be  made  in  one  day. 


392   Enviroru  of  Rome.      CERVETRl.  Etruscan  Towns. 

Cabb. 

Cervetri,  the  ancient  Caere,  may  be  visited  from  Rome  in  one  day. 
The  first  train  should  be  taken  as  far  as  Palo  (p.  7  ■,  express  in  1  hr.,  fares 
6  fr.,  4  fr.  20  c.^  slow  train  in  I'/i  hr. ,  5  fr.  45,  3  fr.  80,  2  fr.  45c.)i 
thence  in  IVihr.  to  Cervetri,  where  a  stayof5hrs.  may  be  made,  leaying 
time  to  regain  Rome  by  the  afternoon  or  evening  train.  At  Palo  a  ca'^riage 
may  be  obtained  from  the  coach-hirer  Francescone. 

It  is  necessary  to  inform  the  Sindacn  of  Cervetri  of  the  intended  visit 
a  day  or  two  beforehand,  as  otherwise  the  custodian  with  the  key  may 
not  be  forthcoming.  After  two  or  three  days  of  rain  the  graves  are  filled 
with  water. 

Cerretri  (*Cafi'Restaurant,  near  the  gate,  moderate;  the  land- 
lord piovides  guides  and  carriages  to  the  tombs),  the  Caere  of  anti- 
quity, originally  named  Agylla  (PhoBnician,  ^circular  oity'),  a  place 
of  very  remote  origin,  afterwards  hecame  subject  to  the  Etruscans, 
and  carried  on  an  extensive  commerce  from  its  harbours  Pyrgos  (S. 
Severa)  and  Alston  (Palo).  At  the  same  time  it  always  maintained 
ftiendly  relations  with  Rome,  and  in  B.C.  351  it  was  incorporated 
with  the  Roman  state.  It  was  aprosperous  place  in  the  rbign  of  Tra- 
jan, and  continued  to  flourish  down  to  the  13th  cent.,  at  the  be- 
ginning of  which  it  was  abandoned  by  its  inhabitants,  who  founded 
Cere  NuovOy  3  M.  distant,  the  present  Ceri  (with  not  more  than  50  in- 
hab.).  A  number  of  them,  at  an  uncertain  date,  afterwards  returned 
to  Caere  Yetere,  whence  the  name  Cervetri.  The  present  town  (660 
inhab.)  occupies  but  a  small  part  of  the  site  of  the  ancient  city,  which 
was  3  M.  in  circumference.  The  interest  of  this  locality  was  greatly 
increased  by  the  discovery  of  numerous  tombs  in.  1829,  and  the 
excavations  are  still  prosecuted.  In  the  middle  ages  Cervetri  was 
surrounded  with  a  battlemented  wall,  and  had,  as  now,  only  one 
entrance.  Part  of  the  walls  and  several  towers  are  still  well-preserv- 
ed and  give  a  picturesque  air  to  the  town,  especially  on  the  N.E. 
side,  where  the  old  baronial  chateau  is  situated. 

Some  of  the  Tombs  are  clustered  together  and  hewn  in  the 
rock,  while  others  stand  alone  in  conical  mounds  or  tumuli.  They 
are  not  nearly  so  well  preserved  as  those  of  Corneto  (p.  5),  and 
hardly  a  trace  of  painting  remains.  The  more  important  may  be 
visited  in  3-4  hrs.,  with  a  guide  (see  above;  1  pers.  2  fr.,  2  peTs. 
3  fr.,  a  party  in  proportion).  Most  of  them  lie  on  the  hill  opposite 
the  town,  and  separated  from  it  by  a  gorge. 

1.  Gbotta  dells  Ssdib  b  Scudi,   so  called  from  two  seats  and  several 
shields   hewn  in   the   rock,   consists   of  an  ante-room  and  five  chambers. 

2.  Gbotta  dbl  Tbiclinio,  with  faded  paintings  representing  a  banquet. 

3.  Gbotta  dblla  Bblla  Abghitbttuba,  with  two  chambers,  supported  by 
pillars.  4.  Gbotta  dblle  Ubnb,  with  three  marble  sarcophagi.  *b.  GitoTrrA 
DELLB  Ibobizioni,  or  db'  Tabquinii,  with  two  chambers,  borne  by  pillars, 
contains  numerous  inscriptions  with  the  name  of  Tarchnas  (Lat.  Tarquinitts^, 
thus  apparently  corroborating  the  tradition  that  the  Roman  kings  were  of 
Etruscan  origin.  *6.  Gbotta  dei  Bassobilibvi,  excavated  in  1850,  the  best 
preserved  and  most  interesting  of  all.  At  the  head  of  the  flight  of  steps 
are  two  lionesses  as  guardians  of  the  tomb.  The  two  pillars  supporting 
the  roof,  and  the  walls  above  the  niches  are  decorated  with  various  bas- 
reliefs  of  instruments ,  weapons ,  and  objects  of  domestic  life,  partly  in 
stucco,  partly  hewn  in  the  tufa-rock,  and  mostly  painted. 


Sea-Coast  of  Latium.         PORTO.         Environs  of  Rome.    393 

On  the  road  to  Palo  lies:  ^.  Gsotta  Rboolini  Oalasbi,  opened  in 
1829,  a  tomb  of  great  antiquity  and  now  very  dilapidated.  The  roof  is 
vaulted  by  means  of  the  gradual  approach  of  the  lateral  walls  to  each 
other,  instead  of  on  the  arch-principle.  The  yield  of  this  tomb ,  now  in 
the  Ghregorian  Museum,  was  very  considerable,  consisting  of  a  bed,  a  fonr- 
wheeled  chariot,  shields,  tripods,  vessels  of  bronze,  an  iron  altar,  figures 
of  clay,  silver  goblets,  and  golden  trinkets  once  worn  by  the  deceased,  all 
found  in  the  small  chambers  to  the  right  and  left  of  the  vaulted  passage. 
—  Fully  Vs  ^*  ^^^^  ^^i^  i^  situated  another  tomb,  opened  in  1850,  and  still 
containing  the  vases ,  vessels,  and  other  objects  then  discovered. 

Besides  these,  there  are  many  other  tombs  (e.g.  Oroita  TorUmia^  the 
first  chamber  of  which  contains  54  recesses  for  the  dead). 

6.  The  Sea-Coast  of  Latiam. 

Communication  with  the  sea  was  of  far  greater  importance  to  ancient 
than  to  modern  Rome,  and  its  former  facility  contributed  much  to  the 
proud  rank  held  by  the  mistress  of  the  world.  Vast  harbours  and  other 
structures  were  accordingly  founded  at  the  estuary  of  the  Tiber.  The  coast 
was  a  favourite  resort  of  the  wealthy  Romans,  as  the  numerous  villas  testify ; 
but  it  is  now  desolate,  and  is  skirted  by  a  broad  belt  of  forest  (macchia), 
where  the  malaria  in  summer  is  peculiarly  pestilential.  Lofty  sand-hills, 
extending  to  the  S.  beyond  the  Pontine  Marshes,  bound  the  whole  coast. 

Porto.    Fiumicino. 

Fkom  Bomb  to  Fiumicino,  21  M.,  railway  in  IV4  hr.  (3  fr.  86,  2  fr.  70, 
1  fr.  75  c. ;  there  and  back,  including  a  bath  in  the  sea,  4  fr.  80,  3  fr.  75  c). 

The  railway  describes  a  circuit  round  the  town  (p.  71.  5^2  M. 
Stazione  diS.  Paolo  (outside  the  Porta  Portese).  — 972^*  Magliana, 
Close  to  the  station,  on  the  hill  to  the  right,  is  the  Vigna  Ceccarelli^ 
the  site  of  the  sacred  Qrove  of  the  Arvales.  The  corporation  of  the 
Twelve  Arvales  was  of  very  ancient  Latin  origin,  having  been  found- 
ed, according  to  tradition,  by  the  sons  of  Acca  Larentia  (^mother  of 
the  Lares*),  the  foster-mother  of  Romulus.  The  society  was  entirely 
remodelled  by  Augustus  and  became  a  privileged  order ,  consisting 
of  the  relations  and  friends  of  the  emperor. 

Excavations  have  been  carried  on  here  since  1866,  and  records  of  the 
society  during  the  imperial  period,  engraved  on  stone,  have  been  found. 
The  ancient  foundations  on  which  the  Casino  of  the  vigna  rests  belong 
to  the  circular  temple  of  the  Dea  Bia,  which  lay  in  the  middle  of  the 
grove.  In  the  plain  below  the  grove  (on  the  other  side  of  the  road)  there 
are  remains  of  a  rectangular  building ,  with  a  hall  enclosed  by  rows  of 
colujuns.  —  Higher  up  the  hill  lay  an  ancient  Christian  burial-place, 
where  remains  of  an  oratory  of  Pope  Bamasus  have  been  discovered. 
Adjacent  is  the  entrance  to  the  Catacombs  of  8t.  Oenerota.  They  are  of 
small  extent  and  of  remarkably  primitive  construction ,  but  are  in  ex- 
cellent preservation  and  merit  a  visit. 

About  7a  M.  farther  on,  betwixt  the  road  and  the  river,  is  situated  the 
ruinous  hunting  -  chateau  of  La  Hagliana,  with  pleasing  Renaissance 
details,  once  a  favourite  retreat  of  Innocent  VIII.,  Julius  II.,  and  Leo  X., 
and  now  the  property  of  the  convent  of  S.  Cecilia  (frescoes  in  the  Palazzo 
dei  Conservator!,  p.  215). 

14  M.  Ponte  Oalera,  see  p.  7.  Our  line  now  quits  the  Leghorn 
railway  (R.  1)  and  continues  to  run  westwards. 

19  M.  Porto  was  founded  in  A.  D.  103  by  the  Emp.  Trajan 
(Portus  Trajani),  as  the  harbour  constructed  by  Claudius  as  a  sub- 
stitute for  that  of  Ostia,  which  had  become  choked  up  hy  t' 


394   Environs  of  Borne.  OSTIA.  Sea-Coast  ofLatium. 

deposits  of  the  Tiber,  had  soon  shared  the  same  fate.  Trajan  also 
formed  a  new  canal  here  (Fossa  Trajani),  which  now  forms  the 
main  arm  of  the  Tiber.  Trajan's  seaport ,  which  lay  close  to  the 
sea,  and  soon  attracted  the  commerce  of  Rome,  is  now  2  M.  distant 
from  it ;  and  the  delta  formed  by  the  river  is  estimated  to  advance 
13  ft.  annually.  The  present  town  consists  of  the  Cathedral  of  8, 
Bufina  (a  modernised  edifice  of  the  10th  cent.),  an  episcopal  Palace, 
with  inscriptions  and  antiquities  ,  and  a  VUla  of  Prince  Torlonia. 
The  harbour  of  Trajan,  a  large  octagonal  basin,  surrounded  by  maga- 
zines ,  is  now  a  shallow  lake  only.  In  the  meadows  to  the  N.  of 
this ,  the  extent  of  the  harbour  of  Claudius  is  still  traceable. 

21  M.  Finmicino  (Locanda)  is  a  modern  place.  The  castle, 
erected  in  1773  close  to  the  sea,  is  now  1/2  M*  distant  from  It.  The 
tower  commands  a  fine  view.  —  The  train  runs  hence,  */2M.  farther, 
to  the  new  Stahilimento  Bagni^  or  bath-establishment. 

The  Uola  Sacra ^  situated  between  the  two  arms  of  the  river,  was  so 
named  at  a  very  early  period,  either  from  having  been  the  site  of  a  heathen 
temple,  or  from  haying  been  presented  by  Constantine  to  the  Church.  Nu- 
merous herds  of  cattle  are  pastured  here,  against  which  travellers  must  be 
on  their  guard ,  especially  in  spring.  A  guide  is  therefore  desirable.  In 
dry  weather  visitors  may  walk  across  the  island  from  Fiumicino  to  Ostia 
in  Va  hr. 

OSTIA. 

.  16  H.  from  Rome.  Two-horse  carriage  there  and  back  !%-30  fr.,  fee 
2-4  fr.  ^  the  drive  to  Castel  Fusano  uuist  be  expressly  stipulated  for.  A 
supply  of  provisions  should  be  taken,  and  the  beautifiQ  cella  of  the  temple, 
or  the  woods  at  Castel  Fusano  may  be  selected  as  resting-place.  The  os- 
teria  at  Ostia  is  poor,  and  there  ia  no  inn  at  Castel  Fusano.  The  points 
of  interest  may  be  seen  in  S-S'/a  hrs.  —  From  Ostia  to  Fiumicino,  see  above  \ 
ferry  at  Torre  Boacciana. 

From  the  Porta  8.  Paolo  to  the  Osteria  del  Ponticello,  where  the 
Via  Laurentina  diverges  to  the  left,  see  pp.  352-354.  —  The  road 
to  Ostia  leads  to  the  right  and  runs  not  far  from  the  Tiber.  At 
the  (91/2  M.)  Osteria  di  Malafede  a  road  diverges  to  the  left  to 
(41/2  M.)  Castel  Porziano,  a  royal  hunting-lodge,  on  the  site  of  the 
ancient  Vicus  Augustanus  (thence  to  Tor  Paterno,  5  M.,  see  p.  396). 
The  road  next  traverses  the  hills  of  Decima ,  and  then  a  growth  of 
underwood  (Macchia  di  Ostia),  beyond  which  a  fine  view  of  Ostia, 
2  M.  distant,  is  obtained.  A  short  distance  from  the  village  an 
embankment  carries  us  across  the  Stagno  di  Ostia,  which  has  yielded 
salt  since  the  period  of  the  kings. 

Ostia,  a  poor  village  with  scarcely  100  inhab. ,  was  founded  by 
Gregory  IV.  in  830 ,  several  centuries  after  the  destruction  of  the 
ancient  town.  Under  Leo  IV.  (847-56)  the  Saracens  sustained  a 
signal  defeat  here,  which  Raphael  has  represented  in  the  Stanze. 
Julius  II.  (1503-13),  when  Cardinal  della  Rovere,  caused  the  fort 
to  be  erected  by  Oitd.  da  Sangallo.  The  town  lost  its  importance 
when  PaulV.  re-opened  the  right  arm  of  the  Tiber  at  Porto  in  1612. 

The  pleasing  church  of  S.  Aurea,  attributed  to  Baccio  Pintelli, 


Sea-Coast  of  LcUium.  OSTIA.         Environs  of  Rcyme.    395 


was  erected  under  Julius  II.  The  Castello  contains  an  extensive 
but  comparatively  uninteresting  collection  of  inscriptions  and  relics 
from  the  excavations.  The  most  important  object  is  a  large  marble 
Ara,  with  reliefs  relating  to  the  foundation  of  Rome.  The  hill  on 
which  the  Castello  stands  affords  a  good  view. 

The  Ostia  of  antiquity ,  founded  by  Ancus  Martins ,  extended 
westwards  along  the  Tiber,  from  the  present  village,  as  far  as  Torre 
Bo€U!eiana.  It  was  a  large  commercial  town,  and  though  in  the 
reign  of  Augustus  it  lost  some  of  its  importance  through  the  chok- 
ing up  of  the  harbour  by  the  Tiber,  it  afterwards  regained  its  in- 
fluential position.  The  Inhabitants  belonged  to  numerous  national- 
ities and  various  religions ;  Christianity  also  was  introduced  here  at 
an  early  period.    The  bishopric  of  Ostia,  according  to  some  accounts, 


was  founded  by  the  Apostles  themselves,  and  is  still  regarded  with 
great  veneration  by  the  Romish  clergy.  Monica,  the  mother  of  St. 
Augustine,  died  here. 

At  the  entrance  to  the  town  (r.)  is  a  plain  osteria,  where  thr 
custodian  is  to  be  found^(fee  for.  the  excursion  2-3  fr.).  The  Tombs, 
which  extend  in  a  line  beyond  the  Porta  Romana  of  the  Ancient  Town, 
are  reached  in  5  min.  from  the  gate.  Most  of  the  reliefs  found  here  are 
now  in  the  Lateran  (p.  269).  In  3  min.  the  gate  of  the  old  town  is 
reached.  Where  the  road  forks,  we  ascend  slightly  to  the  right  to 
the  (5  min.)  *Forum,  excavated  in  1880-81,  a  square  structure,  each 
side  of  which  was  265  ft.  long,  and  which  was  surrounded  with 
colonnades.  The  portico  on  the  S.  contained  marble  columns,  the 
others  brick  columns  encased  in  stucco.  At  a  later  period  the  colon- 
nades were  divided  into  a  series  of  small  chambers  (best  seen  at  the 
S.E.  corner),  which  served  as  the  offices  of  various  Collegia  or  guilds, 
such  as  the  lumberers  who  conveyed  timber  to  Rome  and  the  boat- 
men of  Terracina.    In  the  centre  of  the  forum  is  the  substructure 


396   Envir.  of  Borne.  OSTIA.  Sea-CoastofLatium. 

of  a  Templum  Hn  anfiV,  80  ft.  long  and  35  ft.  wide.  The  walls  are 
in  a  very  ruinous  condition  and  have  been  almost  entirely  stripped 
of  their  marble  lining,  while  the  altar  has  experienced  a  similar 
fate.  Adjoining  the  S.  colonnade  of  the  forum  is  the  rear- wall  of  the 
^TheatrCj  of  which  considerable  remains  of  both  stage  and  auditor- 
ium are  extant.  This  edifice,  built  in  the  early  imperial  period,  per- 
haps by  M.  Agrippa,  was  restored  by  Septimius  Severus  in  196-7, 
and  again,  in  a  very  imperfect  and  hasty  manner,  in  the  4th  or  5th 
century.  Numerous  marble  bases  with  inscriptions,  brought  from 
the  forum  at  the  last  restoration ,  may  be  seen  below  the  seats  in 
the  central  corridor  and  in  other  parts  of  the  building.  Farther 
to- the  W.  rises  a  handsome  and  conspicuous  *  Temple,  which  at  the 
beginning  of  the  present  century  was  the  only  visible  relic  of  an- 
cient Ostia.  The  cella,  of  admirable  masonry,  is  well  preserved ; 
the  threshold  consists  of  a  single  block  of  African  marble,  16  ft. 
in  length.  The  vaulted  substructions  contain  the  receptacles  for  the 
sacred  vessels  (favissae).  Farther  to  the  S.  is  the  shrine  of  the  Magna 
Mater,  excavated  in  1869,  an  irregular  quadrangular  structure  with 
a  colonnade  on  each  side,  where  the  statue  of  Atthis  mentioned 
at  p.  270,  was  found.  —  We  now  retrace  our  steps  and  follow 
the  street  leading  straight  from  the  back  of  the  temple  to  the  river. 
This  street,  50  ft.  in  width,  was  flanked  with  rows  of  pillars ,  be- 
hind which  were  shops  and  private  houses ;  it  is  the  most  exten- 
sive construction  of  the  kind  which  now  remains  to  us.  At  the  mod- 
ern house  we  diverge  to  the  left  and  skirt  the  Tiber  to  (10  min.^ 
the  *  Baths  J  which  are  of  moderate  size ;  the  positions  of  the  furnace, 
swimming-basin,  hot-bath  (caldarium),  etc.,  are  traceable. 

Proceeding  towards  the  road  on  the  Tiber,  we  arrive  in  5  min. 
at  a  Store  Chamber,  with  thirty  earthen  jars  for  keeping  wine,  oil, 
and  grain,  imbedded  in  the  floor.  Then  ,  2  min.  farther,  are  mucli 
more  extensive  Baths  with  a  palastra,  etc. ,  probably  erected  by- 
Antoninus  Pius;  a  large  mosaic  pavement  in  the  principal  hall 
represents  the  intricacies  of  the  labyrinth.  Adjacent  is  a  small 
Mithraeum,  with  an  inscription  on  the  mosaic  pavement.  —  On  the 
roadside ,  just  beyond  the  baths ,  are  remains  of  arches  of  tufa  and 
travertine  of  the  republican  era ,  which  probably  belonged  to  a  har- 
bour. In  1/4  hr.  more  we  reach  the  road  leading  from  the  E.  side  of 
the  town  to  Laurentum,  where  a  number  of  graves  and  columbaria 
have  been  discovered.    Thence  back  to  Ostia,  3/^  M. 

A  carriage-road  leads  from  Ostia  to  (2  M.)  *Castel  Fusano, 
situated  in  the  midst  of  a  beautiful  pine-forest.  It  was  erected  by 
the  Marchese  Sacchetti  in  the  16th  cent. ,  and  fortified  against 
pirates,  and  is  now  the  property  of  the  Chigi,  who  leased  it  in  1888 
to  the  royal  family.  A  pleasant  road,  with  an  ancient  pavement  of 
basalt,  leads  hence  to  the  sea,  1^2  ^-  distant. 

From  Castel  Fusano  to  Tor  Patemo,  a  farm  near  the  ancient  Laurentum, 
6  M.  Thence  with  guide  to  (4V2  M.)  Pratica,  an  insignificant  village  on 
^e  site  of  the  ancient  Lavinium. 


Sea-CoaatofLatium.  ANZIO.  Envir.ofRome,   397 

About  6  M.  from  Pratica  and  11  M.  from  Albano  lies  Ardea,  the  an- 
cient capital  of  the  Rutoli,  one  of  the  few  towns  of  Latium  which  even  in 
the  time  of  the  Roman  emperors  were  avoided  on  account  of  the  malaria. 
Early  deserted  for  this  reason,  Ardea  has  preserved,  especially  in  its  forti- 
fications, a  more  antique  appearance  than  any  other  Latin  town.  The 
wretched  modem  village  (150  inhab.)  occupies  the  site  of  the  old  citadel 
on  a  hill  with  artificially  precipitous  sides.  There  are  remains  of  massive 
walls  of  different  periods  at  various  places  \  and  two  ramparts  with  ditches, 
several  hundred  yards  long,  like  the  wall  of  Servius  at  Rome. 

Anzio. 

Railway  to  Cecehina^  below  Albano,  see  p.  368.  Steam-tramway  thence 
to  Antio  in  1  hr.  (fares  8  fr.  60,  2  fr.  50,  1  fr.  75  c. ;  through-ticket  from 
Rome  to  Anzio  6  fr.  60,  4  fr.  60,  3  fr.  15  c,  return  9  fr.  50,  6  fr.  65,  4  fr. 
50  c.). 

Anzio.  —  Hotela:  Albbboo  dellb  Sikens,  large  new  house  midway 
between  Anzio  and  the  Villa  Borghese;  Albergo  Milano,  in  the  Piazza. 
Bistorante  Turchetto,  in  the  town.  —  Private  Apartments  in  the  season  at 
many  of  the  new  villas. 


Oarriage  with  one  horse  to  Nettuno  for  1-3  pers.  1  fr.,  each  addit.  pers. 
20  c.  more.  —  Omnibus  25  c. 

Boats  in  the  harbour,  1-3  pers.  U/ifr.  per  hr.,  each  additional  person 
1/2  fr.  more.  —  During  the  season  small  steamboats  ply  on  Sun.  to  Astura 
and  Tor  Galdara  (to  the  N.). 

The  little  fishing-town  of  Porto  d^AnxiOy  or  simply  Anzio^  as  it 
has  recently  become  customary  to  call  it,  a  favourite  resort  of 
the  Romans  during  the  bathing-season  (June,  July,  and  August), 
in  spite  of  its  liability  to  fever,  occupies  the  site  of  the  ancient 
Antium. 

Antium^  the  capital  of  the  Volsci,  and  a  prosperous  seaport  at  an 
early  period,  the  place  where  Coriolanus  sought  refuge  when  banished 
from  Rome  in  B.  C.  490,  was  compelled  in  468  to  succumb  to  the  Romans. 
In  338,  when  all  the  Latins  were  conquered,  Antium  received  a  Roman 
colony,  and  was  thus  permanently  united  with  Rome.  Extensive  villas 
were  erected  here  towards  the  end  of  the  republic.  Cicero  possessed  an 
eatate  at  Antium,  the  tranquillity  and  charms  of  which  he  highly  extols 
(Att.  iv.  8).  The  emperors  also ,  especially  those  of  the  Julian  house 
(Caligula,  Claudius,  Nero),  built  country-houses  here;  and  though  at  a 
later  period  Antium  seems  to  have  been  surpassed  in  popularity  by  Baise 


398   EnoiroM  of  Rome.      NETTUNO.      Sea-Coast  of  Latvum, 

and  the  places  on  the  bay  of  Naples,  the  temple  of  Fortune,  mentioned 
by  Horace  (Carm.  I.  36),  where  oracniar  responses  were  given,  existed 
nntil  the  latest  era  of  paganism.  The  place  was  entirely  deserted  in  the 
middle  afes,  bnt  in  the  16th  cent,  it  began  to  be  rebuilt.  The  present 
town  dates  almost  wholly  from  the  period  after  the  restoration  of  the 
harbour  by  Innocent  XII.  (1698). 

The  tTamway-terminus  lies  close  to  the  Piazza,  and  a  few  paces 
from  the  harbour.  The  latter  is  small,  and  as  it  opens  to  the  S.,  is 
in  continual  danger  of  being  sanded  up.  The  remains  of  an  ancient 
mole  may  be  seen  opposite,  in  the  direction  of  Nettano,  near  the  new 
bathing-establishment. 

A  pretty  walk  leads  to  the  Areo  Muto^  turning  to  the  right  from 
the  lighthouse  (Faro)  and  descending  to  the  beach  beyond  a  solitary 
column.  The  promontory  is  pierced  with  antique  passages,  belong- 
ing to  a  large  villa,  which  was,  perhaps,  built  by  one  of  the  emp- 
erors. Picturesque  view  of  the  ruin-strewn  beach.  The  Apollo 
Belvedere  (and  probably  the  Diana  of  Versailles  also)  was  found 
here. 

Close  by  the  town  itself  is  the  Villa  Albani,  commanding  pretty 
views  from  its  neglected  grounds ;  we  reach  it  by  ascending  from 
the  Piazza,  crossing  the  rails  In  the  Via  della  Gapltale.  and  then 
turning  to  the  right.  Opposite  the  entrance  is  the  Villa  Corsini  or 
Mencacci  (usually  inaccessible)  Continuing  along  the  Via  della 
Capitale  and  ascending  the  hill  straight  in  front,  we  come  upon  the 
remains  of  an  antique  wall.   Fine  survey  of  the  town  and  sea. 

The  Tramway  from  Anzio  to  Nbttuno  (see  below ;  in  7  min., 
fares  35,  20  c.)  follows  the  high-road  (1 V2M/).  Adjoining  the  rail- 
way signal-box  No.  31  is  the  side-entrance  to  the  — 

*  Villa  Borghese  (main  entrance  opposite  the  Casino  generally 
closed),  which  is  surrounded  by  fine  shady  trees.  When  occupied 
by  the  family  the  villa  can  be  visited  only  with  a  special  permesso, 
to  be  obtained  at  the  Pal.  Borghese  (p.  184)  in  Rome.  The  casino 
is  said  to  occupy  the  site  of  the  ancient  Arx ;  and  fragments  of  col- 
umns, capitals,  and  other  remains  have  been  found  here  at  various 
points.  An  alley  of  trees  (Olmata)  ascends  from  the  S.  exit  of  the 
villa  to  the  little  Casino  Soffredini,  which  affords  one  of  the  finest 
views  of  Anzio  and  Nettuno.  —  From  the  gate  of  the  villa  toNettuno, 

V3M. 

Hettnno  (Trattoria  della  Ferrovia),  which  depends  for  its  interest 
on  its  picturesque  situation,  is  said  to  have  been  once  a  settlement 
of  the  Saracens.  The  native  costume  of  the  women  is  picturesque, 
but  it  is  now  worn  only  on  holidays.  —  A  coast-road  leads  from  Nettuno 
to  (7V2  M-)  Astura,  where  there  are  numerous  remains  of  Roman 
viUas,  and  where  Cicero  also  once  possessed  a  villa.  A  tower,  con- 
nected with  the  mainland  by  a  bridge,  belonged  to  a  castle  in  which 
prince  Conradin  ofSwahia  sought  refuge  with  Jacopo  Frangipani  af- 
ter the  Battle  of  Tagliacozzo.  The  latter ,  however ,  delivered  him 
up  to  Charles  of  Anjou,  who  caused  him  to  be  beheaded  at  Naples. 


