Full text of "Italy : handbook for travellers"

See other formats

BELGIUM AND HOLLAND, with 8 Maps and 17 VX^^.A^

Sixth Edition. 1881. . 5/^rks. /^

THE RHINE from ROTTERDAM to CONSTANCE (the

Seven Mountains, Moselle, Volcanic Eipel, Vosges Mts., Black
Forest, etc.), with 22 Maps and 19 Plans. Seventh Edition. 1880. 6 marks.

NORTHERN GERMANY, with 25 Maps and 33 Plans. Seventh

Edition. 1881. 6 marks.

SOUTHERN GERMANY and AUSTRIA, including Hun-
gary AND Transylvania, with 13 Maps and 24 Plans.

Fourth Edition. 1880. G marks.

THE EASTERN ALPS, including the Bavarian High-
lands, THE Tyrol, SaLZKAMMERGUT, etc. with 21 Maps,
10 Plans, and 7 Panoramas. Fourth Edition. 1879. 6 marks.

NORTHERN ITALY, including LEGHORN, FLORENCE,
Ravenna, an^ the Island of Corsica, and routes to Italt

THROUGH Fkance, SWITZERLAND, AND AusTKiA , with 8 Maps and
32 Plans. Filth Edition. 1879. 6 marks.

CENTRAL ITALY and ROME, with 7 Maps, 27 Plans, and

a Pandi-aina of Rome. Seventh Edition. 1881. 6 marks.

SOUTHERN ITALY, SICILY, and Excursions to the
LiPARi Islands, Tunis (Carthagej, Sardinia, Malta, and

Corfu, with 24 Maps and 14 Plans. Seventh Edition. 1880. 7 marks.

LONDON and its ENVIRONS, including Brighton, the

Isle of Wight , etc. with 4 Maps and 14 Plans. Third
Edition. 1881. 6 marks.

NORWAY AND SWEDEN, with 15 Maps and 3 Plans. 1879.

9 marks.

PARIS AND ITS ENVIRONS, with Routes from London

TO Paris, and from Paris to the Rhine and Switzerland. With

10 Maps and 30 Plans. Seventh Edition. 1881. 6 marks. ,

SWITZERLAND, and the adjacent Parts of Italy, /

Savoy, and the Tyrol, with 24 Maps, lO Plans, and 9 Panoramas. t

Eighth Edition. 1879. 7 marks. /

THE EAST. LOWER EGYPT, with the Fa yum and the j
Peninsula of Sinai, with le Maps, 29 pians, 7 views, and 76

Vignettes. 1878. 15 marks.

PALESTINE AND SYRIA, with 18 Maps, 43 Plans,

1 PaiKirama of Jerusalem, and 10 Views. 1876. 20 marks.

THE TRAVET,LER'S MANUAL OF CONVERSATION, in

English, German, French, and Italian. 3 marks.

June 1881.

NORTHERN ITALY.

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

Approximate Equivalents.

Ital

...
lan.

Ame

lean.

English

German.

Austrian.

Lire.

Cent.

Doll.

Cts.

-S.

Mk.

P/S.

Fl.

Kr.

2'i.

—

7'N

—

93|4

—

2>)2

—

7^2

2«|2

—

9^4

—

71 12

21|2

9^4

—

7' 2

—

21|2

—

100

—

Distances. Since the consolidation of the Kingdom of Italy the
French metre system has been in use throughout the country, but the old
Italian miglio (pi. le miglia) is still sometimes preferred to the new kilo-
mitre. One kilometre is equal to 0.62138, or nearly Vstlis, of an English
mile. 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.

■^^f»*v rcocrvea.

C^l

ITALY.

HANDBOOK FOR TRAVELLERS

K. BAEDEKER.

FIRST PART:

NOETHERN ITALY,

INCLUDING

LEGHOEN, PLOKENOE, EAVENNA, THE ISLAND
OF OOESIOA,

AND

ROUTES THROUGH FRANCE, SWITZERLAND, AND AUSTRIA.

With 8 Maps and 32 Plans.
FIFTH REMODELLED EDITION.

LEIPSIC: KARL BAEDEKER.

1879.

iw* ^M" A" o^,_^ , ^^^;Srr«» 5fe,^^ir sl^^>»ss» >> «««^„ iv""*^'^^" 4' ■* '^"' »w 1 w ><(. ?f'*^^^r"'

^^W

"'"'=^^i

j£p:;

°^ ' H>

^^L'i'^

^k;^^

inifEJro

t^'-A,

*!_"■/.

1 >n("ppTr\

ITALY.

HANDBOOK FOR TRAVELLERS

K. BAEDEKER.

FIRST PART:

NORTHERN ITALY,

INCLUDING

LEGHORN, PLOEENOE, RAVENNA, THE ISLAND
OP CORSICA,

AND

ROUTES THROUGH FRANCE, SWITZERLAND, AND AUSTRIA.

With 8 Maps and 32 Plans.
FIFTH REMODELLED EDITION.

LEIPSIC: KARL BAEDEKER.

1879.

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

Chauckk.

PKEFACE.

Lhe objects of the Handbook for Italy, which consists of
three volumes, each complete in itself, are to supply the trav-
eller with some information regarding the culture and art of
the people he is about to visit, as well as regarding the nat-
ural features of the country, to render him as independent as
possible of the services of guides and valets-de-place, to pro-
tect him against extortion, and in every way to aid him in
deriving enjoyment and instruction from his tour In one of
the most fascinating countries 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 founded 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 kindly favour
him, if the result of their own observation. The information
already received from numerous correspondents , which he
gratefully acknowledges, has in many cases proved most
serviceable.

The present volume, corresponding to the ninth German
edition, has, like its predecessor, been thoroughly revised and
considerably augmented. Its contents have been divided into
groups of routes arranged historically and geographically
(Piedmont , Liguria , Lomhardy , Venetia , The Emilia , and
Tuscany), each section being provided with a prefatory outline
of the history of the district. To Professor A. Springer the
Editor is indebted for the introductory article on Art, which
has special reference to Northern Italy and Florence, and for

vi PREFACE.

most of the art-historical notices prefixed to the description
of the larger towns and the principal picture-galleries. The
admirable works of Messrs. Croice cmd Cavalcaselle have also
been laid extensively under contribution.

The Maps and Plans , upon which special care has been
bestowed, will abundantly suffice for the use of the ordinary
traveller.

Heights are given in English feet (1 Engl. ft. = 0,3048
metre) , and Distances in English miles (comp. p. ii) . The
Populations are given from the most recent official sources,
and in some cases may appear over-rated, from the fact of
the returns applying to the political districts.

Hotels (comp. p. xviii). Besides the modern palatial and
expensive establishments, the Handbook also contains a se-
lection of modest, old-fashioned inns, which not uufrequently
afford good accommodation at moderate charges. The asterisks
indicate those hotels which the Editor has reason to believe
from his own experience, as well as from information supplied
by numerous travellers, to be respectable, clean, and reason-
able. 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
establishments are good of their kind. At the same time the
Editor does not doubt that comfortable quarters may occasion-
ally be obtained at inns which he has not recommended or
even mentioned. The average charges are stated in accor-
dance with the Editor's own experience , or from the bills
furnished to him by travellers. Although changes frequently
take place , and prices generally have an upward tendency,
the approximate statement of these items which is thus
supplied will at least enable the traveller to form an estimate
of his probable expenditure.

To hotel proprietors , tradesmen , and others the Editor
begs to intimate that a character for fair dealing and courtesy
towards travellers forms the sole passport to his commend-
ation, and that advertisements of every kind are strictly ex-
cluded.

CONTENTS.

Introduction. p^^^

I. Travelling Expenses. Money xi

II. Period and Plan of Tour xii

III. Language xiv

IV. Passports. Custom-house. Luggage .... xiv
V. Beggars xv

VI. Prices and Gratuities xv

VII. Railways xvi

VIII. Hotels xviii

IX. Restaurants, Cafes, Osterie xix

X. Sights, Theatres, etc xx

XI. Post Office. Telegraph xxi

XII. Climate. Health xxii

XIII. Dates of Recent Events xxiii

XIV. History of Art, by Prof. A. Springer xxv

(At the end of the book is an Index to the names of the artists men-
tioned in this sketch and throughout the volume.)

Route I- Routes to Italy. P^ge

1 . From Paris to Nice by Lyons and Marseilles .... 1

1. From Strassburg (Bale) to Lyons 4

2. From Geneva to Lyons 5

3. Vaucluse 11

4. From Tarascon to St. Remy 11

5. From Tarascon to Nimes and Montpellier 11

6. Hyeres 19

2. From Paris (Geneva) to Turin by Mont Cenis .... 21

1. From Geneva to Culoz 22

2. From Bussoleno to Susa 24

3. From Martigny to Arona on the Lago Maggiore (and
Milan) over the Simplon 24

4. From Lucerne to Bellinzona and Lugano over the St.
Gotthard 27

5. From Coire to Colico over the Spliigen 33

1. From Coire to Biasca by the Lukmanier 37

2. From Coire to Bellinzona by the Bernardino Pass . . 37

6. From Innsbruck to Verona by the Brenner , . . . 38

1. From Trent to Riva on the Lago di Garda .... 43

2. From Trent to Bassano by the Val Sugana .... 43

7. From Vienna to Trieste. Semmering Railway ... 45

-^iii CONTENTS.

Route Page

II. Piedmont 53

8. Turin 54

1. The Superga 66

2. From Turin to Torre Pellice by Pignerol .... 66

9. From Turin to Aosta 66

10. From Turin to Milan by Novara 69

1. From Santhia to Biella 69

2. From Vercelli to Alessandria 70

3. From Novara to Gozzano 71

Jl. From Turin to Piacenza by Alessandria 72

From Tortona to Novi 72

12. From Turin to Genoa 72

a. Via Alessandria 72

1. From Asti to Mortara (Milan) 73

2. From Alessandria to Savona 73

b. Via Rra and Savona .......... 74

1. Carignano 75

2. From Cavallermaggiore to Alessandria ... . . 75

3. From Carru to Mondov\ 75

III. Liguria 77

13. Genoa ; 78

14. From Genoa to Nice. Riviera di Ponente 92

15. Nice and its Environs '. 101

16. From Nice to Turin by the Col di Tenda . . . . . 107

1. Certosa di Val Pesio. Baths of Valdieri .... 108

2. From Savigliano to Saluzzo 109

17. From Genoa to Pisa. Riviera di Levante 109

From Avenza to Carrara 113

IV. Lombardy 115

18. Milan 116

19. From Milan to Lecco or Como. The Brianza .... 134

20. Lake of Como 138

The Lake of Lecco. . 145

21. From the Lake of Como to the Lago Maggiore. Varese.
Lugano' and the Lake of Lugano 145

1. From Como to Laveiio by Varese ...... 146

2. From Como to Luino by Lugano 147

3. From Mei\aggio by Porlezza to Lugano 151

22. Lagd Maggiore. From Arona to Milan and to Genoa . . 152

1. From Arona to Milan 158

2. From Arona to Genoa 158

3. From Milan by Vigevano to Mortara (Genoa) . . . 158

23. From Stresa to Varallo. Monte Mptterone. Lake of Orta 159

24. From Milan to Voghera (Genoa) by Pavia. Certosa di
Pavia 162

1. From Pavia to Alessandria via Valenza 165

2. From Pavia to Brescia via Cremona 166

3. Fnim Pavia to Piacenza via. Codogno 166

25. From Milan to Mantua via Cremona 166

From Cremona to Piacenza 168

CONTENTS. ix

Route Page

26. From Milan to Bergamo 169

From Lecco to Brescia via Bergamo . 171

27. From Milan to Verona 171

28. Brescia 172

29. From Brescia to Tirano in the Valtellina. Lago d'Iseo.
Monte Aprica 177

30. The Lago di Garda 180

From Riva to Mori 181

Excursions from Riva 182

V. Venetia 184

31. Verona 186

32. From Verona to Mantua and Modena 194

33. From Verona to Venice. Vicenza 199

The Baths of Recoaro. From Vicenza to Schio . . . 202

34. Padua . . .... . . . 203

35. From Vicenza to Treviso. From Padua to Bassano . . 210

Excursion to the Villa Giacomelli 210

36. Venice 212

Murano. Torcello. Chioggia 259

37. From Venice to Trieste 260

a. By Land, via Udine 260

1. Belluno 261

2. From Udine to Chiusaforte 262

3. Aquileia 262

b. Sea Voyage to Trieste 263

VI. The Emilia 264

38. From Milan to Bologna. Piacenza. Reggio .... 266

Yelleia. Correggio. Canossa 268, 270

39. Parma 270

40. Modena 276

Vignola. Road from Modena to Pistoja 279

41. From Padua to Bologna 279

Arqua. Adria. Cento 280, 281

42. Ferrara 282

43. Bologna 286

44. From Bologna to Ravenna 302

45. From Bologna to Florence 312

Boscolungo. The Old Road 313

VII. Tuscany 314

46. From (Genoa) Leghorn to Florence by Pisa and Empoli 316

47. Pisa 320

48. From Pisa to Florence by Lucca and Pistoja .... 330

The Baths of Lucca 335

49. Florence 341

50. Environs of Florence 415

a. Viale dei Colli. Piazzale Michelangelo 416

b. S. Miniato 417

c. Poggio Imperiale. Torre del Gallo. Villa of Galileo . 417

X CONTENTS.

Route Page

d. Certosa in the Val d'Ema 418

e. Bello Sguardo 419

f. Monte Oliveto 419

g. The Cascine. Villa Careggi. Villa Petraia .... 419

h. Fiesole 420

i. Monastery of S. Salvi 422

k. Vallombrosa 423

1. Camaldoli and Alvernia 424

VIII. Corsica 427

Ajaccio 429

From Ajaccio to S. Bonifacio, and to Bastia by the E. Coast 431

From Ajaccio to Bastia 431

Corte and the Monte Rotondo 433

Bastia 434

From Bastia to Capo Corso, S. Fiorenzo, and Calvi . . 434

Index 436

List of Artists 457

Maps and Flans.

1. General Map of N. Italy : before the title-page.

2. Environs of Nice: R. 15; between pp. 104, l(fe.

3. Lakes of Como and of Lugano : RR. 19, 20, 21 ; between pp. 138, 139.

4. Lago Maggioee and Lago d'Orta : RR. 21, 22, 23 ; between pp. 152, 153.

5. Lago di Garda: R. 30; between pp. ISO, 181.

6. Environs of Florence: R. 50; between pp. 416, 417.

7. Island of Corsica : between pp. 426, 427.

8. Railway Map of N. Italy : after the Index.

Plans of: —
1. Avignon. 2. Bergamo. 3. Bologna, with Environs. 4. Brescia. 5,
Cremona. G. Ferrara. 7. Florence. S. Genoa, with Environs. 9. Leg-
horn. 10. Ldcca. 11. Lyons. 12. Mantua. 13. Marseilles. 14. Milan.
15. Modena. 16. Nice. 17. Nimes. 18. Novara. 19. Padua. 20. Parma
21. Pavia, with Environs. 22. Piacenza. 23. Pisa. 24. Pistoja. 25.
Ravenna, with Environs. 26. Reggio, with Environs. 27. Trent.
28. Trieste, with Environs. 29. Turin, with Environs. 30. Venice
with Environs. 31. Verona. 32. Vicenza.

Abbrevations.

M. = Engl. mile.

hr. = hour.

inin. = minute.

N. = north , northwards ,

S. = south, etc.

E. = east, etc.

W. = west, etc.
R. = room.
B. = breakfast.
D. = dinner.
A. = attendance.
L. = light.

Distances. The number prefixed to the name of a place on a railway
or hiiih road Indicates its distance in English miles from the starting-
point of the route or sub-route.

Asterisks. Objects of special interest, and hotels which are believed
worthy of special commendation, are denoted by asterisks.

INTKODUCTION.

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

Byron.

I. Travelling Expenses. Money.

Expenses. The cost of a tour in Italy depends of course on the
traveller's resources and habits, but, as a rule, it need not exceed
that incurred in other much frequented parts of the continent. The
average expenditure of a single traveller, when in Italy, may be
estimated at 25-30 francs per day, or at 12-15 francs when a pro-
longed stay is made at one place ; but persons acquainted with the
language and habits of the country may easily restrict their ex-
penses to still narrower limits. Those who travel as members of a
party effect a considerable saving by sharing the expense of guides,
carriages, and other items. When ladies are of the party, the ex-
penses are generally greater.

Money. The French monetary system is now in use throughout
the whole of Italy. The franc (iira or /"ranco) contains iOO centesimi ;
1 fr. 25c. = 1 s. = 1 German mark = 50 Austrian kreuzers. The
precious metals are rarely seen in Italy. In copper (bronzo or rame)
there are coins of 1, 2, 5, and 10 centesimi. Apiece of 5c. is
called a soldo, or sow, and as the lower classes often keep their ac-
counts in soldi, the traveller will find it useful to accustom himself
to this mode of reckoning. See also the Money Table opposite the
title-page.

Banknotes. Since the introduction of a paper currency during
the war of 1866, at a compulsory rate of exchange, gold and silver
have entirely disappeared from ordinary circulation, and bulky bun-

xii TRAVELLING EXPENSES. MONEY.

dies of small notes have taken their place. For these the purses used
in most other countries are quite unsuitahle , but one adapted for
the purpose may be bought in Italy for li/2-2fr. ; in addition to
which a strong pouch for copper -will be found useful. The end-
less variety of banknotes with which the country was formerly
inundated has been replaced by the Biglietti Consorziali (I/2, 1, 2,
5, 10, and 20 lire), issued in common by six banks (the BancaNa-
zionale , the Banca Nazionale Toscana , the Banca Toscana In-
dustriale e Commerciale, the Banca Romana, the Banca di Napoli,
and the Banca di Sicilial, to which the right of issuing paper money
has been restricted. The traveller should be on his guard against
the forged imitations of these notes which are occasionally met with.

Exchange. English circular notes, as well as gold and silver,
are worth considerably more than Italian banknotes of nominally the
same value. Of late years th'j gain on the exchange has averaged
about 10 per cent (a napoleon, for example, realising about 22 fr.,
and a sovereign 271/2 fr.). If the traveller makes a payment in gold
he is entitled to decline receiving banknotes in exchange, unless the
difference in value be taken into account , but the full rate of ex-
change is rarely given except by respectable money-changers (^'cam-
biavaluta'y As a rule, those money-changers are the most satis-
factory who publicly exhibit a list of the current rates of exchange.
The traveller should always be provided with 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, i-1 V2 fr. in copper should also be carried in a separate
pocket or pouch.

Best Monet fob, the Tour. Circular Notes, obtainable at the
principal English banks, form the proper medium for the transport
of large sums, and realise the most favourable exchange. English
and German banknotes also realise more than their nominal value.
A moderate supply of French Gold will also be found desirable.
Sovereigns are received at the full value (about 26-28 fr.) by the
principal hotel-keepers, but not in out-of-the-way places.

Money Orders payable in Italy, for sums not exceeding lOf., are
now granted by the English Post Office at the following rates : up
to 21., 9d. ; 5L, Is. Qd. ; IL, 2s. 3d. ; iOl., 3s. These are paid in
gold. The identity of the receiver must sometimes be guaranteed
by two well-known residents, but an exhibition of the passport
often suffices. The charge for money orders granted in Italy and
payable in England is 40 c. per ii. sterling.

PERIOD AND PLAN OF TOUR. xiii

II. Period and Plan of Tour.
Season. As a general rule the spring and autumn months are
the best season for a tour in N. Italy , especially May and Sep-
tember, before or after the heat of summer has attained its climax.
Winter in Lombardy and Piedmont is generally a much colder
season than it is in England, but Nice and the whole of the
Riviera, Pisa, and Venice afford pleasant and sheltered quarters.
The height of summer can hardly be recommended for travelling.
The scenery, indeed, is then in perfection, and the long days are
hailed with satisfaction by the enterprising traveller; but the
fierce rays of an Italian sun seldom fail to impair 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 moderates about the end of
August, when the first ohowers of autumn begin to refresh the
parched atmosphere.

Plan. The traveller's movements must of course be regulated
in accordance with the objects he has in view, and with the time
and money at his command. The chief centres of attraction in
N. Italy are Milan, Venice, Genoa, and Florence. The follow-
ing short itinerary, beginning at Turin and ending at Nice, though
very far from exhaustive of the beauties of N. Italy, includes most
of the places usually visited, with the time required for a glimpse
at each.

Days
From Turin (R. 8) to the Lago Maggiore, Lago di Lugano,

and Lago di Como (RR. 19-22) 3

To Milan (R. 18) and excursion to Pavia (the Certosa,

R. 24) 2

From Milan via Bergamo and Brescia to Verona (R. 31) . 1
Excursion from Desenzano or Verona to the Lago di Qarda

(R. 30) 1

From Verona to Padua (RR. 33, 34) 1

From Padua to Venice (R. 36) 4

From Venice via Ferrara to Bologna (R. 43) .... 2
Excursions from Bologna to Ravenna (R. 44), 1 day, and
to Modena (R. 40) and Parma (R. 39), IV2 day . . 21/2

From Bologna to Florence (R. 45) 7

From Florence to Pisa (RR. 48, 47) 1

From Pisa to Genoa (R. 13), and excursion to Pegli (Villa

Pallavicini, p. 92) 2

From Genoa to Nice (R. 14) 1

The traveller who enters Italy from Switzerland or Austria , or
intends to return through either of these countries , will have no
difficulty in framing his itinerary with the aid of the map. The
Simplon, the St. Ootthard, the Bernardino, the Sfliigen, and the

xiv LANGUAGE.

Brenner are all interesting routes , of which the Simplon and the
Spliigen are generally considered the finest in point of scenery,
while the Brenner, being traversed by a railway, is the most con-
venient.

The luxurious character of the Italian climate, vegetation, and
scenery, the soft richness of the language , and the courtlier man-
ners of the upper classes will strike the traveller most forcibly if
he approaches Italy for the first time from German Switzerland
or the Tyrol, the characteristics of which are of a harsher and
rougher type. In this case he is recommended to quit the country
via Nice (1 day), Cannes (V2*lay), Marseilles (i day), Aries (1/2 day),
Nimes (1 day), Avignon (1 day), and Lyons (R. 1), all of which
are worthy of a visit, even after Italy.

ni. 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. Is is quite possible for persons entirely ignorant of Italian
and French to travel through Italy with tolerable comfort ; but such
travellers cannot conveniently deviate from the ordinary track, and
are moreover invariably made to pay ^alla Inglese' by hotel-keepers
and others, i. e. considerably more than the ordinary charges. French
is very useful, as the Italians are very partial to that language, and
it may suffice for Rome and some of the main routes ; but for those
who desire the utmost possible freedom, and who dislike being im-
posed upon, a slight acquaintance with the language of the country
is indispensable. 7

lY. Passports. Custom-House. Luggage.
Passports, though not required in Italy, are occasionally useful.
Registered letters, for example, will not be delivered to strangers,
unless they exhibit a passport to prove their identity. In the remote
neighbourhoods , too , where the public safety demands a more
rigorous supervision, the traveller is sometimes asked for his cre-

t ^Saedeker^s Manual of Conversation in English, French, German, and
Italian, -with Vocdbnlary, etc.'' (Stereotype Edition), which is specially
adapted for the use of travellers, with the addition of a pocket-diction-
ary, will soon enable the beginner to make himself understood. —
A few words on the pronunciation may be acceptable to persons unac-
quainted with the language. C before e and i is pronounced like the
English ch; y before e and i like j. Before other vowels c and g are
hard. Ch and gh, which generally precede e or i, are hard. Sc before e
or i is pronounced like sh; gn and gl between vowels like nyi and lyi.
The vowels a, e, i, 0, u are pronounced ah, a. ee, o, 00. — In ad-
dressing persons of the educated classes 'Ella' or 'Lei\ with the 3rd pers.
sing., should always be employed (addressing several at once, 'loro' with
the ord pers. pi). 'Voi' is used in addressing waiters, drivers, etc., 'tu'
by those only who are proficient in the language. 'Voi' is the usual mode
of address among the Neapolitans, but is generally regarded as inelegant
or uncourteous.

PRICES. XV

dentials, but this remark is scarely necessary in regard to the dis-
tricts embraced in this volume of the Handbook. The Italian po-
lice authorities are generally civil and obliging.

Custom-House. The examination of luggage at the Italian
custom-houses is generally lenient. Tobacco and cigars are the ar-
ticles chiefly sought for. At the gates of most of the Italian towns
a tax (dazio consumo) is levied on comestibles, but travellers'
luggage is passed at the barriers (limite daziario) on a simple
declaration that it c iitains no such articles.

Luggage. If x^ossible , 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 super-
intend the custom-house examination in person.

V. Beggars.
Begging, which was countenanced and encouraged under the
old system of Italian politics, still continues to be one of those na-
tional nuisances to which the traveller must habituate himself. The
present government has adopted energetic measures for its suppres-
sion, 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'e niente', or a gesture of refusal. If a donation be
bestowed, it should consist of the smallest possible copper coin.
A beggar, who on one occasion was presented with 2c. and thanked
the donor with the us-ual benedictions, was on another presented
with 50 c. , but this act of liberality, instead of being gratefully
accepted, only called forth the remark in a half-offended tone:
'Ma, Signore, e molto poco ! '

VI. Prices and Gratuities.

Italian sellers are very apt to demand a much higher price than
they will ultimately accept; but a knowledge of the custom, which
is based upon the presumed ignorance of one of the contracting par-
ties, practically neutralises its effect. Where tariffs and fixed charges
exist, they should be carefully consulted ; and when a certain aver-
age price is established by custom, the traveller should make a pre-
cise bargain with respect to the article to be bought or the service
to be rendered , and never rely on the equity of the other party.
In cases of dispute the traveller who is not thoroughly acquainted
with the language should be careful not to engage in a war of words
in which he is necessarily at a great disadvantage.

Many shops now profess to have fixed prices, but even in these

xvi RAILWAYS.

cases it is usual to offer two-thirds or three-quarters only of the
price demanded. The same rule applies to artizans, drivers, and
others. 'Non volete?' (then you will not?) is a remark which gener-
ally has the effect of bringing the matter to a speedy adjustment.
Purchases should never be made by the traveller when accompanied
by a valet-de-place. These individuals, by tacit agreement, receive
from the seller at least 10 per cent of the purchase-money, a bonus
which of course comes out of the pocket of the purchaser.

The traveller should always be abundantly supplied with cop-
per coin in a country where trifling donations are in constant
demand. Drivers, guides, and other persons of the same class in-
variably expect, and often demand as their right, a gratuity (buona
mano, mnncia, da here, bottiglia, caffe, fumata) in addition to the
hire agreed on , varying according to circumstances from 2-3 sous
to a franc or more. The traveller need have no scruple in limiting
his donations to the smallest possible sums, as liberality frequently
becomes 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.

In Northern Italy the traveller will now find comparatively few-
causes for complaint, as the system of fixed charges is gradually
being introduced at the hotels and the shops. He will generally
find the people with whom he comes in contact civil and obliging,
and if he has some acquaintance with the language he will rarely
meet with attempts at extortion.

VII. Railways.

Northern Italy is now overspread with so complete a network of
railways that the traveller wiU seldom use any other conveyance,
except on the Alpine routes and on the lakes. The rate of travel-
ling 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 English and
French, while the third class is chiefly frequented by the lower
orders. Among the expressions with which the railway-traveller
will soon become familiar are — '■pronti! (ready), '■partenza^
(departure), 'sj camhia convoglid' (change carriages) , and '■uscitd'
(egress).

When about to start from a crowded station , the traveller will
fiiid it convenient to have as nearly as possible the exact fare ready
before taking tickets. In addition to the fare, a tax of 5 c. is payable
on each ticket, and the express fares are 20 per cent higher
than the ordinary. It is also very important to be at the station
early, as, in accordance with the regulatioTis, the ticket-office closes
5 min. , and the luggage-office 1/4 hr. before the departure of the

RAILWAYS. XYii

train. At the end of the journey tickets are given up at the uscita,
except in the case of the very large stations, where they are collected
before the passengers alight.

The traveller should, if possible, know the weight of his lug-
gage approximately , in order to guard against imposition (1 kilo-
gramme = about 21/5 lbs.). No luggage is allowed free, except
small articles (which must not exceed 20 X 10 X 12 inches) taken
by the passenger into his carriage. Porters who convey luggage to
and from the carriages are sufficiently paid with 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 con-
siderable distance from the railway, had better leave their heavier
luggage at the station till their return (^dare in deposito , or de-
positare; 10 c. per day for each article).

The best collection of time-tables is the '■Indicatore Vfficiale
delle Strade Ferrate', etc. (published monthly by the Fratelli Pozzo
at Turin ; price 1 fr.), with which every traveller should be pro-
vided. A smaller edition, confined to the railways of N. Italy (Fer-
rovie dell'Alta Italia), is also issued.

Through Tickets to various parts of Italy are issued in London
(at the principal railway stations ; by Messrs. Cook & Son, Fleet
Street ; etc.), in Paris, and at many of the principal towns in Ger-
many and Switzerland. They are generally available for 30 days,
and each passenger is allowed 56 Engl. lbs. of luggage free. Tickets
from Italy to Switzerland, Germany, etc. must be partly paid for
in gold , even banknotes with the exchange added being refused.
Luggage may be registered either to the traveller's final destination
or to any one of the stations for which there are separate coupons
in his ticket-book. Travellers about to cross the frontier in either
direction are strongly recommended to superintend the custom-house
examination of luggage in person.

CiECULAB, Tickets (viaggi circolari) to the principal towns in
Italy, the Italian lakes, etc., available sometimes for 50 days, may
be purchased in London, in France, and in Germany, as well as in
Italy, at a reduction of 45 per cent (but without a free allowance of
luggage). For Northern Italy there are upwards of twelve different
circular tours , for which 10-30 days are allowed, and which are
described in detail in Pozzo's 'Indicatore Ufficiale'. These tickets
require to be stamped at the office at each fresh starting-point.
If the traveller quits the prescribed route, intending to rejoin it
at a point farther on, he should give notice of his intention to the
capostazione of the place where he leaves the railway.

Return Tickets may often be advantageously used for short
excursions, but they are generally available for one day only. It
should also be observed that if the traveller alights at a station short
of his destination he forfeits the rest of his ticket for the direction
in which he is proceeding. In returning the ticket is not avail-

Baf.deker. Italy I. 5th Edit. b

xviii HOTELS.

able unless he starts from the end-station for which the ticket
was issued.

VIII. Hotels.

FiEST Class Hotels, comfortahly fitted up, are to be found at
all the principal resorts of travellers in Northern Italy, most of them
having fixed charges: room 2'/2-5 fr-, bougie 75 c. to 1 fr. , atten-
dance (^exclusive of the 'facchino' and porter) Ifr., table d'hote
4-6 fr. It has of late become customary to add 25 c. to the charge
for table-d'hote for the ice supplied to cool the beverages ! For a
prolonged stay an agreement may generally be made with the land-
lord for pension at a more moderate rate. Visitors are expected
to dine at the table d'hote ; otherwise the charge for rooms Is apt
to be raised. The cuisine is a mixture of French and Italian. The
charge for the use of the hotel omnibus from the station to the
hotel is so high (l-li/2fr.), that it is often cheaper to take a cab.
Payment of the bill in gold is not obligatory.

The Second Class Hotels are thoroughly Italian In their ar-
rangements, and are rarely very clean or comfortable. The charges
are little more than one -half of the above. They have no table
d'hote, 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 convenient
and economical by the voyageur en garQon, and the better houses
of this class may even be visited by ladies. 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 arranging as
to the charge for a room the servizio e candela should not be for-
gotten. Exorbitant demands may generally be reduced without dif-
ficulty to reasonable limits, and even when no previous agreement
has been made an extortionate bill may sometimes be successfully
disputed, though not without lively discussion. At the smaller inns
a fee of 1 fr. per day is usually divided between the waiter and
the facchino , or less for a prolonged stay. Copper coins are never
despised by such recipients.

Hotels Gahnis and Private Apartments are recommended for
a prolonged stay. A distinct agreement as to rent should be made
beforehand. When a whole suite of apartments is hired, a written
contract on stamped paper should be drawn up with the aid of some
one acquainted with the language and customs of the place (e. g.
a banker), i7i order that 'misunderstandings' may be 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.

The popular idea of cleanliness in Italy is behind the age, dirt
being perhaps neutralised in the opinion of the natives by the bril-
liancy of their climate. The traveller will rarely suffer from this
-shortcoming in hotels and lodgings of the best class ; but those who

RESTAURANTS AND CAFlfiS. xix

quit fhe beaten track must be prepared for privations. Iron bed-
steads should if possible be selected, as tbey are less likely to har-
bour the enemies of repose. Insect-powder (polvere di Persia, or
Keating's) or camphor somewhat repels their advances. The zan-
zare, or gnats, are a source of great annoyance, and often of suffer-
ing, during the 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 (see p. 213), A weak dilution of
carbolic acid in water is efficacious in allaying the discomforts oc-
casioned by the bites.

IX. Restaurants, Cafes, Osterie.

Restaurants (trattorle) are chiefly frequented by Italians and
gentlemen travelling alone, but those of the better class maybe
visited by ladies also. Dinner may be obtained a la carte , and
sometimes a prezzo fisso, at any hour between 12 and 7 or 8 p. m.,
for 2-5 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 ftire.
Besides the old-fashioned trattorie a number of 'restaurants' of a
better class have recently been opened in some of the larger towns.
The cookery is generally French, and the charges and arrangeinents
are similar to those in other European cities. The waiter is called
cameriere , but the approved way of attracting his attention is by
knocking on the table.

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

List of the ordinary dishes at the Italian restaurants.

Minestra or Zuppa, soup.

Consume, broth or bouillon.

Zuppa alia Santh, soup with green

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

pudding (rich).
Maccaroni al burro, with butter; al

pomidoro, with tomatas.
Mama, boiled beef.
Fritto, una Frittwa, fried meat.
Frittata, omelette.
Arrosto, roasted meat.
Arrosto di vilello, or di mongana,

roast-veal.

Bistecca, beefsteak.

Coscietto, loin.

Testa di vitello, calf's head.

F&gato di vitello, calfs liver.

Braccioletta di vitello, veal-cutlet.

Costoletta alia minuta, veal -cutlet

with calves' ears and truffles.
Patate, potatoes.
Quaglia, quail.
Tordo, field-fare.
Lodola, lark.
Sfoglia, a kind of sole.
Principi alia tavola, or piattini, hot

relishes.
Funghi, mushrooms (often too rich).
Presciutto, ham.

( I,*

SIGHTS AND THEATRES.

Giardinelto or frutta, fruit-desert.
Orosiata di /rutti, fruit-tart.
Crosiata di pasta sfoglia , a kind of

pastry.
Fragole, strawberries.
Pera, pear.
Mele, apples.
Persiche., peaches.
Uva, bunch of grapes.
Limone, lemon.

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

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

Salami, sausage.

Polio, or poUastro, fowl.

Gallinaccio, turkey.

Umido, meat with sauce.

Slv/atino, ragout.

Frbe, vegetables.

Carciofi, artichokes.

Piselli, peas.

Leniicchie, lentils.

Cavoli fiori, cauliflower.

Pave, beans.

Fagiiiolini, Corned, French beans.

Mostarda, simple mustard.

Sendpe, hot mustard.

0i7WcAe, oysters (good in winter only) .

Wine {nero or rosso, red; bianco, white; doloe, sweet; asciulto, dry;
del paese , wine of the country) is usually placed on the table in large
bottles at the Tuscan restaurants and charged for according to the quan-
tity drunk. In the larger towns the visitor is asked if he wishes un
mezzo Vitro or un quinto (Vsth litre; also called hicchiere).

Cafes are frequented for breakfast and lunch, and in the evening
by numerous consumers of ices.

Caffh nero, or coffee without milk, is usually drunk (10-15 c. per
cup). Caffi latte is coftee mixed with milk before served (20-30 c); or
caff'e e latte, i. e. with the milk served separately, may be preferred (35-
40 c). Mischio, a mixture of coffee and chocolate (20-30 c), is considered
wholesome and nutritious.

'The usual viands for lunch are ham, sausages, cutlets, beefsteaks, and
eggs {iwva da here, soft; taste, hard; uova al pialto, fried).

Ices (sorbetto or gelato) of every possible variety are supplied at the
cafes at 30-90 c. per portion; or half a portion (mezzo) may be ordered.
Granita, or half-frozen ice {limonata, of lemons; aranciata, of oranges), is
much in vogue in the forenoon. The waiters, who expects a sou or more,
according to the amount of the payment, are apt to be inaccurate in chang-
ing money.

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

Cigars in Italy are a monopoly of Government, and bad ; those
under 3-4 soldi hardly smokable. Good imported cigars may be
bought at the best shops in the large towns for 25-60 c. each. —
Passers-by are at liberty to avail themselves of the light burning
in every tobacconist's, without making any purcliase.

X. Sights, Theatres, etc.

Churches are open in the morning till 12 or 12. 30, and generally
again from 4 to 7 p. m. Visitors may inspect the works of art
even during divine service, provided they move about noiselessly,
and keep aloof from the altar where the clergy are ofliciating. On
tlie occasion of festivals the works of art are often entirely concealed
liy the temporary decorations. The verger (sagrestano, or nonzolo)
receives a fee of 30 c. - '/o fr- from a single traveller , more from a
party, if his services are required.

POST OFFICE. TELEGRAPH. xxi

Museums , picture-galleries , and otter 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 (and sometimes on Thursdays also}
gratis. They are closed on the following public holidays : New
Year's Day, Epiphany (6th Jan.), the Monday and Tuesday during
the Carnival, Palm Sunday, Easter Sunday, Ascension Day, Whit-
sunday, Fete de Dieu (Corpus Christi) , the Festa dello Statuto
(first Sunday in June), Assumption of the Virgin (15th Aug.), and
on Christmas Day. A good many other days are also sometimes ob-
served as holidays, such as the Thursday before the Carnival and
the day sacred to the local patron saint.

Valets de Place (servitori di piazza) may be hired at 5-6 fr. per
day. They are generally respectable 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 vet-
turini or other persons drawn up , in presence or with the aid of a
commissionnaire, as any such intervention tends considerably to in-
crease the prices.

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 suc-
ceeded by a ballet of three acts or more. Verdi is the most popular
composer. The pit (platea), to which the ^biglietto d'ingresso' gives
access, is the usual resort of the men , while the boxes and some-
times the stalls (scanni chiusi, sedie chiuse, poltrone, or posti distinti)
are frequented by ladies. A box (palco) must always be secured
in advance. — A visit to some of the smaller theatres, where
dramas and comedies are acted, is recommended for the sake of ha-
bituating the ear to the langiiage. Performances in summer take
place in the open air, in which case smoking is allowed. — The
theatre is the usual evening-resort of the Italians , who never ob-
serve strict silence during the performance of the orchestra. The
instrumental music is rarely good.

XI. Post Office. Telegraph.

Letters (whether 'paste restante', Italian '■ferma in posta\ 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 giving his name
orally. Postage-stamps (francobolli) are sold at the post-offices and
at many of the tobacco-shops. — Letters of 15 grammes (1/2 oz.,
about the weight of three sous) to any of the states included in the

xxii CLIMATE.

postal union (now comprising the whole of Europe) 25 c. ; post-card
(cartolina postale) 10 c. ; hook-packets 5 c. and upwards, according
to weight ; registration-fee (raccomandazione) 30 c.

Letters hy town-post 5 c. ; throughout the kingdom of Italy 20 c.
prepaid, or 30c. unpaid. Post-card 10 c, with card for answer
attached 15 c. Book-packets, 20 c. per 40 grammes (II/3 oz.}.

In the larger towns the post-office is open daily from 8 or 9 a. m.
to 10 p. m. (also on Sundays and holidays) ; in smaller places it is
generally closed in the middle of the day for two or three hours.

Telegram of 20 words to London 9fr. , to other parts of Great
Britain 10 fr. , France 4, Germany 5, Switzerland 8, Austria 3 or
4, Belgium 5, Denmark 71/2- Russia 11, Sweden 8, Norway 81/2 fr.
— To America from S^/^fr. per word upwards, according to the
state.

Within the kingdom of Italy, 15 words Ifr. , each additional
word 10 c. ; telegrams with special haste fieieprammiMr^entiV, which
take precedence of all others , whether for inland or foreign places,
may he sent at five times the ahove rates.

XII. Climate. Health.

Climate. Most travellers must in some degree alter their mode
of living whilst in Italy , without however implicitly adopting the
Italian style. Inhahitants of more northern countries generally
become unusually susceptible to cold in Italy, and therefore should
not omit to be well supplied with warm clothing for the winter.
Carpets and stoves, to the comforts of which the Italians generally
appear indifferent, are indispensable in winter. A southern aspect
in winter is an absolute essential for delicate persons , and highly
desirable for the robust. Colds are most easily caught after sunset,
and in rainy weather. Even in summer it is a wise precaution not
to wear too light clothing.

Exposiire to the summer-sun should be avoided as much as pos-
sible. According to a Roman proverb, dogs and foreigners (Inglesi)
alone 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 moderate siesta is often refresh-
ing. Windows should be closed at night.

Health. English and German medical men are to be met with
in the larger cities. The Italian therapeutic art does not enjoy a
very high reputation in the rest of Europe. English and German
chemists, where available, are recommended in preference to the
Italian. It may, however, be wise, in the case of maladies arising
from local causes, to employ native skill . Foreigners frequently suffer

CHRONOLOG. TABLE. xxiii

from diarrhoea in Italy, which is generally occasioned by the un-
wonted heat. The homoeopathic tincture of camphor may be men-
tioned as a remedy, but regulated diet and thorough repose are the
chief desiderata.

XIII. Chronological Table of Becent Events.

1846. June 16. Election of Pius IX.

1848. March 18. Insurrection at Milan.

22. Charles Albert enters Milan.

22. Republic proclaimed at Venice.

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

29. Radetzky's victory at Curtatone.

30. Radetzky defeated at Goito ; capitulation of Peschiera.
July 25. Radetzky's victory at Custozza.

Aug. 6. Radetzky's victory at Milan.