List 

of  the  most  important  Artists  mentioned  in  the  Handbook,  -with  a 
note  of  the  schools  to  which  they  belong. 

Abbreviations:  A.  =  architect,  P.  =  painter,  S.  =  sculptor j  ca.  = 
circa,  about;  Bol.  =  Bolognese,  Ferr.  =  Ferrarese,  Flor.  =  Florentine, 
Fr.  =  French,  Lorn.  ='  Lombard,  Bom.  =  Roman,  etc. 

The  Arabic  numerals  enclosed  within  brackets  refer  to  the  art-notices 
throughout  the  Handbook,  the  Roman  figures  to  the  Introduction. 


Agoracritos,  Greek  8.,  pupil  of  Phi- 
dias, ca.  436-424  B.C.  —  (xxxii). 

Albani(Albano), Franc,  Bol.  P.,  157S- 
1660.  ' 

Albertij  Leon  Bait..  Flor.  A.,  1406-72. 
—  (xlix.  92). 

AlcameneSy  Greek  8.,  pupil  of  Phi- 
dias, ca.  430-398  B.C.  —  (xxxii). 

Al/anL  Domenico  di  JPaiHs,  Umbr.  P., 
1483-1553.  —  (48). 

Algardi,  Al.^  Bol. 8.,  A.,  1592-1654. 

Allegriy  Ant.,  see  Correggio. 

Allori^  Alets.,  Flor.  P.,  1535-1607. 

— ,  Criitofano,  Flor.  P.,  1577-1621. 

Alunno,  Niccolb  (di  Liberatore)  da  Fo- 
ligno,  Umbr.  P.,  ca.  1430-1502.  — 
(48.  79). 

Amerighi,  see  Caravaggio,  Mieh. 

Ammanatiy  Bart.,  Flor.  A.,  8.,  1511-92. 

Angelica  da  Fiesole,  Fra  Giov.,  Flor. 
P.,  1387-1455.  —  (63). 

Anguisiola.  So/onitha.  Crem.  P.,  1539- 
1625. 

Apelles ,  Greek  P. ,  356-308  B.C.  — 
(xxxiii). 

Amol/o  del  (di)  Cambio,  see  Cawibio. 

Arpino.  il  Cavalier e  d^  (Oitu.  Cetari). 
Eom.  P.,  ca.  1560-1640.  —  (Iviii). 

Bandinelli^Baeeio,  Flor.S.,  1493-1560. 

Barbarella,  Giorgio ,  see  Oiorgione. 

Barbieri,  see  Quereino. 

Barili,  Ant.  and  Oiov.^  Si^en.  wood- 
carvers,  first  half  of  16th  cent.— (23). 

Bama  or  Bema,  Sien.  P.,  d.  1381.  — 
(23). 

Baroeeio^  Federigo.  Bom.  P.,  imitator 
of  Correggio,  1528-1612.  —  (97). 

Bartoli,  TaddeOy  see  Taddeo. 

Bariolo,  Domenieo  di,  see  Domenico. 

Bartolommeo  delta  Porta,  Fra,  Flor. 
P.,  1476-1517. 

Batsano,  Franc,  (da  Ponte).  father 
of  Jacopo,  Ven.  P.,  1548-91. 

— ,  Jacopo  (da  Ponte),  Ven.  P.,  1510-92. 

Bafoni,  Pompeo,  Bom.  P.,  1708-1787. 

Baszi,  Oiov.  Ant.,  see  Sodoma. 


Beecafumi,  Domenieo,  Sien.  P.,  1486- 

1651.  —  (23). 
Bellini,  Giovanni,  Ven.  P.,  1426-1516. 
Benvenuto  di  Giovanni,    Sien.  P.,    d. 

1517.  —  (23). 
Berchem  (Berghem),    Clacu  Pieiersx, 

Dutch  P.,  1620-1683. 
Bereiiini,  Pietro,  see  Cortona. 
Bernardo  Rossellino,  Flor.  A.,  15th 

cent. 
^«mini,  Cfiov.  Lorento,  Bom.  A.,  S., 

1589-1680.  —  (lix). 
Boedai.  Greek  8.,  son  of  Lysippus.  — 

(xxxiii). 
Bologna,  Giov.  da,    or    Giambologna 

(Jean  de  Boullogne  of  Douai),    S., 

1624-1608. 
Bonfigli.  see  Buonfigli. 
Bonifacto(Bonifazio)  the  Elder,  d.l540, 

the  Younger,  d.  1553,  the  Youngest, 

ca.  1666-79,  Ven.  P. 
Bonvieino,  see  Moretto. 
Bordone,  Paris,  Ven.  P.,  1500-70. 
Borgognone,  Ambrogio,  da  Fossano, 

Mil.  P.,  1455?-1624?. 
Borromini,  Franc,  Bom.  A.,  8.,  1599- 

1667.  —  (Iviii). 
Botticelli,  Aless.  or  Sandro,  Flor.  P., 

1446-1510.  —  (xlix). 
Bramante,  Donato ,  A.,  1444-1514.  — 

(li.  —  (Jomp.  also  the  Index,  under 

'Borne'). 
Bril,  Paul,  Flem.  P.,  1556-1626. 
Brontino,  Angela,  Flor.  P.,  1502-72. 
Buonarroti,  see  Michael  Angelo. 
Buonfigli    (or   Bonfigli),    Benedetto, 

Umbr.  P.,  ca.  1420-c.  1496.  —  (48). 
Buontalenti,  Bern.,  Flor.  A. ,  1636-1608. 

Cagnaeci  (Canlassi),  Guido,  Bol.  P., 

1601-1681. 
Calidri,  Paolo,  see   Veronese. 
Cambidso,  Luea,  Gen.  P.,  1527-86. 
Cambio.  Amol/o  del  (di),  Flor.  A.,  8., 

1240-1311. 
Gampagna,  Girolamo,  Ven.  8.,  pnpi^ 

of  Jac.  Sansovino,  1562-1623. 


400 


LIST  OF  ARTISTS. 


Cafnuccini^  Vine.,  Rom.  P.,  1773-1844. 
Canaletto  (Antonio  Canale).  Yen.  P., 

1697-1768. 
Canova,  Antonio,  8.,  1757-1832. 
Caprina,  Amadeo  or  Mto  del.  Bom. 

A.,  d.  1501. 
Caravaggio,  Michelangelo  Amerighi  da, 

Lomb.  and  Rom.  P.,  1569-1609.  — 

(Iviii). 
— ,  Poliddro   Caldara  da,   Rom.  P., 

1495-1643. 
Cardi,  Luigi,  see  (Hgoli. 
Carpi,  Qirol.  da,  Fen.  P.,  1601-68. 
Carracci,AgosHno,Bol.V..  1558-1601. 
— ,  Annibale,   brother    of   Agustino, 

Bol.  P.,  1560-1609.  —  (Iviii). 
— ,  Lodopieo,  Bol.  P.,  1555-1619. 
Camtedj  see  Pontormo. 
CavalUnii,  Pietro,    Rom.  P.  and  mo- 

saicist,  14th  cent.  —  (xlviii). 
Cellini,  Benvenuto,  Flor.  S.  and  gold- 
smith, 1500-72. 
Cephisodottu  the  Elder,  Greek  8.  (per- 
haps father  of  Praxiteles).  —  (xxxii). 
— .  the  Younger,  Greek  8.,  son  of  Prax- 
iteles. —  (xxxii). 
dgnani.  Carlo,  Bol.  P.,  1628-1719.  — 

(89). 
Cigoli  (Luigi  Cardi  da),  Flor.  P.,  1559- 

1613. 
Cimabue,  Giov.,  Flor.  P.,  1240? -1302?. 
Claude  le  Lorrain  (  GelUe),  French  P., 

1600-82. 
Clovio,  Don  Giulio,  P.  of  miniatures, 

pupil  of  Giul.  Rom.,  1498-1678. 
Cornelius,  Peter  v..    Germ.  P.,  1783- 

1867.  —  (lix). 
Correggio  ( Antonio  Allegri  da),  Parm. 

P.,  1494? -1534. 
Cortona,  Pietro  (Berettini),  da,  Flor. 

A.,  P.,  1596-1669.  —  (46). 
Cotmati,  the,  Rom.  S.  and  mosaicists, 

13th  cent.  —  (xlvii). 
Credi,  Lorenzo  di,  Flor.  P.,  1459-1537. 
Cresti.  Dom..  da  Passignano.  Flor.  P., 

1560-1638. 
Crivelli,  Carlo,  Ven.  P.,  ca.  1468-93. 

Dolei,  Carlo,  Flor.  P.,  1616-86. 
Domeniehino     (Domenieo    Zampieri), 

Bol.  P.,  1581-1641.  —  (Iviii). 
Domenieo  di  Bartolo,  Sien.  P.,  middle 

of  15th  cent.  —  (23). 
Donatello  (Donato  di  Nieeolb  di  Betti 

Bardi),  Flor.  8.,  1386-1466. 
Douo  Doesi^  Ferr.P.,  ca.  1479-1546(46  ?). 
Duecio  di  Buonineegna,  Sien.  P.,  ca. 

1286-1320.  —  (23). 
Dpek,  Ant.  van,  Antwerp  P.,  1599-1641. 

"^uphranor,  Greek  8.  and  P.,  375-335 
B.C.  —  (xxxii). 


Eueebio  di  8.  Giorgio,  Umbr.  P.,  ca. 

1500.  —  (48). 
Euthyerate*,  Greek  8.,  son  of  Lysippus. 

—  (xxxiii). 

Eutyehidet,    Greek  8.,    pupil  of  Ly- 
sippus. —  (xxxiii). 

Yahriano,  Gentile  da,  see  OentHe. 
Federigki,Ant.,  Sien.  A.,S.,ca.  1420-90. 
Ferrari.  Gaudenzio,  Hiian.  P.,  1484- 

1549. 
Fiammingo,  Arrigo,  of  Halines,  Rom. 

P.,  d.  mi. 
Fieeole,  Fra  Giovanni  Angelica  da,  see 

Angelieo. 
— ,  Mino  da,  Flor.  8.,  1431-84. 
Filarete,  Ant.,  Flor.  A.,  d.  1465?  —  (1). 
Fioremo  di  Lorenzo,    Umbr.  P.,    ca. 

1472-1521.  —  (48). 
Fontana,  Carlo,  Rom.  A.,  1634-1714. 

(Iviii). 
— ,  Domenieo,  Rom.  A.,  1543-1607.  — 

(Ivii). 
— ,  G^toi;.,  brother  of  Domenieo,  Rom. 

A.,  1540-1641. 
Fonte,  Jae.  della,  see  (iuerda. 
Francesco,  Piero  della  (  Pietro  di  Bene- 
detto), Umbr.  Flor.  P.,  b.  1423,  d. 

after  1509.  —  (39.  56.  97). 
Francesco  di  Giorgio,  Sien.  A.,  8.,  P., 

1439-1502.  —  (22). 
Francia,  Francesco  (Franc.  Raibolini), 

Bol.  P.,  1450-1517. 
Franeueei,  Jnnoc,  see  Jmola. 
Fredi,  Bartolo  di,  Sien.  P.,  ca.  1330- 

1409.  —  (23). 
Fuga,  Ferdinando,  Rom.  A.,  1699-1780. 
Fungai.  Bernardino,  Sien.  P.,d.  1516. 

—  (23). 

Fwini,  Frane.,  Flor.  P.,  160049. 

Qaetano,  Scip.,  Neap.  P.,  16th  cent. 
Galilei,  Alessandro,  Flor.  A.,  1691-1737. 
Garbo,  Raffaellino  del  (R.  Capponi)^ 

Flor.  P.,  ca.  1466-1524. 
Gardfalo  (Benvenuto  Tisio),  Ferr.  P., 

1481-1559. 
Gatta,  Bartol.  deUa,  Flor.  P.,  d.l491. 
Gentile  da  FabiHano,  Umbr.  P.,  1360  ?- 

1440?.  —  (48). 
Gerino  da  Pistoja,    Umbr.  P.,    fijrst 

half  of  16th  cent.  —  (48). 
Ghiberti,  Lor.,  Flor.  8.,  1378-1455. 
Ghirlanddjo ,    Dom.   (Dom.  Big  or  di), 

Flor.  P.,  1449-94.  —  (xlix). 
— ,  Ridolfo(R.  Bigordi),  son  of  Dom., 

Flor.  P.,  1483-1561. 
Giambologna,  see  Bologna,  Giov.  cLa. 
Gimignani,  Giadnto,  Tuscan  P.,  1611- 

1681. 
Gioeondo,  Fra,  Veron.  A.,  1435-1515. 
(Hordano,  Luea,  surnamed  Fapresto. 

Neap.  P.,  ca.  1632-1705. 


LIST  OF  ARTISTS. 


401 


QiorgUme  ( Otorgio  Barbarella),  Ven. 

P.,  14T7?-1511. 
«to««no,Flor.P.,pupil of GHotto.—  (    ). 
Giotto  (di  Bondone)^  Flor.  P.,  A.,  S., 

1276-1337.  —  (xlviii.  76). 
Qozzolu  Benozzo,    Flor.  P.,    pupil  of 

Fra  Angelico,  1420-97. 
Ouerdno,  il  (Oiov.  Franc.  Barbieri), 

Bol.  P.,  1590-1666.  —  (Iviii). 
Guido  da  Stena,  Sien.  P.,  13th  cent. 

IW,  Sinibaldoy  Umbr.  P.,  first  half  of 

16th  cent.  —  (48). 
letinusy  Greek  A.,  5th  cent.  B.C.  — 

(xxxi). 
Imdla,  Innoeenzo  da  (Inn.  Franeucd), 

Bol.  P.,  1494?- 1550?. 

LaippuSy  Greeks.,  pupil  of  Lysippus. 

—  (xxxiii). 

Landiniy  Taddeo,  Flor.  S.,  d.  1594. 
Lan/raneo,  CHov.,  Lomb.  and  Bom. 

P.,  1580? -1647. 
Laurana,  Luciano ,  of  Dalmatia,  A., 

15th  cent. 
Li  Brun,  Charles, French  P.,1619-1690. 
Leochares,  Greek  S.,  middle  of  4th 

cent.  B.C.  —  (xxxii). 
Leonardo  da  Vinci,  P.,  S.,A.,  1452-1519. 
Licinio,  Bernardino.  P.,  pupil  of  Por- 

denone,  ca.  1524-42. 
— ,  Giov.  Ant.,  see  Pordenone. 
LigoiHo.Firro,  Bom.  A.,  d.  1580. 
Lippi,  Filippino,  Flor.  P.,  1458-1504. 

—  (xlix). 

— ,  Fra  Filippo.   father  of  Filippino, 

Flor.  P.,  1412-69.  —  (82). 
Lombardo,  Giroldmo^yen.S.,  16th  cent. 
Longhi,  Luca,  P.,  Bavenna,  1507-80. 
Lorenzeiti,  Ambrogio,  Sien.  P.,  d.  1348? 

-(23). 
— ,  Pietro,  Sien.  P.,  d.  1348?.  —  (23). 
Lorenzetto,  Martino  (di  Lodovico  Cam- 

panajo),  Flor.  A.,  S.,  1494-1541. 
Lorenzo  di  Pietroy  see  Vecchietta. 
Lotto,  Lorenzo.  Ven.  P.,  1480?-1554?. 
Luea  Thome,  Sien.  P.,  second  half  of 

14th  cent.  —  (23). 
Luini,  Bernardino,  Milan.  P.,  1470?- 

1530?. 
Lunghi,  Mart.,  the  Elder,  Bom.  A., 

16th  cent. 
— ,  Onorio,   Bom.    A.,     son    of  the 

preceding,  1569-1619. 
— ,  Mart.,  the  Younger,  son  of  the 

last,  d.  1637. 
Luti,  Bened.,  Flor.  P.,  1666-1724. 
Lysippus,  Greek  S.,  4th  cent.  B.C.  — 

(xxxii). 

VLadtma,  Carlo,  Bom.  A.,  1556-1629. 

—  (Iviii). 

Mademo,  Stefano,   Lomb.  bom.  S., 
1571-1636. 
Basdskss.  Italy  U.  10th  Edit. 


Majano.  Benedetto  da,   Flor.  A.,  S., 

1442-9V. 
— ,  Giuliano,  Flor.  A.,  1432-90. 
Manni,  Oiannicola  di  Paolo,  Umbr.  P., 

d.  1544.  —  (48). 
Mantegna,  Andrea,  Pad.  P.,  1431-1506. 
Maraiti  (Maratta),  Carlo,  Bom.  P., 

1625-1713. 
Marcantonio  Raimondi,  engraver,  ca. 

1488-1527. 
Marchionne,  Carlo,  Bom.  A.,  S.,  1704- 

1780. 
Margaritone ,  P.  and  S.,    of  Arezzo, 

1236? -1313.  -  (39). 
Mariano,  Lor.  di,  surnamed  il  Mar- 

rina,  Sien.  S.,  1476-1534. 
Martini,  Simone   (Sim.   di  Martino), 

Sien.  P.,  1283-1344.  —  (23). 
Masaccio  (Tommaso  Guidi),  Flor.  P., 

1401-28?.  —  (38). 
Matteo  (di  Cfiovanni)  da  Siena,  Sien. 

P.,  1435-95.  —  (23). 
Mazzolini,  Lodov.,  Ferr.  and  Bol.  P., 

1481-  ca.  1528. 
Mazzuola,  Frane.,aeeParmeggianino. 
Melozzo  da  ForU,  Umbr.-Tuscau.  P., 

1438-1494.  —  (xlix.  89). 
Memmi,  Lippo,  Sien.  P.,  d.  1366. — (23). 
Menelaus,    Bom.  8.   of  the  time  of 

Augustus.  —  (xxxvi). 
Messina,  Antonello  da.P.,  b.  after  1410, 

d.  ca.  1493. 
Michael  Angelo  Buonarroti,  A.,S,,P., 

1475-1564.  —  Gi,  Hi.  —  Comp.  also 

the  Index  under  *Bome\) 
Mnesicles,    Greek  A.,  5th  cent.  B.C. 

-  (xxxi). 
Mocchi,  Franc,  Tuscan  S.,  1580-1646. 
Mola,  Francesco,  Bom.  P.,  1612-1666. 
Montelupo,  Raff,  da,   Flor.  S.,    ca. 

1505-  ca.  1570. 
Montorsoli,  Fra  Giov.  Ang.,  Flor.  S., 

ca.  1506-63. 
Moretto  da  Brescia  (Alessandro  Bon- 

vicino),  Bresc.  P.,  1498-1555. 
Morone,  Franc,  Veron.  P.,   1478  or 

1474-1529. 
Moroni  (Morone),  CHov.  Batt.,  Bresc. 

P.,  1510? -1578. 
Mosca,  Simeone,    da  Settignano,    S., 

1498-1554. 
Murillo,  Bartolom4  Estiban,  Span.  P., 

1617-1682. 
Muziano,  Qirol.,  of  Brescia,  P.,  1530- 

1592. 
Myron,  Greek  8.,  5th  cent.  B.C.  - 

(xxxi). 
NeMt,  Ottaviano,  Umbr.  P.,  d.l444.— 

(48.  63.) 
Nucci,  Avanzino,  tJmbr.  P.,  1552-1629. 

Oderisi  of  Gubbio,  miniature-painter, 
1240-1299.  —  (47.  68). 

26 


402 


LIST  OF  AKTISTS. 


Qffffiotmo.  Mama  da,  Mil&n^F.f  pupiJ 

of  L4Oiiiu-d0f  IITUNIMU?. 
Oreaffna  (Andrga  tH  done].  Flop^  A, 

0««f^#ff^r    /cA^    friedr.^    Gcmr.    P., 
1798-1^60. 

TactAia.,  fjirolamo  deU  3 inn.  P<.  1IT7- 

ca.  1635.  —  (33). 
PaicAiaroito^    Giae..    Sien.  P,,    1174- 

1&40,  —  riaj. 

I^fma  Qiofaae  (  Giopini).  Giac^.,  Vtin. 

P.,  1544-  ca.  1628. 
—  Veechio,  Giae.,  Ven.  P.,  1480-1528. 
Palmerucei,  Outdo,  Umbr.  P.,    1280- 

1345?.  —  (58). 
Falmezzano,  Mareo,  da  Forlu  Flor.  P., 

1490-1530. 
Parmeggianino    or    Parmigianino 

(Frane.Maztuola),  Parm.P.,  1503- 

1540. 
Pasiteles,  Greeco-Eom.  8.,  72-48  B.C.— 

(xxxvi). 
Passignano,  see  Cresti. 
Pellegrino  Pellegrini  (Tibaldi),   Bol. 

A.,  P.,  1527-91. 
Penni,  Franc,  (il  Fattore),  Flor.  P., 

1488-1528.  —  (Ivii). 
Perino  del  Vaga,  see  Vaga. 
Perugino^   Pietro  (Pietro    Vannucd), 

Umbr.  P.,  1446-1524.— (xlix.  48. 61). 
Peruzzi.  Baldast,,  Sien.  and  Rom.  A., 

P.,  1481-1536.  —  (Ivii.  23). 
Phidias,   Greek  8.,   500-430  B.C.  — 

(xxxi). 
Pintelli,  Bacdo.  Flor.  A.,  S.,  ca.  1472- 

1490.  —  (xlix). 
Pintitricchio  (Bernardino  BeUi),\5vdbT. 

P.,  1464-1513.  —  (xlix.  48). 
Piombo,  Sebast.  del,  see  Sebastiano. 
Pippi,  see  Romano. 
Pisanello,  see  Pisano,  Vitiore. 
Pisano,   Qiov..    Pis.   A.,  8.,    son    of 

Niccold,  d.  1320.  —  C22). 
— ,  Giunta,  Pis.  P.,  first  half  of  13tli 

cent. 
— ,  Niccolb,  Pis.  A.,  8.,  d.  1278.  —  (22). 
— .  Vittore  (Pteanello),  Ver.  P.,   ca. 

i455. 
Podestiy  Franc. ,  modern  Rom.  P.  — 

Oix). 
Polidoro,  see  Caravaggio. 
Pollajuolo,   Ant,    Flor.   A.,   8.,  P., 

1429-98. 
— ,  Piero,  Flor.  8.,  P.,  lUl-89?. 
Polyeletug,   Greek  8.,  5tli  cent.  B.C. 

—  (xxxi). 
Polygnotue,  Greek  P.,  480430  B.C.  — 

(xxxi). 
Pomarancio  (  CHreignani) ,    Rom.  P., 

end  of  15th  cent. 

mte,  Frane.i  Jac,  da,  see  Baetano. 


Pontarma.  Jac  i&  f  CatrUcciL  Flor.  P** 

1494-1557. 
ppatUK  Ftaminio^  Rom,  A,,  ca.  1670» 

iBta: 
Pordinont,    Oiou.  Ant.  ((/.  A*  Lici$li^^ 

da  P.).  Yen,  P.,  t4i^l&39. 
—y  fKde  aha  Lieinit)^  Btmarditm. 
Poria^  Bart'  rfelfci^  eefi  Barfolonvnep. 
— ^  &iac.  della^  Lomb.A.,  3..  lD4i-i(i04. 
"T  *^*ov-  ^^ff'  delta,  Sam,  3.,  15^94. 
— I,  (iuijtielnio  delta,  Liinib.  S+^  d.  1577* 
P&uMxin^  Gagpard(Q.  i>uffAffL French 

P.,  lb^i3-75, 
— ,  Nicolas,  French  P.,  1594-1665. 
Pozzo,  Andrea,  Je8uit,P.,A.,  1642-1709. 
Ptaxiteles  /.,  Greek  S.,  ca.  364  B.C.— 

(xxxii). 
Provenzale,  Mareello,  Rom.  mosaicist, 

d.  1639. 

Q,uereia,  Jac.  della  (or  J.  della  Fonte). 
Sien.  8.,  1374-1438.  —  (22). 

"Biaffaello   dal   Colle,  Rom.  P.,  1490- 

1540.  —  (Ivii.  56). 
Raphael  Santi  da  Urbino,  P.,  A.,  1483- 

1520.  —  (liii.  97.    Comp.  also  the 

Index  under  'Rome'.) 
Raibolini,  see  Francia. 
Raimondi,  see  Marcantonio. 
Reni,  Ouido,   Bol.  P.,    1574-1642.  — 

(Iviii). 
Ribera,  see  Spagnoletto. 
Ricdarelli,  see  Volterra,  Daniele  da. 
Rinaldi,  Antonio,  Rom.  A.,  16th  cent. 
Ristoi*o,  Fra,  Flor.  A.,   d.   1283.   — 

(xlviii). 
Robbia,  Andrea  della,  Flor.  8.,  1435- 

1528. 
— ,  Giov.  della,  son  of  Andrea,  Flor. 

8.,  ca.  1530. 
— ,  Luea  della,  Flor.  8.,  1400-82. 
Robusti,  see  Tintoretto. 
Romanelli,    Giov.   Franc,    Rom.  P., 

1610? -1662. 
Romano^  Oiulio(G.  Pippi),  Rom.  P., A., 

1492-1546.  —  Qvii). 
— ,  Paolo,  Rom.  8.,  first  half  of  15th 

cent. 
Roncalli,    Rom.  P.,    second   half    of 

16th  cent. 
Rondinello,  Niccolb,  Ven.  P.,  16th  cent. 
Rosa,  Salvator,  Neap.  P.,  1615-73. 
Rosselli,  Cosimo,  Flor.  P.,  1439-1507. 

—  (xlix). 
Rossellino  (Bern,  di  Matteo   Gamlbe- 

relli),  Flor.  A.,  S.,  1409-90. —(19.22). 

Sacc«,-4.,Rom.  P.,  1598  ?-1661.— Gix). 
Salaino,  Andr.,   Milan.  P.,    pupil  of 

Leonardo,  ca.  1495-1515. 
Salimbeni,  Ventura,  Sien.  P.,  1557? 

1613. 


LIST  OF  ARTISTS. 


403 


SalviaH,  Franc,  Flor.  P.,  1510-1563. 

Sammicheli,  Miehele.Yer.A.,  1484-1554. 

*  Sangallo,  Antonio  da.  the  Elder,  Flor. 

A.,  1450?- 1534. 
— ,  Antonio  da.  the  Younger.  Flor.  A., 

148&-1546.  —  (Ivii). 
— ,  Francesco  da,    son  of  Ginliano, 

Flor.  8.,  1494-1576. 
— ,  OiuUano  da,  brother  of  Antonio 

(the  Elder),  Flor.  A.,  1445-1516. 
San  Oimignano.  Vineemoda.  Rom.  P., 

1490? -1529?. 
8ano  di  Pietro  (di  Domenieo).   Sien. 

miniature  painter.  1406-1481. 
Sansovino,  Andrea (dontiteei),¥lOT.  8., 

1460-1529.  —  (42). 
— ,  Jac.  (J.  TatH),  Ven.  A.,  1477-1570. 
8anti.  Oiov.,  father  of  Raphael,  Umb. 

P.,  ?  1460-94.  -  (97). 
— ,  Raffaello,  see  Raphael. 
Saraceni.  Carlo,  surnamed  Veneziano, 

Ven.  and  Rom.  P.,  1585-1625. 
Sarto,  Andrea  del,  Flor.  P.,  1487-1531. 
8a$$o/errato  (  Oiov.  Batt.  Salvi),  Rom. 

P.,  1605^.  —  (lix.  109). 
Scareellino,  Ippol.,  Ferr.  P.,  1551-1621. 
Schiavone  (Andr.  Meldolla),  Ven.  P., 

1522-82. 
Sehidone.  Bart.,  Mod.  P.,  d.  1615. 
Scopas,  Greek  8.,  ca.  390-350  B.C.  — 

(xxxii). 
Sebastiano  del  PiomSbo,  Ven.  and  Rom. 

P.,  1485-1647. 
Sermoneta,  Oirol.  Sieciolante  da,  Rom. 

P.,  d.  1680. 
Signorelli,  Luca.Tuac.F.,  1441-1523. 

—  (xlix.  17.  «.  63.) 
Sisto,  Fra,  Flor.  A.,  d.  1289.  —  (xlviii). 
86doma,  U  (Oiov.  Ant.  Bazei),   8ien. 

and  Lomb.  P.,  ca.  1473  (not  1480> 

1549.  —  (Ivi.  23.  17). 
Solario,  Andrea  (da  MHano),  Lomb. 

P.,  ca.  1448-1630?. 
Spada,  Lionello,  Bol.  P.,  1556-1622. 
Spagna  (Oiov.  di  Pietro),  Umbr.  P., 

ca.  1507,  d.  before  1530.  —  (48). 
Spagnolefto    (Oitu.    R^ra),    Span. 

Neap.  P.,  1588-1666. 
Speechi.Alees.,  Rom.  A.  and  engraver, 

d.  1710. 
Spinello  Aretino,   Flor.  P.,   pnpil  of 

Giotto,  1318-1410.  —  (39). 
atephaniu,  Grseco-Rom.  8.,  1st  cent. 

B.C.  —  (xxxvi). 
Subleyras,  Pierre,  French  P.,  1699- 

1749. 

Taddeo  (di)  BarioU,  8ien.  P.,  1362- 
1422?.  -  (28). 


Tamagni,  Vine.,  see  San  Oimignano, 

Tempeeta,  Ant.,  Rom.  P.,  1637-1701. 

Teniere,  David,  the  Younger,  Antwerp 
P.,  1610-1690. 

Tibaldi,  see  Pellegrino  Pellegrini. 

Tiberio  d'Aesiei,  Umbr.  P.,  16th  cent. 
-  (48). 

Timarehidee,  Greek  8.,  son  of  Praxi- 
teles. —  (xxxii). 

Tintoretto,  il  (Jac.  Robueti),  Ven.  P., 
Ven.  P.,  1518-94. 

Tiei,  Benv.,  see  Oarofalo. 

Titian  (Titiano  Vecellio  da  Cadore), 
Ven.  P.,  1477-1576. 

Torriii,  /aeo&tM,  Rom.  mosaicist,  sec- 
ond half  of  13th  cent. 

Tribdlo  (Nice.  Pericoli),  Flor.  8.,  1486- 
1550. 


TJccelU,  Paolo,  Flor.  P.,  1397-1475.  — 

(97). 
Udine,  Oiov.  (Nanni)  da,  Ven.  Rom 

P.,  1487-1664.  —  (Ivii). 


Yacea,    Flaminio,    Rom.  8.,    second 

half  of  16th  cent. 
Vaga,  Perino  del  (Pier.  Buonaceorei), 

Rom.  P.,  1500-1647.  —  (Ivii). 
Valeoldo,    Rom.  8.,    second  half  of 

16th  cent. 
Vanni,  Franc.,  8ien.  P.,  1563?-1609. 
— ,  Lippo,  Sien.  P.,  14th  cent.  —  (23). 
Vannneei,  Pietro,  see  Perugino. 
Vanvitelli,Lodov.,  Rom.P.,A.,  1700-73. 
Vaeari,    Oiorgio,    Flor.  P.,  A.,    and 

writer  on  art,  1512-74.  —  (39). 
Vecehieita  (Lorenzo  di  Pietro),  Sien. 

8.,  A.,  P.,  1412-80.  -  (23). 
Vecellio,  Tiziano,  see  Titian. 
Velazquez  (Diego  V.  de  SUva),  Span. 

P.,  .1599-1660. 
Venueti,  Mareello,  P.,  d.  ca.  1670. 
Veronese,  Paolo  (P.  Caliari),  Ven.  P., 

1528-88. 
Vigndla  (Oiacomo  Barazti),  A.,  1607- 

73.  —  (Iviii). 
Vinci,  Leonardo  da,  see  Leonardo. 
VUe,  Timoteodella(Tim.  Viti),  Umbr. 

Rom.  P.,  1467-1523.  —  (97). 
Volterra,  Daniele  da  (D.  Rieeiarelli), 

Flor.  P.,  1509-66.  —  (10). 


Zampieri,  see  Domenichino, 
Zuc^ero  (Zuccaro),  Federigo,  Rom. 

P.,  1560-1609.  —  (Iviii). 
— ,  Taddeo,  Rom.  P.,  1629-68. 


26* 


I  N  D  K  X. 


A^betc,   Monte  deU'  U. 
AcqiialaiEiia  101. 

—  Folice  168.  346.  347, 

—  Marcia  ^7. 

—  e&pu  ^6. 

—  Vergine  IflQ.  345. 
Ai^que  AlbuJe  3T1. 
Adrians,  VII] ^  314. 
JEtiB  tOB. 
^tLAHa   I  a. 

Affilu  3a5. 

Agoiitft  330. 

AgyllB,  3yS. 

Albaclua  m.  lOft. 

Alba  Lcrnga  371^. 

Alb^n  MnEiniams.  the  36B. 

Albflno  368. 

—,   Lagd  4i  B6S. 

Albanfj  Lazi^u  3b4.  368. 

jLtbarmm  'i6S* 

Alb&resa  3. 

JUbf^gna  3. 

— J.  liTer  3, 

AlblniA  S, 

AI]ert>tiik  61. 

AILi»  341. 

Ahuii,  brouk  313.  351. 

AJflion  39Q. 

ALilnui  7. 

Alviana  61, 

AmeliA  37. 

AmHiiti  87. 

Ajttiata^  Moute  18. 

Amonc  88.  39. 

Aucona  VJ2. 

Anemo  B3. 

IH. 

—  iQ  Vado  101. 
AaglifiTi  66. 
AnfulUsra  BBl- 

jAnit),  dveraAl.  342.  371. 
Anio  noyus  ISO^ 
Ajisa^  Ihf^  9Q. 
S.  AjneeniiLi  iq  Dofana  37. 
AfiHCiano,  Mte.  d'  5T. 

Antemnse  341.  336. 
Antico,  Monte  18. 
Anticoli  380. 


3.  An  timer  17. 

Antlam  397. 

AnEiOf  or  l^orlo  d^Aniio, 

3Q7. 
ApenDines,    tUo  iQ2*  «tc, 
A^pirft  AntLea ,    Forlazxa 

— T  Via  34B. 
Aqua  Altixandrina  S46^ 
-^  Claudia  317. 
Ferentlna  3fi7. 

—  BtarcJa  Ul.  !r79. 
AipiK  ALbulm  373. 

—  ApQUiDart*^  391. 

—  8alvite  364. 

—  Taari  7. 
Arbia  16. 

- ,  rivar  17.  22.  37. 
S.  Axcbn^elo  9t, 
Atco  MdIo  398. 

—  OftcuTO  337, 
Ardea  dm. 
Artizza  33. 

Ar^eatariOf  MciDtc  3^ 
Arictia  370. 
AriccibDaT  Valle  370. 
Arlmlmtm  .^^ 
Arinaiuufi  B4. 
ArnO)  rivcT  42. 
Arrctinm  38. 
Armnei  rlyer  4.  7.  3G0. 

391. 
ATtemlftic),  Mijnte  382. 
Arima,  Ttimb  of  3G9, 
Ar^alti^i  QrOTC  of  the 

3y3. 
A^clano  1&* 
AscoU  88. 

Asdrubale ,  Monte  d''  93, 
AiislDO^  tlie  bl. 
Afi^jisi  T5r 

AfiUgnu,  MoBte  102. 
AHtura  398. 
Attidinm  109, 
Atti^lianc}  66. 
Augustanufi,  Vicus  394, 
Au^iLatnt^f   Bridge  cf  St. 
Aiixiiauni  105. 

Bacbetona,  La  11. 
Badia  del  Furlo  101. 

—  of  S.  Severo  66. 


Bagnstia  71, 
lEAgDl  373. 
llai^no  a  Blorbu  S. 
Baeuorea  69. 
lUlDGum  Hegis  69. 
B^hti.  1«  U.  ^. 

BadB!viio  TeTflTino  66. 
— ,  Lake  of  66. 
Baf^sl&tiD  3S7, 
Bsstia  74. 
Eedeeis  89. 
Belcaru  37. 
Bolreapiro^  Yilla  355. 
BclTederE,OatoTii(li  3B5. 
S.  Benc!d£tto  90, 

—  [ctmvfint  near  Su- 
biaco)  331. 

5.  BernardiDO  99. 

Bfirtinorn  90. 

BtituUe  42. 

Bevftgoa  80« 

Bibbiena  42. 

Bie^lft  73. 

Blseutiua  66. 

Bleta  73, 

Bolsena  65. 

— ,  Lago  di  66. 

tkirafttsio  67. 

liorsbesei  Villa  334.  398, 

Borghetto  67. 

Borgo  dei  Maga^i^ini    12* 

—  di  d.  Marino  94. 

—  5.  Sepolcro  56. 
Bovillfls  350, 
Brae:ci&DO  3^1* 
^,  Lago  di  391. 
Branca  59. 
BniiiA,  rivef  3* 

Biicke  &&'  Saracini .    r.e 

11. 
Eucinc  38. 
BulJcaaie  72. 
Bnoncoavento  17. 
Burano,  rlTep  101, 

O^clna  1. 
Cffire  7.  S92. 
0;T:^,'n;^  !'0. 

Oaitareila,  brook  351. 
Cagli  101. 
Gales  101. 


INDEX. 


405 


Galle  101. 

Gallori.  S.  Maria  AsBonta 

di  16. 
Galvo,  Monte  57. 
GamaldoU  365.  42.  94. 
Camerino  108. 
Gamerinum  Umbroram 

108. 
Gampagna  di  Boma  806. 

7. 
Campana,  Orotta  390. 
Gampello  81. 
Gampiglia  1. 
Campo  d'Annibale  372. 

—  Beggiano  57. 
Camiucia  43. 
Candigliano,  river  101. 
Ganoscio  67. 
Cantalupo  380. 
Ganterano  380. 
Gantiano  101. 
Gapalbio  4. 
Capaxme,  Monte  12. 
Gapannelle,  Le  347.  367. 
Gapo  di  Bove  349. 
Gapoliveri  12. 
Gaporciano  11. 
Gapraja  12. 
Gaprarola  73. 
Garceri)  Eremo  delle  78. 
CareiflB  390. 

GarsnlSB  56. 

Gasale  del  Fontanile  6$ 

—  di  Prima  Porta  837. 

—  Botondo  350. 
Cascate  delle  Harmore  86. 
Gasentino,  the  42. 
Gasino  di  Terra  8. 
Gassia,  Via  69.  336. 
Gastagneto  1. 
Gastel  d'Aaso  72. 

—  Bolognese  88. 

—  Durante  66. 

—  8.  Elia  74. 
Gaatelfldardo  105. 
Gastel  Fiorentino  13. 

—  Fusano  396. 

—  Gandolfo  369. 

—  Giubileo  68.  341. 

—  di  S.  Leo  94. 

—  Madama  379. 

—  del  Piano  18. 

—  8.  Pietro  81. 

—  Planio  109. 

—  Porziano  394. 

—  Baimondo  108. 

—  Savelli  368. 

—  Todino  66. 
Gastelaccio  72. 
Castellum  Axia  72. 
Gastelnuovo  8. 
Gastelnuovo  dell'  Abbate 

17. 


Gaatiglione  34fi. 

—  Fiorentino  43. 

—  del  Lago  59. 

—  d'Orcia  18. 

—  della  Pescaja  2. 

—  Teverino  66. 
— ,  Palude  di  3. 
— ,  Promontory  of  2. 
Gafltrimceninm  367. 
GatUlo,  Monte  377. 
Cattolica,  La  94. 
Gava,  La,  di  Gaporciano 

Gave,  Flume  di  384. 

Cavi  384. 

Gavo,  Monte  371. 

Geccarelli,  Vigna  398. 

Cecchina  368. 

GecMgnola  348. 

Gecina  1.  8. 

— ,  river  1.  8. 

Gellole  16. 

Gelsa  36. 

Gentum  GellsB  6. 

Gerboli  12. 

— ,  Monte  8. 

Gere  nuovo  392. 

Gerfone,  the  56. 

Geri  392. 

Gertaldo  13. 

Cervara  380.  873. 

— ,  Grottoes  of  373. 

Gervetri  392. 

Cesano,  river  101. 

8.  GeflareOfOsteria  di346. 

Gesena  90. 

Cesi  87. 

Getinale  37. 

Getona  61. 

— ,  Monti  di  20. 

Ghiana,river  16. 18. 42. 60. 

Ghianeiano  20. 

Ghiaravalle  106. 

Ghiarone  4. 

Ghiascio,  river  59. 74. 101. 

109. 
Chienti,  the  107. 
Chiusi  60.  20. 
— ,  Lake  of  20. 
Ghiuaure  16. 
Ciampino  367.  363. 
Giminius,  Mons  73. 
Gineto  Bomano  379. 
Ginigiano  18. 
Gircello,  Monte  382. 
Gitema  66. 
Citt&  di  Gastello  56. 

—  della  Pieve  61. 
GivitJt  Gastellana  67. 

—  Lavinia  382. 
Givitanova,  Porto  107. 
GivitJk  Vecchia  6. 
Givitella  385. 


Glanis  43. 
Glitumnua  80.  81. 
Glivua  Ginnse  338. 
Glnsium  60. 
Gollatia  373. 
Golle  13. 

—  di  Val  d'Elaa  11.  14. 

—  del  Poetello  380. 

—  Salvetti  1. 
Golleacipoli  87. 
8.  Golomba  36. 
Golonia  Fidens  Julia 

Arretium  38. 

—  Julia  Hispellum  79. 
Julia  Senensis  21. 

—  Junonia  67. 

—  Kepensis  74. 
Golonna  2.  346. 

,  near  Grosseto  2. 

,  Parco  di  361. 
Gompatri  366. 
Gompiobbi  37. 
Gonca,  river  94. 
Gonero,  Monte  105. 
Gora  386. 
GorcoUe  345. 
Gori  386. 

Gometo  (Tarquinii)  4. 
Gorniculum  374. 
Gorrignaleto.  Monte  380. 
Corsignano  20. 
Goraini,  Villa  398. 
Gortona  43. 
Gosa  4. 

Goatacciaro  101. 
S.  Gostanza  342.  xlvi. 
S.  Gostanzo  55. 
Gremera,  the  337.  389. 
Gruatumiua  rapax  94. 
Gurea  68. 

Digentia  380. 
8.  Donato  11. 
S.  Donnino  13. 
Dorica  Ancon  102. 
Durante,  Gaatel  56. 

8.  Edistio  68. 
Egeria,  Grotto  of  361. 
S.  Egidio,  Alto  di  45. 
Elba  12. 
Ellera  46. 
Elsa,  river  13. 
Emiasarium  of  the  Lago 
Albano  869. 

—  of  the  Lago  di  Kemi 
371. 

EmpoU  13. 
Ercole,  Port'  3. 
Eaino,  river  102.  108. 
Etruacan  Towna  389.  72. 
8.  Eugenio,  Abbazia  di  37. 
lEugubium  58. 


406 


INDEX. 


Tabriz  no  t09, 
S,  FiM^Dtidina  109, 

FakobJira'SL  lOQ.  1*E. 
FfclcOTie,  Jlonte  346. 
Fiileotilari,  Villm  3G&. 
Falefll  67. 

Fil^rinm  Kdt^iu  S7. 
F«JO  99. 
Ftitnm  FoHnti*  B9* 

—  Vacunte  380. 
^  VnUnmiiiE  69. 
Fag^lU  t^ 
F&venMa  BB. 
FQrentiTiTim  S^. 
Feri^iitd  ^. 

FerraU,  Qrotta  Mi.  B07, 
— ,  OflteHtt  ddin  380. 
Fidulle  Bl. 
FidenRi  S89.  541. 
Fl^libe  38. 
Filomkrinn^   O^rlen*  di 

341. 
Flora,  river  4. 
Fiuuiiclin)  3',M.  T. 
^,  TiTer  &1h 
Florence  M. 
FogniA  105. 
Foj^Ha,  river  ©4.  96. 
Fojano  42. 
FoIigTTO  Id. 
Fon™ica  3. 
Fcmtatillia ,    0&&a]e   dtsl 

Fonte  dpgU  Oratint  380. 
ForU  8fl- 
Fornoipopnli  90. 
Fnnnella  .^9. 
— ,  F<isiio  lii  3^7. 
FoTiDicA,  Inland  3^ 
Fomm  CaaaU  72- 

—  ClndiJ  301. 

—  Livii  89. 

—  Popilil  90. 

—  Sempronii  101. 
Fu^^bnuiiva  38S. 
FoMato  &9.  iCd.  109. 

Fosso  &i  Formellii  339. 

^  iiw  taoia  nm. 

—  di    Pont*   di    Kona 

ai6. 

—  dl  ValcfL  389. 
Fosaom'brnne  104. 

S.  FranqeflCa  (Sab^no 

Mis.)  3}^5, 
-"  (Fyjanfsl  i% 
TT&stAii  3ti4. 
Fraisintitto  43. 
Fratocchie,  Le  360. 
Fregenee  7. 
Frosinone  388. 
ralginium  79. 


Farbon  T« 
Furlo  ?&»»  101, 

ffabli  545. 
fJakra  BSO. 

GalTlcaiio  S45, 
G&Uii:kad,  YiLJa  ad  337. 
Oalloro  370. 
G^mbetKiln  91. 
Oavi^Hnu  fl88. 
GavUTTaof}  2. 
3,  G«mine  M. 
OunasEano  3t^. 
0^n|;a,  La  J09. 
GctnUAro,  lHi>nt.e  379. 
GtMiiano  370. 
3.  OJacomo  BL 
Giatio^  brook  109. 
Git,rHo  13, 
B.  Gimifnano  14- 
S.  Giovanni  33. 

—  d  Asfto  n. 

—  dl  Fonts  alio  Splno 
37. 

S.    Glrol^mo ,  convent 

11. 
Giovt?,  Mont^  100, 
Giovl  42» 
GiuJiAiicUa  386. 
— ,  La^o  dt  366. 
Ghmuano  B4. 
S.  GiisBtlno  ^ 
OonfbJinat  the  13. 
G  oTdi  anl ,  Vt  lla  o  f  tbe  345 
6oTt^on&  12. 
Oradam  96, 

Orano,  Honte  del  347. 
Gran  8a^.fo   d' Hal  la  105. 
Gravi&cBB  5. 
GroHaeto  3. 
Gmtro  Cawip*ii*  390. 

—  F^rpata  mf. 

—  d'Orland[}  74. 
Onsttn  of  Egerlfl.  JjfiL. 
Gu&ldo  Tad  I  no  100. 
Qnajcu^  llonte  102. 
Qubbio  &7. 

Ha^dHaa'ti  Villa  374. 
nelria  Ridna  107. 
Bi.^|>E;lliini  79, 
Mnfaw,  Y11U  of  flTK 
UarU  ffT. 

l&iltTim  13. 
[g^vinm  OS. 
Ilva  12. 
Imola  88. 

Imperiale,  Villa  96. 
Incisa  38. 


Inferbo,  Vallfl  dall'  ^B. 
Initbiruni  ViHa  U. 
Interamna  BT). 
iB&uruA^  rivflr  94  ^ 
iDOia  Famejc  3&^ 

—  Kapi^ore  46. 

—  Minors  *6. 

—  PoJveee  48, 

—  Satr*  AM. 

Ja^i  loa. 

Jupittir  Apcurtnafl) 

Tempi 0  nt  lul. 
Jupiter  Latiarli, 

Ttpople  of  372, 

labic^i  343. 

Labicnm  B46. 

La   C&V&  di    CapOTtiiano 

11. 
Laciia  Allmaud  3O0. 

—  CiminiLifl  73. 

—  Kdtnorensifl  371 » 

—  Preliiia  3. 

—  Sabsttnufl  39L 

—  Traeimenna  46. 

—  Vadimonis  67. 
~  VnljiDienslfl  66k 
Lad {^ poll  7. 

La  Gf'nii^j^  109. 

—  Ma^iiaTiB  3fl3.  7. 

—  iJi^la  370. 
l^B-^iy  Zolforeo  & 
Lanavium  iiS^ 
LarderelLo  8. 
La  Storta  389. 
Laterin^  38. 
Latin m  333. 

La  Tolfa  7. 
Laurentum  3[l6. 
LiLTltiiuni  3M. 
Le  Bake  11.  ^. 
Le  Vcno  Bi. 
Licen^  3@0. 

,  river  37fl.  SSa 
Livia^  ViJJa  <^f  387. 
Loreln  105. 
Lucignana   IS. 
LucOi  Monte  Bi. 
LncrelLlijt.  Hnns  380. 
Lugano  3-i6. 
Lun^bezfeA  373. 

iacqarej;*?  7. 
— ,  Sis^no  rti  T. 
aiaccbia  di  (^Jitiiv  394. 
Mac  era  ta  1(17. 
Aiadnniia  del  Buon  Gfin.. 

fiiglio  384. 

-  del  Calcinajo  43. 

—  del  Campo  384. 

—  delle  Case  380. 

—  del  Monte  386. 


INDEX. 


407 


Madonna  del  Saaso  42. 
Heeeenfts,  Villa  of  379. 
Kagazzini,  Borgo  del  12. 
Hagione  46. 
Hagliana  7.  393. 
Magliano  67. 
Halafede,  Ost.  di  394. 
8.  Mama  42. 
Mandela  380. 
Marano,  river  94. 
Marches,  the  88. 
Marciana  12. 
Marecchia,  river  91.  92. 

94. 
Maremme,  the  1.  2. 
8.  Maria  degli  Angeli  75. 

—  Assunta  di  Callori  16. 

—  di  Cesareo  390. 

—  delle  Grazie  42.  84. 

—  del  Monte  91.      . 

—  della  Querela  71. 

—  di  Quintiliolo  378. 

—  dei  Servi  61. 

—  della  Villa  &84. 
8.  Marinella  7. 
Marino  367.  368. 
8.  Marino  94. 
Mario,  Mte.  338. 
8.  Harmi  9. 
Marmoraja  36. 
Marmore,  86. 

— ,  Cascate  delle  86. 
Marotta  101. 
Marrana,  the  256. 
Marta,  river  4.  6. 
Martana  66. 

S.  Martino  al  Piano  101. 
Massa  Marittima  2. 
Masai,  Monte  11. 
Matelica  108. 
Meloria  12. 
Mentana  68.  343. 
Metanms  101. 
Mevania  80. 
S.  Mezzano,  Villa  38. 
Mignone,  river  6. 
Milvius,  Pons  336. 
S.Miniatodei  Tedeschi  13. 
Mola,  La  370. 
Mondragone,  Villa  365. 
Moline  96. 
Mons  Albanns  372. 

—  Ciminiua  73. 

—  Lucretilis  380. 

—  Sacer  343. 
Montalcino  17. 
Montalto  4. 
Hontarozzi  5. 
Honte  deir  Abete  11. 

—  AmiaU  18. 

—  Antlco  18. 

—  Aperto  22. 

—  Argentario  3. 


Monte  Artemisio  382. 

—  d'Asdrubale  101. 

—  8.  Bartolo  96. 

—  Capanne  12. 

—  Catillo  377. 

—  Catini  11. 

—  Cavo  371. 
Montecchio  43. 
Monte  Cerboli  8. 

—  Cello  374. 

—  Ciminio  73. 

—  Circello  382. 

—  Compatri  366. 

—  Gonero  105. 

—  Corona  67. 

—  Corrignaleto  380. 

—  Cristo  13. 
Montefalco  80. 
Monteflascone  69. 
Montefiorentino  55. 
Monte  Gennaro  379. 

—  Giove  100. 

—  del  Grano  347. 

—  Guasco  102. 

—  Lnco  84. 
Montelapo  13. 
Monte  Maggiore  66. 
Montemarciano  102. 
Monte  Mario  338. 

—  Massi  11. 

—  Nero  1. 

—  Oliveto  Maggiore  16. 

—  Pescali  3.  18. 

—  Petrara  101. 

—  Porzio  366. 
Montepolciano  18. 
— ,  Lago  di  20. 
Monte  Riggioni  16. 

—  Romano  73. 

—  Rosso  109. 

—  Rotondo  (near  Rome) 
68.  341.  343. 

(near  Volterra)  8. 

—  Sansavino  42. 
Montesanto  107. 
Monte  Semprevisa  387. 

—  Somma  84. 

—  Subasio  78. 

—  Trevi  887. 
Montevarchi  38. 
Monti  di  Cetona  20. 
Montone,  river  89. 
Montone  Monte  Castelli 

57. 

8.  Mustiola  a  Torri  (Val 
di  Merse)  37. 

Nar  87. 
Narni  87. 
Nemi  371. 
— ,  Lago  di  371. 
Nepete  74. 
Nepi  68.  74. 


Neqninnm  87. 
Nera,  river  56.  86. 
Nera  Montoro  87. 
Nero,  Mte.  1. 
Nero's  Tomb  389. 
Nettuno  398. 
Ninfa  387. 
Nocera  109. 
Nomentnm  348. 
Norba  387. 
Norchia  73. 
Norma  387. 
Nuceria  109. 

Olevano  384. 
Ombrone,  river  3.  13.  16. 
Ontanese  382. 
OTatini,.Fonte  degli  380. 
Orbetello  3. 
Orcia,  river  18. 
Orciano  1. 
Orcle  73. 
8.  Oreste  68. 
Orlando,  Grotta  d'  74. 
Orte  67.  87. 
Orvieto  61. 
Osa,  river  3. 
Osimo  106. 
Osservanza,  L*  86. 
Osteria  di  Belvedere  865. 
-—   delle  Capannacce 
374. 

—  delle  Capannelle  346. 

—  di  Cavamonte  346. 

—  8.  Cesareo  346. 

—  della  Ferrata  880. 

—  di  Filomarino  341. 

—  del  Fomaccio  374. 

—  delle  Fratocchie  360. 

—  di  Malafede  894. 

—  Nuova  390. 

—  deir  Osa  346. 

—  del  Pino  347. 

—  del  Ponticello  354. 
394. 

—  del  Tavolato  346.  367. 

—  della  Volte  87. 
Ostia  394. 

->-,  Macchia  di  394. 
— ,  Stagno  di  394. 
OtricoU  67. 

Fadule  69. 
Paganico  18. 
Paglia,  river  61. 
Palazzo  109. 

—  del  Pero  56. 
Palazzolo  109. 
Palazznola  872. 
Palestrina  388. 
PalidoTO  7. 
Palmajola  12. 
Palo  7. 


408 


INDEX. 


PalambiirH  S4S.  374. 
Falombsfo  374.  350. 

S.   PuId,    9tuJDDe   di 

993. 
Papa  Qiulio,   Cvslaa  of 

m 

-,  VlJlaof  a37. 

PapjgTia  80. 
Pkt^o  A\  Colrrnna  368. 
PELTiali,  Kotiti  3m, 
Pft^uraDQ  364.  $45. 
Pad!ii^aiif)  \&. 
PiLSfio  di  Corrt*!!^  68, 
S.  PiLstona  346, 
PhTuiilypon  ^1. 
Pellegrino  109. 
Pfintapolij  Maritima  ^. 
Fera^ia  4B. 

B-  Agaese  52. 

8^  AgoMino  Gl. 

8.  Aii^clo  &2. 

Antinu&riau     Huscuiq 

Arco  dl  Augufito  51 
BaffliOisiT  YilU  fjfi. 
Sr  Bernardino,  OnLtorio 

53. 
BiblloieciPn^iblicaM. 
Botanic  &FLrd€n  52. 
Cambio,  CulL  del  49. 
Cfttbedtal  51. 

OMBfia  KaDT«.  5S. 
CoUflgio  delC»mbio  4@, 
Corfin  Ca^onT  i>4, 
"  VanDuccI  40. 
S.  Co»taoKiL  f)£i^ 
S.  DQinenicn  [tl. 
Epiacapal  P&lflcc5L 
S.  Erculano  54. 
FonLe  Mft^giore  51. 
3.  Fr&Dcesco   dei  Cfm- 

TtiDtuali  53. 
Huude  ofPertieino  53. 
S,  Lorenzo  Gl. 
Kadonna  della  Luca 
53, 

Va^U  del  la  Volt«  5L 
Merilconi,  0  all  err  fi5. 
MODaldij  Q^icry  £i5. 