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

25. Flight of the Pope to Gaeta.

1849. Febr. 5. Republic proclaimed at Rome.

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

23. Radetzky's victory at Novara.

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

26. Armistice ; Alessandria occupied by the Austriaus.

31. Haynau conquers Brescia.

April 5. Republic at Genoa overthrown by La Marmora.

11. Reaction at Florence.

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

15. Subjugation of Sicily.

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

Aug. 6. Peace concluded between Austria and Sardinia.
22. Venice capitulates.

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

1855. Sardinia takes part in the Crimean War.

1856. Congress at Paris. Cavour raises the Italian question.
1859. May 20. Battle of Montebello.

June 4. Battle of Magenta.

1859. June 24. Battle of Solferino.

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

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

22. Annexation of Tuscany.

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

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

18. Battle of Castelfldardo.

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

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

1861. Febr. 13. Gaeta capitulates after a four months'' siege.
March 17. Victor Emmanuel assumes the title of king of Italy.
June 6. Death of Cavour.

1864. Sept. 15. Convention between France and Italy.
1866. June 20. Battle of Custozza.

xxlv CHRONOLOG. TABLE.

1866. July 5. Cession of Venetia.

20. Naval battle of Lissa.

1867. Nov. 3. Battle of Mentana.

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

Oct. 9. Rome declared the capital of Italy.
1878. Jan. 9. Death of Victor Emmanuel II.; accession of Humbert I.

Feb. 7. Death of Pius IX.

Feb. 20. Election of Leo XIII.

Italian Art.

An Historical Sketch by Professor A. Springer.

One of the primary objects of the enlightened traveller in Italy
is usually to form some acquaintance with its treasures of art.
Even those whose usual avocations are of the most prosaic u^jctoky
nature unconsciously hecome admirers of poetry and art in
Italy. The traveller here finds them so interwoven with scenes of
everyday life, that he encounters their impress at every step , and
involuntarily hecomes susceptible to their influence. A single visit
can hardly suffice to enable any one justly to appreciate the
numerous works of art he meets with in the course of his tour, nor
can a guide-book teach him to fathom the mysterious depths of
Italian creative genius, the past history of which is particularly at-
tractive; but the perusal of a few remarks on this subject will be
found materially to enhance the pleasure and facilitate the researches
of even the most unpretending lover of art. Works of the highest class,
the most perfect creations of genius, lose nothing of their charm by
being pointed out as specimens of the best period of art; while
those of inferior merit are invested with far higher interest when
they are shown to be necessary links in the chain of development,
and when, on comparison with earlier or later works, their relative
defects or superiority are recognised. The following observations,
therefore, will hardly be deemed out of place in a work designed to
aid the traveller in deriving the greatest possible amount of enjoy-
ment and instruction from his sojourn in Italy.

The two great epochs in the history of art which principally
arrest the attention are those of Classic Antiquity, and of the olj^^ssic^^^nd
16th century, the culminating period of the so-called Renais- Kenais-
sance. The intervening space of more than a thousand years sance
is usually, with much unfairness , almost entirely ignored ; ekiods.
for this interval not only continues to exhibit vestiges of the first
epoch, but gradually paves the way for the second. It is a common
error to suppose that in Italy alone the character of ancient art can
be thoroughly appreciated. This idea dates from the period when no
precise distinction was made between Greek and Roman art, when
the connection of the former with a particular land and nation,
and the tendency of the latter to pursue an independent course
were alike overlooked. Now , however , that we are acquainted.
with more numerous Greek originals, ajid have acquired a

xxvi ITALIAN ART.

deeper insight into the development of Hellenic art, an indis-
criminate confusion of Greek and Roman styles is no longer to be

Greek and apprehended. We are now well aware that the highest per-
RoMAN fection of ancient architecture is realised in the Hellenic

Styles dis- temple alone. The Doric order, in which majestic gravity is
uisHED. gxpressed hy massive proportions and symmetrical decoration,
and the Ionic structure , with its lighter and more graceful char-
acter, exhibit a creative spirit entirely different from that mani-
fested in the sumptuous Roman edifices. Again, the most valuable
collection of ancient sculptures in Italy is incapable of affording so
admirable an insight into the development of Greek art as the sculp-
tures of the Parthenon and other fragments of Greek temple -archi-
tecture preserved in the British Museum. But, while instruction is
afforded more abmidantly by other than Italian sources, ancient art
is perhaps thoroughly admired in Italy alone , where works of art
encounter the eye with more appropriate adjuncts, and where climate,
scenery, and people materially contribute to intensify their impres-
siveness. As long as a visit to Greece and Asia Minor is within the
reach of comparatively few travellers, a sojourn in Italy may be recom-
mended as best calculated to afford instruction with respect to the
growth of ancient art. An additional facility, moreover, is afforded by
the circumstance , that in accordance with an admirable custom of
classic antiquity the once perfected type of a plastic figure was not
again arbitrarily abandoned, but rigidly adhered to, and continually
reproduced. Thus in numerous cases, where the more ancient
Greek original had been lost, it was preserved in subsequent copies ;
and even in the works of the Roman imperial age Hellenic creative
talent is still reflected.

This supremacy of Greek intellect in Italy was established in a
Greece twofold manner. In the first place Greek colonists intro-

BDPKEME IN duced their ancient native style into their new homes. This
■^'- is proved by the existence of several Doric temples in Si-
cily, such as those of Selinunto (but not all dating from the same
period ), and the ruined temples at Syracuse, Girgenti, and Segesta.
On the mainland the so-called Temple of Neptune at Pcestum,
as well as the ruins at Metapontum, are striking examples of the
fully developed elegance and grandeur of the Doric order. But, in
the second place, the art of the Greeks did not attain its \iniversal
supremacy in Italy till a later period, when Hellas, nationally ruined,
had learned to obey the dictates of her mighty conqueror, and the
Romans had begun to combine with their political superiority the re-
finemeiits of more advanced culture. The ancient scenes of artistic
activity in Greece (Athens for example") became re-peopled at
the cost of Rome; Greek works of art aiid Greek artists were in-
troduced into Italy ; and ostentatious pride in the magnificence of
booty acquired by victory led by an easy transition to a taste for
such objects. To surround themselves with artistic decoration thus

ITALIAN ART. xxvii

gradually became the universal custom of the Romans , and the
foundation of public monuments came to he regarded as an in-
dispensable duty of government.

Although the Roman works of art of the imperial epoch are
deficient in originality compared with the Greek , yet their roman
authors never degenerate into mere copyists, or entirely re- Aechitec-
nounce independent effort. This remark applies especially to tuke.
their Abchitectukb. Independently of the Greeks, the ancient Italian
nations, and with them the Romans, had acquired a knowledge of
stone-cutting, and discovered the method of constructing arches
and vaulting. "With this technically and scientifically important
art they aimed at combining Greek forms, the column supporting
the entablature. The sphere of architecture was then gradually ex-
tended. One of the chief requirements was now to construct edifices
with spacious interiors , and several stories in height. No precise
model was afforded by Greek architecture , and yet the current
Greek forms appeared too beaxitiful to be lightly disregarded. The
Romans therefore preferred to combine them with the arch-prin-
ciple, and apply this combination to their new architectural designs.
The individuality of the Greek orders, and their originally un-
alterable coherence were thereby sacrificed, and divested of much
of their importance ; that which once possessed a definite organic
significance frequently assumed a superficial and decorative charac-
ter; but the aggregate effect is always imposing, the skill in blend-
ing contrasts, and the directing taste admirable. The lofty gravity
of the Doric Style f must not be sought for at Rome. The Doric

+ Those unacquainted with architecture will easily learn to distinguish
the dift'erent Greek styles. In the Doric the shafts of the columns
(without bases) rest immediately on the common pavement, in the Ionic
they are separated from it by teases. The flutings of the Doric column
immediately adjoin each other, being separated by a sharp ridge, while
those of the Ionic are disposed in pairs, separated by broad untluted
intervening spaces. The Doric capital, expanding towards the summit,
somewhat resembles a crown of leaves, and was in fact originally adorned
with painted representations of wreaths; the Ionic capital is distinguished
by the volutes (or scrolls) projecting on either side, which may be re-
garded rather as an appropriate covering of the capital than as the cap-
ital itself. The entablature over the columns begins in the Doric style
with the simple, in the Ionic with the threefold architrave; above which
in the Doric order are the metopes (originally openings, subsequently
receding panels) and triglyphs (tablets with two angular grooves in front,
and a half groove at each end, resembling extremities of beams), and in
the Ionic the frieze with its sculptured enrichments. In the temples of
both orders the front culminates in a pediment. The so-called Tuscan,
or early Italian column, approaching most nearly to the Doric, exhibits
no decided distinctive marks; the Corinthian, with the rich capital
formed of acanthus-leaves , is essentially of a decorative character only.
The following technical terms should also be observed. Temples in
which the columns are on both sides enclosed by the projecting walls
are termed 'in antis' (antse = end-pilasters); those which have one ex-
tremity only adorned by columns , prostyle ; those with an additional
pediment at the back, supported by columns, amphiprostyle ; those entirely
surrounded by columns , peripteral. In some temples it was imperative

xxviii ITALIAN ART.

column in the hands of Roman architects lost the finest features
of its original character, and was at length entirely disused. The
Ionic column also, and corresponding entablature, were regarded
with less favour than those of the Corinthian order, the sumptuous-
ness of which was more congenial to the artistic taste of the
Romans. As the column in Roman architecture was no longer
destined exclusively to support a superstructure, but formed a
projecting portion of the wall, or was of a purely ornamental
character , the most ornate forms were the most sought after. The
graceful Corinthian capital, consisting of slightly drooping
acanthus-leaves, was at length regarded as insufficiently enriched,
and was superseded by the so-called Roman capital (first used
in the arch of Titus) , a union of the Corinthian and Ionic. An
impartial judgment respecting Roman architecture cannot, however,
be formed from a minute inspection of the individual columns,
nor is the highest rank in importance to be assigned to the Roman
temples, which, owing to the different (projecting) construction of
their roofs, are excluded from comparison with the Greek. Atten-
tion must be directed to the several - storied structures , in which
the tasteful ascending gradation of the component parts , from
the more massive (Doric) to the lighter (Corinthian), chiefly
arrests the eye ; and the vast and artistically vaulted interiors, as
well as the structures of a merely decorative description , must
also be examined , in order that the chief merits of Roman art
may be understood. In the use of columns in front of closed
walls (e. g. as members of a facade), in the construction of domes
above circular interiors, and of cylindrical and groined vaulting
over oblong spaces, the Roman edifices have served as models to
posterity, and the imitations have often fallen short of the originals.
It is true that in the districts to which this volume of the Hand-
book is devoted, the splendour and beauty of ancient art is not so
prominently illustrated as in Rome or S. Italy. Nevertheless N.
Italy also contains many interesting relics of Roman architecture
(such as the Amphitheatre at Verona, the Triumphal Arches at Aosta
and Susa, etc.), and though the smaller local collections of Lom-
bardy and Tuscany may not detain the traveller long, he will un-
doubtedly find ample food for his admiration in the magnificent
antique sculptures at Florence (the Niobe Group, the ApolUno, the
formerly over-rated Medicean Venus, etc.). — Upper Italy and Tus-

that the image of the god erected in the cella should be e.xposed to the
rays of the sun. In this case an aperture was left in the ceiling and
roof, and such temples were termed hypffithral. Temples arc also named
tetrastyle, hexastyle, octastylc, etc. according to the number of columns
at each end. — A most attractive study is that of architectural mouldings
and enrichments, and of those constituent members which respectively in-
dicate superincumbent weight, or a free and independent existence.
Research in these matters will enable the traveller more fully to appreciate
the strict harmony of ancient architecture.

ITALIAN ART. xxix

cany stand, on the other hand, in the very forefront of the artistic
life of the middle ages and early Renaissance, and Venice may
prondly boast of having brilliantly unfolded the glories of Italian
painting at a time when that art had sunk at Rome to the lowest
depths. In order, however , to put the reader into a proper point
of view for appreciating the development of art in N. Italy, it is
necessary to give a short sketch of the progress of Italian art in
general from the early part of the middle ages onwards.

In the 4th century the heathen world, which had long been in
a tottering condition, at length became Christianised, and a Chbistian
new period of art began. This is sometimes erroneously re- Period
garded as the result of a forcible rupture from ancient ^^ -^^'''•
Roman art, and a sudden and spontaneous invention of a new style.
But the eye and the hand adhere to custom more tenaciously than
the mind. While new ideas, and altered views of the character of
the Deity and the destination of man were entertained, the wonted
forms were still necessarily employed in the expression of these
thoughts. Moreover the heathen sovereigns had by no means been
unremittingly hostile to Christianity (the most bitter persecutions
did not take place till the 3rd century), and the new doctrines were
permitted to expand, take deeper root, and organise themselves in
the midst of heathen society. The consequence was, that the trans-
ition from heathen to Christian ideas of art was a gradual one, and
that in point of form early Christian art continued to follow up the
tasks of the ancient. The best proof of this is afforded by the
paintings of the Roman Catacombs. These were by no means ori-
ginally the secret, anxiously concealed places of refuge of the pri-
mitive Christians, but constituted their legally recognised, publicly
accessible burial-places. Reared in the midst of the customs of
heathen Rome, the Christian community perceived no necessity to
deviate from the artistic principles of antiquity. In the embellish-
ment of the catacombs they adhered to the decorative forms handed
down by their ancestors; and in design, choice of colour, grouping
of figures, and treatment of subject, they were entirely guided by
thq customary rules. Even the sarcophagus-sculptures of the 4th
and 5th centuries differ in purport only, and not in technical treat-
ment, from the type exhibited in the tomb-reliefs of heathen Rome.
Five centuries elapsed before a new artistic style sprang up in the
pictorial , and the greatly neglected plastic arts. Meanwhile archi-
tecture had developed itself commensurately with the requirements
of Christian worship, and, in connection with the new modes of
building, painting acquired a different character.

The term Basilica-Sttlb is often employed to designate early _
Christian architecture down to the 10th century. The name Chukch
is of great antiquity, but it is a mistake to suppose that the Arciiitec-
early Christian basilicas possessed anything beyond the mere tube. ,
name in common with those of the Roman fora. The latter struc-

XXX ITALIAN ART.

tiires, which are proved to have existed in most of the towns of the
Roman empire, and served as courts of judicature and public as-
sembly-halls , differ essentially in their origin and form from the
churches of the Christians. The forensic basilicas were neither fit-
ted up for the purposes of Christian worship, nor did they, or the
heathen temples, serve as models for the construction of Christian
churches. The latter are rather to be regarded as extensions of the
private dwelling-houses of the Romans, where the first assemblies
of the community were held, and the component parts of which
were reproduced in ecclesiastical edifices. The church, however,
was by no means a servile imitation of the house, but a free devel-
opment from it, of which the following became the established
type. A small portico borne by columns leads to the anterior court
(atrium), surrounded by colonnades and provided with a fountain
(cantharus) in the centre; the eastern colonnade is the approach to
the interior of the church, which usually consisted of a nave and
two aisles, the latter lower than the former, and separated from it
by two rows of columns, the whole terminating in a semicircle (ap-
sis). In front of the apse there was sometimes a transverse space
(transept); the altar, surmounted by a columnar structure, occupied
a detached position in the apse ; the space in front of it , bounded
by caru^elli or railings , was destined for the choir of offlcia,ting
priests, and contained the two pulpits (ambones) where the gospel
and epistles were read. Unlike the ancient temples, the early
Christian basilicas exhibit a neglect of external architecture, the
chief importance being attached to the interior, the decorations of
which, however, especially in early mediaeval times, were often pro-
cured by plundering the ancient Roman edifices, and transferring
them to the churches with little regard to harmony of style and
material. The most appropriate ornaments of the churches were the
metallic objects, such as crosses and lustres, and the tapestry be-
stowed on them by papal piety ; while the chief decoration of the
walls consisted of mosaics, especially those covering the back-
ground of the apse and the 'triumphal' arch which separates the
apse from the nave. The mosaics, as far at least as the material
was concerned, were of a sterling monumental character, and con-
tributed to give rise to a new style of pictorial art; in them an-
cient tradition was for the first time abandoned, and the harsh and
austere style erroneously termed Byzantine gradually introduced.
Christian art originated at Rome, but its development was
actively promoted in other Italian districts, especially at Ravenna,

where during the Ostrogothic suproma(7 (493-552), as well
Byzantink ^g under the succeeding Byzantine empire, architecture

was zealously cultivated. The basilica-type was there more
highly matured, the external architecture enlivened by low arches
and projecting buttresses, and the capitals of the columns in the
interior appropriately moulded with reference to the superincum-

ITALIAN ART. xxxi

bent arches. There, too, the art of mosaic painting was sedu-
lously cultivated, exhibiting in its earlier specimens (in S. Gio-
vanni in Fonte and S. Nazario e Celso) greater technical excellence
and better drawing than the contemporaneous Roman works. At
Ravenna the Western style also appears in combination with the
Eastern, and the church of S. Vitale (dating from 547) may be
regarded as a fine example of a Byzantine structure.

The term 'Byzantine' is often misapplied. Every work of the
so-called dark centuries of the middle ages, everything in archi-
tecture that intervenes between the ancient and the Gothic, every-
thing in painting which repels by its uncouth , ill-proportioned
forms, is apt to be termed Byzantine ; and it is commonly supposed
that the practice of art in Italy was entrusted exclusively to By-
zantine hands from the fall of the Western Empire to an ad-
vanced period of the 13th century. This belief in the universal
and unqualified prevalence of the Byzantine style , as well as the
idea that it is invariably of a clumsy and lifeless character, is
entirely unfounded. The forms of Byzantine architecture are
at least strongly and clearly defined. While the basilica is a
long -extended hall, over which the eye is compelled to range
until it finds a natural resting-place in the recess of the apse,
every Byzantine structure may be circumscribed with a curved
line. The aisles, which in the basilica run parallel with the
nave, degenerate in the Byzantine style to narrow and in-
significant passages; the apse loses its intimate connection with
the nave, being separated from it; the most conspicuous feature
in the building consists of the central square space, bounded
by four massive pillars which support the dome. These are the
essential characteristics of the Byzantine style , which culminates
in the magnificent church of S. Sophia, and prevails throughout
Oriental Christendom, but in the West, including Italy, only
occurs sporadically. With the exception of the churches of S. Vi-
tale at Ravenna, and St. Mark at Venice, the edifices of Lower
Italy alone show a frequent application of this style.

The Byzantine imagination does not appear to have exercised a
greater influence on the growth of other branches of Italian growth
art than on architecture. A brisk traffic in works of art or Art in
was carried on by Venice, Amalfi , and other Italian towns, Italy.
with the Levant ; the position of Constantinople resembled that of
the modern Lyons ; silk wares , tapestry , and jewellery were most
highly valued when imported from the Eastern metropolis. By-
zantine artists were always welcome visitors to Italy , Italian con-
noisseurs ordered works to be executed at Constantinople, chiefly
those in metal, and the superiority of Byzantine workmanship
was universally acknowledged. All this, however, does not justify
the inference that Italian art was quite subordinate to Byzantine.
On the contrary , notwithstandina; various external influences , it

xxxii ITALIAN ART.

underwent an independent and unbiassed development, and never
entirely abandoned its ancient principles. A considerable interval
indeed elapsed before the fusion of the original inhabitants with
the early mediaeval immigrants was complete, before the aggregate
of different tribes , languages , customs, and ideas became blended
into a single nationality, and before the people attained sufficient
concentration and independence of spirit to devote themselves
successfully to the cultivation of art. Unproductive in the pro-
vince of art as this early period is, yet an entire departure from
native tradition, or a serious conflict of the latter with extraneous
innovation never took place. It may be admitted, that in the
massive columns and cumbrous capitals of the churches of Upper
Italy, and in the art of vaulting which was developed here at an
early period , symptoms of the Germanic character of the inhabi-
tants are manifested, and that In the Lower Italian and especially
Sicilian structures , traces of Arabian and Norman influence are
unmistakable. In the essentials, however, the foreigners continue
to be the recipients; the might of ancient tradition, and the natio-
nal idea of form could not be repressed or superseded.