HJecTopolifl  65* 
Pal,  Aotinomi  ,^1. 

—  Ualdeschi  4!;1. 

^  dsJ  Capituno  delPn- 
piilo  53. 

—  Gatlen^Ji  51. 

—  del  Podedta  51. 

—  Pnbblico  49. 
Passeggiata  Pubbllca 

55. 


Peragla : 
Pioxi^a  Danti  Gl. 

—  d(jl  Duouio  49. 

—  FortebracDio  61. 

—  del  Mtmidpio  51. 

—  del   Sopramqro  5'i 

—  Vltt.  Kmnnuele  49. 
PSchiTO  Gatlery  50. 
S.  Pietro  de'  Caflincn^ii 

54. 
Pinacnteca  50. 
Viyrts.  MarzLa  53. 

—  S.  Pielro  54. 
PrefettnTfl.  19. 
Br>mn«Jdi,     Onllectifm 

55. 

SdiH  (B^alzil,  Torre 
delle  53. 

3.  Sev^ero  52. 

Statnecif  JnLitiBm.  51. 

UniverBity  62, 

Yr>lnmiiij,  SejK>leto  du' 
55. 
Parnaia  47. 
Pflfla^  river  13* 
Pf^frEi™  94. 
Petfara,  tfoDtc  101. 
Piaiioftii  Vi. 
Pic  on  urn  105. 
Piediluuo  85, 

"t  l^ake  or  87. 
Plan?*  20. 
Pietralati  lOt. 
FJntriLluii^  57. 
FiombinD  ^. 
1 pern a  338. 
PiaaaTiim  94. 
Piaciatello,  the  91. 
Pirinaj^ia   12, 
Plantii,    Tomb  of  the 

374. 

o^giboTisi  I3r 
Pogf^o  alia  Cmeo  1 1, 

—  MirEelo  68. 
Pfvlentft  90h 
PoHmirtiTiTn  (TT. 
S.  PoJo  Ii79. 
Pomarance  8. 
Pompay,  Tomb  of  3U9. 
Ponesntf!,  Lago  di  7. 
Pimfi  MUvlus  m^. 
PoutaRjiiFiTe  37. 
Ptmte  deir  Acqnoria  378. 

dallK  Badia  4. 

—  a  Botte  101. 

—  delia  Catena  316. 
Centcflimo  110. 

Pontedera  E. 
Ponte  a  Elsa  13. 

—  Felice  62. 

—  Galera  7.  893. 

—  Ginori  8. 


Perugino,  House  of  53.  |  —  S.  Giovanni  74. 


Ponte  Locano  374. 

—  lilanimolo  374, 

—  Mone  ^^6. 

—  Nomcntano  342. 

—  di  Nona  'MB. 

—  dXlrflino  384. 
-^  SaUrn  341, 

—  sodo  dm. 

—  rifil  Terrenrt  67. 

—  d«lk  Torri  84. 
I'ont.icello,    Ostaria   del 

3fJ4.  ;i94. 
Ponticino  38, 
P<jnti|;nan{9 ,  Certosn  di 

Poppi  42, 

Pdpnlonia  2. 

ForrEina  42. 

Poraenna,  Uaus  oleum  cf 

60. 
Prtri»  Anr^lia  356. 
^  Furba  317. 

—  Libitina  34f^. 

—  SpeRlei-ii  390. 
Porto  3i33. 

—  d'AbJlo  397. 

—  CiTitftnova  ISJT, 

—  Clcmeadno  ft. 

—  Ercolo  3. 

—  FefTByo  i% 

—  Lon^one  12. 

—  g,  Stefann  3. 
I'ortoBaccio  367.  374. 
Portn3  Trajant  ti.  3y3. 
Por^io^  Mte.  366, 
Pfitenzaj  river  10?.  108. 
Fctenza-PiDtina  ll/T. 
Praeiie^te  383. 
Pratica  3913. 
Fratovecchio  42. 
Pritna  Porta,  Casale  di 

337. 
Privei-ntim  388. 
Piiplnna  2. 
I^usslno,  Vnl  di  33^7. 
Pyrgofl  7.  3SJ2. 

S,  anlrjco  17. 

Ran^a  n, 

Rapolann  18. 

liasgina  43. 

Ravenna  ^.  B-h 

RecanatI  107. 

Eegillu^^  Lakt:  346. 

Eeireaao  377. 

EicciosiP  94. 

Rignanf).  on  tha  Attk»  38* 

Rimini  91. 


Rio  Castello  12. 

—  Falisco  74. 

—  Marina  12. 
Riparbella  8. 


INDEX. 


409 


Bocca  SeS. 

—  Ganterano  380. 

—  S.  Gasciano  90. 

—  di  Cave  384. 

—  Giovine  379.  880. 

—  Maggiore  78. 

—  Maasima  384. 

—  di  Papa  372. 

—  Bomana  391 . 

—  S.  SUfano  386. 

—  Strada  18. 
S.  Rocco  380. 
Rojate  385. 
Roma  Vecchia  350. 
Romena,  castle  42. 

ROKS  111. 
Abbadia  delle  Tre  Fon- 

tane  354. 
Accademia  di  Francia 

149. 

—  di  Belle  Arti  184. 

—  de'  Lincei  824. 

—  di  8.  Luca  238. 
Acqua  Acetosa  337. 

—  Felice  16S.  346.  347. 

—  Marcia  166.  347. 

—  Paola  329. 

—  Santa  346.  352. 

—  Vergine  162.  345. 
S.  Adriano  238. 
Mdea  Gastoris  226. 
^rarinm  pabl.  227. 
8.  Agata  in  Subarra 

170. 
S.  Agnese  190. 

—  fuori  le  Mura  342, 
S.  Agostino  189.  xlix. 
Albergo    deir    Orso 

xlix. 
Aldobrandine  Nuptials 

321 
S.  Alessio  258. 
8.  Alfonso  de'  Ligaori 

181. 
AH  Saints,  Gh.  of  150. 

119. 
Alpine  Glnb,  Italian 

118. 
Alta  Semita  166. 
Amazon  after  Polycle- 

tus  315. 
American  Gburch  119. 

169. 
Amphitheatrum      Gas- 

trense  273. 

—  Flavium  234. 
Anaglypha  229. 
S.  Anastasia  250. 
S.  Andrea  336. 

—  delle  Fratte  151. 

—  al  Qnirinale  178. 

—  della  Valle  198.  lix. 


ROKS: 

St.  Andrew,  Chap,  of 

336. 
Anflteatro  Umberto  I. 

184. 
8.  Angelo,  Gastello  274. 

—  Gustode  151. 

—  in  Pescaria  204. 
Anglo-American  Glub 

119. 
Anio  NovuB  180. 
8.Anna,Ghapelof251. 
S.  Annnnziata  239. 
Antinons  268.   xxxvli 
Antiquities,  vendors  of 

117. 
S.  Antonio  Abbate  179. 
S.  Apollinare  190. 
Apollo  Belvedere  312. 

—  Musagetes  309. 

—  Sauroctonufl  310. 
339 

SS.  Apostoli  165. 
Apoxyomenos  315. 

xxxiii.  xxxix. 
Aqua  Claudia  180.  247. 

347.  272. 

—  Julia  179. 

—  Trajana  829. 

—  Virgo  152. 
Aquarium  179. 
Ara  Pacis  153. 

Arch  of  Augustus  230. 

—  of  Gonstantine  236. 

—  of  Dolabella  and 
Silenus  259. 

—  of  Drusua  258. 

—  of  the  Fabii  231. 

—  of  G&llienus  179. 

—  of  the  Money- 
changers 248. 

—  of  Sept.  Severus  228. 

—  of  Tiberius  227. 

—  of  Titus  233.  XX xvii. 
Archeeol.  Instit,  Brit- 
ish and  American  117, 

,  German  221. 

,  French  205. 

Archivio  Vaticano  319. 
Arco  di  Giano  248. 

—  Oscuro  337. 

—  de'  Pantani  239. 
Arcus  Argentariorum 

248. 
Area  Gapitolina  208. 

—  Palatii  244. 
Ariadne  (Vatican)  310. 
Armoury  321. 
Arrival  111. 
Artists'  Association  116. 
Arx  Gapitolina  208. 
Atrium  Vestse  230. 
Auguratorium  243. 


BOKE: 

Augustus,  Bust  of  314. 
Augustus,  Statue  of  315. 

xxxviii. 
Aula  Dei  266. 
Aventine,  the  145.250. 
Bakers  114. 
S.  Balbina  254. 
Banca  Bomana  169. 
Bankers  115. 
Baptistery  (Lateran) 

265. 
Barcaccia,  La  150. 
Barracks  of  the  Cara- 

binieri  276. 
S.  Bartolomeo  204. 
Basilica    Emilia    223. 

228. 

—  of  Gonstantine  232. 

—  Gonstantiniana  266. 

—  Endoxiana  182. 

—  Julia  226. 

—  Liberiana  176. 

—  of  88.  Nereo    ed 
Achilleo  349. 

—  of8t.Petronilla349. 
362 

—  Po'rcia  228. 

■—  Sempronia  223. 

—  Seasoriana  181. 
>-  di  S.  Stefano  346. 

—  Ulpia  240. 

—  of  St.  Valentine  336. 
Baths  114. 
Battistero,  the  266. 
Beer  113. 
Belrespiro  355. 

S.  Bernardo  169. 
S.  Bibiana  179. 
Bibliography  127. 
Biblioteca    Alessan- 
drina  115.  197. 

—  Angelica  115.  189. 

—  Barberina  116.  171. 

—  Casanatensis  115. 
196. 

—  Chigiana  116.  154. 

—  Gorsiniana  116.  325. 

—  Vallicellana    116. 
200. 

—  Vaticana  115.  319. 

—  Vittorio   Emanuele 
115.  156. 

Bibulus,  Mon.   of  163. 
Birrerie  113. 
Blind  Asylum  253. 
Bocca  della  Verita  249. 
S.  Bonaventura  233. 
Bookbinders  115. 
Books  on  Rome  128. 
Booksellers  116. 
Borgo  273.  146. 

—  S.  Angelo  276. 


410 


TKDEX. 


ROIO: 

Bof^o  NnoTo  276. 
.    —  S.  Miehplfi  27(i. 

—  ft.  aplrlto  ^7ti. 

—  VecnMo  2711 
BiTtaiiiciLli   G»rden  ^23. 
Brarmiittei 

B«lvedorc  of  tbe  Va- 
tican 304. 
Canconeria^  F&lozEa 

CnrtiJ^  dl  S.  DHjniiu!i<> 
[dr  dellc  Loesic) 
!^. 

Honasieiy  Go  art  uf 
t^.  Maria  dellaF^ce 
193. 

S.  LoreDto   In  Dr- 
modo  199. 

Pftl.  Oirmd  270. 

St  Pi  ter's  !a77. 

Tempietto  328. 
Krldypa  143. 
Bfitiah  Academj^    117, 
firoaz&B.  Antique  214. 

3lfe. 
— ,  ImltatJUDa  of  117. 
Qabs,  A«e  Appx, 
CiEcUia  MetellA,  TomTi 

of  319. 
Oeeliiu,  the  ld5.  ^. 
Cairoli,  M cmnnient  of 

the  14  W. 
Caf^s  113. 

Cbleoi^T^a  Reiia  IIT, 
C&leisdaTiuia    I'ro^n^?- 

tin  urn  198. 
OameoA  117, 
Cimora   da"    Deputjiti 

GampagnA  dl  Rom& 

Campo  ill  Flori  ai>i. 

—  MUitare  169. 

—  Vai^ino  224^ 

—  Verabo  344* 
CampuB    MaftloH    133. 

145. 
Canc^illma,    Pul.    14)9. 

Candelabra.      antiqiie 

300.  310. 
€flpitfll  3iJ8. 
— ,  Coil,  nf  thq  213. 
€:Lpito]l£iij  Hill  145. 

—  Vemia  221. 

—  Wolf  214. 
Oapo  dl  Bovti  349. 
Cattpiicdnl  2T2- 
Caracalla,   Thermee  ot 

255. 
Career  Mamertinus  237. 


EDITE : 
Carcfiri  Kaovi  ^M, 
B.  Carlc}   iklla   QuiLttro 
Fontuae  17G.  i,vui 

—  a,  Cfttinivri  3UL. 

—  a]  Cflr*u  153^ 
CarnLv&l  iSl. 
Cafriagea  119. 
Carthitnian   Monastery 

187, 
Cacia  Bartboldy  150. 

—  di  Croflcenaio  24lt. 

—  dl  11  via  ^43. 

—  di  Pilati)  249. 

—  ProfessA  IBS. 

—  di  Hienii  24^.  jlvii, 

—  TarpelH.  22  L 

—  Zuccari  13Q. 
Cjwaie  Ttotordn  360. 
Coal  no  Ma^aimi  373. 

—  dl  Papa  (JittlioaSG. 

—  KoifT^iglik^i^l  175. 
Gustello  ti.  Anuelo  274. 
Chtacombji  134.356.?cUv. 

—  t>f  S.  Agneae  3(13, 

—  ofe.Aleasandja3fl3. 

—  of  au  CtdliitaB  :iul. 

—  of  DomiUUa  362. 

—  of  S.  Genproaa  393, 

—  JawiJb  iW3. 

—  of  Sa.   Kcrtius   anJ 
AcliUltiUd  3B2, 

—  of    89.    PelL^r    ami 

^^   of  St.    Pontianus 

im. 

—  of  St  PrtEtextatna 

3r>3. 

—  tif  St.  Priadlla  303, 

—  of  ,^.  SebaatiAno  34)3. 
S.  €iiterina  du'  Fiinbri 

21Q. 

—  di  Siena  109. 
S,  Cecilia  in  Trastayerf 

331. 
Cemetery,  Oi^rman  lB5i 
— ,  Jewish  250. 
— '^  Protectant  SOl. 
8,  Cesftreo  256. 
Ces  tlus .  Py  ramld  of  2^i2. 
Chain  Bridge  207. 
Chemists  115. 
Chief  ATtractiona  125. 
ChJqsa  Nuova  200. 
GhTiHtian  Huacuju  270, 

330. 
Chronological  Tabl«  vi 

the     Em  peri)  r^    and 

Popes  13SJ. 
C Lurch  FeativaliS  11&. 
Cigars  114. 
Cimetero  del  Tedeschi 


EOSSi 
Circo  Agonalc  190. 
Clrcuji  of  Caiieula  ^73^ 

—  M  DomLtian  IBO. 

—  Flaminiui  20Q. 

—  of  Maxt!ntiii9  349^ 

—  Bf^ximud  250. 
Civlta^   Li^obina  374. 
Claude  Lorrain^B  Land- 
scapes 159, 

S.  CJemetitf.  260.   xlv. 

jtML  jElvili. 
GlimatJa  1 14.  x.xv. 
CliTua  Capitolinai  227. 

—  Ciniiff  338. 

—  Muftis  34S. 

—  ViqtoriiE  3'i4. 
Cloaca  Maxima  24S.  232- 

^227. 
Cliibfi  li9. 
Coemtjtfrliiin     Oslria- 

unm  363. 
Cola  di  HienvL  at&tiie 

Of  310, 
ColleetLonfl,  etc.  123^ 
Oo^lc^io  Uililarfi  ^^33. 
'— f  di  I'ropaiianda  Fid^ 

i5L 

—  HoioaLDO  15^. 

Cij]  Ing.!  iimMaro  n\  ti  eum 
1W3, 

—  Urbanam  J5L 
Collia  Hiirtomm  148. 
Colon&cce,  Lb  230. 
Colonnade  uf  the 

Twelve  Ooda  225, 
Colosseum  :iM. 
Columbaria  207,  346. 

348.366, 
Comititim  232. 
Concordia.  Temple  nf 

CoTifactLonen .  114. 
CoDserv&tori,  Pfblace  bt 

the  21 t 
Consulates  ill, 
CE>rao,  the  IfiX 

—  Vlttorio  Fiaanu^le 
15)1. 

Corte  di  Appello  30:  >. 

3&.  Cosma  e  Ifami^uo 
liill.  sIt, 

8.  Co^tanzEi.  B42, 

Cresuentiaa.  lioase  of 
249. 

S.  Criaogono  330. 

3.  Croi^e  in  Gferusa* 
lemme  181. 

Cupid  {Froaj  uf  Praxi- 
teles 300. 

Curia  228. 

—  Hostilia  222.  238. 

—  Julia  238. 


INDEX. 


411 


EOXB: 

Dentista  Ufi. 
Deputies,  Honae  of  164. 
Diadttmenos  Relief  312. 
Diary  12B. 
Diocletian,  Thermae  of 

167. 
Dioscnri,  group  of  the 

210. 
Directory  112. 
Discug- thrower  of  My- 
ron 190.    305.  xxxi 

xxxix. 
Divisions  ,  ancient ,  of 

the  city  134. 
Dogana  di  Terra  165. 
SS.  Domcnico  e  Slsto 

170. 
Domine  Quo  Vadis  348. 
Dominican    Monastery 

263. 
Domus  Angnstana  242. 

—  Flavia  244. 

—  Livi8B  243. 

•^  Tiberiana  244. 
Doryphorus  (after  Po- 

lycletns)  316.  xxxi. 
Drusus,  Arch  of  258. 
Duration  of  Visit  125. 
Ecole  de  Rome  20b. 
Egyptian  Museum  316, 
8.  Eligio  degli  Orefici 

207. 
EmbaMies  HI. 
Emporium  261. 
English  Churches  119. 

160.  154.  169. 
Engravings  117. 
Eros  of  Praxiteles  309. 

xxxii. 
Esquiline  145.  166. 
Ethnographical    Mu- 
seum 167. 
Etruscan  Museum  316. 

xl. 
Eurysaces,    Mon.    of 

180. 
8.  Eusebio  179. 
Exchange  165. 
Excubitorium    of    the 

Vigilea  330. 
Exquiliee  166. 
•    Pamese  Gardens  242. 
Farnesina,  Villa  323. 

Wi. 
Fasti  Consulares  216. 
Fattorini  Pubblici  119. 
Faustina,  Temple  of 

231. 
Fees  114. 

Ficoronian  Gista  156. 
Filippo  Neri,  chapel  of 


BOKS: 

Filippo  Neri,  Oratorio 

dim 
Firewood  112. 
Flavian  Palace  244. 
Fontana    delle    Tarta- 

rughe  202. 

—  di  Trevi  161. 

—  del  Tritone  171. 
Fontanone  deir  Acqua 

Felice  168. 

—  di  Ponte  Sisto  207. 
Fora  of  the  Emperors 

237. 
Fortune,Temple  of  249. 
Forum  of  Augustus  """ 

—  Boarium  248. 

—  of  Geesar,  or  Forum 
Julium  239. 

—  of  Nerva  239. 

—  Romanum  222. 

—  of  Trajan  240. 

—  Transitorium  239. 
S.  Francesca  Romana 

232. 
8.  Francesco  di  Paola 
183. 

—  a  Ripa  332. 
Franciscans,  House  of 

182. 
Galleria  Barberini  171. 

—  Borghese  186. 

—  Colonna  163. 

—  Corsini  324. 

—  Doria  158. 

—  of  Imperial  Busts 
827. 

—  Lateranense  271. 

—  Spada  206. 

—  Tenerani  169. 

—  of  the  Vatican  301. 
Gallienus,  Arch  of  179. 
Gallu2ze,  Le  180. 
Ganymede  (after  Leo- 
chares)  xxxii.    . 

Gardens  of  Meecenas 
182 

—  of*8allust  173. 
Garrison  122. 

Gaul,  Dying  217.  xxxiv. 
Genio  del  Vaticano 
(Eros   of  Praxiteles) 

German  Hospice  191. 
Gesii  197.  Iviii. 

—  e  Maria  168. 
Ghetto  203. 
Gibson's  House  160. 
8.  Giacomo  in  Augusta 

(degli  Incurabili)  153. 

—  degli  Spagnuoli  191. 
8.  Giorgio  in  Velabro 

24a 


KOKS; 

Giotto's  Nayicella381. 
8.  Giovanni  de'  Fioren- 
tini  207. 

—  in  Fonte  265. 

—  in  Laterano   265. 
xlvii.  Irii. 

—  in  Oleo  257. 

—  e  Paolo  269. 

—  a  Porta  Latina  266. 
S.  Giuseppe  a  Gapo  le 

Case  151. 

—  de'  Falegnami  162. 
237. 

Gladiator,    Dying  217. 

xxxiv. 
Gloves  117. 

Goethe,  House  of  152. 
Golden  Palace  of  !Nero 

234. 
Goods  Agents  117. 
Graces,  the.  relief  by 

8ocrates  314.  xxxviii. 
Gratuities  114. 
8.  Gregorio  258. 
Grotte  Vaticane  284. 
Grotto  of  Egeria  361. 
Guercino's  Aurora  173. 
Guide  116. 
Guide    Real's  Aurora 

176. 
Hadrian's  Tomb  274. 
Hairdressers  114. 
Hercules,  Torso  of  313. 
Hills  of  Rome,   Seven 

145. 
History  of  the  City  of 

Rome  129. 
Horse  Tamers  (Quiri- 

nal)  173. 
Horses,  Saddle  119. 
Hospice,  German  191. 
Hospital,     Bohemian 

Hospital  for  Women 
265. 

— ,  Military  276. 

Hdtel  Quirinal  169. 

Hotels  111. 

Hydropathic  Establish- 
ments 114. 

8.  Ignazio  166.  Iviii. 

nian  Tablet  220. 

Immacolata,  Column  of 
the  160. 

Inquisition  286. 

Intarsia  117. 

8.  Isidoro  172. 

Isola  Tiberina  (di  Bar- 
tolomeo)  204. 

Istituto  de'  Ciechi  263. 

—  Tecnico  188. 
8.  Ivo  197. 


412 


INDEX, 


RQMEi 

Janiculitai,   the  327. 
iajLiiii  (^umiLrifronA  24&. 
Jea  at  i     CUmn^b  Bfl    1  flO, 
137.  iFlii. 

Jo  no  BirboriRl  3tk^, 

—  LodoYipi  179. 
KcHti"  Ho  Die  15^). 
Kerbole  253. 
Laooons  311.  its  It* 

Madonna  323- 

riian  2  IS. 
LlbrAriea  1£5. 
lAtea   Ennlo    QalrJno 

Viidontl  ioe. 
Lieujc  d^'Ais^bnCti  114, 
LiquorLsti  113, 
Li  via,  Honifl  of  343, 

S.  T^oriiiizo  In  Da,iiia»a' 

—  fuori   le  Mura  M3. 
xlvi.  iMi. 

—  Lrv  Lucina  153. 

—  in  MJrftiiiia  231. 

—  hj  l'ii.ni9]>oma  17(L 

—  in  PIscfbtia  276. 
Lottt>,     DireiiODQ    del 

tS4. 

S»  Luifri  deTr&Mcegi  193^ 
Lnng^rA  32J. 
Luniraretta  ^^\.  30 1 
Lnn^arin*  3^. 
Lun^u  Tev-ere  1S4, 
Lapercftl^    Lbs  (giroUr}) 

243. 
Ma^oima  Lucre^la  1{j3. 
If  R^ctinJLHi.  QardBDi  tif 

ISO. 
Sh  Mareiillo  Ifii^. 
8,  Marco  IfflJ,  iM, 
HpLrciia   AuTcliiii}  Col^ 

umu  uT  154, 

>tarf(jrl(t^  SUtUi)  o('3l(i, 
MargliGritn.  Pu4eg|^iiit& 

m.  33t>, 
S,  Maria  dc^  1  i  AnE^rl  1 1(>7. 

—  dcjr  AnimA  101. 

—  Autiqua  'i33. 

—  l\k  ArucoiH  200. 

—  Aventlna  253, 

^  Boccjfc    de]]&  VerJta 
24S. 

—  in  CaRipiU'JIi  2s >2. 

—  doi  Ca-'piiccini  172. 

—  dolla  Concezione  172. 

—  in  Cosmedin  249. 
xlvili. 


KOHEe 
3.  in  Domnii^A  250. 

—  Maiia  di  OrotUptnta 
205. 

—  Lib^iAtricfi  247. 

—  di  Liireto  241. 

—  MapE;iuTe  176,  ?tlvi. 
sItII,  ilTili. 

—  Ad  M.iif tyres  194, 

—  Mittr  Od  177. 

—  Bttpra  Miperv*  190. 

—  de^  Kiracoll  147. 
—-  di  Mnni^f^rrato  2lfWj. 

—  in  BlDTiite  Siuito  U7. 

—  del  In  KaTic*fll»  259. 

—  adKIvep  HB, 

—  TS^Ova  233. 

—  ;KunFa  3D0, 

—  deir  Drto  333. 

—  dellA  Pace  I'Jl. 

— '  dtillA  Pieta  in  CanLp^'t 
i3anto  286^ 

—  dol  Popolo  147.   1. 

—  ad  rrteaepe  17fl. 

—  deJ  Priorato  2\i, 

—  KotQnda  1B3, 

—  Scale  Cctli  356, 
—in  flebolft  Graeca  34fl, 

—  dd  Scilo  240. 

—  TnMpontiaa  27il, 

—  in  TrajteTCrfl  a30, 

—  in  VallkoUii.  2[>X 

—  in  Via  Lata  158, 154. 

—  ddla  VittoHa  1^. 
MariQiiett«a  119. 
>liimiorata,  tbe  2Gl. 
Sfarranan  tbc!  U.^^- 
^^8.  Martina  e  Lucp  23^. 
S.  Alartino  ai  Mj>nti  l^'JI. 
Mau^uleum  rif  AuL^ki.'iLii^ 

184. 

—  of  Hadrian  2r?4. 
Jflpleager^   i^tatne   of 

313, 
MetAd'taqJOfMiin.ar  153. 
Ntita  SiidAna  234, 
Minlm&l  Aitiftlc:    li-Ili, 

Carthiifll&n  l.lonvent, 

Can  ft  of  \ha  1(j7. 
Chrlet    bewaring    tli<i| 

Croafl  IJKi. 
Froscoefl  in  Ibo  Cap 

pal  la  FAolina  292 
FreacE>ti8   in  tb  >  Sin- 

tine  Cbapal  2s^. 
B,  Giov.  del  FitiTcn- 

tial  207, 

inLateraiio266. 

Last  Judgment  291 
S.  Maria  degliAngeli 

167. 


EOICE: 
Uvcliael  Anirdor 
lf4>no[Dent   of  Jo' 

IJttfi  U.  1S3. 
PaL  Farneio  205. 
Pad  est  a1  of  the  Marc. 

A  or,  statne  !^10. 
St.  Feter^a  'ild. 
PiaxKa  dni  Campido- 

t^Uo  216. 
I'ieta  ^'-2. 
— f  unlinlabed  1^2. 
Prop  beta   and  Sibyls 

statue  of  MoEHifl  t83. 
8.  Uicbele,  Oap,  332. 
3.  M!(!belein3AGflia2T7. 
Mil  lia  ri  um  A  areu  m223. 
Minei-Ta^Tfjiuple  {>f  180^ 
Hinerra  Medic  a  31  Q. 
Mini^terJ!*  ofHr^tss: 

Education  19C^ 

ExLtiHor  173, 

Finance  1^, 

Interior  2D1. 

PublU  WoTkfl  154, 

Wat  IGiJ.  170. 
Mint  321. 

Molaa  lladrlAni  274, 
MoloAflian  Honada  311, 
Mons  Sacer  ai3. 
MontoCaprino  206.  231, 

—  Cavaiio  174. 

—  Citorio  154. 

—  maIo  sas, 

—  Mario  33S. 

—  di  Pietk  'J06. 

—  Teataccio  251. 
Monument  of  tbe  Km- 

prisafi  HBluna  B45. 
U  iiSAl  CO ,  S  tn  dio  dd  321 . 
Sluseo  Arti^tico-lndii-' 

etrialo  151, 
^  Kirtibei-iano  150- 

—  PrnfAno  26S, 

—  daUe  Termii  108. 

—  Torlonia  325. 
Mn:ioutii.%  see  Capitol, 

Latt^ran,  Vutican. 
)tlii»i<;  lie, 
Kavicclla,  ihG  259. 

—  (Giotto's)  281. 
S,lfereo  cdAc:hilleo256. 

xlvi. 
KorOf    lluiklin^    and 

Statufi  of  234. 
XftWBpaperj^  11{J. 
S.  NkoUinCartene  250_ 

—  da  Tolentinn  l?j, 
Kile,  6ronpoftlie8l5. 

xxxiii. 
Kiobe,  Daughter  of  314. 
xxxii. 


INDEX. 


413 


ROUS: 

Nome  di  Maria  241. 
NymplieBam  181.  245. 
Obelisks  149.  166.  166. 

173.  176.  196.   191. 

265.  277. 
Observatory  157. 
Octavia,  Colonnade  of 

203. 
October  Festival  122. 
Oculists  115. 
S.  Offirio  285. 
Omnibuses,  see  Appx. 
S.    Onofrio    (Langara) 

32X 

—  (Monte  Mario)  338. 
Oratorio  di  S.  Filippo 

Neri  259. 
Orientation  126. 
Orti  Farnesiani  242. 
Ospedale  di  S.  Spirito 

Ospizio  di  S.  Michele 
oS2. 

—  de'  Pazzi  322. 
Osterie  113. 
Paedagogium  247. 
Painters  116. 
Palatine  145.  241. 

Area  Palatii  244. 

Augnratorinm  243. 

Basilica  243. 

Baildines    of    Tibe- 
rias 1^4. 

—  of  Sept.   Severu8 
246. 

Clivns  Victoriae  244. 

Excavations  242. 

Famese  Gardens  242. 

Flavian  Palace  244. 

Lnpercal  243. 

Peedagoginm  247. 

Palatium  244. 

Porta  Mngionis  244, 

Private  House  243. 

Septizonium  242. 

Stadium  246. 

Temple    of    Jupiter 
SUtor  244. 

Temple     of   Jupiter 
Victor  243. 

Temple  of  Victoria 
243. 
Palazzetto  Famese  199 
Palazzo    Accoramboni 

276. 

—  Albani  170. 

—  Altemps  190. 

—  Altieri  197. 

—  Antonelli  169. 

—  Barberini  170.  Ivill, 

—  delle  Belle  Art!  169, 

—  Bernini  163. 


KOKS: 

Palazzo  BolQgnetti  198. 

—  Bonaparte  162. 

—  Borghese  184. 

—  Braschi  191.  201. 

—  Caffarelli  209. 

—  dellaCancellerial99. 

—  Capranica  198. 

—  Cenci-Bolognetti202. 

—  Chigi  154. 

—  Colonna  152.  163. 

—  of  the  Conservator: 
211. 

—  della  Consultii  173. 

—  Corsini  324. 

—  della  Dataria  174. 

—  Doria  158. 

—  Falconieri  207. 

—  Famese  205. 

—  Ferrajuoli  154. 

—  Fiano  153. 

—  Field  182. 

—  Gabrielli  201. 

—  Galitzin  184. 

—  Giraud  -  Torlonia 
276. 

—  delGovernoVeccbio 
201. 

—  Grazioli  197. 

—  Hiiffer  169. 

—  Lancelotti  190. 

—  del  Laterano  267. 

—  Linotta  199. 

—  Madama  192. 

—  Maasimi  alle  Co- 
lonne  199. 

—  Mattel  202. 

—  Muti-Papazzurri  152. 

—  Odeacalchi  162. 166. 

—  del  8.  Offizlo  285. 

—  Orsini  203. 

—  PamphHj  158.  191. 

—  Pio  205. 

—  Piombino  154. 

—  Poll  151. 

—  Eegio  174. 

—  Ricciardi  276. 

—  Righetti  202.  205. 

—  Rinuccini  162. 

—  Rondinini  152. 

—  Rospigliosi  174. 

—  Ruspoli  153. 

—  Sacchetti  207. 

—  Salviati  162.  322. 

—  Santacroce  206. 

—  Savelli  203. 

—  8ciarrarColonnal55. 

—  del  Senatore  211 

—  Simonetti  158. 

—  Sora200. 

—  Spada    alia   Regolal 


—  di  Spagna  161. 


KOKS: 

PalazBO  Torlonia  154. 
162.  276. 

—  Vaticano  286. 

—  di  Venezia  182.  xlix. 

—  Verospi  154. 

—  Vidoni  198. 
S.  Pancrazio  855. 
S.  Pantaleo  199. 
Pantheon  193.  xxxvi. 
S.  Paolo  fuori  le  Mura 

352.  xlvii. 

—  alle  Tre  Fontane  356. 
Parco  Regina  Marghe- 

rita  336.  337. 
Pasquino,    Piazza   del 

Passeggiata  Margherita 

322.  830. 
Patriarchal    Churches, 

the  135. 
Passionist  Monastery 

259. 
S.  Paul,  Ch.  of  169.  119. 
Pensions  1I2. 
Permessi  124. 
St.  Peter's  277. 
Philippine  GonventSOl. 
Phocas,  Column  of  228. 
Photographs  118. 
Physicians  114. 
Piazza  Aracoeli  209. 

—  Barberini  171. 

—  Bocca  della  Verita 
248. 

—  delGampidoglio  210. 

—  Campitelli  202. 

—  Campo  di  Fiori  104. 

—  Capo  di  Ferro  205. 

—  Capranica  195. 

—  Colonna  154. 

—  del  Foro   Trsjano 
240. 

—  Guglielmo  Pepe  179. 

—  Madama  192. 

—  8.  Marco  163. 

—  Mignanelli  151. 

—  della  Minerva  195. 

—  Montanara  202. 

—  di  Monte  Citorio  164. 

—  della  Kavicella  259. 

—  Navona  191. 

—  Nicosia  J  85. 

—  deir  Orologio  201. 

—  del  Pasquino  201. 

—  de'  Pellegrini  206. 

—  Pia  276. 

—  di  Pietra  155. 

—  di  8.  Pietro  277. 

—  Pilotta  152. 

—  del  Popolo  146. 

—  di    Porta    8.    Gir 
vanni  273. 


414 


INDEX. 


ROME: 

Fl4Stss«   del   QtiirlaAlt:^ 

—  Hoflicucci  27li. 

—  dl  Bpai^aft  im 

—  delie  TeraiB  (di  Ter- 
mini) 166. 

—  Tor  Sangnigna  190. 

—  della  TriniU  149. 

—  deUa  Valle  198. 

—  di  Vener.ia  162. 

—  Vitt.  Emanuele  179. 
8.  Pietro  in  Carcere  238. 

—  e  Marcellino  182. 

—  in  Montorio  328. 

—  in  Vaticano  277. 

—  in  Vincoli  182. 

—  Vittorio  Emanuele 
179. 

Pincio,  the  14fi.  143. 
Pliny'0  Doves  220. 
Police  Office  HI. 
Pons  ^lius  274. 

—  Emilias  250. 

—  Cestiua  204.   331. 

—  Gratianns  204. 

—  Milvius  336. 

—  Triumphalis  274. 

—  Valentiniani  327. 
Ponte  8.  Angelo  274.143. 
— r  8.  Bartolommeo  143. 

—  Cestio  204. 331. 143. 

—  Fabricio  204.  144. 

—  Garibaldi  143.  202. 
330. 

—  Leonlno  202.  143. 

—  Molle  336. 

—  Nomentano  342. 

—  de'  Quattro  Capi  204. 
144. 

—  di  Ripetta  184.  143. 

—  Rotto  250.  144. 
.  —  Salaro  341. 

—  Sisto  327.   143. 

—  Umberto  184.  143. 
Popes,  List  of  139. 
Popular  Festivals  121. 
Population  143. 
Porta  Appia  258. 

—  Asinaria  273. 

—  Aurelia  355. 

—  Capena  254.  348. 

—  Furba  347. 

—  S.Giovanni  273. 346. 

—  Latina  256.  346. 

—  8.  Lorenzo  179.  343. 

—  Maggiore  180.  345. 

—  Mugionis  244. 

—  Nomentana  341. 

—  Ostiensis  252. 

—  S.  Pancrazio  355. 
'^.Paolo253.368.394, 


Porta  Pla  34l^ 

—  Plpciana  173. 

^  del  iMpolu  146.  334. 

—  PurtiJAD  3iiQ, 

—  Salara  336. 

—  9.    Sebwttiano    263. 
347. 

—  Settimiana  327. 

—  S.  Spirito  276.  322. 

—  Tiburtina  343. 
Porters  119. 
Portico     (Colonnade) 

of  Octavia  203. 

—  of  the  Twelve  Gods 
225. 

Post  Office  118.  154. 
Prseneste,  Treasure  of 

157. 
8.  Prassede  178.  xlvi. 
Prati  di  Gastello  275. 

—  del  Popolo  Romano 
251. 

Prehistoric  Museum 

167. 
8.  Prisca  254. 
Private  Apartments 

112. 
Promenades  126. 
Propaganda  151. 
Protestant    Cemetery 

251. 

—  Churches  119.  160. 
Protomoteca  212. 

8.  Pudenziana  175.  xlvi. 
Pyramid  of  Ce8tiu8252. 
88.    Quattro    Coronati 

264. 
Quattro  Fontane  170. 
Questura  111. 
Quirinal,  the  145.  166. 
Railway  Office  111. 

—  Station  111.  166. 
Raphael:  lUi-lvi. 

Bible  of  R.  300. 
Chigi  Chapel  147. 
8.  EUgio  207. 
Entombment   185. 

187. 
Faith,  Hope,  and 

Charity  301. 
Fomarina  171. 
Frescoes  in  the  Far- 

nesina  323. 
Galatea  324. 
Loggie  (Vatican)  299. 
Madonna  di  Foligno 

301. 
Navagero  and  Beaz 

zano  158.  161. 
St.  Peter's  278. 
Prophet  Isaiah  189. 
Sibyls  192. 


H^phaeFs    Stance 
(VMicilh)  2^13. 

—  Tapes  try  303. 

—  Houflfl  (remttved) 
27e. 

—  Frescoes    from  the 
Villa  188. 

—  Tomb  195. 

—  Transfiguration  301. 
Reading  Rooms  116. 
Regia  222.  231. 
Restaurants  112. 
Rienzi's  House  249. 
Rione  Monti  166. 
Ripa  Grande  332. 
Ripetta,  the  184. 
Ripresa   de'   Barberi 

162. 
88.  RoccoeMartino  184. 
Roma    Quadrata   241. 

242.  244. 

—  Vecchia  350. 
Rostra  228. 

—  Julia  230. 
Rotonda,  La  193. 
Round  Temple  249. 
S.  Saba  254. 

8.  Sabina  252.  xlvi. 

xlvii. 
SacraVia222.226.231. 
Sallust,  Gardens  of  173. 
8.  Salvatore  266. 
Sancta  Sanctorum, 

chapel  272. 
Sapienza,    Universitit 

della  197. 
Sarcophagi,  ancient  xl. 
— ,  early  Christian  xlU. 

xUv.  270.  271. 
Saturn,  Temple  of  227. 
Satyr  of  Myron  269. 

—  of  Praxiteles  217. 
316. 

Savings  Bank  156. 
Scala  Santa  272. 

—  di  Spagna  150. 
Schola  Xantha  225. 
Scipios,  Tomb  of  the 

257. 
Scott,  House  of  Walter 

154: 
Sculptors  116. 
8.  Sebastiano  348. 
Semenzaio    Comunale 

256. 
Seminario  Romano  190. 
Septa  Julia  158. 
Septizonlum  242. 
Servius,  Wall  of  130. 

168.  264. 
Sessorium  181. 
Sette  Sftle  181. 


INDEX. 


415 


EOKS: 

Seven  Churches  of 
Rome,  the  136. 
.  Shops  117. 
S.  SUvestro  in  Capite 
154. 

—  in  Lacu  248. 

—  al  Quirinale  176. 
Sistine  Chapel  287.  lii 
S.  Sisto  256. 
Sophocles ,    Statue    of 

Spagna,  Scala  di  150. 
Spanish  Church  205. 
S.    Spirito ,    Ospedale 

di  276. 
S.  Spirito  in  Sassia  276. 
Stadium    (Circus)    of 

Domitian  190. 

—  of  Septimius   Se- 
verus  246. 

S.  Stefano  delle  Car- 
rozze  249. 

—  Rotondo  260. 
Strangers'*  Quarter  146. 
Street  Scenes  i2i. 
Studios  116. 

S.  Susanna  168. 
Tabularium  221. 
Tarpeian  Rock  221. 
Teachers  116. 
Teatro  Argentina  198. 

—  Drammatico  170. 
Telegraph  Office   119. 

Tempietto  328. 
Temple  of  Csesar  229. 

—  of    Castor     and 
Pollux  226. 

—  of  Concordia  226. 

—  of  the   Deus  Redi 
cuius  351. 

—  of  Divus  Augustus 
247. 

—  of  Faustina  231. 

—  of  Fortune  249. 

—  of  Hercules  Victor 
249. 

—  of  Isis  196. 

—  of  Juno  Sospita  250. 

—  of   Jupiter    Capito- 
linus  208. 

—  of  Jupiter  Stator  244. 

—  of  Jupiter  Victor  243. 

—  of  Mars  Ultor  239. 

—  of  Mater  Matuta  249. 

—  of  Minenra  Medica 
180. 

—  of  Neptune  165. 

—  of  Romulus  349. 
— of  the  Sacra  Urbs232. 

—  of  Saturn  227. 

—  of  Spes  250. 


ROME: 

Temple  of  Venus  and 
Cupid  181. 

—  of   Venus  Genetrix 
239. 

—  of  Venus  and  Roma 
238. 

—  of  Vespasian  225. 

—  of  Vesta  222. 230.  249, 

—  of  Victoria  243. 
Templum  Sacrte  Urbis 

232. 
S.  Teodoro  248. 
Testaccio,  Monte  261. 
Theatres  118. 
Theatre    of   Marcellus 

203. 

—  of  Pompey  206. 
Thermee  of Agrippa  195. 

—  Antoninianee  255. 

—  of  Caracalla  265. 

—  of  Constantine  165. 

—  of  Diocletian  167. 

—  of  Titus  237. 
Thorvaldsen,  Statue  of 

170. 
Tiber,  river  143.  144. 
-,  Island  of  the  204. 
Tiberius,  Buildings  of 

244. 
Time-Ball  156. 
Titian: 

Amor  Sagro  e  Profano 
186.  188. 

Cupid  188. 

St.  Dominic  188. 
Tobacco   Manafactury 

114.  328. 
Tomb  of  Bibulus  163. 

—  of  Cfficilia  Metella 
349. 

—  of  Hadrian  274. 

—  of   the   Empress 
Helen  345. 

—  of  the  Nasones  333. 

—  ofthePancratii346. 

—  of  the  Scipios  257. 

—  of  the  Valerii  346. 
S.  Tommaso  in  Formis 

259. 
Torlonia,  Museo  325. 
Torre  delle  Milizie  169 

—  di  Nerone  170. 
Town-wall  146. 
Trajan's  Column  240. 
Triyan's  Forum  240. 

xxxvii. 
Tramways,  see  Appx. 
Trastevere  337.  146. 
Trattorie  113. 
Tre  Fontane  354. 
Tribunale  Civile  e  Cor- 

rezionale  200. 


KOKS: 

Tiibu  nale  di  Commer- 

cio  200. 
Triclinium  of  Leo  III. 

272. 
S8.  frinitii  de'   Monti 

149. 
—  de'  Pellegrini  206. 
Trinity,  Ch.  of  the  164. 
Triumphal  Arches,  see 

Arch. 
Trofei  di  Mario  179. 

210. 
Tullianum  237. 
UfficiodiAnagrafell2. 
Umbilicus  Urbis  Romro 

227. 
University    della     Sa- 

pienza  197. 
8.  Urbano  351. 
Vatican,  the  286. 

Antiquities  304. 

Appartamenti  Borgia 

ArazBi,Galleria  degli 

303. 
Archives  819. 
Belvedere ,    Cortile 

del  304. 
— ,  Vestibule  of  the 

312. 
Boscareccio,  il  313. 
Braccio  Nuovo  315. 
Bronzes  318. 
Candelabri,  Galleria 

dei  306. 
Cappella    di    Kicco- 

16  V.  299. 

—  Paolina  292. 

—  Sistina  287. 
Casino  del  Papa  813. 
Cortile  del  Belvedere 

311, 

—  di  S.  Damaso  286. 

—  delle  Loggie  287. 
Egyptian    Museum 

316.  xl. 
Etruscan  Museum 

316.  xl. 
Gabinetto  delle  Mas- 

chere  311. 
Galleria  degli  Arazzi 

303 
— deiCandelabri306. 

—  Geografica  303. 

—  Lapidaria  315. 

—  delle  Statue  309. 
Garden  313. 
Giardino  della  Pigna 

313. 
Hall   of  the  Busts 

310. 
Library  319. 


416 


INDEX. 


BOKS: 

Vatican : 

Mich.  Angelo's  Frea- 

coea  288.  291.  292. 
Maseo    Chiaramonti 

318. 

—  Etmsco-Grego- 
riano  816. 

—  Pio-Clementino 
304. 

Museum  of  Christian 
Antiquities  320. 

Pauline  Chapel  292. 

Picture  Gallery  301. 

Portone    di    Bronzo 
286. 

Raphael's     Loggie 
299.  xlviL 

—  Stanze  293.  liv. 

—  Tapestry  303.  Iv. 
Sala    degli    Animali 

309 

—  deila  Biga  305. 

—  dei  Busti  310. 

—  di  Costantino 
298. 

—  aCroce6reca304. 

—  Ducale  292. 

—  deir  Immacolata 
292 

—  deile  Muse  308. 

—  Regia  292. 

—  Rotonda  308. 
Scala  Pia  286. 

—  Regia  287. 
Sistine  Chapel  287. 
Stanza  d'Eliodoro 

297. 

—  deir   Incendio 
293 

—  de'  Papiri  320. 

—  della   Segnatura 
294. 

Tomb-Paintings  318. 

Tor  di  Borgia  327. 
286. 

Torre  de'  Venti  316. 

Vases,  Collection  of 
317. 
Vatican  Hill  273. 
Velabrum  248. 
Velazquez's  Innocent 

X.  159. 
Velia  231. 
Venus  after  Praxiteles 

221.  xxxii. 
Vesta,  Temple  of  230. 

249. 
Vestal  Virgins,  Palace 

of  the  2^. 
Via  A^stino  Depretis 

169.  170.  175. 
—  Appia25^.  346.348. 


ROME: 

Via  del  Bahuino  150. 

—  de'  Banchi  Nuovi  201. 
Vecchi201.205. 

—  Baullari  199. 

—  del  Caravita  155. 

—  Cavour  166.  176. 

—  de'  Cerchi  250. 

—  del  Clementino  184. 

—  de'  Condotti  151. 

—  Conte  Verde  180. 

—  delle  Convertitel53. 

—  de'  Coronari  190. 

—  della  Dataria  174. 

—  de'  DueMacelli  151. 

—  Em.  Flliberto  180. 

—  dei  Falegnami  202. 

—  della  Fontanella  di 
Borghese  153.  184. 

—  del  Fontanone  207. 

—  Galvani  251.  254. 

—  Garibaldi  328. 

—  Giulia  207. 

—  del  GovernoVecchio 
191.  199.  201. 

—  Gregoriana  150. 

—  Labicana  180.  345. 

—  Lata  158. 

—  Latina  256.  346. 

—  di  Marforio  163. 

—  Maschera  d'Oro  190. 

—  Merulana  179.  181. 

—  dl  Monserrato  205. 

—  di  Mortella  202. 

—  delle  Muratte  152. 

—  Nazionale  162.  166. 
169. 

—  Nova  231. 

—  de'  Pafltini  154. 195. 

—  de'  Pettinari  206. 

—  di  Pietra  154. 

—  della  Pilotta  152. 

—  PoU  151. 

—  Prsenestina  180. 

—  Principe  Eugenio 
180. 

—  Quattro  Fontane 
166.  169.  170. 

—  del  Quirinale  166. 
173. 

—  di  Ripetta  183. 

—  Sacra  222.  226.  231 

—  della  Salara  261. 
338. 

—  SaUustiana  173. 

—  del  Salvatore  192. 

—  della  Scrofa  184. 

—  Sistina  150.  166. 

—  delle  Statuto  181. 

—  di  Tor  de'  Conti 
239. 

—  Tordinona  184. 

—  delle  Tre  Pile  209. 


SOME: 

Via  del  Tritone  171. 

—  Triumphalis  236. 

—  della  Valle  197. 199. 

—  de'  Vascellari  331. 

—  VentiSettembrel68. 
Viale  Principessa  Mar- 

gherita  179. 
Victor  Emmanuel, 

Mon.  of  163.  210. 
-,  Statue  of  148. 
— ,  Tomb  of  195. 
Vicus  Jugarius  227. 

—  Tuscus  226.  247. 
Villa  Albani  338. 

—  Aldobrandini  169. 

—  Borghese  334. 

—  CsBlimontana  259. 

—  CaiaU  260. 

—  Doria-Pamphiy  355. 

—  Farnesina  323. 

—  Ludovisi  172. 

—  Madama  337. 

—  Magistrale  (Maltese) 
253. 

—  Malta  172. 

—  Massimi  272. 

—  Mattel  259. 

—  Medici  149. 

—  Mellini  338. 

—  Mills  245.  247. 

—  di  Papa  Giulio  337. 

—  Spada  341. 

—  Torlonia  342. 

—  Wolkonsky  272. 
Viminal  145.  166. 
SS.    Vincenzo    ed 

Anastasio  152.  354. 
S.  Vitale  169. 
S.  Vito  179.  181. 
Waldensian  Church 

170. 
Wall  145. 
Weapons  118.  xvii. 
Wine-houses  113. 
Zecca  321. 
Zeus  of  Otricoli  308. 

Bomena  42. 
Ronciglione  73. 
Ronco,  the  89.  "90. 
Rosaro  56. 
Roselle  3. 
Rosia  37. 
Rosignano  1. 
Rosso,  Monte  109. 
Roviano  380. 
Rubicon,  the  91. 
Ruffinella,  Villa  365. 
Rusellee  3. 

Sabate  391. 

Sabina,  the  68. 

Sabine  MountainB,the  373. 


INDEX. 


417 


Sabinum    (of  Horace) 

380. 
Sacra,  Isola  394. 
Saline  8. 
Salone  373. 

S.  Salvatore,  Abbey  11. 
Sapis  90. 
Sarteano  61. 
Sasso  8. 

Sassoferrato  109. 
Sassone  367. 
Sassovivo,   Abbadia  di 

80. 
Satnmia  4. 
Savi,  Vigna  350. 
Savignano  91. 
Savio,  river  90. 
Saxa  Rubra  337. 
Scannabechi,  river  341. 
Schieggia  101. 
S.  Scolastica  381. 
Scopettone,  the  56. 
S.  Secondo  57. 
Segni  388. 
Selagite,  Mt.  11. 
8elci  Lama  56. 
Semprevisa,  Honte  387. 
Sena  Gallica  101. 

—  Julia  21. 
Senigallia  101. 
Senio,  river  88. 
Sentinum  109. 
Septempeda  108. 
Serpentara  3S5. 
Serra  Partucci  57. 

—  S.  Quirico  109. 
Serravalle  104. 
Setia  387. 
Settecamini  374. 
Sette  Vene  69. 

S.  Severa  7. 
S.  Severino  108. 
Sezze  387. 
Sibilla.  Mt.  105. 
Sieci  ST. 
Siena  20. 

S.  Agostino  29. 

Archives  30. 

Bandini,  Statue  of  32. 

Baptistery  25. 

S.  Barbera^  Fort  35. 

S.  Bernardino,  Ora- 
torio di  32. 

Biblioteca  Gomunale 
84. 

Gampansi,  Monast.  35, 

Cappella  di  Piazza  24. 

Carmine  90. 

Casa    Bambagini-Gal- 
letti  20. 

—  di  S.  Caterina  34. 

Casino  de'  ISohm  25. 

Cathedral  26. 

Baedeker.    Italy  II 


Siena : 
Cimitiro  di  Misericor^ 

dia  30. 
SS.  Concezione  81. 
Deaf  andDumb  Asylum 

30. 
S.  Domenico  35. 
Fontebranda  34. 
Fontegiusta  36. 
Fonte  di  FoUonica  31. 

—  Gaja  25. 

—  Ovile  36. 

—  di  Pantaneto  31. 

—  de'  Pispini  31. 
S.  Francesco  32. 
S.  Giorgio  31. 

S.  Giovanni  26. 
S.  Girolamo  31. 
House  of  St.  Catharine 

34. 
Innocentl  29. 
Istituto      delle     Belle 

Arti  32. 

—  de'  Sordo-Muti  80. 
Library  of  the  Cathe 

dral  28. 
Lizza,  La  35. 
Loggia  del  Papa  30. 
L'Osservanza  36. 
Madonna  d.  Angeli  31. 
Mangia,  Torre  del  24. 
S.Maria  del  Carmine  30. 

—  delle  Nevi  35. 

—  di  Provenzano  31, 

—  della  Scala  29. 
S.  Martino  30. 
Metropolitana,  Ohiesa 

26. 
— ,  Opera  della,  or 

—  del  Duomo  28. 
Osservanza  36. 
Palazzo  Arcivescovile 

26. 

—  Bichi  32. 

—  Buonsignori  29. 

—  Chigi  (now  Picco- 
lomini)  29. 

—  Ciaia  35. 

—  dei  Diavoli  36. 

—  Finetti  30. 

—  Gori  32. 

—  del  Governo  30. 

—  del  Magniflco  25. 

—  Mocenni  35. 

—  Nerucci  29. 

—  Palmieri  32. 

—  Pecci  29. 

—  Piccolomini  29. 

—  Pollini  30. 

—  Pubblico  24. 

—  Beale  28. 

—  Saracini  29. 

—  Spannocchi  32. 
10th  Edition. 


Siena : 
Palazzo  Tolomei  32. 

—  de'  Turchl  36. 
Peruzzi ,  House  of  36. 
Piazza  del  Campo  (Vit- 

torio  Emanuele)  23. 

—  deir   Indipendenza 
25. 

S.  Pietro    della    Mag- 
gione  36. 

alle  Scale  29. 

Porta  CamoUia  36. 

—  S.  Marco  30. 

—  Ovile  36. 

—  Pispini  31.  36. 

—  Bomana  31. 
Servi  di  Maria  31. 
S.  Spirito  31. 
Statue  of  Italia  25. 

—  of  Bandini  82. 
Tolomei,  CoUegio  29. 
University  31. 

Sieve,  river  37. 
SigiUo  101. 
Signa  13. 
Signia  388. 
S.  Silvestro  68. 
Simbruina  Stagna  381. 
Sinalunga  18.  42. 
Sinigaglia  101. 
Sinnus  88. 
Sipiniano  69. 
Sirolo  105. 
Somma,  Monte  84. 
Soracte,  Mt.  68. 
Sovana  4. 
Spello  79. 
Spoletium  82. 
Spoleto  82. 
Staggia  16. 
S.  Stefano  385. 
— ,  Grotte  69. 
— ,  Porto  3. 
Stia42. 
Sticciano  18. 
Stimigliano  68. 
Storta,  La  389. 
Stroncone  85. 
Subasio,  Monte  78. 
Subbiano  42. 
Subiaco  381. 
Sublaqueum  381. 
Sutri  73.  391. 
Sutrium  73. 