About the middle of the 11th century a zealous and proniis-
RoMAN- ^"S artistic movement took place in Italy , and the seeds
ESQUE were sown which three or four centuries later yielded so
Style, hixuriant a growth. As yet nothing was matured, nothiiig
completed, the aim was obscure, the resources insufficient ; mean-
while architecture alone satisfied artistic requirements , the at-
tempts at painting and sculpture being barbarous in the ex-
treme ; these, however, were the germs of the subsequent devel-
opment of art observable as early as the 11th and 12th centuries.
This has been aptly designated the Romanesque period (11th-
13th cent.}, and the then prevalent forms of art the Ro-
manesque Style. As the Romance languages , notwithstanding
alterations, additions, and corruptions, maintain their relation of
daughtership to the language of the Romans, so Romanesque art,
in spite of its rude and barbarous aspect, reveals its immediate
descent from the art of that people. The Tuscan towns were the
principal scene of the prosecution of mediaeval art. There an in-
dustrial population gradually arose, treasures of commerce were
collected, independent views of life were acquired in active party-
conflicts, loftier common interests became interwoven with those
of private life, aTid education entered a broader and more enlight-
ened track; and thus a taste for art also was awakened, and
.Tsthctic perception developed itself. When Italian architecture
of the Romanesque period is examined, the difference between its
character and that of contemporaneous northern works is at once
apparent. In the latter the principal aim is perfection in the
construction of vaulting. French, English, and German churches
are unquestionably the more orgaJiically conceived, the individual

ITALIAN ART. xxxiii

parts are more inseparable and more appropriately arranged. But
the subordination of all other aims to that of the secure and ac-
curate formation of the vaulting does not admit of an unrestrained
manifestation of the sense of form. The columns are apt to be
heavy, symmetry and harmony in the constituent members to be
disregarded. On Italian soil new architectural ideas are rarely
found, constructive boldness not being here the chief object ; on the
other hand, the decorative arrangements are richer and more grate-
ful, the sense of rhythm and symmetry more pronounced. The cathe-
dral of Pisa, founded as early as the 11th century, or the church
of S. Miniato near Florence, dating from the 12th, may be taken
as an example of this. The interior with its rows of columns, the
mouldings throughout, and the flat ceiling recall the basilica-type;
while the exterior, especially the fa(;ade destitute of tower, with
the small arcades one above the other, and the variegated colours
of the courses of stone , presents a fine decorative effect. At the
same time the construction and decoration of the walls already
evince a taste for the elegant proportions which we admire in later
Italian structures ; the formation of the capitals, and the design of
the outlines prove that the precepts of antiquity were not entirely
forgotten. In the Baptistery of Florence (S. Giovanni) a definite
Roman structure (the Pantheon) has even been imitated. A pe-
culiar conservative spirit pervades the mediaeval architecture of
Italy; artists do not aim at an unknown and remote object;
tlie ideal which they have in view, although perhaps instinctive-
ly only, lies in the past; to conjure up this, and bring about
a Renaissance of the antique , appears to be the goal of their
aspirations. They apply themselves to their task with calmness
and concentration, they indulge in no bold or novel schemes, but
are content to display their love of form in the execution of details.
What architecture as a whole loses in historical attractien is
compejisated for by the beauty of the individual edifices. While
the North possesses structures of greater importance in the history
of the development of art, Italy boasts of a far greater number of
pleasing works.

There is hardly a district in Italy which does not boast of
interesting examples of Romanesque architecture. At Verona we
may mention the famous church of St. Zeno with its sculp- rqman-
tured portals. In the same style are the cathedrals of Fer- esque
rara, Modena, Parma, and Piacenza, the church of S. Am- Churches.
brogio at Milan, with its characteristic fore-court and facade, and
that of S. Michele at Pavia, erroneously attributed to the Lombardi.
Tuscany abounds with Romanesque edifices. Among these the palm
is due to the cathedral of Pisa, a church of spacious dimensions in
the interior, superbly embellished with its marble of two colours
and the rows of columns on its fa(;ade. To the same period also
belong the neighbouring Leaning Tower and the Baptistery. The

Baedeker. Italy I. 5th Edit. C

xxxiv ITALIAN ART.

churches of Lucca are copies of those at Pisa. Those of Florence,
however, such as the octagonal, dome-covered baptistery and the
church of S. Miniato al Monte, exhibit an independent style.

The position occupied by Italy with regard to Gothic archi-
tecture is thus rendered obvious. She could not entirely
Sttle^ ignore its influence, although incapable of according an un-
conditional reception to this, the highest development of
vault-architecture. Gothic was introduced into Italy in a mature
and perfected condition. It did not of necessity, as in France,
develop itself from the earlier (Romanesque) style, its progress
cannot be traced step by step ; it was imported by foreign archi-
tects (practised at Assisi by the German master Jacob), and
adopted as being in consonance with the tendency of the age ; it
found numerous admirers among the mendicant orders of monks
and the humbler classes of citizens, but could never quite dis-
engage itself from Italianising influences. It was so far transformed
that the constructive constituents of Gothic are degraded to a de-
corative office, and the national taste thus became reconciled to it.
The cathedral of Milan cannot be regarded as a fair specimen of
Italian Gothic, but this style must rather be sought for in the
mediseval cathedrals of Florence, Siena, Orvieto, in the church of
S. Petronio at Bologna, and in numerous secular edifices, such as
the Loggia dei Lanzi at Florence , the communal palaces of me-
diaeval Italian towns, and the palaces of Venice. An acquaintance
with true Gothic construction, so contracted notwithstanding all its
apparent richness, so exclusively adapted to practical requirements,
can certainly not be acquired from these cathedrals. The spacious
interior, inviting, as it were, to calm enjoyment, while the cathe-
drals of the north seem to produce a sense of oppression, the pre-
dominance of horizontal lines, the playful application of pointed
arches and gables , of finials and canopies, prove that an organic
coherence of the different architectural distinguishing members was
here but little considered. The characteristics of Gothic architecture,
the towers immediately connected with the facade, and the promi-
nent flying buttresses are frequently wanting in Italian Gothic edi-
fices, — whether to their disadvantage, it may be doubted. It is not
so much the sumptuousness of the materials which disposes the
spectator to pronounce a lenient judgment, as a feeling that Italian
architects pursued the only course by which the Gothic style could
be reconciled with the atmosphere and light, the climate and nat-
ural features of Italy. Gothic lost much of its peculiar character
in Italy, but by these deviations from the customary type it there
became capable of being nationalised , especially as at the same
period the other branches of art also aimed at a greater degree of
nationality, and entered into a new combination with the funda-
mental trait of the Italian character, that of retrospective adherence
to the antique.

ITALIAN ART. xxxv

The apparently sudden and unprepared-for revival of ancient
ideals in the 13tli century is one of the most interesting phenomena
in the history of art. The Italians themselves could only revival
account for this hy attributing it to chance. The popular of Ancient
story was that the sculptor Niccolo Pisano was induced hy^^'^ Ideals.
an inspection of ancient sarcophagi to exchange the prevailing style
for the ancient, and indeed in one case we can trace back a work of
his to its antique prototype. We refer to a relief on the pulpit in
the Baptistery at Pisa, several figures in which are borrowed from
a Bacchus vase still preserved in the Campo Santo of that city
(pp. 323, 326). Whether Niccolo Pisano was a member of a local
school or was trained under foreign influences we are as yet unable
to determine. His sculptures on the pulpits in the Baptistery of
Pisa and the Cathedral of Siena introduce us at once into a new
world. It is not merely their obvious resemblance to the works
of antiquity that arrests the eye ; a still higher interest is awakened
by their peculiarly fresh and lifelike tone, indicating the enthu-
siastic concentration with which the master devoted himself to his
task. During the succeeding period (Pisan School] ancient character-
istics were placed in the background, and importance was attached
solely to life and expression (e.g. reliefs on the facade of the
Cathedral at Orvieto). Artists now began to impart to their com-
positions the impress of their own peculiar views, and the public
taste for poetry, which had already strongly manifested itself, was
now succeeded by a love of art also.

From this period (14th century) therefore the Italians date the
origin of their modern art. Contemporaneous writers who ob- Rigg qf
served the change of views, the revolution in sense of form. Modern
and the superiority of the more recent works in life and ex- ^^'^•
pression, warmly extolled their authors, and zealously proclaimed
how greatly they surpassed their ancestors. But succeeding genera-
tions began to lose sight of this connection between ancient and
modern art. A mere anecdote was deemed sufficient to connect
Giotto di Bondone (1276-1336), the father of modern Italian art,
with Giovanni Cimabue (d. after 1302), the most celebrated re-
presentative of the earlier style. (Cimabue is said to have watched
Giotto, when, as a shepherd-boy, relieving the monotony of his
office by tracing the outlines of his sheep in the sand, and to have
received him as a pupil in consequence). But it was forgotten
that a revolution in artistic ideas and forms had taken place at
Rome and Siena still earlier than at Florence, that both Cimabue
and his pupil Giotto had numerous professional brethren , and
that the composition of mosaics, as well as mural and panel-
painting, was still successfully practised. Subsequent investigation
has rectified these errors, pointed out the Roman and Tuscan
mosaics as works of the transition-period, and restored the Sienese
master Duccio, who was remarkable for his sense of the beauti-

xxxvi ITALIAN ART.

ful and the expressiveness of his figures, to his merited rank.
Giotto, however, is fully entitled to rank in the highest class. The
amateur, who before entering Italy has become acquainted with
Giotto from insignificant easel-pictures only, often arbitrarily
attributed to this master , and even in Italy itself encounters
little else than obliquely drawn eyes , clumsy features , and
cumbrous masses of drapery as characteristics of his style, will
regard Giotto's reputation as ill-founded. He will be at a loss
to comprehend why Giotto is regarded as the inaugurator of a
new era of art, and why the name of the old Florentine master
is only second iii popularity to that of Raphael. The fact is that
Giotto's Giotto's celebrity is not due to any single perfect work of

Influence, art. His indefatigable energy in different spheres of art, the
enthusiasm which he kindled in every direction, and the develop-
ment for which he paved the way, must be taken into consideration,
in order that his place in history may be iinderstood. Even when,
in consonance with the poetical sentiments of his age, he embodies
allegorical conceptions, as poverty, chastity, obedience, or displays
to us a ship as an emblem of the Church of Christ, he shows a
masterly acquaintance with the art of converting what is perhaps
in itself an ungrateful idea into a speaking, life-like scene.
Giotto is an adept in narration, in imparting a faithful reality to
his compositions. The individual figures in his pictures may fail
to satisfy the expectations, and even earlier masters , such as
Duccio, may have surpassed him in execution, but intelligibility
of movement and dramatic effect were first naturalised in art by
Giotto. This is partly attributable to the luminous colouring
employed by him instead of the dark and heavy tones of his
predecessors, enabling him to impart the proper expression to
his artistic and novel conceptions. On these grounds there-
fore Giotto, so versatile and so active in the most extended spheres,
was accounted the purest type of his century, and succeeding
generations founded a regular school of art in his name. As
in the case of all the earlier Italian painters, so in that of Giotto
and his successors, an opinion of their true merits can be formed
from their mural paintings alone. The intimate connection of the
picture with the architecture, of which it constituted the living
ornament, compelled artists to study the rules of symmetry and
harmonious composition, developed their sense of style, and, as
extensive spaces were placed at their disposal, admitted of broad
and unshackled delineation. Almost every church in Florence
boasted of specimens of art in the style of Giotto, and almost ev-
ery town in Central Italy in the 14th century practised some
branch of art akin to Giotto's. The most valuable works of this style
arc preserved in the churches of S. Croce (especially the choir-
chapels) and ,S. Maria Novella at Florence. Beyond the precincts of

\ the Tuscan capital the finest works of Giotto are to be found at.<48Si>i

ITALIAN ART. xxxvii

and in the Madonna dell' Arena at Padua, where in 1306 he exe-
cuted a representation of scenes from the lives of the Virgin and
the Saviour. The Campo Santo of Pisa affords specimens of the
handiwork of his pupils and contemporaries. In the works on the
walls of this unique national museum the spectator cannot fail to
he struck by their flnely-conceived, poetical character (e.g. the
Triumph of Death), their sublimity (Last Judgment, Trials of Job),
or their richness in dramatic effect (History of St. Rainerus, and of
the Martyrs Ephesus and Potitus).

In the 15th century, as well as in the 14th, Florence continued
to take the lead amongst the capitals of Italy in matters of art.
Vasari attributes this merit to its pure and delicious atmo- Florence,
sphere, which he regards as highly conducive to intelligence a Ckadle
and refinement. The fact, however, is, that Florence did **^ -'^^'''^•
not itself produce a greater number of eminent artists than other
places. During a long period Siena successfully vied with her in
artistic fertility, and Upper Italy in the 14th century gave birth to
the two painters d'Atanzo and Altichieri (paintings in the Chapel
of S. Giorgio in Padua), who far surpass Giotto's ordinary style. On
the other hand, no Italian city afforded in its political institutions
and public life so many favourable stimulants to artistic imagina-
tion, or promoted intellectual activity in so marked a degree, or
combined ease and dignity so harmoniously as Florence. What
therefore was but obscurely experienced in the rest of Italy, and
manifested at irregular intervals only, was generally first realised
here with tangible distinctness. Florence became the birthplace
of the revolution in art effected by Giotto , and Florence was the
home of the art of the Renaissance, which began to prevail soon
after the beginning of the_15th century and superseded the style
of Giotto.

The word Renaissance is commonly understood to designate a
revival of the antique ; but while ancient art now began to rknais-
influence artistic taste more powerfully, and its study to be sance
more zealously prosecuted , the essential character of the Cultuke.
Renaissance consists by no means exclusively, or even principally,
in the imitation of the antique ; nor must the term be confined
merely to art , as it truly embraces the whole progress of civili-
sation in Italy during the 15th and 16th centuries. How the
Renaissance manifested itself in political life , and the different
phases it assumes in the scientific and the social world , cannot
here be discussed. It may, however, be observed that the Re-
naissance in social life was chiefly promoted by the 'humanists',
who preferred general culture to great professional attainments,
who enthusiastically regarded classical antiquity as the golden
age of great men , and who exercised the most extensive in-
fluence on the bias of artistic views. In the period of the Re-
naissance the position of the artist with regard to his work , and

xxxviii ITALIAN ART.

the nature and aspect of the latter are changed. The education and
taste of the individual leave a more marked impress on the work of
the author than was ever before the case; his creations are pre-emi-
nently the reflection of his intellect ; his alone is the responsibility,
his the reward of success or the mortification of failure. Artists
now seek to attain celebrity, they desire their works to be examined
and judged as testimonials of their personal endowments. Mere
technical skill by no means satisfies them, although they are far
from despising the drudgery of a handicraft (many of the most emi-
nent quattrocentists having received the rudiments of their education
in the workshop of a goldsmith), the exclusive pursuit of a single
sphere of art is regarded by them as an indication of intellectual
poverty, and they aim at mastering the principles of each different
branch. They work simultaneously as paiiiters and sculptors , and
when they devote themselves to architecture, it is deemed nothing
unwonted or anomalous. A comprehensive and versatile education,
united with refined personal sentiments, forms their: loftiest aim.
This they attain in but few instances, but that they eagerly aspired
to it is proved by the biography of the illustrious Leon Battista
Alberti, who is entitled to the same rank in the 15th century, as
Leonardo da Vinci in the 16th. Rationally educated, physically and
morally healthy , keenly alive to the calm enjoyments of life, and
possessing clearly defined ideas and decided tastes, the Renaissance
artists necessarily regarded nature and her artistic embodiment
with different views from their predecessors. A fresh and joyous love
of nature seems to pervade the whole of this period. She not only
afforded an unbounded field to the scientific, but artists also strove
to approach her at first by a careful study of her various pheno-
mena. Anatomy , geometry , perspective , and the study
of'thk're- °^ drapery and colour are zealously pursued and practically
NAissANCE applied. External truth, fidelity to nature, and a correct
Artists to rendering of real life in its minutest details are among the
ATURE. necessary qualities in a perfect work. The realism of the re-
presentation is, however, only the basis for the expression of life-
like character and present enjoyment. The earlier artists of the
Renaissance rarely exhibit partiality for pathetic scenes, or events
which awaken painful emotions and turbulent passions, and when
such incidents are represented, they are apt to be somewhat exagger-
ated. The preference of these masters obviously inclines to cheerful
and joyous subjects. In the works of the 15th century strict faith-
fulness, in an objective sense, must not be looked for. Whether the
topic be derived from the Old or the New Testament, from history or
fable, it is always transplanted to the immediate present, and adorn-
ed with the colours of actual life. Thus Florentines of the genuine
nati07ial type are represented as surrounding the patriarchs, visiting
Elizabeth after the birth of her son, or witnessing the miracles of
Christ. This transference of remote events to the present bears a

ITALIAN ART. xxxix

striking resemblance to the na'ive and not unpleasing tone of the
chronicler. The development of Italian art, however, by no means
terminates with mere fidelity to nature, a quality likewise displayed
by the contemporaneous art of the North. A superficial glance at
the works of the Italian Renaissance enables one to recognise the
higher goal of imagination. The carefully selected groups of digni-
fied men, beautiful women, and pleasing children, occasionally
without internal necessity placed in the foreground , prove that at-
tractiveness was pre-eminently aimed at. This is also evidenced by
the early-awakened enthusiasm for the nude, by the skill in dispo-
sition of drapery, and the care devoted to boldness of outline and
accuracy of form. This aim is still more obvious from the keen
sense of symmetry observable in all the better artists. The indi-
vidual figures are not coldly and accurately drawn in conformity
with systematic rules. They are executed with refined taste and
feeling ; harshness of expression and unpleasing characteristics are
sedulously avoided , while in the art of the North physiognomic
fidelity is usually accompanied by extreme rigidity. A taste for
symmetry does not prevail in the formation of the individual figure
only ; obedience to rhythmical precepts is perceptible in the dispo-
sition of the groups also, and in the composition of the entire work.
The intimate connection between Italian painting (fresco) and
architecture naturally leads to the transference of architectural rules
to the province of pictorial art , whereby not only the invasion of a
mere luxuriant naturalism was obviated , but the fullest scope was
afforded to the artist for the execution of his task. For, to discover
the most effective proportions , to inspire life into a scene by the
very rhythm of the lineaments , are not accomplishments to be
acquired by extraneous aid; precise measurement and calcu-
lation are here of no avail ; a discriminating eye , refined taste,
and a creative imagination , which instinctively divines the appro-
priate forms for its design , can alone excel in this sphere of art.
This enthusiasm for external beauty and just and harmonious pro-
portions is the essential characteristic of the art of the Renaissance.
Its veneration for the antique is thus also accounted for. At first
an ambitious thirst for fame caused the Italians of the 15th and 16th
centuries to look back to classical antiquity as the era of illus- Study
trious men, and ardently to desire its return. Subsequently, of the
however, they regarded it simply as an excellent and appro- Antique
priate resource, when the study of actual life did not suffice, and an
admirable assistance in perfecting their sense of form and symmetry.
They by no means viewed the art of the ancients as a perfect whole,
or as the product of a definite historical epoch, which developed
itself under peculiar conditions ; but their attention was arrested by
the individual works of antiquity and their special beauties. Thus
ancient ideas were re-admitted into the sphere of Renaissance art.
A return to the religious spirit of the Romans and Greeks is not of

xl ITALIAN ART.

course to he inferred from the veneration for the ancient gods shown
during the humanistic period ; belief in the Olympian gods was ex-
tinct; but just because no devotional feeling was intermingled,
because the forms could only receive life from creative imagination,
did they exercise so powerful an influence on the Italian masters.
The importance of mythological characters being wholly due to the
perfect beauty of their forms , they could not fail on this account
pre-eminently to recommend themselves to Renaissance artists.
These remarks will, it is hoped, convey to the reader a general
CiiARACTEu-idea of the character of the Renaissance. Those who ex-

isTics OP amine the architectural works of the 15th or 16th century
SANCE should refrain from marring their enjoyment by the not al-
Arciii- together justifiable reflection, that in the Renaissance style

TECTURE. no new system was invented, as the architects merely em-
ployed the ancient elements, and adhered principally to tradition
in their constructive principles and selection of component parts.
Notwithstanding the apparent want of organisation, however, great
beauty of form, the outcome of the most exuberant imagination,
M'ill be observed in all these structures.

Throughout the diversified stages of development of the suc-
ceeding styles of Renaissance architecture, felicity of proportion is
invariably the aim of all the great masters. To appreciate their
success in this aim should also be regarded as the principal task of
the spectator, who with this object in view will do well to compare
a Gothic with a Renaissance structure. This comparison will prove
to him that harmony of proportion is not the only effective element
in architecture ; for, especially in the cathedrals of Germany, the
exclusively vertical tendency, the attention to form without regard
to measure , the violation of precepts of rhythm , and a disregard
of proportion and the proper ratio of the open to the closed cannot
fail to strike the eye. Even the unskilled amateur will thus be
convinced of the abrupt contrast between the mediaeval and the
Renaissance styles. Thus prepared, he may, for example, proceed
to inspect the Pitti Palace at Florence , which , undecorated and
unorganised as it is, would scarcely be distinguishable from a rude
pile of stones, if a judgment were formed from the mere descrip-
tion. The artistic charm consists in the simplicity of the mass,
the justness of proportion in the elevation of the stories, aiul the
tasteful adjustment of the windows in the vast surface of the fa-
cade. That the architects thoroughly understood the resthetical
effect of symmetrical proportions is proved by the mode of con-
struction adopted in the somewhat more recent Florentine palaces,
in whi(;h the roughly hewn blocks (rustica) in the successive stories
recede in gradations, and by their careful experiments as to whether
the cornice surmounting the structure should bear referen<;e to the
highest story , or to the entire facade. Tlie same bias manifests
itself in Rramante's imagination. The Cancellcrin is justly

ITALIAN ART. xli

considered a beautifully organised structure ; and when, after the
example of Palladio in churcli-fa^ades, a single series of columns
was substituted for those resting above one another, symmetry of
proportion was also the object in view.

From the works of Brunelleschi (p. xlii), the greatest master of
the Early Renaissance, down to those of Andrea Palladio of Vi-
cenza(p. xliii), the last great architect of the Renaissance, the works
of all the architects of that period will be found to possess many
features in common. The style of the 15th century may, however,
easily be distinguished from that of the 16th. The Flor- Early Re-
entine Pitti, Riccardi, and Strozzi palaces are still based on naissance.
the type of the mediaeval castle , but other contemporary creations
show a closer affinity to the forms and articulation of antique art.
A taste for beauty of detail , coeval with the realistic tendency of
painting, produces in the architecture of the 15th century an exten-
sive a^jplication of graceful and attractive ornaments, which entirely
cover the surfaces, and throw the real organisation of the edifice into
the background. For a time the true aim of Renaissance art appears
to have been departed from ; anxious care is devoted to detail instead
of to general effect ; the re-application of columns did not at first
admit of spacious structures; the dome rose but timidly above the
level of the roof. But this attention to minutiae, this disregard of
effect on the part of these architects, was only, as it were, a re-
straining of their power, in order the more completely to master,
the more grandly to develop the art.

There is no doubt that the Renaissance palaces (among which
that of Urbino, mentioned in vol. ii. of this Handbook, has always
been regarded as pre-eminently typical) are more attractive than the
churches. These last, however , though destitute of the venerable
associations connected with the mediaeval cathedrals , bear ample
testimony to the ability of their builders. The churches of Northern
Italy in particular are worthy of examination. The first early Re-
naissance work constructed in this part of the country was thefagade
of the Certosa ofPavia, a superb example of decorative architecture.
Besides the marble edifices of this period we also observe structures
in brick, in which the vaulting and pillars form prominent features.
The favourite form was either circular or that of the Greek cross
(with equal arms), the edifice being usually crowned with a dome,
and displaying in its interior an exuberant taste for lavish enrich-
ment. Of this type are the church of the Madonna della Croce near
Crema and several others at Piacenza and Parma (Madonna della
Steccata). It was in this region thatBRAMANTE prosecuted the studies
of which Rome afterwards reaped the benefit. Among the secular
buildings of N. Italy we may mention the Ospedale Maggiore at
Milan, which shows the transition from Gothic to Renaissance. The
best survey of the palatial edifices built of brick will be obtained
by walking through the streets of Bologna (p. 286).

xlii ITALIAN ART.

The visitor to Venice will have an opportnnity of tracing within
a very limited space the progress of Renaissance architecture. The
church of S. Zaccaria is an example of early Renaissance still in
conflict with Gothic, while the richly coloured church of S. Maria
dei Miracoli and the Scuola di S. Marco exhibit the style in its
perfection. Foremost among the architects of Venice must he
mentioned the Lombardi, to whom most of the Venetian buildings
of the 15th cent, are attributed; but we shall afterwards advert to
the farther progress of Venetian architecture (p. xliii). One of the
most famous architects of N. Italy was Fra Gioconuo of Verona, a
monk, philologist (the discoverer of the letters of the younger Pliny'),
a botanist, an engineer, and a thoroughly well trained architect, who
at a very advanced age, after the death of Bramante, was summoned
to Rome to superintend the building of St. Peter's.

Examples of early Renaissance architecture abound in the towns
of Tuscany. At Florence, the scene of Filippo Brunelleschi's
labours (1379-1446), the attention is chiefly arrested by the church
of S. Lorenzo (1425), with its two sacristies (the earlier by Brunel-
leschi , the later by Michael Angelo , which it is interesting to
compare), while the small Cappella dei Pazzi near S. Croce is also
noticeable. The Palazzo Rucellai is also important as showing the
combination of pilasters with 'rustica', the greatest advance achieved
by the early Renaissance. Siena, with its numerous palaces, Pienza,
the model of a Renaissance town , and Vrbino also afford excellent
examples of the art of the Quattrocentists, but are beyond the limits
of the present volume. While all these different edifices possess
many features in common , they may be classed in a number of
groups, differing in material and various other characteristics, and
entirely relieving them from any reproach of monotony.

The early Renaissance is succeeded by Bramante's epoch (1444-
1514), with which began the golden age of symmetrical construr-
Zenith tion. With a wise economy the mere decorative portions
OF THE Re- were circumscribed , while greater significance and more
NAissANCE. jnarked expression were imparted to the true constituents
of the structure, the real exponents of the architectural design.
The works of the Bramantine era are less graceful and attractive
than those of their predecessors, but superior in their well defined,
lofty simplicity and finished character. Had the Church of St. Peter
been completed in the form originally designed by Bramante , we
could have pronounced a more decided opinion as to the ideal of the
church-architecture of the Renaissance. The circumstance that the
grandest work of this style has been subjected to the most varied
alterations (and vastness of dimensions was the principal aim of the
architects) teaches us to refrain from the indiscriminate blame which
so commonly falls to the lot of Renaissance churches. It must at
least be admitted that the favourite form of a Greek cross with
rounded extremities, crowned by a dome, possesses concentrated

ITALIAN ART. xliii

unity, and that the pillar-construction relieved by niches presents
a most majestic appearance; nor can it he disputed that in the
churches of the Renaissance the same artistic principles are applied
as in the universally admired palaces and secular edifices. If the
former therefore excite less interest, this is not due to the in-
feriority of the architects, hut to causes beyond their control. The
great masters of this culminating period of the Renaissance were
Raphael, Baidassake Pekuzzi, the younger Antonio da Sangallo
of Rome, Michele Sammicheli of Verona [p. 187), Jacopo Sanso-
viNO of Venice, and lastly Michael Angelo. The succeeding gene-
ration of the 16th century did not adhere to the style introduced hy
Bramante, though not reduced by him to a finished system. They
aim more sedulously at general effect, so that harmony among the
individual members begins to be neglected ; they endeavour to arrest
the eye by boldness of construction and striking contrasts ; or they
borrow new modes of expression from antiquity, the precepts of
which had hitherto been applied in an unsystematic manner only.

The traveller will become acquainted with the works of Bramante
and his contemporaries at Rome (see vol. ii. of this Hand- jtamous Re-
book), but there are other places also which possess important naissance
examples of the 'High Renaissance' style. At Florence, for Bhildings.
example, are the Palazzo Pandolfini and the Palazzo Uguccioni,
both of which are said to have been designed by Raphael ; the
Court of the Pitti Palace by Bart. Ammanati ; the Palazzo Serristori
and the Palazzo Bartolini by Baccio d'Agnolo. We must also
mention Mantua as the scene of the architectural labours of Giulio
Romano (p. 195) , Verona with its numerous buildings by Sam-
micheli (e. g. the Palazzo Bevilacqua) , and Padua , where Gio-
vanni Maeia Falconbtto (1458-1534) and Andrea Riccio , or
properly Bkiosco (S. Giustina) flourished. At Venice the Renais-
sance culminated in the first half of the 16th cent, in the works of
the Florentine Jacopo Sansovino (properly Tatti , 1477-1570),
and at Genoa in those of Galeazzo Alessi (1500-72) of Perugia
(e.g. S. Maria in Carignano).

In the middle and latter half of the 16th cent, Venice, Genoa,
and Vicenza were zealous patrons of art. To this period Akchi-
belongs Andrea Palladio of Vicenza (1518-80 ; p. 200), tectdre at
the last of the great Renaissance architects, whose Venetian Venice.
churches (S. Giorgio Maggiore and Redentore) and Vicentine palaces
are equally celebrated. The fundamental type of domestic archi-
tecture at Venice recurs with little variation. The nature of the
ground afforded little scope for the caprice of the architect,
while the conservative spirit of the inhabitants inclined them to
adhere to the style established by custom. Nice distinctions of style
are therefore the more observable, and that which emanated from
a pure sense of form the more appreciable. Those who have been
convinced by careful comparison of the great superiority of the

xliv ITALIAN ART.

Biblioteca (in the Piazzetta) of Sansoviiio over the new Procurazie
of Scamozzi, although the two edifices exactly correspond in many
respects, have made great progress towards an accurate insight into
the architecure of the llenaissance.

Much, however, would be lost by the traveller who devoted his
Minor attention exclusively to the master-works which have been

WoKKs OF extolled from time immemorial, or solely to the great mon-
■^^'^- umental structures. As even the insignificant vases (ma-

jolicas , manufactured at Pesaro , Urbino , Gubbio , and Castel-
Durante) testify to the taste of the Italians, their partiality
for classical models, and their enthusiasm for purity of form, so
also in inferior works, some of which fall within the province of a
mere handicraft, the peculiar beauties of the Renaissance style are
often detected , and charming specimens of architecture are some-
times discovered in remote corners of Italian towns. Nor must the
vast domain of decorative sculpture be disregarded, as such works,
whether in metal, stone, or stucco, inlaid or carved wood (intarsia),
often verge on the sphere of architecture in their designs, drawing,
and style of enrichment.

On the whole it may be asserted that the architecture of the Re-
naissance , which in obedience to the requirements of modern life

SccLPTDRE manifests its greatest excellence in secular structures, cannot

OP THE Re- fail to gratify the taste of the most superficial observer.

N.ussANCE. '\^ii]] the sculpture of the same period, however, the case is
different. The Italian architecture of the 15th and 16th centuries
still possesses a practical value and is frequently imitated at the
present day ; and painting undoubtedly attained its highest con-
summation at the same period ; but the sculpture of the Renais-
sance does not appear to us worthy of revival, and indeed cannot
compete with that of antiquity. Yet the plastic art, far from
enjoying a lower degree of favour, was rather viewed by the ar-
tists of that age as the proper centre of their sphere of activity.
Sculpture was the first art in Italy which was launched into the
stream of the Renaissance, iii its development it was ever a step
in advance of the other arts, and in the popular opinion possessed
the advantage of most clearly embodying the current ideas of the
age, and of affording the most brilliant evidence of the re-awakened
love of art. Owing probably to the closeness of the connection be-
tween the plastic art of the Renaissance and the peculiar national
culture, the former lost much of its value after the decline of the
latter, and was less appreciated than pictorial and architectural
works, in which adventitious historical origin is obviously less im-
portant than general effect. In tracing the progress of the sculpture
of the Renaissance, the enquirer at once e.ncounters serious devia-
tions from strict precepts, and numerous infringements of lestheti-
cal rules. The execution of reliefs (ionstitutes by far the widest
sphere of action of the Italian sculptors of the 15th century.

ITALIAN ART. xlv

These , however , contrary to immemorial usage , are executed
in a pictorial style. Lorenzo Ghibkrti (1378-1455), for ex-
ample, in his celebrated (eastern) door of the Baptistery of Flo-
rence , is not satisfied with grouping the figures as in a painting,
and placing them in a rich landscape copied from nature. He
treats the background in accordance with the rules of perspective;
the figures at a distance are smaller and less raised than those in
the foreground. He oversteps the limits of the plastic art, and
above all violates the laws of the relief-style, according to which
the figures are always represented in an imaginary space, and the
usual system of a mere design in profile seldom departed from.
In like manner the painted reliefs in terracotta by Luca della
RoBBiA (1400-82) are somewhat inconsistent with purity of plastic
form. But if it be borne in mind that the sculptors of the Renais-
sance did not derive their ideas from a previously defined system,
or adhere to abstract rules, the fresh and life-like vigour of their
works (especially those of the 15th century) will not be disputed,
and prejudice will be dispelled by the great attractions of the
reliefs themselves. The sculpture of the Renaissance adheres as
strictly as the other arts to the fundamental principle of repre-
sentation ; scrupulous care is bestowed on the faithful and at-
tractive rendering of the individual objects ; the taste is gratified
by expressive heads, graceful female figures , and joyous children ;
the sculptors have a keen appreciation of the beauty of the nude,
and the importance of a calm and dignified flow of drapery. In
their anxiety for fidelity of representation , however , they do not
shrink from harshness of expression or rigidity of. form. Their
predilection for bronze-casting, an art which was less in vogue in
the 16th cent. , accords with their love of individualising their
characters. In this material , decision and pregnancy of form are
expressed without restraint, and almost, as it were, spontaneously.
Works in marble also occur, but these generally trench on the pro-
vince of decoration, and seldom display the bold and unfettered
aspirations which are apparent in the works in bronze.

The churches have always afforded the most important field for
the labours of the Italian sculptors, some of them, such as S. Croce
at Florence , Frari and S. Giovanni e Paolo at Venice , and the
Santo at Padua, forming very museums of Renaissance sculpture.
At the same time many of the wealthier families (the Medici and
others) embellished their mansions with statuary , and the art of
the 'sculptor was frequently invoked with a view to erect a fitting
tribute to the memory of some public benefactor (such as the
equestrian statues at Venice and Padua~).

At Florence , the cradle of Renaissance sculpture , we become
acquainted with Ghiberti and Della Robbia, who have been Scdlptoes
already mentioned , and with the famous Donatello (pro- op the Re-
perly Donato di Niccolo di Betti Bardi, 1386-1466), who naissance.

xlvi ITALIAN ART.

introduced a naturalistic style, which, though often harsh, is full
of life and character. The Judith Group In the Loggia de' Lanzi
is an exaggerated and unpleasing example of this style, the master
having aimed at the utmost possible expressiveness, while the lines
and contours are entirely destitute of ease. Among Donatello's
most successful works on the other hand are his statue of St. George
(^in Or S. Michele, which also contains his Peter and Mark; p. 369)
and his Victorious David in bronze in the MuseoNazionale (p. 377),
a collection invaluable to the student of the early Renaissance. The
reliefs on the two pulpits in S. Lorenzo and the sculptures in the
sacristy of that church (p. 394) should also be inspected. Dona-
tello's finest works out of Florence are his numerous sculptures in
S. Antonio at Padua.

The next sculptor of note was Andbea Verrocchio (1435-88).
Most of the other masters of this period (Antonio Rossellino,
Ming da Fibsolb, Desiderio da Settignano) were chiefly oc-
cupied in the execution of tombstones , and do not occupy a
position of much importance; but the life and sense of beauty which
characterise the early Renaissance are admirably exemplified in the
works of the comparatively unknown Matted Civitali of Lucca
(1435-1501; Altar of St. Regulus in the Cathedral, p. 313).
Important Florentine masters of the first half of the 16th cent,
were Giov. Franc. Rustici (1474- 1550?), who was perhaps inspir-
ed by Leonardo, and particularly Andrea Sansovino (1460-1529),
the author of the exquisite group of Christ and the Baptist in the
Baptistery at Florence, of superb monuments at Rome (in the choir
of S. Maria del Popolo), and of part of the sculptures which adorn
the Santa Casa at Loreto. Northern Italy also contributed largely
to the development of the plastic art. The Certosa at Pavia , for
example, afforded occupation during several decades to numerous
artists, among whom the most eminent were Giovanni Antonio
Amadeo (sculptor of the huge monuments in the Cappella CoUeoni
at Bergamo), and, at a later period, Cristoforo Solari, surnamed
II Gobbo ; Venice gave birth to the famous sculptor Alessandro
Leoi'ardi (d. 1521); Riccio or Bbiosco wrought at Padua; Agos-
TiNO BusTi, iL Bambaja (p. 126) and the above-mentioned Cristo-
foro Solari, were actively engaged at Milan; and Modena
afforded employment to Mazzoni and Begarelli (p. 276), artists
in terracotta, the latter of whom is sometimes compared with
Correggio.

Of the various works executed by these masters , Monumental
Tombs largely predominate. While these monuments are often of
a somewhat bombastic character, they afford an excellent illus-
tration of the high value attached to individuality and personal
culture during the Renaissance period. We may perhaps also fre-
quently take exception to the monotony of their style, which
remained almost unaltered for a whole century, but we cannot fail

ITALIAN ART. xlvii

to derive genuine pleasure from tlie inexhaustible freshness of
imagination displayed within so narrow limits.

As museums cannot convey an adequate idea of the sculpture
of the 15th century, so the picture galleries will not afford an
accurate insight into the painting of that period, f Sculp- painting
tures are frequently removed from their original position, of the Cm-
many of those belonging to the Florentine churches, for Qdecento.
example , having been of late transferred to museums ; but mural
paintings are of course generally inseparable from the walls which
they adorn. Of the frescoes of the 15th century of which a record has
been preserved, perhaps one-half have been destroyed or obliterated,
but those still extant are the most instructive and attractive ex-
amples of the art of this period. The mural paintings in the church
del Carmine ( Cappella Brancacci) a.t Florence are usually spoken of
as the earliest specimens of the painting of the Renaissance. This
is a chronological mistake , as some of these frescoes were not com-
pleted before the second half of the 15th century; but on material
grounds the classification is justifiable, as this cycle of pictures may
be regarded as a programme of the earlier art of the Renaissance,
the importance of which it served to maintain, even during the age
of Raphael. Here the beauty of the nude was first revealed , and
here a calm dignity was for the first time imparted to the individual
figures, as well as to the general arrangement ; and the transform-
ation of a group of indifferent spectators in the composition into a
sympathising choir, forming as it were a frame to the principal act-
ors in the scene , was first successfully effected. It is, therefore,
natural that these frescoes should still be regarded as models for
imitation, and that , when the attention of connoisseurs was again
directed during the last century to the beauties of the pre-Raphaelite
period, the works of Masaccio (1401-1428) and Filippino Lirpi
(1457-1504) should have been eagerly rescued from oblivion.

A visit to the churches of Florence is well calculated to convey
an idea of the subsequent rapid development of the art of painting.
The most important and extensive works are those of Do-
MENico Ghirlandajo (1449-94) : viz. frescoes in S. Trinita, ^lobeTce!'
and those in the choir of S. Maria Novella, which in spright-
liness of conception are hardly surpassed by any other work of the
same period. (The traveller will find it very instructive to compare
the former of these works with the mural paintings of Giotto in S.
Croce, which also represent the legend of St. Francis, and to draw
a parallel between Ghirlandajo's Last Supper in the monasteries
of S. Marco and Ognissanti, and the work of Leonardo.) In the
Dominican monastery of S. Marco reigns the pious and peaceful
genius of Fea Giovanni Angelico da Fiesoie (1387-1455), who,

+ The best works on this subject are Crowe & Cavalcaselle's History of
Painting in Italy, and History of Painting in North Italy.

xlviii ITALIAN ART.

though inferior to his contemporaries in dramatic power, vies with
the best of them in his depth of sentiment and his sense of beauty,
as expressed more particularly by his heads, and who in his old
age displayed his well matured art in the frescoes of the chapel of
St. Nicholas in the Vatican.

Although the Tuscan painters exhibit their art to its fullest
extent in their mural paintings, their easel-pictures are also well
worthy of most careful examination ; for it was chiefly through
these that they gradually attained to perfection in imparting beauty
and dignity to the human form. Besides the two great Florentine
galleries (Ufflzi and Pitti), the collection of the Academy (p. 387)
is also well calculated to afford a survey of the progress of Floren-
tine painting.

Beyond the precincts of Florence, Benozzo Gozzoli's charming
scenes from the Old Testament on the northern wall of the Campo
Painting in Santo of Pisa, truly forming biblical genre-pictures, and his
otherParts scenes from the life of St. Augustine in S. Gimignano,
oFTuscANr. j-jLippo Lippi's frescoes at Prato (p. 340), Piero della.
Fkancesca's Finding of the Cross in S. Francesco at Arezzo,
and lastly Ltjca Signorklli's representation of the Last Day in
the Cathedral at Orvieto, afford a most admirable review of the
character and development of Renaissance painting in Central Italy.
Arezzo and Orvieto should by no means be passed over, not only
because the works they contain of Piero della Francesca and Luca
Signorelli show how nearly the art even of the 15th century ap-
proaches perfection, but because both of these towns afford an im-
mediate and attractive insight into the artistic taste of the mediaeval
towns of Italy. Those who cannot conveniently visit the provincial
towns will find several of the principal masters of the 15th century
united in the mural paintings of the Sistine Chapel At Borne, where
Sandro Botticelli, a pupil of the elder Lippi, Cosimo Rosselli,
Dom. Ghirlandajo, Signorelli, andPerugino have executed a number
of rich compositions from the life of Moses and that of Christ.

But an acquaintance with the Tuscan schools alone can never
suffice to enable one to form a judgment respecting the general
Other progress of art in Italy. Chords which are here but slightly
Schools, touched vibrate powerfully in Upper Italy. The works of
Andrea Mantegna (1431-1506; at Padua and Mantua) derive
much interest from having exercised a marked influence on the
German masters Holbein andDiirer, and surpass all the other works
of his time in fidelity to nature and excellence of perspective
(p. 195). — The earlier masters of the Venetian School ( Vivarini,
Crivelli) were to some extent adherents of the Paduan school, to
which Mantegna belonged, but the peculiar Venetian style, mainly
founded on local characteristics, and admirably successful in its rich
portraiture of noble and dignified personages, was soon afterwards
elaborated by Gentile Bellini (1421-1507) and his brother Gio-

ITALIAN ART. xlix

VANNi (1426-1516), sons of Giacomo (comp. p. 219). — The Um-
brian S<;liool also, which originated at Giibbio, and is admirably re-
presented early in the 15th century by Ottaviano Nelli, blending
with the Tuscan school in Gentile da Fabriano, and culminating
in its last masters Pietro Vannucci, surnamed Perugino (1446-
1524), and Bernardino Pinturicchio (1454-1513), merits attention,
not only because Raphael was one of its adherents during his first
period , but because it supplements the broader Florentine style,
and notwithstanding its peculiar and limited bias is impressive in
its character of lyric sentiment and religious devotion (e. g. Ma-
donnas).