Tadinum  109. 
Talamone  3. 
Tarquinii  5. 
Tavema,  ViUa  366. 
Tarolato,  Osteria  del  346. 

367. 
Tavollo,  river  94. 
Terni  84. 

27 


418 


INPEX. 


TeTemise^  i-iver  373, 
Tiber,    river  56-  6^.    bU 

er?.   143,  etv. 
— *  Source  of  the  Sfl, 
Titur  ^77. 

Tifernam  Tibi^rirnuu  Dili. 
TiTuli  3^77. 
Tmii  6a. 
Tolentino  IffT. 
Tolenlinnni    Pketmnl 

>  im. 

Tolfa,  r^  7, 

Toinba  fli  KemTte  ?J89. 

—  del  l^&nc^Ltii  JJ4fj. 

—  dt!i  VaJerii  M8. 
Topina,  Val  IIU. 
ToptnQ,  ibe  ?9. 
Tor  Patorno  396. 

—  di  ijiilnto  f33r 

—  Sapi^tnua  340. 

—  de^  SeJiiiTJ  iUS.  373. 

—  di  Sulce  350. 

—  Tre  Tefita  iU5. 
TorraccJn  aSO. 
Torre  Bertaldu  7. 

—  Boa£c:iuia  ^, 
--  di  Oiova  12. 

~  PilinattftrA  345^  3€7. 

Torrunieri  17. 

Torrtitta  308. 

Ton-l  tVal  di  Merso}  3^. 

Torfita  tS.  49, 

TDsr;i[](illa  6.   72, 

Ti'oUfifiieuo,  Iibgo  45. 

Trebia  81. 

Tre  Fontane  364. 

Trestina  57. 

Trevi  81. 

— ,  Monte  387. 

Trevignano  391. 

Tnder  56. 

Tulicum  109. 

Tuoro  46. 

Turchina  5. 

Turre,  La  368. 

Tusculana,  Villa  366. 

Tasculanum  365. 

Tusculum  365. 

Umbertide  57. 
Umbria  88. 
Urbania  56. 
8.  Urbane  351. 


tTrbibenfnro  6*5. 
Urbino  96.  56. 
UrhiftikgHa  107. 
Urbft  S;ilvm  1LJ7. 

—  vetufl  ea. 

Urrinuni  Htirteaso  SO. 
^  Hci>nT^?iide  96. 
UflOi  river  91. 

VaccarrtitciA,  Tiimului 

of  31K). 
Vrida  1, 

Va^DOliDi,  Visna  34!*- 
yjLlca.  iM  38y. 
Valchctta.,  tiie  337. 
Val  d  Elaa  id. 

—  (ii  Piiflsino  337, 

—  Toping  110, 
Valle  AriccLana.  370 ► 

—  deir  Inftrno  338. 
V^allombroaa  94, 
Vfllmontono  381.  Mi. 
Valrificiolo,  Abbey  of 

387, 
Varano  10&. 
V*rla  3S0. 
Vfiji  3B9, 
Volathri  S. 
Velino,  riv-iiT  8U. 
Vfllitm;  3S2. 
VelletH  3Hia. 
Vene^  Le  SI, 
Vema,  hm  42. 
Vetralia  72. 
Vetalonia  2. 
Via  iEmilia  88. 

—  Appia  348. 

Nuova  346. 

Plgnatelli     348. 

352. 

—  Anrelia  1.  7. 

—  Gasilina  345. 

—  Cassia  69.  389. 

—  Clodia  390. 

—  Collatina  345. 

—  Flaminia  38.  92.  100. 
152.  336.  337.  890. 

—  Labicana  345. 

—  Latina  346. 

—  Laurentina  354. 

—  Nomentana  342. 

—  Ostiensis  354. 

—  PreeneAtina  345. 


Via  Sa.lii'a  6S.  338, 
3ctte  Cbiei^e  343.  iM. 
Titmrtln*  343.  374* 
TriumpbikUa  312, 
Valeria  37S. 

VlcarcUe  1. 

Vicarello  391. 

Vico  es, 

^^  Lago  di  73. 
Vicovaro  SSO. 
Vi^onni^  E^kgal  di  18. 
Vi)U  Adriana  374. 

—  Alhajii  393. 

—  Bt'lrefipiro  3s5&. 
^  Aidubr&ndini  3Gfj. 
^  tkmcunpargni  368, 

—  Bragcbi  3T0. 

—  of  Cicero  366. 

—  Conti  960. 

—  d^Eflte  379. 

—  Falconieri  3fi&. 
-^  &d  aalliajM  337. 

'  of  the  Oordlatti  ^b. 

—  of  Hadrian  LtT.'i. 
^  of  HoTUce  38(>. 
^  Imperiale  90. 

—  In^hirlJ&i  11. 

—  Laote  71. 

—  of  Livift  337. 

—  of  Meecenaft  378, 
3,  Meazatia  38, 

—  Mondragonc  365. 
riccoloiiiini  3t3i"K 
Uiirflnella  ';m. 
8pa4a  541. 
Taverna  365. 

—  Tusculana  365. 

—  Vittoria  94. 
VUle  Monterchi  56. 
S.  Vincenzo  1. 

SS.  Vincenzo  ed  Ana- 

stasio  354. 
Vita,  Capo  della  12. 
Viterbo  69. 
S.  Vito  67. 
Vivo  18. 
VolaterrsB  8. 
Volscian  Mountains  385. 
Volsinii  65. 
Volterra  8.   1. 
Vulcl  4. 

Zagarolo  384. 
Zolforeo,  Lago  8. 


Leipsic:  Printed  by  Breitkopf  <fc  Uartel. 


p 

HP"" ""'-                'HI 

1 

IIDEX  OF  STREETS 

1 

1 

■ 

AND 

^H     1 

PLAJVSofROME. 

H  1 

Contents. 

1 

1  -  U*t  of  the  Omnibus  nnd  'IVauiwrjy  lAum- 

2.  Onh  Tariff 

3.  List  of  Urn   pritidp^il  stroiits^  putjlie  buUU* 

Itjgs,  6t^>,  of  Home« 
4    Oeonr/it  PUn  of  Rimie,  ftliowing  tjjw  tiiaiti 

portloim  uf  tlio  city.                                          ' 
5.  jMr^a  Plaft  of  Rome,  lit  three  seeUon^ 

i' 

'['tiiH  rovnr  may  bo  a-l^thiHl   ftaen  ttii*  fin?t  of  *h«   l«oitk  l^ 
RHjMftiii;  tli«  ^tUow  ikruad  wkkk  will  I^b  fotinJ  lHiU<»Hn         1 

1 
1 

1 

^ 

S-A^Tifse 


Omnibus  Eoates. 


The  fares  (10-15  c.)  are  marked  on  the  omnibuses,  and  a  board  at  the 
back  gives  the  name  of  the  terminus  towards  which  the  vehicle  is  running. 

1.  FUzza  di  Venezia  —  Piazza  delFopolo  (PI.  II,  16—1, 18),  through 
the  GoR8o(but  after  4  p.m.  through  the  side-streets  to  the  E. :  the  Piazza 
88.  AposTOLi,  Via  dell'  Umilti,  Piazza  di  Tebvi,  Via  della  Stamperia,  Via 
Due  Uacelli,  Piazza  di  Spagna,  and  Via  del  Babuino),  every  5  minutes. 

2.  Piazza  di  Venezia  —  S.Pietro  in  Vatioano  (PI.  II,  1&— 1,4,7),  through 
the  CoBBO  ViTTOBio  Ehanuele  to  the  Piazza  8.  Pantaleo  (PI.  II,  13)  \  then 
through  the  Via  di  8.  Pantaleo,  Piazza  del  Pasquino,  Via  del  Oovemo 
Vecchio,  Via  del  Banco,  Pontb  S.  Angblo,  Borgo  Vecchio  and  Piazza  8. 
Pietro,  every  5  minutes. 

3.  Piazza  di  Venezia  —  S.  Francesco  a  Bipa  (PI.  II,  16— III,  15),  through 
the  CoBso  ViTTOBio  Emanublb,  Via  Torre  Argentina,  Pontb  Gabibaldi, 
Lungaretta,  Habia  in  Tbastevebb  (PI.  II,  15),  and  Piazza  di  8.  Calisto, 
every  10  minutes. 

4.  Piazza  di  Venezia  —  Lateran  (PL  II,  16—11,  30,  33),  through  the 
Via  di  Foro  Trajano,  Fobo  Tbajano,  Via  Alessandrina,  Via  Croce  Bianca, 
to  the  Piazza  dbllb  Gabbbttb  (PI.  II,  20, 23) ;  then  through  the  Via  dbl 
GoLosSBO,  every  12  minutes. 

5.  Piazza  di  Venezia  —  Piazza  Vitt.  Emannele  (PL  II,  16  —  11, 28,  29), 
through  the  Via  del  Foro  Trajano,  Via  Alessandrina,  Via  della  Madonna 
del  Monti,  Via  Leonina,  Via  Urbana,  Piazza  dell^  Esquilino  (S.  Maria 
Maggiore),  Via  Cavour,  Viale  Principessa  Margherita  to  the  Station  (arri- 
val platform))  then  through  the  Via  Principe  Umberto,  and  Piazza  Man- 
fredi  Fanti  (aquarium),  every  6  minutes. 

6.  8.  Carlo  a  Oatenari  —  Piazza  del  Popolo  (PL  II,  14—1, 15, 18), 
through  the  Via  del  Monte  della  Farina,  Gobso  Vittobio  Emanublb,  Piazza 
8.  Pantaleo  (PI.  II,  13),  Via  Caccagna,  Piazza  Navona  (Girco  Agonale;  PL 
II,  13),  Via  and  Piazza  Agostino,  Via  della  8crofa  and  Via  di  Ripetta, 
every  6  minutes. 

7.  8.  Pantaleo  —  Piazza  Vitt.  Em.  (PL  II,  13—11,  28,  29),  through  the 
Gobso  Vittobio  Emanublb,  Piazza  del  Gesii,  Gorso  Nazionale,  Piazza  Ve- 
nezia (PL  II,  16),  Via  del  Foro  Trojano,  Via  Alessandrina,  Via  and  Piazza 
della  Madonna  dei  Monti,  Via  Urbana,  8.  Mabia  Maqgiobb  (PL  II,  25), 
and  Via  Merulana,  every  6  minutes. 

8.  Piazza  di  Spagna  —  8.  Pietro  in  Vatioano  (PL  1, 17,  20—1^  4, 7), 
through  the  Via  Frattina,  Piazza  S.  Lorenzo  in  Lucina,  Piazza  Bobohbsb, 
Piazza  Ificosia,  Via  di  Monte  Brianzo,  Pontb  8.  Angblo,  Borgo  Vecchio, 
Piazza  8.  Pietro,  every  10  minutes. 

9.  Piazza  del  Popolo  —  Via  Oavour  (PL  I,  25),  through  the  Via  del 
Babuino,  Piazza  di  Spagna  (PL  1, 17,  20) ,  Via  Due  Macelli ,  Via  del  Tri- 
tone,  Piazza  Basbebini,  Via  8.  Nicola  da  Tolentino,  Piazza  di  8.  Bernardo, 
Via  Torino,  Via  Viminale ,  and  Via  Principe  Umberto ,  every  7  minutes. 

10.  Piazza  del  Popolo  —  Piazza  del  Principe  di  Napoli  (PL  I,  27,  30), 
via  the  Pobta  Pinciana  (PL  I,  21),  every  10  minutes. 

11.  Piazza  Montanara  —  8.  Pietro  in  Vatioano  (PL  11,17—1,4,7), 
through  the  Via  Montanara,  Piazza  Gampitelli,  Via  de^  Funari,  S.  Cablo 
A  Gatenabi,  Gampo  de'  Fiori,  Piazza  Fabnbsb,  Via  de'  Banchi  Vecchi, 
Pontb  S.  Angblo,  Piazza  Pia,  Borgo  Vecchio,  and  Piazza  8.  Pietro,  every 
12  minutes. 

12.  Piazza  Navona  (Girco  Agonale)  —  Porta  Pia  (PL  U,  13—1,  30), 
through  the  Via  Agonale,  Via  and  Piazza  8.  Agostino,  Via  della  Scrofa, 
Via  di  Stelletta,  Piazza  Gampo  Marzio,  Piazza  di  Montecitorio,  Piazza  Go- 
LONNA  (PL  I,  16),  Piazza  S.  Glaudio,  Piazza  di  8.  Silvestro,  Via  della  Mer- 
cede.  Via  Due  Macelli,  Via  del  Tritone,  Piazza  Babbebini  (PL  1, 19, 22), 
Via  8.  Ificola  da  Tolentino,  and  Via  Venti  Settembbb,  every  10  minutes. 

13.  Porta  Pia  —  Prati  di  Oastello  (PL  I,  30—1,  8) ,  through  the  Via 
Venti  Sbttembrb,  Via  8.  Nicola  da  Tolentino,  Piazza  Babbebini  (PL  I, 
19,  22),  Via  del  Tritone,  Via  Due  Macelli,  Piazza  di  Spagna  (PL  1, 17, 20), 

Ba£J>b££b.   Italy  II.  10th  Edition. 


2  OHNIBUS  ROUTES. 

Klcodla,  rortn  il^  Hipettb,  Via  Vittoriiv  Ooli^uiia,  and  V^a  Creac^nriti  (fgr- 
nierly  tie  Vim  Reaii;>i  every  i2  mlTmCea, 

U.  For*  Trijftno  —  Pntl  di  OartaUo  (PL  D,  1&— I,  BJ,  tliTOu&h  tbe  Via 
Q,  UaJ'c^u^  Via  dtille  IlDtlegbe  Oscure,  PUftVb  Pai^ajLioft  ^  ^J*  Torra  Arfien- 
Up«i  OuiEAtj  ViTT.  KK4hiiEi.Kf  Via  del  BimlUri^  Piaxza  £>&X]i4  Cakubu^ria 
[PL  11, 13j^  VU  rttllf^griuoi  Vm  deVBancbj  VucchI,  Pontk  9.  Ajj^Eto,  Ptjrta 
C:&Atd(ui  and  Via  di  Purta  Angt^lkuj  to  i,li«  Carablniori  Barractts,  every 
S  miniitesH 

15.  Via  di  B.  ApqUinarfi  —  Via  Carlo  Alberto  (PL  I,  ili^U,  35^  26U 
vii  tbe  Putt&a  2.  Ajro^iinu^  Piazza  Mjidaona^  Piazza  dj  S.  Eusl^cbio,  and 
tbrough  tke  Via  d  til  la  Bolunda^  Torre  Ari^fUtlna^  Ooilbo  Vittu&io  £ma- 
HUSLKi  PiA^A  i>£L  Gket]  (PL  IJ,  16Ji  Via  Araco&li,  Piazia  8.  MAfico,  Via 
Foro  Trajano,  Via  AlesEmndTinftf  Via  delJa  Jladynna  d«i  Monti ,  PJasza 
dcir  E^nniliDu^  nml  B.  3Iaria  1Ia4>(^iob£)  ever^  7  mjuaton^ 

it;.  CanoellBria  —  Piuu  d«U'  Indipfindcnaa  (PJ.  IJ,  lit— f^  29K  via  tbs 
Plaina  8,  Panlak'iO^  Piazza  Kavoxa  iCirei^  AgcioEil^),  and  tbrongb  the  Via 
del  Tealn}  Va]l<3,  Fia^^a  di  8.  EujtatLiu,  PA^td^u!*^  Pia^sia  Oapranica, 
HuntecllgrloT  Pia^eea  CnujuKA,  Vja  del  Tritunc,  Pi.iaza  8.  CLaqdif>f  Fla^aa 
dl  B.  Bilvettro,  Via  deUa  Herc^de,  Via  Dae  Hacelli ,  Via  dt^l  Trigone, 
PiAZSGA  BaJiAeiuifT,  Via  S-  Klcola  da  ToIoeiUuis  Via  Ve^^iti  BuTT^M&naf  Via 
PutrenE<>n^  Via  Cefqnia,  Via  Volttirno,  and  Via  SolfcriruK 

li.  riaaaa  della  ConaolaEiena  ^  Campo  Voiano  [Cemttei'fi;  PL  U,  17-3&), 
vli  the  FostQ  BoMAKijif  and  Ibruu^b  th^  Via  C&vour,  Via  ^loi  Se^rpenLij  Via 
PalcnnOf  Via  A^odtiod  J>uprijtia  [Quattro  FunUnti)  PiiLjt^alu  deiLla  Forrii'Vla 
(liailunty  i^(Qtiarn^  Viale  Princip,  Margherita.,  and  Via  Ttburlina. 

IB^  Piazta  del  ^uirinale  —  3'  Afntwe  fncri  Farta  Fia  [V\.  IX^  1^—1, 
90,  etc*),  LhiDngL  ibft  Via  dcd  Qulrinale,  Via  V«Mti  Settembre,  Porta  Plsi 
Via  Nnmerntana,  PiEiiVialc  di  S*  Agneae  t  about  l*]*  M,)» 

19.  FiaEEa  B,  iilTeitro  —  Fiaaza  Vitt.  £iii.  £P1, 1,  iO— 11^  ^y  ^U  ^la 
the  Pia^ba  B.  Claudio^  and  tliriQu^b.  liie  Via  8.  Uaria  in  Via,  Via  dei  Croci- 
reri|  Via  doUe  Muratte^  Via  dellft  Ver^,  PlaKia  SB.  Apg^Ujli,  Fqko  Tra- 
jaho,  Via  Alc^andrina,  Piazza  dellc  Oarrette^  Via  i>kI>  CgLufldrKO,  Pj;a£ZA 
DI  B-  CLBJLRKTa^  Via  Manzuni^  and  Via  Ku;.  Fi^ih^rto^    every  10  minute, 

20.  8,  Andrf;a  dfilla  Valle  —  Forta  Balara  iPL  11, 13— L,  1^7),  rbfon^b 
Ibe  Ousao  ViTtuitio  KMAiJQKi-R^  Via  dei  Ctjalari,  Via  dil  Gaaiij  Via  Pio  dl 
maniK}}  Piazza  and  Via  di  t.'^i]]ngig  Bumang^  Via  delF  Umiil^,  Via  del 
Ixavalgre^  ViaBa^ctla^  Vja  Qcattro  Funtaks,  Vj;a  Vkwti  Betteubbk,  &tid 
Via  di  Porta  Salara. 

ai.  Fonts  Biito  —  Cautrg  Pratorio  CPl-  U,  14—1,38},  throueb  ^e.  Via 
Qinlia,  PLazz,A  Farncgc,  Campo  di  Fiuri,  Ooi^ao  Viir.  FIhahckls,  Piazza  Min- 
eTVflj  Piazza  CoUegio  Eompiiio,  FuiNtajja  in  Tntvi,  Viii  del  Lav'ators,  Via 
Ra^ella,  Via  i^ua-ttr^ii  Fgnlane^  Via  Vent!  BtTtEMUiiif.^  and  PiaizAdeneTijrnie. 

22.  FiaEza  del  auiriti  ^  StAKione  di  Xraatevera  [PL  1, 13— II,  ib)^  via 
the  Pia%£adel  UlsntTgiiDentg,  Vln  tli  ri>rta  Aug^Uca^  Piazza  di  S.  E'ibtku  (PI- 1, 
4,  7)^  Borgg  S.  Sfiirito,  Via  peli^a  Lungaha^  Piazza  della  Sea  la,  B.  Maaia 
i>  TuABiavKui^,  Piaz£^  B^  CaLisLg,  Vja  di  S.  Francesco,  and  Viable  ik^l  K&^ 

2B,  B.  XoreDZO  in  Lnciaa  —  Frato  di  B-  Ggutnato  {PL  1,16—11,  10), 
fii  tbe  06.m]Hj  Mar^o^  Via  de''  Perfi^tti,  Vi^i  d<Ula  8cmfa,  Fias^sta  9.  Liiigl 
de*  Franccfll^  Piar.za  a.  Euiitacbio,  Via  del  Teatt*o  Vallo,  Conso  Vittokio 
EHAKtij£L£,  CiLuipg  di  Fiyri^  Piazza  FAiijfBflic,  Pustk  Sis  to,  S.  Uabia  is 
TRAatMvi^aK,  Piuzza  8.  Cali:)t.u,.  and  Via  S.  FrancE^sco. 

24.  Fiaxaa  di  Bpagna  —  Flazza  Mcutanarm  (1^1,  I,  30—11, 17),  tbrnngli 
tlie  Via  dl  rropnijanda^  Via  d*;Ua  Wlereedej  Plar.za  di  i^.  Bllve^truj  Via  dells 
(3onvortit«^  PiAZi*  Odlobi^a,,  Piazza  Montetikjrigj  Piazza  Capranica,  Pah- 
THKOH,  Piaxza  S,  Cliiara,  Via  Torre  Argcntltia,  Piazza  S.  Carlo  a  Cate- 
NAfli,  Via  del  FalL'gnami,  Piazjf.a  Campitdli^  and  Via  Sfgntanara, 

2^,  Lateimn  —  Cafl«  Bonitatihua  (PL  11^  30-111,  30),  throng; b  the  Via 
di  Porta  &.  IHoranni  and   Via  Ai^nia  ^""ufjvji. 

26.  Forto  Sipetta  —  8.  Onofrio  al  Monte  Mario  (Fl.  1, 14—1,  7,  etc.), 
rough  the  Via  Vitt.  Colonna,  Piazza  Cavour,  Via  Terenzio,  Via  Fabio  Mas- 
'O,  Viale  delle  Milizie,  Via  Trionfale,  and  Forte  di  Monte  Mario,  l(>dO  c. 


CAB  TARIFF.  3 

Tramway  Routes. 

1.  PiftBxft  Yeaezut  —  Piau*  delle  Terme  (PI.  II,  9—1,  26),  through  the 
Via  Nazionale,  Via  Gernaia,  and  Via  Volturno,  every  4  minutes. 

2.  Piazza  delle  Terme  —  Oampo  Vevano  (Cemetery ;  PI.  I,  25— n,  34), 
through  the  Via  di  Porta  S.  Lorenzo  and  Via  Tiburtina,  every  15-25  min., 
in  connection  with  the  steam-tramway  to  Tivoli. 

3.  Piazza  delle  Terme  —  Lateran  (PI.  I.  25—11,  90),  through  the  Viale 
Princ.  Margherite,  Via  Gioberti,  Via  Carlo  Alberto,  Piazza  Vitt.  Em.,  Via 
Leopardi,  and  Via  Merulana,  every  !/«  hr. 

4.  Piazza  del  Popolo  —  Ponte  KoUe  on  the  Via  Flaminia,  every  1/4  hr. 

5.  Piazza  Montanara  —  B.  Paolo  faori  le  Mara  (PI.  n,  17— III,  16,  etc.), 
through  the  Via  Montanara ,  Via  and  Piazza  Bocoa  dblla  VsbitI  ,  Via 
della  Salara,  Via  Marmorata,  Porta  8.  Paolo,  and  Via  Ostiense,  every  Vi  hr. 


Cab  Tariff. 

Oabt  (  Vetiure  Pubbliehe)  in  the  principal  piazzas. 

With  one  horse. 
Open  Closed 


With 
two  horses. 


day 


1 
2 

—  60 

—  40 


2  70 
-66 


1  — 
2- 

-45 
—  20 


120 
2  20 
-50 


120 
220 

—  60 

-  40 


160 
2  70 
-66 


2 
3- 

-70 
—  20 


2  50 

3  60 


260 

360 

-86 

-40 


2  80 
4  — 


-95 


Within  the  city: 

Single  drive  (eorsa  ordinaria)  in 
one-horse  carr.  open,  for  1-3  pers., 
closed,  for  1-2  pers.,  or  in  two- 
horae  carr.  14  pers.      .    . 

Per  hour 

Each  additional  1/4  hr.      .     . 
For  each  drive,  1  pers.  more 
Outside  the  gates: 

From  or  to  the  tramway  terminus 
outside  the  Porta  Lorenzo    .    . 
To  the  cemetery  at  8.  Lorenzo  Fuori 
(Campo  Verano),  per  hour    .     . 
Each  additional  V4  hr.  on  the  fore- 
going drive        

To  a  distance  of  600  ydfl.  (i/i  Kil.) 
outside  any  of  the  gates,  includ- 
ing the  Porta  8.  Lorenzo  .     .    . 
To  a  distance  of  2  M.  (3  Kil.)  out- 
side any  of  the  gates,  per  hour 
Each  additional  V^  b'*     •    • 
ITight  is  reckoned  from  7  p.  m.  to  5  a.  m.  from  April  Ist  to  8ept.  90th, 
and  from  7  p.  m.  to  6  a.  m.  from  Oct.  1st  to  March  31st. 

If  a  cab  be  brought  from  the  stand  to  the  hirer's  house  or  elsewhere, 
the  driver  is  entitled  to  the  1/4  hr.  fare,  over  and  above  that  for  the  drive. 
For  longer  drives  than  those  above  mentioned,  there  is  no  tariff,  but 
the  above  fares  afford  an  idea  of  what  may  reasonably  be  demanded.  On 
the  afternoons  of  the  days  of  the  Carnival  the  vehicles  are  exempted  from 
the  restrictions  of  the  tariff. 

Large  box  60  c.,  small  box  or  portmanteau  20  c. }  handobags,  etc.,  free. 


1-80 

-50 
—  20 


1  20 

2  20 


-60 


1  30 

250 
k-50 


At 
night 


day 


1  50 


3- 


■50 


At 

night 


day 


-86 


4 
-80 


At 
night 


List  of  Streets  in  the  Plan  of  Rome. 


The  plan  is  divided  into  three  sections,  the  upper,  with  green  margin j 
numbered  I,  the  central,  tchite^  II,  the  lower,  with  red  margin^  III.  The 
three  columns  of  figures  in  the  subjoined  list  correspond  to  these  sections ; 
the  numbers  indicate  the  square  of  the  section  in  which  the  place  in  question 
is  to  be  found  (thus:  Accademia  di  S.  Luca  is  in  the  14th  square  of  the 
1st  section).  Where  space  has  been  too  limited  to  admit  of  the  names 
being  inserted  in  the  plan ,  they  have  been  replaced  by  numbers ,  which 
in  the  following  list  are  annexed  to  each  name  so  omitted  (thus:  Banco 
di  S.  Spirito  15  is  'So.  15  in  the  10th  square  of  the  2nd  section).  The 
key  to  these  numbers  in  their  order  is  also  inserted  in  the  plan  itself,  an 
arrangement  which  will  often  be  found  useful. 


inni 


mm 


Abruzzi,  Via 

Accademia  di  Belle  Arti  di 
S.  Luca 

24 

fi 

JO 
H 

m 

83 
t& 

,  Picture  Gallery  (Via 

Bonella  44) 

—  di  Francia ' 

—  di  Napoli 

2.' 

Accoramboni,  Pal.  2  .   .   .   . 
Acqua  Felice,  Acquedotto  . 
,  Fontanone  deir  ... 

—  Giulia,  Castello  deir    .   . 

—  Mariana,  Vicolo  deir  .   . 

—  Paola  .   .   .  : 

m 

S2 

Acquedotto  Antoniniano  .   . 

—  Neroniano     deir     Acqua 

Claudia 

22 

Adda,  Via 

24 
27 
11 

Adice,  Via 

Adriana,  Via 

S.  Adriano 

S.  Agata.  3 

—  in  Suburra 

Agnello,  Via  dell' 

S.  Agnese 

SS.  Agonizzanti.  19    .... 
S.  Agostino 

n 

13 

i;^ 

AlVanl,  Pal 

— ,  Via 

n'j 

Alberoni,  Pal.  10 

Aldo  Hanuzio,  Via 

l:i 

H 

Aldobrandini,  Villa    .... 

12 
20 

Alessandria,  Via 

Alessandrina.  Via    .... 

m 

Alessandro  Farnese,  Via  .  . 
—  Volta,  Via ' 

12 

17 

S.  Alessio 

18 

Alfieri.  Via 

'tC\ 

S.  Alfonso 

■i5 
28 

7 

Alfredo  Cappellini,  Via    .   • 

Alibert,  Via 

— ,  Vicolo 

^ 

Altemps,  Pal.  6 
Altieri.  Pal.  .   . 


Altoviti,  Pal 

— ,  Villa 

S.  Ambrogio  della  Minima 
American  Church  (St.  Paul) 
Amerigo  Vespucci,  Via. 

S.  Anastasia 

S.  Andrea  (near  the  Lateran) 

—  (near  8.  Gregorio).  .   .  . 
S.  Andrea,  con  CoUegio  Scos' 

zese.  1 .  ' 

— ,  Oratorio.  2 

—  delle  Fratte 

—  del  Quirinale 

—  della  Valle 

—  in  Vinci.  10 

—  e  Bernardino.  1  .  .  .  . 
Anfiteatro  Castrense  .   .   . 

—  Corea 

—  Flavio  (Colosseo)  .  .  . 
SS.  Angeli  Gustodi.  8  .  . 
Angelo  Custode,  Via  deir 

Angelica,  Porta 

S.  Angelo,  Castello     .  .   . 

— ,  Ponte 

— ,  Vicolo 

—  in  Pescheria 

S.  Aniano.  4 

Anicia,  Via 

Anima,  Via  deir 

8.  Anna 

— ,  Monastero 

—  de'  Calzettari 

—  de'  Palafrenieri.  1  .  . 
SS.  Anna  e  Gioacchino     . 

Annia,  Via 

SS.  Annunziata.  9  .   .   .   . 

Antonelli,  Pal 

Antonino,  Tempio  di .  .  . 
S.  Antonio  Abbate  .... 


23 


22 


te 


17 


IS 


ai 


14 


LIST  OF  STREETS. 


I  nin 


I II  in 


S.  Antonio  delle  Fornaoi,  Via 

—  di  Padoya  10 

S.  Apollinare 

— ,  Piazza 

S.  ApoUonia 

SS.  Apostoli 

— ,  Piazza 

— ,  Vicolo 

Appia,  Via 

,  Nuora 

Applicazione,  Scnola  di    .   . 

Aqnario 

Aquiro,  Via  in 

Aracoeli,  S.  Maria  in     .   .   . 

— ,  Via  di 

Arancio,  Via  deir 

Arcaccio,  Vicolo  deir    .   .   . 
Arco  di  8.  Calisto 

—  di  Ciambella.  8 

—  di  Gostantino 

—  di  Dolabella 

—  di  Druso 

—  di  Gallieno 

—  di  Giano 

—  di  M.  Aurelio  (sito).  7    . 

—  di  Monte,  Via 

—  degli  Oreflci.  1 

—  di  Settimio  Severo    .   .   . 

—  di  Tito 

Ardeatina,  Porta 

Ariosto,  Via 

Armata,  Via  dell' 

Amo,  Via 

Ascanio,  Via  di 

Asinaria,  Porta 

Astalli,  Via  degli 

— ,  Villa 

S.  Atanasio  de'  Greci.  6  .   . 

Attilio  Eegnlo,  Via 

Anrora,  Via  deir 

Aventina,  Via 

Aventino,  Monte 

Avignonesi,  Via  degli    .   .   . 

Avila,  Piazza  d' 

Azeglio,  Via 

Babuino,  Via  del 

Baccina,  Via 

S.  Balbina 

— ,  Via  di 

Balbo,  Via 

Bambin  Gesii 

Banchi  Nuovi,  Via  de' .   .   . 

—  Vecchi,  Via  de' .   .   .   .   . 
Banco  di  S.  Spirito.  15     .   . 

— ,  Via  del 

S.  Barbara 


Barberini,  Pal. .  ' 
— ,  Villa     .  .   . 
— ,  Piazza  .   .   . 
S.  Bartolommeo 


16 


17 


16 


19 


25 


10 


23 


16 


10 


18 


27 


S.  Bartolommeo,  Ko.  19 
— ,  de'  Vaccinari.   .   .   . 

— ,  Iflola 

Basilica  di  Gostantino  . 

—  Ginlia 

—  Ulpia 

Baationi  di  Gastello,  Via  dei 

—  di  Paolo  III  .  .  . 
Battistero  in  Laterano 
Baullari,  Via  de\   .   . 

Belsiana,  Via 

Benedetta,  Via  .... 

8.  Benedetto 

-,  7 

S.  Benedetto  in  Piscinnla.  1 
Beniamino  Franklin,  Via 
Berardi,  Pal.  10  ...   . 
S.  Bernardo  alle  Terme 

— ,  Piazza 

Bernini,  Pal.  15  ...   . 

8.  Biagio 

-.  4. 


—  del  Fosso.  21 

—  della  Pagnotta.  13  ...   . 

Bianchi,  Via  Gust 

S.  Bibiana 

— ,  Via  di 

Bixio,  Via 

Bocca  di  Leone,  Via  di    .   . 
Bocca  della  VeritJi,  Via    .   . 

Bodoni,  Via 

Boezio,  Via 

Bologna,  Via 

— ,  Vicolo 

Bolognetti,  Pal.    3 

Bonaccorsi-Sabini,  Pal.  21  . 

Bonaparte,  Pal.  5 

—,  Villa.   . 

S.  Bonaventnra 

Boncompagni,  Pal.  6.   .   .   . 
— ,  Via 

—  Simonetti,  Pal.  15     .   .   . 

Bonella,  Via 

Borghese,  Pal 

— ,  Piazza  

— ,  Villa 

Borgo  8.  Agata 

—  Angelico 

—  8.  Angelo 

—  Lanrentino 

—  8.  Michele 

—  Nuovo 

—  Pio 

—  8.  8pirito 

—  Veccbio 

—  Vittorio 

Borgognona,  Via 

Borromeo,  Pal.  12 

Boschetto,  Via  del 

Bosco    Parrasio    deir    Acca- 

demia  degli  Arcadi     .   .   . 


IG 


14 
17 
iO 
2Q 

17 

30 

n 

16 
i8 


lU 


13 

10 


31 
31 
32 

r 


]6i 

16 

24 


20 


22 


22 


.112 


LIST  OF  9TOEETS, 


I  n  m 


inin 


BnU^ISho  OflCwroT  VicoJodellt 

17 

CartoiiftT  Vi*    .,,,.,   . 

17 

fir>Dca^  Piftiia  di 

11 

14 

CafUrL  Via  ......   . 

in 

— ,  Vii  OioTanni.   .    .   .    .    . 

CartoDi,  VMJa 

la 

Bfa*cbi,  PaL  17 

iB 

CB»a  di  Cr^iieeiiziu  fdi  BAetit.i 

B.  BHi^idii.  3 

1^ 

or  di   tMlato)'  8 

IK 

Bmnem,  Via .    . 

15 

Cwali,  Pal.  S 

13 

EucimaiKa^  VIh    , 

IS 

— ,  ViPua    . 

V7 

Bafalo,  P*l,  del.  6  ....    . 

19 

Cucine,  Vicolo  dello.  .  .  . 

15 

BufoU,  Vkolcj  dellft   .    .    .    . 

IT 

CaattiTO*  iW  Cambioicri   .   . 

15 

Bii{?inaTra£i,  Via 

2fl 

11 

—  dl  GavalJeTitt.    S    .   .    .   . 

\1i 

Bdod  Pafltnrc     ......    l 

—  dp'  Vigili.  5.    .....    . 

Chcc&iTaa^  Vii   ......    ^    ^ 

m 

Casna  di  Riaparioio 

\^ 

Cftdli^ni-SeFQiQiiQta,  B&l.  36. 

17 

Casfliodoro,  VIr ■. 

U 

Caffarelli,  Pal.  9  .    .    .   ,    .    . 

17 

CiBtelfldardo,  Via 

Cafltnj  Prati>Ho,  Via  dnl  .    . 
CataEone,  Piansa  ...... 

at; 

1 

CLPliarl     Via 

Hf) 

Caio  Marin,  Via  .   .   .   ,   .    . 

B 

Calrqll^  VU            *    *    *    . 

Catena.  iMazza  dell  a  .    .    .    - 

17 

— ,  Sirada  dcUa 

S.    CILJO.   & 

•^1 

3.  CaUTina  de'  Fanari.     .    . 

17 

CUlini,  Viii 

10 

a.  Cat^^rina  della  Rot*.  1  .    . 
-   da'  SaBeal.  2 

10 

Camera  del  Ueput*U.  24  .    , 

16 

Camoratfl,  Pal.  18 

tu 

—  di  Siena,  7 -    . 

ly 

Oampana.  Tfcl,  ...►►-. 

27 

Oatotift,  Viit    ........ 

Cavalierl  d J  Malta,  Pal.  de'9 

— ,  Via 

Cftinpida^gliQ » 

?> 

CaTaJlflgecri,  Porta     .... 
CavalWtti,  PiJ,  15 

Campo  CarlfjCfi  Via  del     .   . 

^> 

17 

Cfcmpo  di  Fiflri 

13 

G^Lvallmi,  Via 

—    dl    Maccaij,    see     Campfi 

Cavimr,  Piuaia 

Military. 

-,  Via 

2D 

25 

—  Marto,  Via  di .....    . 

1ft 

fl.  C«cilia  in  TfaBtevera  .    . 

1& 

—  MiiltarB  ........ 

'^ 

30 

9,  Cecilia.  20    ....... 

10 
18 

19 

—  Vftccinti .    ^    ......    . 

— ,  Via  di  . -    . 

CaocelJ^Ha.  Pal.  daUa    .    , 

Cedro.  Via  del 

— ,  PU«ft  dplU 

\\^ 

Celimontana,  Via 

27 

CaDct:lUcTi^  Via    ,,,... 

H 

Cello,  Mcmte 

.4(1 

Caneatrori,  Via  StT     .    .    ,    . 

la 

Cellini,  Via    . 

t(t 

Canefltrarl.  Vifiolo  de'    ,    ,    . 

ti 

!  B.  Celflo.  4 

Caaneli,  Vicolo  doi     .   .    .    , 

^,ie 

Cecti,  Pal -    .   . 

17 

CikiJltolina.,  Monte    .    .    .   .    . 
Capo  d'Africa,  Via.    .   .    .    . 

Ti 

— '    Plana    H 

IT 

37 
14 

CeWi,  Via  and  Plcuha  de' , 
Ccrniya,  Via  della 

36 

'M 

Capo  dl  Korro,  Piazia  .    .    . 

Capo  le  Caje,  Via 

tw 

Certosa    . , 

2e 

Capoccl^  Via  dei 

22 

S.  Ceaareo  ......... 

. 

'M 

Cappellarl,  Via  da\    .    ,    ,    , 

\H 

Geiarini,  Via.    ...,.,. 

1(3 

CappoBi,  PaL  17  ....        . 

Ui 

— ,  Vi&cjlo 

la 

CappucciDi^  CouvceUi  dt^'    , 

^ 

Ceai,  Val 

Capraniia^  Piazza   .   .       .    . 

lt5 

—  Pl&coloinini,  Piti.  9    .    .    . 

Oapretari ,    Pl&ama.    near   8. 
EueUoliio ,    . 

Oestari.  Vitolo  de' 

IK 

V^ 

Cfifitlo,  Sepolcro  di 

IB 

Carl>oriari,  VicnlQ  da'     .    .    . 

30 

S.  Chiara  Via  dtdla  Jiotonda 

!tt 

Cardelll,  Pal.  14 

13 

— ,  Monaelero     ....... 

M 

— 

ta 

-   Via. 

16 

^,  14  .... 

17 
23 

CiiiaTari,  Via 

14 

CaTdello,  Via  del    .   .  ,   .  , 

Chleaa  Kuova 

a.  CarHmn.  2 

2t2 

Chigi,  Pal 

B.  Carlo  ai  dyrAO 

17 

Ciampini,  Pal 

26 

—  a""  Catcnari   .,..,., 

14 

OiancaleoBe,  Vicolo    .... 

Carlo  Alberta,  Via.    ,   .    .    , 

24 

Cicerone,  Via   .  .* 

Cimarra   Via 

T*T 

CaroeeiiA.  Pal    QA 

CiirTelt4.\  8tTftda  delle    .    .    . 

4 

n 

Cimatori,  Vicolo  de'  .   .   .   . 

10 

-1  Via  dell* 

Cimetero  de'  Protestanti  .   . 

10 

LIST  OF  STREETS. 


mm 


I II  in 


Cini,  Pal 

Cinque,  Via  del  .  .  . 
Ginqtiecento,  Piazza  . 
Cinqae  Lone,  Via  .  . 
Girco   Agonale,    see    Piazza 

Navona    

Circus  maximus  .... 
Cistema,  Vicolo  della  . 

S.  Claudio.  23 

— ,  Via 

Clandio,  Via 

Clemente,  Via 

S.  Clemente 

Clementina^  Via  .... 
Clementino,  Via  del  .  . 
Cloaca  Maxima     .... 

Codini,  Vigna 

Cola  di  Bienzi,  Piazza  . 

— ,  Via 

Coliseo 

Collegio  Clementino   .   . 

—  de^  Copti 

—  Greco.  7 

—  Inglese,  Vigna  del.   . 

—  Irlandese 

—  Kazzareno 

—  de  Propaganda  Fide.  16  . 

—  Romano 

Colombo,  Via  Cristoforo  . 

Colonna,  Pal 

— ,  Piazza 

-.  Via 

— ,  Villa 

Colonna  di  Foca 

—  Trajana 

Colonnelle,  Vicolo  delle  . 

Colonnesi,  Via  de' 

Colosseo 

— ,  Via  del 

Colosso  di  Xerone 

Gommendatore,  Pal.  del.  13 
Gommercio,  Casa  del.  2  .  . 
Gompagnia  di  Gesii    .... 

Concezione 

Gondotti,  Via 

Conservatori,  Pal.  de\  1  .  . 
Conservatorio  de'  Fancinlli 

projetti.  14 

Conservatorio    della   Divina 

ProTvidenza.  1 .  .  .  . 
Gonsolato,  Vicolo  del.  . 
Consolazione,  Via  della 
Consulta,  Pal.  deUa    .   . 

— ,  Via  della 

Gonte  Verde,  Via    .   .   . 

Conti,  Pal.  12 

— ,  Villa 

Convento    de'    Padri     della 

Missione.  14  ...  . 
Copelle,  Via  delle  .  . 
Gorallo,  Vicolo  del.   . 


16 


27 


13 


13 


18 


24 


21 


17 


17 


14 


15 


13 


13 


16  1 


Corea,  Pal 

Cornacchie,  Pozzo  delle 
Coronari,  Via  de'    ... 

Corsini,  Pal 

— ,  Vicolo 

Corso,  Via  del 

Corte  dei  Conti 

Cortile  di  Belvedere.  1 . 

—  di      8.     Damaso      (delle 
Logge).  2 

—  della  Panateria.  5  .  .  . 
S.  Cosimato,  Via  di   .   .   . 

S.  Cosma.  6 

SS.  Cosma  e  Damiano.  5  . 
Costaguti,  Pal.  20  ...  . 
Costantino,  Basilica  di  .   . 

Cremona,  Via 

Crescenzi,  Vicolo 

— ,  Villa 

Crescenzio,  Via 

8.  Crisogono 

— ,  Via  di 

Groce,  Via  del 

8.  Groce,  Via  di 

8.  Groce  de'  Lncchesi.  13. 

—  in  Gemsalemme,  Bas. . 
Crocebianca,  Via  di  .  .  . 
Crociata,  Via  della.  .  .  . 
Crociferi,  Via  de'  .  .  .  . 
Crocifisso,  Cappella  del  . 
Dame  del  Sacro  Cuore,  Gonv. 

delle 

Dante,  Piazza 

Dataria,  Via  della 

Datti,  Pal.  6 

Delflni,  Via 

8.  Dlonisio 

Dogali,  Via 

Dogana.  18 

—  di   Terra  (now   the  Ex- 
change). 18 

88.  Domenico  e  Sisto  .  .  . 
Dominican!,  Gonv.  de'  .  .  . 
Doria  Pamphilj,  Pal.     .   .   . 

8.  Dorotea 

— ,  Via 

Drago,  Pal.  del 

-,12 

Dne  Macelli,  Via  de'  .   .   .   . 

DuiUo,  Via 

S.  Sfremo 

8.  Egidio 

8.  Eligio.  4 

8.  Elisabetta.  9 

—,12 

Emanuele  Filiberto,  Via  .   . 

Emilia,  Via 

English  Church  (All  Saints) 

(Holy  Trinity)  .    .   . 

Ennio  Qnir.  Visconti,  Via 
Esqnilino,  Monte 


11, 
11 


VA 

17 
a* 


i1 


17 


15 
ib 

r 

\^ 

2(1 


19 


a 

29 


IB 
16 
Jl 
it 


IT 
|l4 


10 


39 


LIST  OF  STREETS. 


I 

nm 

inm 

3.  ICnfemin,  Ti» 

^'> 

a.  FruDc^&co  ddk  8tlniata . 

^ 

m 

lU 

Fratt ,    Vicolo  de^    .... 

v! 

Euri^cc,  Sepokro  di.   ,   .    . 

30 

28 

Frftti^i,  Via  delle 

15 

B.  Eafleblo 

FralUoa,  Via     ...... 

iti 

a.  EnnUcliio 

l!i 

Freaf*,  Via  della 

IT 

EeIo.  Via     .    ,   ,       .    .   .   .   . 

11 
4 

8 

17 

Fraata.  Via  dtll* 

17 

FfthbTiea^  Purta    ...**. 

Fnnari,  Vlft  del 

ID 

FfLblo  UASaimfl,   Via    ,    .    .    . 

OabrielU.  Pal, 

Falkflclo,  Ponta 

Oieta,  Via ,    ,   . 

Falcone,  Vicolu  del    .... 

29 

Gaelani,  PaI.     ,,,.,., 

35 

Fakonlerl,  PaL 

n 

fiatitAnc^Sertnatifit&f  pa|.  26. 

n 

Falegnwnl,  VU  de' 

IT 

Galileo,  Via   .,..,..   . 

^.rS^ 

Fanti^  Fjacia  Manfredo.    .    . 

■ 

'2^ 
'25 

14 

O&litlDt  Pal.  13 

IS 

IB 

Farini,   Via 

a.  flalia 

Fftribnue,  VicoJa  del*   h    .    ■ 

B 

03.111,  Ort{> 

\r\ 

F&rnefle^  PaL.   .,,.,,. 

-,  Pal. 

ly 

— ,  Piai5ti& 

U 

21 
11 

S.  GallicaDO,  Via  di  .    .    .    . 

Gallo,  Pal.  del  D 

Gallaztej  le 

Oftlvaiil,  VijL      ....... 

' 

i& 
iH 

Farneiiani,  Orti 

Farnesiaa/Vina 

Fedorico  Cttsi,  Via  ,   .  *   .   . 

U 

17 

Foliqo,  v.,  ftfle  Via  Sifltiaa. 

Oambaro,  Via  del    .   .   .   .   , 

lb 

Fenili,  Via  de^ 

l^j 

(laftbaldt,  VU . 

, 

11 

— ,  Vicolu  de'    H    *    H    ,   *    ,    . 

•Ji 

— ,   Ponte     ......... 

14 

lu 

Fefrajnoli,  Pal.  30  ,    ,    ,    .   . 

10 

Ftirratella,  ViA  d^DA  .... 

3(f 

Gut  (a,  Via  della 

tb 

Ferruccio,  Via 

i\ 

Gelflomino,  Via  dtjl     ,    ,    .   , 
GenoTa,  Vi*  ........ 

1 

2f2 
18 

Flunmd,  Vicolo  dellfe    ,  .  . 

23 
IG 

Flano,  Pal.  8 

Qenovt'fli,  Via  de*    .   .  .  .  . 

Fi^PAfoli^  Vicolo  dfl\  *   .  . 

15 
35 

G(irni!inico,  Via   ...... 

b 

FUippine,  Monajit  dolle    .   . 

Qsw-i,  Via  Bom 

11 

S.  Filippo  Keri.  8   .  .   ,   .  . 
— ,  6  .   .   .  . 

l'1 

O^flii,  il 

o; 

7 

— .  Via  del .    . 

lb 

Fli^nie,  PflJ,  dj 

lil 
16 

U 

Oesii  c  Maria.  4   .    ,    »    .   .    . 

IT 
17 

1? 

— ,  PiM!*! 

,  Via  del 

Flr^jEze,  Via 

Obtttto^  il 

Fimiie,  ViR  dcL 

Ghibertj,  Via  Loten^ii  .   .   . 

u 

FUmlnla,  Porta    ...*., 

ta 

17 

3.  Oiacamo^  Via 

17 

Fluiidfl,  Via 

—  in  AuguFito  (dugU  lodtira- 

FlEirio,  Via 

11 

biin.  a.   . 

17 

Fondfimeata,  Via  dclla  ,    .    , 

4 

^  8.  ScuaaacaTalJi.  7.   .    .   . 

i 

FontAnn..  Via.  della 

Ti 

—  de'  SpagQQt>U.  33  ...   , 

1  , 

ij 

FontaiiL'ila,  Via 

m 

Giaoitolo,  Xonte  .,,,.. 

, 

a 

"  di  BorgheuB,  Via  della    . 

lb 

— ,  PaJSfieggin  Pnblleo  del     . 

B 

FoDtaDone,  Via  do!     .   ,  *  * 

14 

20 

^  ^,  -^ 

9 

7 

Foraggi,  Via  de* 

— ,  Via  dtil 

Fnrnaci,  V.  dclle,  Bee  V.  Ga- 

UiaHtnOj Via  del    .  ,  .   .  . 

lU 

ribaldi. 

-  Eesle,  Via  del 

lit; 

Foro  di  AngiiBto 

20 

fUnnaai,  Vicolo  da'     .   .   .   . 

, 

i^ 

—  dl  Kenra  tie  ct^lonnacee).  7 

^! 

Ginciri,  Via 

i- 

Foro  RoRiano    ....... 

*flt 

Gioaccblnn  Belli,  Via    ,    .    , 

11 

—  IVajano.    . 

13 

f?io&uTti,  Via     ....... 

25 

,  Via  del   ......    . 

m 

Giofgro,  Via  Ma^tro    .   .   .   . 

17 

8.  Franceflcft  Roman  a     ,    ,   . 

1/ 

S.  Gioteio  in  Velabro   .  .   . 

il 

,    , , 

Ittj 

GiOVjLiiiil  Btanca,  Vtn    .    .    . 

, 

. 

a 

— ,  al  Campo  V&cclno    .    .    . 

2a 

9.  Giovanni    .....,., 

14 

S,  FranccflcOi  Via  di  .  ,   ,  * 

15 

— ^  Porta      .        .    , 

j 

33 

is 

—  dl  Paola 

3.  Giovanni,  Via  . 

—  a  Ripa    ......... 

in 

—  ia  Aiar>     ti 

If) 

,  Via  di     . 

f5 

—  Dt'coilato.  f^     , 

tft 

—  dl  SaJflSt  Via  di      .... 

11 

—  d&^  Ftt>fOii|]ni   .   , 

10 

,  Vicolo  di 1 

11 

—  in  Fonte     .   .   . 

, 

30 

LIST  OF  STREETS. 


I  n  ni 


iiini 


8.  Giovanni  de'  Qenovesi.  7 

—  in  Laterano,  Bas 

,  Via  di 

—  Collegio  de'  Maroniti.  9  . 

—  in  Oleo,  Cappella  .   .   .   . 

—  deUa  Pigna 

—  ante  Portam  Latinam  .   . 

—  e  Paolo 

,  Via  di 

—  e  Petronio.  8 

Giraad-Torlonia,  Pal.  4    .   . 
8.  Oirolamo.  1 

—  de'  Schiavoni 

Giubbonari,  Via  de'     .   .   .   . 

Giulia,  Via 

8.  Giuliano 

—,16 

—  de'  Fiaminghi.  7  .   .   .   . 
(Hulio  Cesare,  Via     .   .   .  . 

—  Romano,  Via 

S.  Giuseppe 


—  de"*  Falegnami  (Career  Ma- 

mertinus).  3 

Giuati,  Via 

Ginstiniani,  Pal 

— ,  Vicolo 

Ginstizia,  Pal.  di  (progetto) 

Goito,  Via 

Governo  Veccbio,  Pal.  del  20 

— ,  Via  del 

Graccbi,  Via 

Grazioli,  Pal.  4    .   .   .   . 

Greca,  Via 

Greci,  Via  de' 

Gregori,  Pal 

Gregoriana,  Via    .... 
8.  Gregorio 


— ,  Via  di 

—  Magno 

—  Taumatorgo.  10  .   .   . 

Grillo,  Via  del 

Grimaldi-Potenziani,  Pal.  12 
Grotte,  Vicolo  delle  .   .   . 
Grottino,  Via  del     .... 
Gaardiola,  Viadella  .   .   . 

Guarnieri,  Pal 

Guglielmi,  Pal.  25   ...   . 
Gaglielmo  Pepe,  Piazza    . 

8.  Ignazio 

— ,  Piazza  di 

— ,  Via 

8.  Ildefonso 

Incnrabili,  Vicolo  degli .   . 
Indipendenza,  Piazza  deir 

S.  Isidoro 

— ,  Vie 

Istituto  Archeologico  Germa- 

nico.  8 

Italia,  Gorso  d^ 


19 


J! 


.  h.-i 

.  I-'" 


\h 


24 


271 


17 


16 


8.  Ivo.  12 

-,20 

Labicana,  Via 

Laboratorio  di  Cbimica 
Lamarmora,  Hon.  .  .  . 
La  Marmora,  Via  .... 
Lancellotti,  Pal.  1    .   .   . 

-,16 

Lancisi,  Via 

Lante,  Pal 

— ,  Villa  (Borghese)  .   . 

Larga,  Via 

Laterano,  8.  Giovanni  in 

Latina,  Porta 

-,  Via 

Laurina,  Via 

Lauro,  Vicolo  del  ... 
Lavaggi,  Pal.  15  ...  . 
Lavandare,  Vicolo  delle 
Lavatore,  Via  del     .   .   . 

Lazio,  Via 

Leccosa,  Via 

8.  Leonardo 

Leoncino,  Via  del    .   .   . 

— ,  Vicolo 

Leone  IV.,  Via    .... 

Leonina.  Via 

Leopardi,  Via 

Lepri,  Pal 

Leutari,  Via  de'  .  .  .  . 
Libert^,  Piazza  della  .   . 

Lignria,  Via 

Lombardia,  Via    .... 
Longara,  Via  della  .   .   . 
S.  Lorenzino  in  Piscibus.  10 
Lorenzo  Ghiberti,  Via  . 
S.  Lorenzo,  Monast.    .   . 

— ,  Porta 

— ,  Vigna 

—  in  Fonte 

— :  in  Lncina 

,  Piazza  di  .   .   .   . 

—  in  Miranda 

—  a'  Monti 

—  in  Panisperna,  Via  di 
88.  Lorenzo  in  Damaso 

—  Luca  e  Martina.  4  .  . 
Lucchesi,-  Via  de"*  ... 
Luce,  Via  della   .... 

S.  Lucia.  10 

8.  Lucia 

—  del  Gonfalone.  9    .   . 

—  in  8elci 

—,  Via  di 

—  della  Tinta.  11  .  .  . 
Luciano  Manara,  Via 

Lucina,  Via  in 

Lucrezio  Caro,  Via.   .   . 

Lucullo,  Via 

Ludovisi,  Via 

— ,  Villa 


13 


13 

27 
22 
8 
29 
I 
13 

13 

8 
10 
30 


13 


20 


10 


29 


22 
31 
22 
19 


14 


20 
20 
22 
13 
20 
19 
15 
10 
17 
10 
26 


12 


10 


LIST  OP  STREETS. 


I  nni 


IIIIU 


8.  Luigi  de'  Frances!    .   . 
Lunetta,  Vicolo  della  .   .   . 
Lnngara,  see  Longara. 
Lnngaretta,  Via  della    .   . 
Langarina,  Via  della     .   . 