The fact that the various points of excellence were distributed
among different local schools showed the necessity of a loftier union.
Transcendent talent was requisite in order harmoniously to union op
combine what could hitherto be viewed separately only, different
Ths 15th century, notwithstanding all its attractiveness, Schools.
shows that the climax of art was still unattaiued. The forms em-
ployed, graceful and pleasing though they be, are not yet lofty and
pure enough to be regarded as embodiments of the highest and
noblest conceptions. The figures still present a local colouring,
having been selected by the artists as physically attractive , rather
than as characteristic and expressive of their ideas. A portrait style
still predominates , the actual representation does not appear
always wisely balanced with the internal significance of the event,
and the dramatic element is insufficiently emphasised. The most
abundant scope was therefore now afforded for the labours of the
great triumvirate, Leonardo da Vinci, Michael Angelo Buonar-
roti, and Raphael Santi, by whom an entirely new era was in-
augurated.

Leonardo's (1452-1519) remarkable character can only be tho-
roughly understood by means of prolonged study. His comprehensive
genius was only partially devoted to art ; he also directed Leonardo
his attention to scientific and practical pursuits of an entirely da Vinci.
different nature. Refinement and versatility may be described as
the goal of his aspirations; a division of labour, a partition
of individual tasks were principles unknown to him. He laid,
as it were , his entire personality into the scale in all that he
undertook. He regarded careful physical training as scarcely less
important than comprehensive culture of the mind ; the vigour of
his imagination served also to stimulate the exercise of his intellect;
and his minute observation of nature developed his artistic taste and
organ of form. One is frequently tempted to regard Leonardo's
works as mere studies , in which he tested his powers, and which
occupied his attention so far only as they gratified his love of
investigation and experiment. At all events his personal impor-
tance has exercised a greater influence than his productions as
an artist, especially as his prejudiced age strenuously sought to
Baedeker. Italy I. 5tli Edit. il

1 ITALIAN ART.

obliterate all trace of the latter. Few of Leonardo's works
have been preserved in Italy , and these sadly marred by neglect.
A reminiscence of his earlier period, when he wrought under
Andrea Verrocchio at Florence, and was a fellow-pupil of Lo-
renzo m Credi, is the fresco (Madonna and donor) in S. Onofrio
at Rome. Several oil-paintings, portraits. Madonnas, and composed
works are attributed to his Milan period, although careful research
inclines us to attribute them to his pupils. The following are
the most famous of his pictures in the Italian galleries : — in the
Ambrosiana of Milan the Portrait of Isabella of Arragon, wife of
Giov. Galeazzo Sforza; in the Palazzo Pitti the Ooldsmith and the
Monaca (both of doubtful authenticity) ; in the Ufflzi the Portrait
o/'/i»nsei/" (certainly spurious) z.\\Aih& Adoration of the Magi, which
last, though little more than a sketch, bears full testimony to the
fertility of the artist's imagination ; and lastly, in the Vatican Gal-
lery, the St. Jerome (in shades of brown). The traveller will also
find Leonardo's drawings in the Ambrosiana exceedingly interesting.
The best insight into Leonardo's style, and his reforms in the art of
colouring, is obtained by an attentive examination of the works
of the Milan school (Luini, Salaino ; p. 119), as these are far better
preserved than the original works of the master, of which (his
battle-cartoon having been unfortunately lost with the exception of
a single equestrian group) the Last Supper in S. Maria delle Grazie
at Milan is now the only worthy representative. Although now a
total wreck, it is still well calculated to convey an idea of the new
epoch of Leonardo. The spectator should first examine tlie delicate
equilibrium of the composition , and observe how the individual
groups are complete in themselves, and yet simultaneously point to
a common centre and impart a monumental character to the work ;
then the remarkable physiognomical fidelity which pervades every
detail, the psychological distinctness of character, and the dramatic
life , together with the calmness of the entire bearing of the
picture. He will then comprehend that with Leonardo a new era
in Italian painting was inaugurated , that the development of art
had attained its perfection.

The accuracy of this assertion will perhaps be doubted by the
amateur when he turns from Leonardo to Michael Angelo (1474-
MioHAEL 1563). On the one hand he hears Micliael Angelo extolled
ANiiKLo. as the most celebrated artist of the Renaissance, while
on the other it is said that lie exercised a prejudicial influence
on Italian art, and was the precursor of the decline of sculpture
and painting. Nor is an inspection of this illustrious master's
works calculated to dispel the doubt. Unnatural and arbitrary
features often appear in juxtaposition with what is perfect , pro-
foundly significative, and faithfully conceived. As in the case of
Leonardo, we shall find that it is only by studying the master's bio-
graphy that we can obtain an explanation of these anomalies, atid

ITALIAN ART. li

reach a true appreciation of Michael Angelo's artistic greatness.
Educated as a sculptor, he exhibits partiality to the nude, and
treats the drapery in many respects diiferently from his professional
brethren. But, like them, his aim is to inspire his figures with life,
and he seeks to attain it by imparting to them an imposing and im-
pressive character. At the same time he occupies an isolated position ,
at variance with many of the tendencies of his age. Naturally pre-
disposed to melancholy, concealing a gentle and almost effeminate
temperament beneath a mask of austerity, Michael Angelo was con-
firmed in his peculiarities by the political and ecclesiastical circum-
stances of his time, and wrapped himself up within the depths of
his own absorbing thoughts. His sculpture most clearly manifests
that profound sentiment to which however he often sacrificed sym-
metry of form. Ilis figures are therefore anomalous , exhibiting a
grand conception, but no distinct or tangible thoughts, and least of
all the traditional ideas. It is difficult now to fathom the hidden
sentiments which the master intended to embody in Ms statues and
pictures; his imitators seem to have seen in them nothing but massive
and clumsy forms, and soon degenerated into meaningless mannerism.
The dece; tive effect produced by Michael Angelo's style is best ex-
emplified by some of his later works. His Moses in S. Pietro in Vincoli
is of impossible proportions ; such a man can never have existed ; the
small head, the huge arms, and the gigantic torso are utterly dis-
proportionate; the robe which falls over the celebrated knee could
not be folded as it is represented. Nevertheless the work is grandly
impressive; and so also are the Monuments of the Medici in S.
Lorenzo at Florence, in spite of the forced attitude and arbitrary
moulding of some of the figures. Michael Angelo only sacrifices
accuracy of detail in order to enhance the aggregate effect. Had
so great and talented a master not presided over the whole , the
danger of an inflated style would have been incurred , the forms
selected would have been exaggerated, and a professional mannerism
would have been the result. Michael Angelo's numerous pupils, in
their anxiety to follow the example of his Last Judgment in the Sis-
tine, succeeded only in representing complicated groups of unnat-
urally foreshortened nude figures, while Baccio Bandinelli, think-
ing even to surpass Michael Angelo , produced in his group of
Hercules and Cacus (in the Piazza della Signoria at Florence) a
mere caricature of his model.

Michael Angelo lived and worked at Florence and Eome alter-
nately. We find him already in Rome at the age of 21 years (149G),
as Florence, after the banishment of the Medici, offered no favour-
able field for the practice of art. Here he chiselled the Pielci and
the Bacchus. In the beginning of the 16th cent, he returned to his
home, where he produced his David and worked on the Battle Car-
toon (Florentines surprised while bathing by the Pisans), which has
since disappeared. In 1505 the Pope recalled him to Rome, but

lii ITALIAN ART.

the work entrusted to him there , the Tomb of Julius II. , was at
this time little more than begun. The Ceiling Paintings in the
Sistine Chapel ahsorhed his whole attention from 1508 to 1512.
After the death of Julius , his monument was resumed on a more
extensive scale. The commands of the new pope, however, who
wished to employ the artist for the glorification of his own family,
soon brought the ambitiously designed memorial once more to a
standstill. From 1510 onwards Michael Angelo dwelt at Carrara
and Florence, occupied at first with the construction and embellish-
ment of the Fafade of S. Lorenzo, which was never completed, and
then with the Tombs of the Medici. This work also advanced very
slowly towards maturity, and at last the artist, disgusted with the
tyranny of the Medici, set up in their places those of the statues which
were finished, and migrated to Rome (1539). His first work here
was the Last Judgment in the Sistine Chapel, his next the erection
of the scanty fragments of the tomb of Pope Julius. His last years
were mainly devoted to architecture (St. Peter's).

Amateurs will best be enabled to render justice to Michael
Angelo by first devoting their attention to his earlier works,
among which in the province of sculpture the group of the Pieta
in St. Peter's occupies the highest rank. The statues of Bacchus
and David (at Florence) likewise do not transgress the customary
precepts of the art of the Renaissance. Paintings of Michael
Angelo's earlier period are rare ; the finest , whether conceived
in the midst of his youthful studies, or in his maturer years, is iin-
questionably the ceiling-painting in the Sistine. The architectural
arrangement of the ceiling, and the composition of the several
pictures are equally masterly ; the taste and discrimination of the
painter and sculptor are admirably combined. In God the Father,
Michael Angelo produced a perfect type of its kind ; he under-
stood how to inspire with dramatic life the abstract idea of the
act of creation, which he conceived as motion in the prophets
and sibyls. Notwithstanding the apparent monotony of the
fundamental intention (foreshadowing of the Redemption), a great
variety of psychological incidents are displayed and embodied in
distinct characters. Lastly, in the so-called Ancestors of Christ,
the forms represented are the genuine emanations of Michael
Angelo's genius, pervaded by his profound and sombre senti-
ments, and yet by no means destitute of gracefulness and beauty.
The decorative figures also which he designed to give life to his
architectural framework are wonderfully beautiful and spirited.
The Last Judgment, which was executed nearly thirty years later
(in 1541 according to Vasari), Is not nearly so striking as the
ceiling-paintings, owing in a great measure to its damaged condi-
tion. — Among Michael Angelo's pupils were Sebastian del
PiOMBO (the Venetian) , Marckllo Venusti , and Daniele da

VOLTERRA.

ITALIAN ART. liii

Whether the palm he due to Michael Aiigelo or to Raphael (1483-
1520) among the artists of Italy is a question which formerly gave
rise to vehement discussion among artists and amateurs, r^ph^j-l
The admirer of Michael Angelo need, however, by no means
he precluded from enjoying the works of Raphael. We now know
that it is far more advantageous to form an acquaintance with
each master in his peculiar province, than anxiously to weigh
their respective merits ; and the more minutely we examine their
works, the more firmly we are persuaded that neither in any way
obstructed the progress of the other , and that a so-called higher
combination of the two styles was impossible. Michael Angelo's
unique position among his contemporaries was such, that no one,
Raphael not excepted , was entirely exempt from his influence ;
but the result of preceding development was turned to the best
account , not by him , but by Raphael , whose susceptible and
discriminating character enabled him at once to combine different
tendencies within himself, and to avoid the faults of his pre-
decessors. Raphael's pictures are replete with indications of pro-
found sentiment, but his imagination was so constituted that
he did not distort the ideas which he had to embody in order
to accommodate them to his own views, but rather strove to iden-
tify himself with them , and to reproduce them with the utmost
fidelity. In the case of Raphael, therefore, a knowledge of his
works and the enjoyment of them are almost inseparable , and
it is difficult to point out any single sphere with which he was
especially familiar. He presents to us with equal enthusiasm
pictures of the Madonna , and the myth of Cupid and Psyche ; in
great cyclic compositions he is as brilliant as in the limited sphere
of portrait-painting; at one time he appears to attach paramount
importance to strictness of style , architectural arrangement, sym-
metry of groups, etc. ; at other times one is tempted to believe that
he regarded colour as his most effective auxiliary. His excellence
consists in his rendering equal justice to the most varied subjects,
and in each case as unhesitatingly pursuing the right course , both
in his apprehension of the idea and selection of form , as if he had
never followed any other.

Little is known of Raphael's private life , nor is it known by
what master he was trained after his father's death (1494). In
1500 he entered the studio of Perugino (p. xlix), and probably soon
assisted in the execution of some of the works of his prolific master.
That he rendered some assistance to Pinturicchio in the execution
of the frescoes at Siena (in 1503, or perhaps as late as 1504) ap-
pears certain from their points of resemblance with some of his
drawings. Of Raphael's early, or Vmbrian period there are examples
in the Vatican Gallery (Coronation of Mary) and the Brera at Milan
(^Sposalizio of the Madonna, 1504). On settling at Florence (about
1504) Raphael did not at first abandon the style he had learned at

liv ITALIAN ART.

Perugia , and -which he had carried to greater perfection than any
of the other Umbrian masters. Many of the pictures he painted
there show that he still followed the precepts of his first master ;
but he soon yielded to the influence of his Florentine training.
After the storm raised by Savonarola had passed over, glorious days
were in store for Florence. Leonardo, after his return from Milan,
and Michael Angela were engaged here on their cartoons for the
decoration of the great hall in the Palazzo Vecchio ; and it was their
example, and more particularly the stimulating influence of Leo-
nardo , that awakened the genius and called forth the highest
energies of all their younger contemporaries.

The fame of the Florentine school was at this period chiefly
Raphael's maintained by Fra Bartolommeo (1475-1517) and Andrea
Florentine del Sarto (1487-1531). The only works of Bartolommeo
CoNTEMPo- -which we know are somewhat spiritless altar-pieces, but they
BARiEs. exhibit in a high degree the dignity of character, the tran-
quillity of expression, and the architectural symmetry of grouping
in which he excelled. His finest pictures are the Christ with the four
Saints, the Descent from the Cross (or Piet^), the St. Mark in the Pitti
Gallery, and the Madonna in the cathedral at Lucca. The traveller
would not do justice to Andrea del Sarto, a master of rich colouring,
were he to confine his attention to that artist's works in the two
great Florentine galleries. Sarto's Frescoes in the Annunziata
(court and cloisters) and in the Scalzo (History of John the Baptist,
p. 391) are among the finest creations of the cinquecento. Such,
too, was the stimulus given to the artists of this period by their
great contemporaries at Florence that even those of subordinate
merit have occasionally produced works of the highest excellence,
as, for instance, the Salutation of Axbertinelli and the Zenobius
pictures of Ridolfo Ghirlandajo in the Uffizi. The last masters of
the local Florentine school were Pontormo and Angelo Bronzino.

Raphael's style was more particularly influenced by his relations
to Fra Bartolommeo, and the traveller will find it most interesting
to compare their works and to determine to what extent each derived
suggestions from the other. The best authenticated works in
Italy of Raphael's Florentine period are the Madonna del Granduca
(Pitti), the Madonna del CardmcZto (Uffizi), the' Entombment [Gal.
Borghese in Rome), the Predelle in the Vatican, the portraits of
Angelo and Maddalena Doni (Pitti) , and the Portrait of himself
(Uffizi). The Portrait of a Lady in the Pitti gallery is of doubtful
origin , and the Madonna del Baldacchino in the same gallery was
only begun by Raphael.

When Raphael went to Rome in 1508 he found a large circle

Raphael's 0* notable artists already congregated there. Some of these

Roman were deprived of their employment by his arrival, including

Period, ^j^g gienese master Giov. Antonio Bazzi, surnamed II So-

DOMA, whose frescoes in the Farnesina (unfortunately not now ac-

ITALIAN ART. Iv

cessiblej vie with Raphael's works in tenderness and grace. A still
more numerous circle of pupils, however, soon assembled around
Raphael himself, such as Giulio Romano, Perino del Vaga, An-
drea DA Salerno, Polidoro da Caravaggio , Timoteo della
ViTE, Garofalo, Franc. Penni, and Giovanni da Udine. Attend-
ed by this distinguished retinue, Raphael enjoyed all the honours
of a prince, although, in the Roman art world, Bramante (p. xliij
and Michael Angela occupied an equally high rank. The latter did
not, however, trench on Raphael's province as a painter so much as.
was formerly supposed, and the jealousy of each other which they
are said to have entertained was probably chiefly confined to their re-
spective followers. Raphael had doubtless examined the ceiling of
the Sistine with the utmost care, and was indebted to Michael Angelo
for much instruction ; but it is very important to note that he neither
followed in the footsteps, nor suffered his native genius to be biassed
in the slightest degree by the example of his great rival. A signal
proof of this independence is afforded by the Sibyls which he painted
in the church of S. Maria della Pace in 1514, and which, though
conceived in a very different spirit from the imposing figures in the
Sistine, are not the less admirable. In order duly to appreciate the
works produced by Raphael during his Roman period, the traveller
should chiefly direct his attention to the master's frescoes. The
Stanze in the Vatican, the programme for which was obviously
changed repeatedly during the progress of the work, the Tapestry,
the Loggie, the finest work of decorative art in existence, the Dome
Mosaics in S. Maria del Popolo (Capp. Chigi), and the Galatea and
Myth of Psyche in the Farnesina together constitute the treasure be-
queathed to Rome by the genius of the prince of painters. (Farther
particulars as to these works will be found in the second vol. of
this Handbook.)

Many, and some of the best , of Raphael's easel-pictures of his
Roman period are now beyond the Alps. Italy, however, still pos-
sesses the Madonna della Sedia, the most mundane, but most
charming of his Madonnas (Pitti], the Madonna delV Impannata
(Pitti), the Madonna col Divino Amore (Naples), the Madonna di
Foligno and the Transfiguration (in the Vatican), St. Cecilia (Bo-
logna), and the Young St. John (Ufflzi). The finest of his portraits
are those of Pope Julius II. (Pitti; a replica in the Ufflzi) and
Leo X. with two Cardinals (Pitti ; a copy by Andrea del Sarto at
Naples). Besides these works we must also mention his Cardinal
Bihhiena (Pitti), the Violin-player (in the Pal. Sciarra at Rome),
the Fornarina, Raphael's mistress (in the Pal. Barberini at Rome),
and the Portrait of a Lady (Pitti, No. 245), which recalls the
Sistine Madonna.

After Raphael's death the progress of art did not merely come
to a standstill, but a period of rapid Decline set in. The conquest
and plundering of Rome in 1527 entirely paralysed all artistic effort

M ITALIAN ART.

for a time. At first tliis misfortune proved a boon to other parts of

Italy. RaphaeFs pupils migrated from Rome to various pro-
Decline*^ vincial towns. Giulio Romano , for example, entered the

service of the Duke of Mantua, embellished his palace with
paintings, and designed the Palazzo del Te (p. 198), while Perino
DEL Yaga settled at Genoa (Pal. Doria). These offshoots of Raphael's
school, however, soon languished, and ere long ceased to exist.

The Northern Schools of Italy , on the other hand , retained
their vitality and independence for a somewhat longer period. At

Bologna the local style , modified by the influence of Ra-
K ITALT*^ phael. was successfully practised by Bart. Ramenghi , sur-

named Bagnacatallo (1484-1542). Ferrara boasted of
LoDOYico Mazzolino (1481-1530), a master of some importance,
and Dosso Dossi ; and at Verona the reputation of the school was
maintained by Gianfranc. Garoto.

The most important works produced in Northern Italy were those

of Antonio Allegri, surnamed Correggio (1494?-1534), and of

r.^„»^^^T„ the Venetian masters. Those who visit Parma after Rome

and Florence will certainly be disappointed with the pic-
tures of Correggio. They will discover a naturalistic tendency in
his works, and they will observe, not only that his treatment of
space (as in the perspective painting of domes) is unrefined, but
that his individual figures possess little attraction beyond mere
natural charms, and that their want of repose is apt to displease and
fatigue the eye. The fact is, that Correggio was not a painter of all-
embracing genius and far-reaching culture, but merely an adept in
chiaroscuro, who left all the other resources of his art undeveloped.
In examining the principal works of the Venetian School, how-
ever, the traveller will experience no such dissatisfaction. From the

school of Giovanni Bellini (p . xlviii) emanated the greatest re-
^'sThool^ presentatives of Venetian painting — Giorgione , properly

Barbarella (1477-1511), whose works have unfortunately
not yet been sufficiently well identified , the elder Palma (1480-
1528) , and Tiziano Vecellio (1477-1575) , who for nearly three
quarters of a century maintained his native style at its culminating
point. These masters are far from being mere colorists; nor do they
owe their peculiar attraction to local inspiration alone. The enjoy-
ment of life and pleasure which they so happily pourtray is a theme
dictated by the culture of the Renaissance (a culture possessed in
an eminent degree by Titian, as indicated by his intimacy with the
'divine' Aretino). Their serene and joyous characters often recall
some of the ancient gods , showing the manner in which the artists
of the Renaissance had profited by the revived study of the antique.
Properly to appreciate Titian it is of importance to remember how
much of his activity was displayed in the service of the different
courts. His connection with the family of Este began at an early
period ; he carried on an active intercourse with the Gonzagas at

ITALIAN ART. Ivii

Mantua, and executed numerous pictures for them. Later he basked
in the favour of Charles V. and Philip II. of Spain. The natural
result of this was that the painting of portraits and of a somewhat
limited cycle of mythological subjects engrossed the greater part of
his time and talents. That Titian's genius, however, was by no
means alien to religion and deep feeling in art, and that his imagi-
nation was as rich and powerful in this field as in pourtraying
realistic and sensually attractive forms of existence, is proved by
his numerous ecclesiastical paintings , of which the finest are the
Martyrdom of St. Lawrence (p. 254), the Presentation in the Temple
(p. 236), and the Assumption (p. 233) at Venice. The St. Peter
Martyr, another masterpiece, unfortunately fell a prey to the
flames.

Owing to the soundness of the principles on which the Venetian
school was based , there is no wide gulf between its masters of the
highest and those of secondary rank , as is so often the case in the
other Italian schools ; and we accordingly find that works by Lo-
renzo Lotto, Sebastian del Piombo, the Bonifacio's, Pokde-
NONE, Paris Bordone , and Tintoretto frequently vie in beauty
with those of the more renowned chiefs of their school. Even
Paolo Caliari , surnamed Veronese (1528-88), the last great
master of his school, shows as yet no trace of the approaching
period of decline , but continues to delight the beholder with his
delicate silvery tints and the spirit and richness of his compositions
(comp. p. 220).

Correggio, as well as subsequent Venetian masters, were fre-
quently taken as models by the Italian painters of the 17th century,
and the influence they exercised could not fail to be de-
tected even by the amateur, if the entire post-Raphaelite Decline''
period were not usually overlooked. Those, however, who
make the great cinquecentists their principal study will doubtless
be loth to examine the works of their successors. Magnificent de-
corative works are occasionally encountered, but the taste is
offended by the undisguised love of pomp and superficial man-
nerism which they generally display. Artists no longer ear-
nestly identify themselves with the ideas they embody; they
mechanically reproduce the customary themes, they lose the desire,
and finally the ability to compose independently. They are, more-
over, deficient in taste for beauty of form, which, as is well known,
is most attractive when most simple and natural. Their technical
skill is not the result of mature experience, slowly acquired and
justly valued : they came into easy possession of great resources of
art, which they frivolously and unworthily squander. The quaint,
the extravagant, the piquant alone stimulates their taste ; rapidity,
not excellence of workmanship, is their aim. Abundant specimens
of this mannerism, exemplified in the works of Zxjccaro, u'Arpino,
Tempesta, and others, are encountered at Rome and Florence

Iviii ITALIAN ART.

(cupola of the cathedral). The fact that several works of this
class produce a less unfavourable impression does not alter their
general position , as it is not want of talent so much as of con-
scientiousness which is attributed to these artists.

The condition of Italian art, that of painting at least, improved
to some extent towards the close of the 16th century, when there

was a kind of second efflorescence, known in the schools as
^"^ vivAL ^^^ 'revival of good taste', which is said to have chiefly

manifested itself in two directions , the eclectic ajid the na-
turalistic. But these are terms of little or no moment in the study
of art, and the amateur had better disregard them. This period of art
also should be studied historically. The principal architectural mon-
uments of the 17th century are the churches of the Jesuits, which
unquestionably produce a most imposing effect; but the historical
enquirer will not easily be dazzled by their meretricious magni-
ficence. He will perceive the absence of organic forms and the
impropriety of combining totally different styles, and he will steel
himself against the gorgeous, but monotonous attractions of the
paintings and other works of the same period. The bright Renais-
sance is extinct, simple pleasure in the natural and human is ob-
literated. A gradual change in the views of the Italian public and
in the position of the church did not fail to influence the tendencies
of art, and in the 17th century artists again devoted their energies
more immediately to the service of the church. Devotional pictures
now became more frequent, but at the same time a sensual,
naturalistic element gained ground. At one time it veils itself in
beauty of form, at another it is manifested in the representation of
voluptuous and passionate emotions ; classic dignity and noble
symmetry are never attained. Cbist. Allori's Judith should be
compared with the beauties of Titian, and the frescoes of Annibale
Carracci in the Palazzo Farnese with Raphael's ceiling-paintings in
the Farnesina, in order that the difference between the 16th and
17th centuries may be clearly understood ; and the enquirer will be
still farther aided by consulting the coeval Italian poetry , and ob-
serving the development of the lyric drama or opera. The poetry of
the period thus furnishes a key to the mythological representations
of the School of the Carracci. Gems of art, however, were not un-
frequently produced d uring the 1 7th century, and many of the frescoes
of this period are admirable, such as those by Guiuo Rkni and
DoMENicHiNO at Rome. Beautiful oil-paintings by various masters
are also preserved in the Italian galleries. Besides the public col-
lc(;tions of Bologna , Naples , and the Vatican and Capitol , the
private galleries of Rome are of great importance. The so-called
gallery-pieces, figures and scenes designated by imposing titles, and
painted in the prevailing taste of the 17th century, were readily re-
ceived, and indeed most appropriately placed in the palaces of the
Roman nobles, most of which owe their origin and decoration to that

ITALIAN ART. lix

age. This retreat of art to the privacy of the apartments of the great
may be regarded as a symptom of the universal withdrawal of the
Italians from puhlic. life. Artists, too, henceforth occupy an isolated
position, unchecked hy public opinion, exposed to the caprices of
amateurs, and themselves inclined to an arbitrary deportment.
Several qualities, however , still exist of which Italian artists are
never entirely divested ; they retain a certain address in the
arrangement of figures, they preserve their reputation as ingenious
decorators, and understand the art of occasionally imparting an
ideal impress to their pictures ; even down to a late period in the
18th century they excel in effects of colour, and by devoting
attention to the province of genre and landscape-painting they may
boast of having extended the sphere of their native art. At the
same time they cannot conceal the fact that they have lost all
faith in the ancient ideals , that they are incapable of new and
earnest tasks. They breathe a close, academic atmosphere, they
no longer labour like their predecessors in an independent and
healthy sphere, and their productions are therefore devoid of ab-
sorbing and permanent interest.

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

Contents of Article on Italian Art :

Page

Art of Antiquity : the Greeks and Romans xxv

The Middle Ages : Early Christian Art xxix

Byzantine style xxx

Romanesque style , . . xxxli

Gothic style xxxiv

Niccolo Pisano, Giotto xxxv

The Renaissance xxxvii

Architecture xl

Early Renaissance xlii

High Renaissance xliv

Sculpture xlvii

Painting :

fTuscan Schools xlvii

XV. Cent. I Upper Italian Schools. The Venetians . xlviii

lUmbrian School xlix

ITALIAN ART.

Page

[Leonardo (la Vinci .... . , xlix

J Michael Angelo and liis pupils ... 1

XVI. Cent. ^ j|j^p)jjg[^ tjig contempovaries, ami pupils lili

]Correggio Ivi

^Venetian masters Ivi

End of the XVI., and XVII. Cent. : Mannerists, Naturalists,

Eclectics Ivii

I. Routes to Italy.

1. From Paris to Nice by Lyons and Marseilles.

Railway to Jrarseilles , 536 M. , in 24 (express in IG'/j) lirs. ; fares
106 tV. 30, 79 fr. 75, 58 fr. 45c. (Express from Paris to Lyons, 318 M.,
in 91/4, ordinary trains in 123/4 hrs.-, fares 63 fr. 5, 47 fr. 30, 34fr. 70c.) —
From Lyons to Marseilles, 218 M., express in 6V4-8'A Irs., first class only;
fare 43 fr. 30c. From Marseilles to Nice, 140 M., express in 51/2-6 hrs.:
fares 27 fr. 70, 20 fr. 75 c.

Soon after quitting Paris the train crosses the Marne, near its
confluence with the Seine , and near the station of Charenton , the
lunatic asylum of which is seen on an eminence to the left. To
the right and left of (i^/2 M.) Maisons-Alfort rise the forts of Jvry
and Charenton, which here command the course of the Seine. 9'/2 M.
Villeneuve St. Georges is picturesquely situated on the slope of a
wooded hill.

The beautiful green dale of the Teres is now traversed. Pictur-
esque country houses , small parks , and thriving mills are passed
in rapid succession.

11 M. Montgeron. The chain of hills to the left, and the plain
are studded with innumerable dwellings. Before (13 M.) Brunoy
is reached the train crosses the Yeres , and beyond the village
passes over a viaduct commanding a beautiful view.

The train now enters the plain of La Brie. I6Y4M. Combes-la-
Ville; 191/2 M. Lieusaint; 24 M. Cesson. The Seine is again reached
and crossed by a handsome iron bridge at —

28 M. Melun (Grand Monarque ; Hotel de France), the capital
of the Departement de Seine et Marne, an ancient town with
11,200 inhab. , the Roman Methalum, or Melodunum, pictur-
esquely situated on an eminence above the river, 1/9 M. from the
station. The church of Notre Dame, dating from the 11th cent.,
the church of St. Aspais, of the 14th cent. , and the modern Gothic
H6tel-de-Ville are fine edifices.

After affording several picturesque glimpses of the Seine valley,
the train enters the forest of Fontainebleau. 32 M. Bois-le-Roi.

87 M. Fontainebleau (Hotels de France et d'Angleterre, de lEu-
rope , de la Chancellerie , de Londres , de I'Aigle Noir , du Cadran
Bleu, etc.) is a quiet place with broad, clean streets (11,600 inhab.}.
The *Palace , an extensive pile , containing five courts , is almost
exclusively indebted for its present form to Francis I. (d. 1547},
and abounds in interesting historical reminiscences. It contains a
series of handsome saloons and apartments (fee 1 fr.}. The *Forest

Baedekkb. Italy I. 5th Edit. 1

2 Route 1. TONNERRE. From Paris

occupies an area of 42,500 acres (50 M. in circumference) and affords
many delightful walks. (For farther details, see Baedeker's Paris.)

40 M. Thomery is celebrated for its luscious grapes (Chasselas
de Fontainebleau). 41 1/2 M. Moret, picturesquely situated on the
Loing , which here falls into the Seine , has a Gothic church of
the 12th-15th cent, and a ruined chateau once occupied by Sully.
To the right runs the railway to Montargis , Nevers , Moulins, and
Vichy. The line crosses the valley of the Loing by a viaduct of
thirty arches.

491/2 M. Montereau (Grand Monarque; Buffet), picturesquely
situated at the confluence of the Seine and Yonne. (Branch-line
to Flamhoin , a station on the Paris and Troyes line.)

The train ascends the broad and well cultivated valley of the
Yonne. Stat. Villeneuve-la-Guiard, Champigny , Pont- sur- Yonne.

72'/2 M. Sens (Hotels de VEcu, de Paris), the ancient capital of
the Senones , who under Breunus plundered Rome in B.C. 390,
is a quiet town with 12,000 inhabitants. The early Gothic *Cathe-
dral (St. Etienne), dating chiefly from the 13th cent. , is an im-
posing edifice, though somewhat unsymmetrical and destitute of
ornament.

Next stations Villeneuve- sur -Yonne, St. Julien du Sault, Cczy.
90 M. Joigny (Due de Bourgogne), the Joviniacum of the Romans,
is a picturesque and ancient town (6300 inhab.) on the Yonne.
96 M. Laroche lies at the confluence of the Y'onne and Armanfon,
and on the Canal de Bourgogne. Branch-line hence to Auxerre.

About 6 M. from St. Florentin is the Cistercian Abbey of Pon-
tigny, where Thomas k Becket passed two years of his exile.
Langton, Archbishop of Canterbury, banished by King John, and
other English prelates have also sought a retreat within its walls.

122 M. Tonnerre (Lion d'Or; Bail. Restaurant) , a town with
5500 inhab., picturesquely situated on the Arman^on. The church
of St. Pierre , on an eminence above the town , built in the 12th-
16th cent. , commands a pleasing prospect. — Chablis, 81/2 M. to
the S.W., is noted for its white wines.

127 M. Tanlay boasts of a fine chateau in the Renaissance style,
founded by the brother of Admiral Coligny. At Ancy-le-Franc there
is a very handsome Chateau, erected in the 16th cent, from designs
by Primaticcio. From stat. Nuits-sous-Ravieres a branch-line runs to
ChCdillon-sur- Seine. Montbard, birthplace of Buffon (1707-1788),
the great naturalist , contains his chateau and a monument to his
memory. 159 M. Les Laumes.

Beyond Blaisy-Bas the line penetrates the watershed (1326 ft.)
between the Seine and the Rhone by a tunnel, 21/2 M. long.
Between this point and Dijon is a succession of viaducts, cuttings,
and tunnels. Beyond stat. Malain , with its ruined chateau, the
line enters the picturesque valley of the Ouche , bounded on the
right by the slopes of the Cote d"Or. Stations Velars, Plombieres.

to Nice. DIJON. /. Route. 3

197 m. Dijon (Hotels de la Cloche, de Bourgogne, du Jura;
Buffet), with 48,000 inhal)., the ancient Divio, once the capital of
Burgundy, now that of the Departement de la Cote d'Or, lies at the
confluence of the Ouche and the Souzon. The dukes of Burgundy
resided here down to the death of Charles the Bold in 1477.

The Rue Guillaume leads from the station to the Hotel de Ville,
once the ducal palace, but remodelled in the 17th and 18th cen-
turies. The two towers and the Salle des Gardes are almost the only
ancient parts. The Museum, containing valuable collections of
pictures , antiquities , engravings , etc. , is open to the public on
Sundays, 12-4, on Thursdays, 12-2, and daily on payment of a fee.

*Notre Dame, to the N. of the Hotel de Ville, is a Gothic church
of the 13th cent., of very picturesque exterior. The principal por-
tal is a beautiful Gothic composition. The interior is also interest-
ing. One of the chapels of the transept contains a black image of
the Virgin dating from the 11th or 12th century.

St. Benigne, the cathedral, to the S. of the Porte Guillaume, an
interesting building , was erected in 1271-88. The plan resembles
that of Byzantine churches. The two towers in front are covered
with conical roofs, and a wooden spire, 300 ft. in height, rises over
the transept.

In the vicinity are St. PMlibert, of the 12th cent. , now a maga-
zine, and St. Jean, of the 15th cent., disfigured with bad paintings.

The Castle, to the N. of the Porte Guillaume, now in a half-
ruined condition, was erected by Louis XI. in 1478-1512, and
afterwards used as a state-prison. Beyond the Porte Saint Bernard
stands the modern Statue of St. Bernard (d. 1153), who was born at
Fontaine, a village near Dijon.

Dijon is the centre of the wine-trade of Upper Burgundy ; the
growths of Gevroy , including Chambertin, and of Vougeot, Nuits,
and Beaune are the most esteemed.

During the Franco-German war of 1870-71 Dijon was twice
occupied by the Germans.

Dijon is the junction of the line via Dole and Mouchard to Ponlarlier,
where it diverges to the left (N.E.) to Neuchatel, and to the right (S.B.)
to Lausanne {Geneva) and Sierre. Comp. R. 3.

The line to Macon crosses the Ouche and the Canal de Bourgogne
(p. 2), and skirts the sunny vineyards of the Cote d'Or, which pro-
duce the choicest Burgundy wines. At Vougeot is the famous Clos-
Vougeot vineyard. Near Nuits-sous-Beaune a battle was fought
between the Germans and the French in Dec. 1870.

2I8V2 M. Beaxme (Hotel de France) , with 11,000 inhab., on
the Bouzoise , deals largely in Burgundy wines. Notre Dame, a
church of the 12th and i5th cent., has a fine but mutilated portal.

2221/2 M. Meursault. From Chagny a branch-line diverges to
Autun, Nevers, and Creuzot. The train passes through a tunnel
under the Canal du Centre, which connects the Saone and the Loire,
and enters the valley of the Thalie. Stat. Fontaines.

4 Route 1. MACON. From Paris

238 M. Ch5.1on-sur-Sa6ne (Hotels du Clievreuil, du Commerce),
with 20,900 iiihab., situated at the junction of the Canal du Centre
with the Saone , contains little to interest the traveller. The
express trains do not touch Chalon, the branch-line to which di-
verges from the junction Chalon-St. Cosme. Branch -lines hence
to Lons-le-Saulnier and to Dole.

The line follows the right bank of the Saone ; to the left in the
distance rises the Jura , and in clear weather the snowy summit
of Mont Blanc, upwards of 100 M. distant, is visible. 254 M. Tour-
nus (5500 inhab.) possesses a fine abbey-church (St. Philibert).

274 M. Mfi,con (*Hdtels de V Europe^ des Champs Elysees , du
Sauvage; Buffet) , the capital of the Department of the Saone and
Loire , with 18,000 inhab. , is another great centre of the wine-
trade. The remains of the cathedral of St. Vincent are partly in the
Romanesque style. Macon was the birthplace of Lamartine. —
The line to Culoz (Geneva, Turin) diverges here to the left; see
R. 2.

The line continues to follow the right bank of the Saone. Scen-
ery pleasing. The stations between Macon and Lyons , thirteen in
number, present little to interest the traveller.

318 M. Lyons, see p. 5.

Fkom Stuassbukg (Bale) to Ltons by MUUiausen and Bourg. (Rail-
way from Strassburg 1o Belforl , 100 M., express in 5V4 lirs. ; fares Mm.
70, 10m. 50 pf. — From Belfovt to Lyons, 207 M. , in 12 lirs. ; fares 41 fr.
15, 30 fr. 85 c.) — From Strassburg (and from Bale) to Miilhausen , see
Baedeker''s Rhine. The German frontier station, 89V2 M. from Strassburg,
is AUmiinsterol , and the French frontier-station is (99 M.) Belfori, where
the Paris line diverges. Bclfort (8000 inhab.), a fortress on the Savou-
reuse, erected by Vauban under Louis XIV., was taken by the Germans
after a protracted siege in Feb. 1871. The train now traverses a pictur-
esque, undulating district ; to the left rise the spurs of the Jura. At SM-
court, several engagements took place between Gen. Werder's army and
the French under Bourbaki in .Ian. 1871. Stat. MonthHiard belonged to
the German Empire down to 1793. Beyond stat. Voujaucourt the line follows
the Doubs, which it crosses several times. Beyond stat. L'' Isle-sur-le-
Douls the train passes through several tunnels. A number of unim-
portant stations ; then —

159 M. Besanpon ("Hotel du A^ord; Hotel de Paris), the ancient Ve-
sontio, capital of the Franche Comte, with 47,000 inhab., a strongly forti-
fied place, situated in a wide basin on the Doubs, which flows round the
town and once rendered it an important military point, as described by
Csesar (De Bell. Gall. i. 38).

The Museum , established in a modern building in the Place de
TAbondance , contains a Christ on the Cross by Diirer, and a Descent
from the Cross by Bronzino. The Lihrarv , founded in 1694 , contains
100,000 vols, and about 1800 MSS. The Palais Gmiivelle, a handsome
structure in the Renaissance style, was built in 1530-40. The Cathedral
OF St. Jean contains paintings by Sebastian del Piombo and *Fra Bar-
tolommeo. An admirable view is obtained from the Citadel, which was
constructed by Vauban. The Porte Noire, a triumphal arch, and the Porte
TailUe, on the river, originally part of an aqueduct, are interesting Roman
remains.

184 M. Mouchard , junction of the lines from Dijon and Dole, and
from Pontarlier (Neuchatel and Lausanne). — At (21G M.) Lons le Saulnier
a line diverges to Chalon.

254 M. Bourg (p. 21); scenery thence to (307 M.) Lyons uninteresting.

4 Route 1. MACON. From Paris

238 M. Ch&lon-sur-Saone (Hotels du Chevreuil, du Commerce),
with 20,900 iiihab., situated at the junction of the Canal du Centre
with the Saone , contains little to interest the traveller. The
express trains do not touch Chalon, the branch-line to which di-
verges from the junction Chalon-St. Cosme. Branch-lines hence
to Lons-le-Saulnier and to Dole.

The line follows the right hank of the Saone ; to the left in the
distance rises the Jura , and in clear weather the snowy summit
of Mont Blanc, upwards of 100 M. distant, is visible. 254 M. Tour-
nus (5500 inhab.) possesses a fine abbey-church (St. Philibert).

274 M. MS,con. (* Hotels de V Europe, des Champs Elysees , du
Sauvage; Buffet) , the capital of the Department of the Saone and
Loire , with 18,000 inhab. , is another great centre of the wine-
trade. The remains of the cathedral of St. Vincent are partly in the
Romanesque style. Macon was the birthplace of Lamartine. —
The line to Culoz (Geneva, Turin) diverges here to the left; see
R. 2.

The line continues to follow the right bank of the Saone. Scen-
ery pleasing. The stations between Macon and Lyons, thirteen in
number, present little to interest the traveller.