Lupa,  Via  della 

Lupi,  Villa 

Xaccarani,  Pal.  2    .... 

— ,  Vigna 

Macchiavelli,  Via     .... 
Macelli,  Via  de'  Due     .   . 

Macello,  Via 

Madama,  Piazza 

Maddalena,  Via 

Madonna  di  Lore  to.  3     .   . 

Magenta,  Via 

Maggiore,  Porta 

— ,  Via  de 

Magnanapoli,  Via    .... 

Magnani,  Pal 

— ,  Vigna 

— ,  Villa 

Malatesta,  Pal.  13    ...   . 

Malghera,  Via 

Malva,  Via  della 

Mamertinus,  Career  3.    .   . 

Mamiani,  Via 

Manara,  Via  Lnciano     .   . 

Manfroni,  Pal.  6 

-,10 

Manin,  Via 

Mantellate,  Via  delle     .   . 

Manzoni,  Via 

Marana,  Via  della  .... 
Marcantonio  Golonna,  Via 

S.  Marcello 

Marche,  Via 

S.  Marco 

— ,  Via  di 

— ,  Piazza  di 

Marco  Aurelio,  Via     .   .   . 
Marescotti,  Pal.  1    .  .   .   . 

,9 

Marforio,  Via  di 

Margana,  Piazza 

Margherita,  Ponte   .... 

S.  Margherita.  1 

Margatta,  Via 

— ,  Vicolo 

Marj,  Pal.  (now  Qran-Guar- 

dia).  11 

S.  Maria  Addolorata  .   .   . 

—  Agata.  6 

—  degli  Angeli 

—  deir  Anima 

—  in  Aquiro.  17 

—  in  Aracoeli 

—  in  Gacaberis.  3  .   .   .   . 

—  in  Gampitelli 

-  in  Gampo  Marzo.  2  .   . 

-  in  Oapella 


IS 


16 


6.  Maria  della  Goncezione   . 

—  della  Gonsolazione    .  .   . 

—  in  Gosmedin 

—  di  Gostantinopoli.  14   .   . 

—  in  Domnica , 

—  Egiziaca 

—  de'  Fiori 

,  Via  di , 

—  Maria  delle  Fornaci  .   . 

—  delle  Grazie 

—  di  Grottapinta.  5   .   .   .   . 

—  Imperatrice 

—  Liberatrice 

—  Maddalena , 

—  Maggiore,  Basilica     .   .   - 
,  Piazza  and  Via  di 

—  sopra  Minerva     .   .   .   .   ■ 
,  Piazza  di 

—  de^  Miracoli.  1 

—  di  Monserrato.  3    .   .   .   , 

—  in  Monterone.  12   ...   . 

—  in  Monte  Santo.  2     ... 

—  a'  Monti.  3 

,  Via  di 

—  a'  Monti  della  Neve.  2    . 

—  in  Monticelli 

—  della  Morte 

—  della  Neve.  13    ..... 

—  deir  Orto 

—  della  Pace.  3 

—  del  Pianto.  19 

—  di  PietJt  (Oratorio  diGara 
vita).  14 

—  di  Piet^  con  Gamposanto 
(Gimetero  de'  Tedeschi).  4 

—  del  Popolo 

—  Porta  Paradisi.   1  .   .   . 

—  in  Pnblicolis.  21    .   .   . 

—  della  Puriflcazione    .   . 
,14 

—  della  Puritit.  3    .  .   .   . 

—  di  Querela.  9 

—  Regina  Goeli 

—  Botonda  (Pantheon)  .    . 

—  della  Salute 

—  della  Sanitit 

—  della  Scala 

,  Via  di 

—  de'  Sette  Dolori  .... 

—  del  Sole 

—  della  Stella 

—  del  Snflfragio.  11     .   .  . 

—  della  Torre 

—  Traspontina.  5    .  .   .   . 

—  in  Trastevere 

,  Piazza  di 

—  in  Trivio 

—  dell'  Umilta.  11  ...   . 

—  in  ValUcella 

—  delle  Vergini.  1  .   .   .   . 

—  in  Via 


23 


Itl 


20 


18 
15 


'n 


IS 


13 

an 

1 

ar> 
25 

IQ 
t6 

10 
13 

%^ 

23 

14 

M 

15 
17 
IB 


it 

n 

n 

iO 

u 

10 
10 
3-2 
i 
11 
11 
13 
IB 
1 
10 


22 


15 
15 


19 


lf> 
10 


LIST  OF  STREETS. 


11 


I  II  in 


I II  in 


S.  Maria  in  Via,  Via  di    .   . 
—  in  Via  Lata 

W 

17 

!   1 

—  in  Vinci.  6 

—  deUa  Vittoria 

Karianna  Dionigi,  Via  .   .   . 
Mario  dc'  Fiori,  Via  di .   .   . 
Marmorata,  Via  della    .   .   . 
Marmorella,  Via 

29 
14 

18 

Marrana,  la  (brook)    .... 

Marroniti,  Via  de' i 

S.  Marta 

4 

S.  Martino.  6 

—  a'  Monti 

.  Via  di 

—  de   Svizzeri.  3 

,  Via 

id 

14 
VI 
JH 

m 
la 

15 

lb 

17 

ia 

16 
ifi 

29 
28 

13 
24 

Maschera  d'Oro,  Piazza.   .   . 
Mascherino,  Vicolo  del  .   .   . 
Mascherone,  Via  del  .... 
Massimi,  Pal.  12 

—  alle  Colonne,  Pal.  11    .   . 
MasBimi-Sinibaldi,  Pal.  13    . 
Massimi,  Via  dei      

Mastai,  Piazza 

— ,  Via 

Mastro  Giorgio,  Via   ...   . 

Mattel,  Pal.  27 

— ,  Villa 

17 

97 

Mattonato,  Via  del ..'.;. 
S.  Manro.  13 

Mansoleo  di  Adriano  .... 

—  di  Angnsto 

Mazzamnrelli,  Vicolo .... 

ID 

Mazzarina,  Via 

Mazzini,  Via 

Medici,  Villa 

1H 

Melone,  Vicolo  del 

Mcrcouri,  Via 

Mercede,  Via  di 

Mernlana,  Via 

11 

in 

Meta  Sndante 

Metastasio,  Teatro.  8  c      .   . 
Metronia,  Porta 

VS 

97 

8.  Michele  Arcangelo.    .   .   . 

1 

— ,  Boreo 

-,  via^di :..:.::.: 

15 

SS.  Michele  e  Magno  .... 

Mignanelli,  Pal 

— ,  Piazza 

i 

OS 

21 
82 

Milano,  Via 

Milazzo,  Via 

Milizie.  Viale  delle 

Mille,  Via  dei 

MiUs  (Spada),  Villa    .... 

38 
26 

Mincio,  Via 

Minerra     Medica,     Tempio 
di 

24 

Ministero  di  Agricnltnra,  In- 
dnstria  e  Commercio  .   .   . 

—  degU  Affari  Eaten.   .   .   . 

—  delle  Finanze 

—  di    Grazia    e     Ginstizia. 
8b 

—  di  Gnerra 

—  deir  Interno.  17 

—  deir  Istmzione  Pubblica. 
18 

—  dei  Lavori  Pubblici  .   .   . 

—  della  Marina.  8  a    .... 

Minnzzi,  Pal.  3 

Miracoli,  Vicolo  de'    .... 
MiBsione,  Via  della    .... 

Modena,  Via 

Molara,  Piazza 

Mole,  Vicolo  delle 

Monserrato,  Via  di 

Monianara,  Piazza 

MontebeUo,  Via 

Monte  Brianzo,  Via  di  .   .   . 

—  Gaprino,  Via  di 

—  Cavallo,    see    Piazza   del 
Qairinale 

—  Citorio,  Pal.  di  (Camera 
de'  Deputati).  24  .   .   . 

—  Citorio,  Piazza  di  .   . 

—  della  Farina,  Via  del 

—  di  Pieti 

,  Piazza  di    .   .   .   . 

Monte  Tarpeo,  Via  di  . 
Monterone,  Via  .... 
Monteverde,  Vicolo  di  . 

Montoro,  Pal 

-,  Via 

Monumento  deir  Immacolata 

Concezione.  1  .  .  . 
Moretto,  Via  del .  .  . 
Moro,  Via  del  ...  . 
Moroni,  Vicolo     .   .   . 

— ,  Vi^a 

Morte,  Via  della  .  .  . 
Mortella,  Via  della.  . 
Morticelli,  Via  de'  .  . 
Muratte,  Via  delle  .  . 
Mnronova,  Via  .... 
Mnseo  Capitolino.  12  . 

—  Lateranense.  .  .  . 
Mnti-Papamzzi,  Pal.  9 
Napoleon  III.,  Via  .  . 
Napoli,  Orto  di.   .   .   . 

-,  Via 

— ,  Via  Principe  di    . 

Nari,  Pal.  14 

Kavicella,  Piazza  della 

— ,  Via  della 

Navona,  Piazza  (Circo  Ago- 

nale) 

Kazionale,  Via  .... 


18 
22 


19 


18 
16 


10 
17 


27 


17 
19 


13 
14 
14 
20 
13 


10 
13 


10 


20 
19 


15 
11 


16 


17 
22 
90 


14 
14 
16 

*15 
20 
90 
19 
28 


25 


18 


27 
24 


23 


13 
32 


12 


LIST  OF  STREETS. 


I  n  in 


mm 


Kazsareno,  Via  del,  by  the 

CoUegio  Nazsareno.  .   .   . 

SS.  Nereo  ed  Achilleo   .   .   . 

Keroniano,  Pal 

Niccolini,  Pal.  2 

S.  Nicola 

—  in  Arcione.  11 

—  in  Garcere 

—  degli  Incoronati.  7    .   .   . 

—  de   Lorenesi.  8 

—  de'  Perfetti.  3 

—  da  Tolentino 

,  Vicolo  di 

Kicosia,  Piazza 

Kome  di  Maria.  4 

Komentana,  Porta 

— ,  Via 

S.  Norberto 

Nuova,  Via 

Kossiner,  Vigna 

Oca,  Piazza  deir 

Odescalchi,  Pal 

S.  Offlzio,  Pal.  del 

— ,  Via  del 

Olmata,  Via  deir 

S.  Omobuono.  7 

S.  Onofrio 

— ,  Via     . 

Orazio,  Via 

Orfanotrofio 

Orfeo,  Vicolo  di 

Ornani,  Pal.  22 

Oro,  Monte  d' 

Orologio,  Piazza  deir.   .   .    . 

Orsini,  Pal 

— ,  Via  Virginio 

Orsini-Savelli,  Pal 

Orao,  Via  deir 

S.  Orsola.  1 

-,  8 

88.  Orsola  e  Caterina.  11.   . 
Ortaccio  degli  Ebrei  .... 

Orto  Botanico 

Ospedale  Ecclesiastico.  1  .   . 

—  S.  Gallicano 

—  di  8.  Giovanni  Calabita  . 

—  di  S.  Giovanni  Laterano . 

—  degli  Incnrabili 

—  8.  Micbele 

—  Militare 

—  de'  Pazzi 

Ospizio  de'  Poveri 

Osteria,  Vicolo  deir   .... 

Ostilia,  Via 

Ottaviano  Sforza,   Via  .   .   . 

Ottobpni,  Villa 

Otto  Cantoni,  Vicolo  dei  .   . 

Ovidio,  Via 

Pace,  Piazza  della 

''adella,  Piazza 

'anica.  Piazza 


19 


15 


12 


li> 


27 


15 


15 


Paglia,  Via  della  .  .  . 
Palatipo,  Monte    .   .   . 

Palermo,  Via 

Palestro,  Via 

Palle,  Vicolo  delle  .  . 
Palline,  Vicolo  delle  . 
Palma,  Vicolo  della  . 
Palombara,  Pal.  11 .  . 
Palombella,  Via  della 
PampbDj,  Giardino     . 

— ,  Pal.  18 

—  Villa 

8.  Pancrazio,  Porta  . 
Panico,  Via  di  .  .  .  . 
8.  Pantaleone    .... 


— ,  Via  di 

Pantheon 

Paolina.  Via 

8.  Paolino 

Paolo  Emilio,  Via  .  .  . 
8.  Paolo  Eremita.   .   .   . 

8.  Paolo,  Porta 

— ,  Via  di 

Paradiso,  Via  del  ... 
Parione,  Via  in    .... 

Parma,  Via 

Pasquino,  Piazza  del  .  . 
Passionisti,  Giardino  de' 
Pastini,  Via  de'    .   .   .   . 

Pastrengo,  Via 

Patrizi,  Pal 

— ,  Villa 


Pavone,  Via  del  .... 
Pellegrini,  Piazza  dei    . 

8.  Pellegrino 

Pellegrino,  Via  del .  .  . 
Pelliccia,  Via  della  .  . 
Penitenza,  Vicolo  della 
Penitenzieri,  Coll.  de'  . 
Pepe,  Piazza  Gnglielmo 
Perfetti,  Via  de'  .   .   .   . 

Pergola,  Via 

Perucchi,  Pal 

Pescberia,  Via  della  .   . 

Petrarca,  Via 

Pettinari,  Via  de'     ... 

Pia,  Porta 

— ,  Piazza 

Pianellari,  Via 

Pianto,  Via  del  .... 
Pife  di  Marmo,  Via  del  . 

Piemonte,  Via 

Pier    Luigi     da    Palestrina, 

Via 

Pietra,  Piazza  di  .    .    .   . 

— ,  Via  di 

Pietrelle,  Vicolo  delle  . 
Pietro  Cossa,  Via  .  .  . 
8.  Pietro  in  Vaticano,  Bas.. 


^2 
21 


IS 
13 


iil 

25 
14 


22 


13 


13 


26 


J  a 
24 


m 


Ui 
14 

13 
15 
11 

r 

38 


25 


17 

14 


17 


36 


LIST  OF  STREETS. 


13 


I  II  ni 


mm 


S.Pietro  inVaticano,Piazza  di 


— ,  in  Montorio    .... 

—  in  Vincoli 

,  Piazza  di   .   .   .   . 

-,  Via  di 

88.  Pietro  e  Marcellino 

Pighini,  Pal.  4 

Pigna,  Giardino  della.  1 
Pilotta,  Piazza  della  .   . 

— ,  Via  della 

Pinaco,  Via  del  .... 
Pinciana,  Porta    .... 

— ,  Via  di 

Pincio,  Monte 

Pinellari,  Via 

Pio,  Pal 

Piombino,  Pal.  22  .  .  . 
Piombo,  Via  del  ...   . 

Piscinola,  Via 

Plebiscito,    Piazza  del,   see 

Piazza  Pia 

Plinio,  Via 

Po,  Via 

Polaccbi,  Vicolo  de'  .  .   . 

Poli,  Pal 

— ,  Piazza 

— ,  Via . 

Politeama 

—,  Via  del 

Polveriera,  Via  della .  .  . 
Polverone,  Via  del .... 
Pompeo  Magno,  Via  .  .  . 
Pomponio  Leto,   Via  .   .   . 

Ponieri,  Via  de^ 

Ponte,  Piazza  di 

Ponte  Nomentano,  Via  di 

—  Sisto,  Vicolo  di  .  .  .  . 
Ponteflci,  Via  de'  .... 
Popolo,  Piazza  del  ...   . 

— ,  Porta  del 

Porta,  Pal.  della 

Porta  Gastello,  Via  di  .  . 

—  Latina,  Via  di     .... 

—  Leone,  Via  di 

—  8.  Lorenzo,  Via  di    .   .  . 

—  8.  Pancrazio,  Via  di 

—  S.  Paolo,  Via  di    .   . 

—  Pia,  Via  di 

—  Pinciana,  Corso  di  . 
,  Via  di 

—  8alara,  Via  di .   .   .  . 

—  8.  Sebastiano,  Via  di 
Portico  di  Ottavia.  18  . 
Porto  di  Bipa  Grande    . 

—  di  Bipetta 

Portuense,  Porto  .... 

Poflta 

Postzetto,  Via  del ...   . 

Pozzi,  Via  de' 

S.  Prawede 


14 


13 


17 


26 


21 


14 


Prenestina,  Porta 

Presbyterian  Church  .... 
Principe  Amedeo,  Via  .   .   . 

—  Engenio,  Via 

—  di  Napoli,  Via 

—  Umberto,  Via 

Principessa  Margherita,  Via  . 

S.  Prisca 

Propaganda  Fide.  16 

— ,  Via  di 

Properzio,  Via 

Protestant  Church 

8.  Pudenziana 

Puglie,  Via 

Pnriflcazione,  Via  della    .   . 

Claaranta  8anti 

88.  Quattro,  Via  de'  .  .  .  . 
88.  Quattro  Coronati  .... 
Quattro  Cantoni,  Via .... 

Quattro  Capi.  4 

— ,  Ponte  de' 

Qnerceti,  Via  dei 

Questura 

88.  Quirico  e  Giuditta.  8  . 
Quirinale,Pal.  e  Giardino  del 

— ,  Piazza  del 

—,  Via  del 

Quiriti,  Piazza  dei  ...   . 

Eaifl,  Vigna 

Rasella,  Via 

Batazzi,  Via 

Bavenna,  Pal 

Beggio,  Via 

Begina,  Viale  della  .  .  . 
Begola,  Via  della     .... 

Beinach,  Villa 

Benella,  Via  della  .... 

Benzi,  Piazza  di 

Biarj,  Vicolo  de"* 

Bicasoli,  Via ....... 

Bicovero,  Via  di     .... 

Bipetta,  Via  di 

— ,  Passeggiata  di  .  .  .  . 
Bisorgimento,  Piazza .  .  . 
Bisparmio,  Cassa  di  .    .   . 

Bita,  Beata.  11     

Bobbia,  Via  della   .... 

8.  Bocco     

Bomana,  Piazza 

de  Bomanis,  Pal 

8.  Bomualdo,  Via  .... 
Boncioni,  Orto  ..*... 
Bondinini,  Pal 

—  -,  13     

Bosa.  Via  della 

Bospigliosi,  Pal 

Bossini,  Teatro.  17  .  .  . 
Botonda,  la  (Pantheon)  .   . 

Buaccia,  Piazza 

88.  Bufina  e  8econda.  2  . 
Bnspoli,  Pal 


19 


21 


19 


25 


27 
27 
27 
25 
17 
17 
27 
16 
20 
I 
19 


19 


26 


25 


14 

15 
15 
11 
28 
18 


16 

20 


17 


15 


19 
21 


16 


14 


LIST  OF  STREETS. 


mm 


iiini 


Bosticncci,  Piazza  .   .   . 

S.  Baba 

— ,  Via  di 

S.  Sabina 

Saccbetti,  Pal 

-,  Via 

Sacripante,  Pal.  5  .  .  . 
Sagrestia,  Piazza  della  . 

— ,  Via  della 

Salara,  Porta 

,  Via  della  .    .   .   . 

Salara  Veccbia,  Via  .  . 
Salltistiana,  Via  .  .  .  . 
Salami,  Viade'  .  .  .  . 
S.  Salvatore 


—  in  Campo.  6    . 

—  della  Corte.  6  . 

—  in  Laoro   .   .   . 

—  al  Torrione.  6 
SalTiati,  Pal.     .   . 


Sampieri,Pal.(Cicciaporci).  3 

Santacroce,  Pal.  4 

Santinelli,  Vigna 

Saponari,  Vicolo  de""  .   .   .   . 

Sardegna,  Via 

Sassi,  Vigna 

Satamo,  Tempio  di    .   .   .   . 

Savelli,  Via 

Savorelli,  Villa 

Scaccia,  Via 

Scala  Santa 

Scalcaccia,  Vicolo  della    .   . 

Scbiavoni,  Via  de' 

Sciarra-Colonna,  Pal.     .   .   . 

Sciarra.  Villa 

Scilla,  Via 

Scimia,  Vicolo  della  .... 
Scipioni,  Via  degli  .... 
Scossa-Gavalli,  Piazza   .   .   . 

Scrofa,  Via  della 

Scuole  degli  Ebrei.  2  .  .  . 
S.  Sebastianello,  Via ...  . 
S.   Sebastiano  de**  Mercanti. 

24 

S.  Sebastiano.  Porta  .... 

Sediari,  Via  del 

Semenzaio  comunale  .... 

Seminario.  7 

—,  Via  del 

Senato  del  Regno 

Senatore,  Pal.  del  2  .  .  .  . 
Sepolcro  di  Bibulo.  2    .   .  . 

—  de^  Scipioni     

Serlnpi,  Pal 

,17     

Serpenti,  Via  de' 

Serristori,  Pal.  8 


10 


24 


17 


13 


18 


16 


12 


26 


25 


Servio  ToHio,  Aggere  di  . 

Sette  Sale 

,  Via  delle 

Settimiana,  Porta    .... 

Sforza,  Piazza 

— ,  Via 

Sforza-Cesarini,  Pal.  .   .   . 

—  Pallavicini,  Via.   .   .   . 

Sicilia,  Via 

8.  Silvestro 

—  in  Capite 

,  Piazza  di 

S.  Silvia     

S.  Simone 

S.  Simone  e  Ginditta.  5    . 

Sistina,  Via 

8.  Siflto 

Siflto,  Ponte 

Soldato,  Via  del 

Solferino,  Via 

Sora,  Pal 

— ,  Piazza  di 

Spada,  Pal 

—  -,19 

— ,  Villa 

Spagna,  Pal.  di 

Spagna,  Piazza  di    .   .   .   . 


Specchj,  Piazza  de'  .  .  .  . 
S.Spirito,  Oratorio  di.  16  . 
— ,  Porta 

—  in  Sassia.  12 

Spirito    Santo    de'    Napoli- 

tani.  5 

Stamperia  e  Galcografla  Ga- 

merale.  7 

Stamperia,  Via  della  .   .   .   . 

S.  Stanislao 

Statuto,  Via  dello 

Stazione  della  Ferrovla  .  . 
8.  Stefano 

—  del  Gacco 

—  in  Piscinnla.  21      .   .   .   . 

—  Botondo 

,  Via  di 

Stelletta,  Via  della 

Strozzi,  Pal 

-,16 

Struzzo,  Vicolo  dello  .   .   .   . 

Sublicio,  Ponte 

S.  Sudario,  Gappella  del.  8. 

—,  Via  del .   .   . 

S.  Susanna 

— ,  Vicolo 

Tacito,  Via 

Tanaro,  Via 

Tartaruga,  Piazza 

Tasso,  Via 

Teatro  Argentina 

—  Gapranica 

—  di  liarcello.  5 


28 


20 

U 
JO 

JO 


20 


m 


24 


18 
13 
14 

U 


10 


17 

18 

m 

10 


27 
! 
16 
17 
10 
18 
13 
13 


16 


17 

ay 
'la 

'l7 


LIST  OF  STREETS. 


15 


I 

n  HI 

inm 

Teatro  Metaatasio.  8  c..   .   . 

13 

13 
13 
13 
13 

21 
21 

14 
16 

23 

13 
17 

21 
19 

Trielinio  Leoniano 

^^ 

—  della  Pace 

8.  Trifone.  2 

S.  Trinitii 

la 

16 
17 
2l» 

10 
11 

,  Via  del 

—  di  Pompeo 

—    11 

—  della  Valle.  15 

—  de'  Monti 

—  de'  Pellegrini 

8.  Tecla.  15 

7 
16 
10 
16 

Telegrafo,  Ufficio  centrale  . 
Telline,  Vicolo  delle  .... 

Teodoli,  Pal.  9 

8.  Teodoro 

Tritone,  Via  del 

Trofei  di  Mario ,  see  Acqua 
Giulia. 

Tronto,  Via 

8.  Uffizio,  Pal.  del 

TTjnb^rto,  Pontft     •    t    .    .    . 

19 

d 

— ,  Via  di 

Terenrio,  Via 

8 

S.  Teresa.  7 

Umilti,  Via  deir 

XJniti,  Piazza  deir 

19 

4 

Terme  di  Agrippa 

di  Garacalla 

University  deUaSapienza.  25 

Urbana,  Via 

8.  Urbano 

—  di  Gostantino 

19 

35 

26 

19 

—  di  Diocleziano 

25 

—  di  8.  Elena 

Vaccarella,  Vicolo 

Valadier,  Via 

Valentini,  Pal 

13 
11 

—  di  Tito 

Terme,  Piazza  delle  (di  Ter- 
mini)     

25 

—   Villa 

13 

Termini,  Fontana,  see  Acqua 

Felice. 
— ,    Piazza   di,    see   Piazza 

Valle,  Piazza  e  Via  di  .  .   . 

Vantaggio,  Via  del 

Vanvitelli,  Via 

14 

17 

delle  Terme. 
Testa  snaccata.  Via    .... 

Varese,  Via 

Varrone,  Via 

Vascellari,  Vicolo  de'    .   .   . 
Vaschette,  Piazza  delle    .   . 

Vaticano,  Monte 

_,  Pal 

38 

8 

13 

21 
17 
13 

!d 
Ifi 
22 

15 

13 

13 
22 

14 

21 
22 
22 

16 
26 
28 

Testaccio,  Honte 

—    Via  di 

T*rere,  Via 

Tibnllo,  Via 

27 
8 
28 
24 
17 

17 
13 
13 

Tiburtina,  Porta 

Ticino,  Via 

Vecchiarelli,  Vicolo  .... 
Velabro,  Via  in 

Tomacelli,  Via 

8.  Venanzio 

8.  Tommaso.  1 

Venere  e  Roma,  Tempio  di 

Veneto,  Via 

Venezia,  Pal.  di 

—  Gantuari.  2 

—  in  Formis 

— ,  Piazza  di 

Tor  Argentina,  Via  di  .   .   . 
—  Gantarelli     

16 
25 
20 
23 
13 

17 

25 

19 

16 
19 

19 

17 
16 

— ,  Via 

Venti  8ettembre,  Via    .  .   . 
Vergine,     Beata     del     Car- 
mine. 5 

36 

de'  Gonti  .   .          ... 

,  Via  di 

—  Mellina 

Vergini,  Via  delle 

Verospi,  Pal.  10 

Vespasiano,  Via 

Vetrina,  Via  della 

19 
16 
5 

—  8anguinea.  4 

—  de'  Specchj,  Via  di  .  .   . 
Tordinona,  Via  di 

13 

10 
26 
17 

16 
23 

Torino,  Via 

Torlonia,  Pal.  10 

Vicenza,  Via     ...*... 
Vidoni,  Pal 

28 

—  -Bolognetti,  Pal.  1     .   .   . 
— ,  Villa 

Viminale,  Via  del 

88.  Vincenzo  ed  Anastasio 
,3 

25 

19 
12 
14 

Torre  Argentina,  Via  di  .   . 
Torre  delle  Milizie.  6    .  .   . 

Torretta,  Piazza 

Toscana,  Via 

Trajana,  Golonna 

Virginio  Orsini,  Via  ...   . 

Visconti,  Via 

Visitozione,  Monastero  della 
8.  Vitale 

Travicella,  Via  della  .... 

13 

— ,  Via  di 

22 
16 

Tre  Archi,  Via  de' 

Tre  Gannelli.  3 

Vite,  Via  della 

Vitellescbi.  Pal.  1 

Tre  Ladroni    Vicolo  .... 

S.  Vito 

Tre  Pupazzi,  Via  dei.   .   .   . 

Trevi,  Fontana  di 

Tribunali,  Piazza   dei  .   .  . 

7 
19 
13 

88.  Vito  e  Modesto    .... 

Vittoria,  Via 

—  Oolonna,  Via 

17 
14 

16 


LIST  OF  STREETS. 
I  nm 


mm 


Yittorio  Emannele,  Oorso 

— ,  Monomeiito 

— ,  Piusa 

Volpe,  Via  del 

Voltumo,  Via 

Wolkonsky,  ViUa    .... 


10 


Zabaglia,  Via 

Zecca  Papale 

Zingari,  Piazsa 

Zoccolette,  Monast.  delle.    2 
Zuccheri,  Palazzo  .... 
Zacchetie,  Via  delle  .   .  . 


14 


22 
14 


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