318 M. Lyons, see p. 5.

From Stkassbukg (Bale) to Ltons by Mulhausen and Bourg. (Rail-
way from Strassburg to Belfovt , 100 M., express in 5'/4 lirs. ; fares 14m.
70, lOiu. 50pf. — From Belfort to Lyons, 207 M. , in 12 lirs. ; fares 41fr.
15, 30 fr. 85 c.) — From Strassburg (and from Bale) to Miilhausen, -see
Baedeker''s Rhine. The German frontier station, 891/2 M. from Strassburg,
is AUmiinsterol , and the French frontier-station is (99 M.) Belfort, where
the Paris line diverges. Belfort (8000 inhab.), a fortress on the Savou-
reuse, erected by Vauban under Louis XIV., was taken by the Germans
after a protracted siege in Feb. 1871. The train now traverses a pictur-
esque, undulating district; to the left rise the spurs of the Jura. At Sh-i-
cotirt, several engagements took place between Gen. Werder's army and
the French iinder Bourbaki in Jan. 1871. Stat. MonthHiard belonged to
the German Empire down to 1793. Beyond stat. Voujaucourt the line follows
the Daubs , which it crosses several times. Beyond stat. L^ Isle-svr-le-
Douhs the train passes through several tunnels. A number of unim-
portant stations ; then —

159 M. Besanpon ('Hotel du Nord; Hotel de Paris), the ancient Ve-
sontio, capital of the Franche Comte, with 47,000 inhab., a strongly forti-
fied place, situated in a wide basin on the Doubs, which flows round the
town and once rendered it an important military point, as described by
Csesar (De Bell. Gall. i. 38).

The Museum , established in a modern building in the Place de
TAbondance , contains a Christ on the Cross by Diirer, and a Descent
from the Cross by Bronzino. The Library, founded in 1694, contains
100,000 vols, and about 1800 JISS. The Palais Granvelle, a handsome
structure in the Renaissance style, was built in 1530-40. The Cathedral
OF St. Jean contains paintings by Sebastian del Piombo and -'Fra Bar-
tolommeo. An admirable view is obtained from the Citadel, which was
constructed by Vaulian. The Porle Noire, a triumphal arch, and the Porte
TailUe, on the river, originally part of an aqueduct, are interesting Roman
remains.

184 M. Moucliard , junction of the lines from Dijon and Dole, and
from Pontarlier (Neuchatel and Lausanne). — At (216 M.) Lous Ic Saulnier
a line diverges to Chalon.

254 M. Bourg (p. 21); scenery thence to (307 M.) Lyons uninteresting.

IT©!

lKR,cv„,i»„rilil.

n.f

19 (hru^llo^^

h' K 1

M f^rf,/,™ ,; w„

21 Dvmtd,.V,d«a^

liSiu,l,dJrhlU.,t,

liS«hr>l«-ma,„

I) ,

E^hRe,

2oTjAfi,^r,^™

«,;f(*oT„„«.

D.S

n SM„,fr,

K,i

Hiirea

!8 S-A./urt,,

n ,s'A™,w

( »

1. JnUlmltm

» SWm,J/i.

0 d-m™,.

i: VBnm

r a.^,7.

M •dfe™

11 ,i

i Je< he,hm.<

3oS'/'„„S^

II <

b vr,„„

!« S"*,

1 5' >/»■/./

a; s'fc,™

k Ji„/

38'ifi,™^

K 1'

1 JuRr„,

F 5

«?•/„«

K V 1-

n VP.ihw

H VJm, lUiHud^d

'KV

VJOA-SiVm-m

1)1

p i?,Z/orf

liJ'Zrafcffito,

ns'j^,

II .'i

» !'Pm.7

U 1

1/ s n,^

lis

IS'i 1 Ir «i77«-

t 3

Jl / 1 J

.l/'/,«,i.*/h*rf<n,

iotpla

f,Jm., E.3

OrandJbltliklynn B.3.

WJW« F.+

JWan D.3^

a,laB,mhard,%.i>.

n-,

Emd.e^^ D.a.

Jt«lul,k,JblaM

Ft
Ei

'■

*!rnn-,r. «. t.

/ ^

7//

r^^^H

11^

u -

1 //T~^r~^

N <

1-i S

^^%

[/a

1 JbaOouv GAlii.S

71 PoetP (uuLeltm-

E.3

%¥

2 ^ffiwzar

C.2

72 IWf^duremtf! de TlUe'B.'i

4i.

3 AntUfumllp Homcf

E.4-

73 i?-/OT/! .S'? Jrw^S

G.i

* JrAeveOi^

E.lr

74 . . Mif.

F.3

y£'

\ \

b Jr<^,l

G.o

75 ,S'<7m/i«/r«.

E.t

HHC^^

feeiA

6 Mho^quppriif.

B.3

76 Tlwatrcodesrdv^lms

E.S

:^^r\

Casemfs

TiMgUse^ anglaisf.

C.S

7 dJrHllevips

8 deaSemardines

9 duBrmPtistnirs
10 Camu'S deduws

E.1.2

C.S

11 HesColinettes

C.3

Yl de Gendarmerie,
13

s^r""'^ f

^\ It

=tr^

li deTerraehe

H4-

~^^k

15 <i.AW«

Ifi Sa-ymbderdle

CD. 5
E.3

ff-

17 Fimvimlil.
mFoicva^i/c^mihi.

D.4-

]9 ChariieH^he

E.F.3

20 Condmim d.S'aies

D.3

~~y7 // 1

21 Depot deMedivite
l1.EcoUdArfimru>.
ZiliMhVetirinaife
E^lises

25 3"! 7*. rfr Fuitrrieres
16 dclflbscp,-n„cr

27 .<?f..i„fr.'

E +
D.2
D.o

F.4'
El-
I)..S
F3

Hares

C 4-

a ilrlaButff

D.5

29 S'Bn-nard

r.3

b dftCdesfijie

E.3

30 S^^Wfo,.

G.l-
D.E.3

C (hifhtmgc

D.t

C.S

32 s;i?™»

e dflaOumte

E.3

>v / "°"

33 S!/y,ar

f Jpra-< j^:

F.t

34 «?;)<,«,

B.8

^ dexJacohT,^

E.3

35 SfiFK^Afir

B.3

h .frj'.«„

E.*

•A /'/j*^

S6 srr/&K

H.6

i 5".'.»AW,<.7

P.I-

^^^=^ ,

'^V

37 .V^^W™

F.3

h Ji»v/

(Vi-

»^^

38 S.'fo,n7w

1 ./Hyr/To,,

^^^

— ^°^

»!) .<«/rm«-

F.5

m ./ttPoH/

F.2

'"^*'».^

«).Vf7,W

E.F.t

n .V.'/},/Am

D.S

^*!

H ,S'f./i«7, l(\,fhfdralel E. t

0 HnthonoY

D.4

r*. ^■*- .-

^j:/***.!^*-*'/!^

p ^fZ/orC ....

.B.8

9 ^^

' ■ -,^

13 XfZ,yms(hd7l„lmT

F.2
D.S

^ r-

^/■^

4fi .y.'Pm//

D.4

to Nice. LYONS. 1. Route. 5

From Geneva to Lyons, 104 M., railway in 51/4 -6'/2 hrs. (fares 20fr.
65, 15fr. 50, llfr. 35c.). From Geneva ^to Amberieu , see p. 22. The
Lyons line diverges here from that to Macon and proceeds towards the
S.W. Picturesque district, presenting a series of pleasing landscapes.
Beyond stat. Leyment the train crosses the Ain, commanding a beautiful
glimpse of the valley of that stream. Then several unimportant places.
Near Lyons the line intersects the suburbs of La Croix Rousse and La
OuilloUere, and soon reaches the extensive terminus (at Lyon-Perrache).

Lyons. — Hotels. *Gkand Hotel de Lyon (PI. a), Eue de Lyon
16, in the Parisian style, with restaurant, cafe, etc., R. 3, L. 1, A. Ifr. ;
'Grand Hotel Collet (PI. b) , Rue de Lyon 62, 1). 5, B. 2fr. ; "Hotel
DE l'Europe (PI. c) , Rue de Bellecour 1 ; Gr. Hot. de Toulouse et de
Strasbourg, Cours du Midi; Hotel du Havre et du Luxembourg, Rue
Gasparin 6, near the Place Bellecour, R. 2, pension 8fr. ; Gr. Hot. de
Bellecour, Place Bellecour, formerly Louis-le-Grand; Gr. Hot. de la
PosTE , Rue de la Barre 3; Hotel du Globe, Rue Gasparin 21; Grand
Hotel des Beaux Arts (PI. d) ; Hotel des Negociants (PI. e); Hotel
Michel (PI. h) ; Hotel de Milan (PI. k) ; Hotel de France, Rue de
FArbre Sec, near the Museum.

Cafe-Kestaurant. Maderni, Rue de Lyon 19, and Place de la Bourse.

Cabs, per drive 1 fr. 50 c. , 1st hour 2 fr. , each following hour 1 fr.
50 c. ; from midnight to 7 a.m. per drive 1 fr. 65, per hour 2 fr. 50 c. —
Omnibus from the station to the town 50, with luggage 75 c. ; hotel-
omnibus I-IV2 fr.

Post Office, Place Bellecour (open from 7 a.m. to 8 p.m.). — En-
glish Church Service, resident chaplain.

Lyons, the Sincient Lugudunum, which after the time of Augustus
gave its name to one-third part of Gaul , and the birthplace of the
Roman emperors Claudius and Caligula, is now the second city, and
the most important manufacturing place in France , with 326,000
inhab., silk being its great staple commodity. Lyons is an archi-
episcopal see. As an episcopal residence it is mentioned as early as
the 2nd century.

The situation of the city at the confluence of the Rhone and
Saone is imposing. The Saone is crossed by ten, the Rhone by
seven bridges. Lyons is one of the best built towns in France.
Great alterations have taken place within the last 30 years, so that
the general aspect of the city is modern. It consists of three
distinct portions , the original town on the tongue of land between
the Rhone and Saone, the suburbs of Les Broteaux and La Ouillo-
tiere on the left bank of the Rhone, and the suburb of Vaise on the
right bank of the Saone. The military defences of the city consist
of a wide girdle of eighteen forts.

The beauty of the situation and the extent of the city are best
appreciated when viewed from the **Height of Fourviere (PI. 25 ;
E, 4), crowned by its conspicuous church. The hill is ascended
by several different paths, and also by a wire-rope railway, which
starts near the Cathe'drale St. Jean (PI. 41 ; E, 4). On the slope
are a number of fragments of Roman masonry , with explanations
attached to them , which however are not to be implicitly trusted.
The church of Notre Dame de Fourviere (PI. 25) , a modern
structure, contains a highly revered 'miraculous' image of the Vir-

6 Route 1. LYONS. From Paris

gin (visited by upwards of IY2 million pilgrims annually) and nu-
merous votive tablets. THe tower commands a magnificent View
(fee 25 c. ; visitors may ascend to the statue) ; and a still finer
prospect may be obtained from the neighbouring Observatory (fee
50 c. ; restaurant). At the feet of the spectator lie the imposing
city, with the two rivers and their bridges, and the well cultivated
district in the neighbourhood ; to the E. in fine weather Mont Blanc,
90 M. distant, is sometimes visible ; farther S. the Alps of Dau-
phine , the Mts. of the Grande Chartreuse and Mont Pilat , and to
the W. the Mts. of Auvergne.

The Cathedral of St. Jean Baptiste (PI. 41 ; E, 4) on the right
bank of the Saone, adjoining the Palais de Justice, dates from the
12th-14th centuries. The Bourbon chapel (1st on the right), erected
by Cardinal Bourbon and his brother Pierre de Bourbon, son-in-law
of Louis XI., contains some fine sculptures.

On the left bank of the Saone, about 1/2 M. lower down, is sit-
uated the church of the Abbey cVAinay (PL 24 ; F, 4), one of the
oldest in France, dating from the 10th cent., the vaulting of which
is borne by four antique columns of granite.

In the Ptace des Terreaux (PL D, 3), in which the Hotel de Ville
and the Museum are situated, Richelieu caused the youthful Mar-
quis de Cinq-Mars , who for a short period was the favourite of
Louis XIII. , and his partisan De Thou to be executed as traitors,
12th Sept., 1642. Numerous victims of the Revolution perished
here by the guillotine in 1794, after which the more wholesale
system of drowning and shooting was introduced. The Hotel de
Ville (PL 62), a handsome edifice built by Maupin in 1647-55,
has been recently restored.

The Palais des Beaux Arts, or Museum (PL 69 ; D, 3), is open
to visitors from 11 to 4, oti Sundays and Thursdays gratis, on other
days for a gratuity (25-30 c. in each of the different sections).

Under the arcades of tlie spacious Court, are some remarkable
Roman antiquities, a taurobolium (sacrifice of oxen), altars, inscriptions,
sculptures, etc.

The Picture Gallery is on the first floor. Salle des Anciens Maitres :
in the centre four Roman mosaics, representing Orpheus, Cupid and Pan,
and the games of the circus. Among the pictures may be mentioned:
Terburg, The Message; Palma Qiovane , Scourging of Christ; 'Pieiro
Pertigino, Ascension, one of this master's finest works, painted in 1495
for the cathedral of Perugia, and presented to the town by Pius VII. ;
Sebastian del Piombo , Christ reposing; Ouercitw, Circumcision; Perugino,
SS. James and Gregory ; 'Old copy of Dilrer's Madonna and Child
bestowing bouquets of roses on the Emp. Maximilian and his consort, a
celebrated picture containing numerous figures, painted by the master for
the German merchants at Venice in 1506 (p. 247; original at Prague).
There are also works by Rubens and Jordaens, A. del Sarto, the Car-
racci, and others. — On the floor above the Galerie des Pkintres
Ltonnais: Bonnefond, Portrait of Jacquard, inventor of the improved
loom, born at Lyons in 1752, died 1834; Paul and Hippolyte Ftandrin,
and others.

The MustE ARcmioLOGiQUE, also on the first floor, contains the brazen
"'Tables Claudicnnes', or tablcta (found in 1528) with the speech delivered

to Nice. VIENNE. I. Route. 7

by the Emperor Claudius before the Senate at Rome in the year 48, in
defence of the measure of bestowing citizenship on the Gauls -, in the central
saloon , antique and mediseval bronzes , coins , trinkets , and various cu-
riosities. — There is also a Mi/see d'Histoire Natttrelle here, and a Librarij.

The second floor of the Palais du Commerce et de la Bourse
(PI. 68 ; D, 3) contains the Musee d'Art et d' Industrie, founded in
1858 ; the specimens in illustration of the silk-culture are partic-
ularly instructive.

The Civic Library (PI. 6 ; D, 3) possesses 180,000 vols, and
2400 MSS. In the neighbouring Place Tholozan rises the bronze
Statue of Marshal Suchet, 'Due d'Albufera' (born at Lyons 1770,
d. 1826), by Dumont, and the Place Sathonay (PI. D, 4) is adorned
with a fountain and a statue of Jacquard (see above), executed by
Foyatier.

Two magnificent new streets, the Rue de Lyon (PI. D, E, 3)
and the Rue de I' Hotel de Ville (PI. D, E. 3) lead from the Hotel
de Ville to the *Place de Bellecour (formerly Louis le Grand ; PI.
E, 3), one of the most spacious squares in Europe, and adorned
with an Equestrian Statue of Louis XIV. by Lemot. — The Rue de
Bourbon leads thence to the Place Perrache with the station of
that name, abutting on the wide Cours du Midi (PI. F, 4), which
is planted with rows of trees.

Beyond the station, and occupying the point of the tongue of
land between the rivers, is the suburb Perrache, named after its
founder (1770), and rapidly increasing in extent. (From the station
to the confluence of the rapid Rhone and sluggish Saone, IV4 M.)

If time permits, the traveller should visit the *Parc de la Tete
d'Or, on the left bank of the Rhone (PI. B, C, 1, 2; 1 M. from the
Place des Terreaux), laid out in 1857, and containing rare plants,
hothouses, and pleasure-grounds in the style of the Bois de Bou-
logne at Paris.

The Rail-way to Marseilles (Gare de Perrache) descends the
valley of the Rhone, which flows on our right.

337 M. Vienne (Hotel du Nord ; Hotel de la Paste), the Vienna
Allobrogum of the ancients, with 24,800 iuhab., lies on the left
bank of the Rhone, at the influx of the Gere. Several interesting
mementoes of its former greatness are still extant. The so-called
*Temple of Augustus, of the Corinthian order (88 ft. long, 49 ft.
wide, 56 ft. high), with 16 columns, and hexastyle portico, is ap-
proached from the ancient forum by twelve steps, in the middle of
which stands an altar. The temple was used in the middle ages as
a church, but has been restored as nearly as possible to its original
condition. The ancient abbey -church of *St. Pierre, of the 6th
cent., altered in the 18th and now restored, contains a museum of
Roman antiquities. — The *Cathedral of St. Maurice (between the
temple of Augustus and the bridge across the Rhone), begun at the
close of the 11th cent., but not completed till 1515, possesses a

» Route 1. VALENCE. From Paris

fine facade of the transition period. — On the high road, 1/4 M. S.
of the town , stands an archway surmounted hy an obelisk called
the *Plan de VAiyuille, which once served as the meta (goal) of a
circus.

A small part only of Vienne is visible from the railway , which
passes under the town by a tunnel. Immediately beyond the town
rises the Plan de I'Aiguille , mentioned above. The banks of the
Rhone rise in gentle slopes, planted with vines and fruit-trees. On
the right bank, at some distance from the river, towers Mont Pilat
[3750 ft.), a picturesque group of mountains, at the base of which
lie the celebrated vineyards of La CoteEotie. — 356 M. St. Rambert
d'Albon (branch-line to Grenoble). — 373'/2 M. Tain, where the
valley of the Rhone contracts ; on the left rises the extensive
vineyard of Ermitage, where the well known wine of that name is
produced. In the distance to the left the indented spurs of the
Alps are conspicuous , above which in clear weather the gigantic
Mont Blanc is visible. Tain is connected by means of a suspen-
sion-bridge with Tournon, on the opposite bank, a small town with
picturesque old castles of the Counts of Tournon and Dukes of
Soubise.

On our left, in the direction of the Little St. Bernard, now
opens the broad valley of the turbid Isere, which is also traversed
by a railway to Grenoble. In September, B.C. 218, Hannibal
ascended this valley with his army, and crossed the Little St.
Bernard into Italy.

384 M. Valence ( Hotel de France), the Valentia of the ancients,
once the capital of the Duchy of Valentinois , with which the in-
famous Cffisar Borgia was invested by Louis XII. , is now the
chief town of the Department of the Drome , with 20,000 in-
habitants. — On the right bank lies St. Peray, famous for its wine.

411 M. Montelimar. The ancient castle of the once celebrated
Monteil d'Adhemar family rises on an eminence from the midst
of mulberry-trees. The line here quits the Rhone ; the plain on
the right expands.

443 M. Orange (*H6tel de la Paste), 3 M. from the Rhone,
the Arausio of the Romans and once a prosperous and important
place. In the middle ages it was the capital of a small prin-
cipality, which , on the death of the last reigning prince without
issue in 1531, fell to his nephew the Count of Nassau, and
until the death of William III. (d. 1702), King of England, con-
tinued subject to the house of Nassau-Orange. By the Peace of
Utrecht, Orange was annexed to France, and the house of Nassau
retained the title only of princes of Orange. The antiquarian
should if possible devote a few hours to the interesting Roman re-
mains at Orange. On the road to Lyons, '/4 M. N. of the town, is
a ^Triumphal Arch, with three archways and twelve columns, pro-
bably dating from the close of the 2nd century. On the S. side of the

^ Alitor- ~JL A\ \ '^ ,"7^_r- ''-^Ws.^

[ Palmstle histt
c9 Prmtmner
2S\ Potte ui,j:LM,
i\ PrrK-riur, T D3

I Atafa, rf M>m E 1

Si r7» friJ/m, D 8

3.1 Telnfrtll)hc C S
on Tkcirtre

1 Jni Hotel Gallon D t

2 AncJ^tddesltiaimtups D 2
»5 JntxPalais clesPcipi4s E2 3

iiasetfte 3jxJ\uia •> i
T Ane^fdats delaRean

1)2
5

6 Btuufue de Ffotice

8 (hVefieS'J-Kcpr,

Ijnbia ctidaedu Owinm

dch, BG

hglises

1 i,' Ljiunl CDS

10 (iithrdi-nlpV'B

11 S'/).fi<y T) 4

1' A VOraimne C 3

LS iJiAFemienisifrtb E 0

B ( .) 1,1 JZa7« D t

GILJ' M,lf^er,e DE3

D3 17 .WVicr,, F3

CD.*! 18 r™,7?r/>TOfe.«fom/r.D.3
I L9 . - ,>,Wan E.+

^ I

Wa^Sm- 4 Bf-l.f s , Leipzig

to Nice. AVIGNON. 1. Route. 9

town, at the foot of an eminence, lies the *Roman Theatre, 118 ft.
in height, 338 ft. in length, with walls 13 ft. in thickness (con-
cierge 1/2-^ fr.}. The admirably preserved wall of the stage still
contains the three doors by which the actors entered; most of the
tiers of seats for the spectators, however, have entirely disappeared.
The acoustic arrangement of the structure is admirable. Scanty
remnants of a Circus adjoin the theatre. The height above the
theatre , once occupied by the citadel of Orange which was de-
stroyed by Louis XIV., affords a good survey of the neighbourhood.
On the promenade is a statue of the Comte de Gasparin (d. 1862).

Beyond Orange the line traverses a plain, at a considerable
distance from the Rhone and the mountains , where olives begin
to indicate the proximity of a warmer climate. — From (455 M.)
Sorgues a branch-line runs to Carpentras (10'/2 M. ; Hot. de la
Poste), the Palais de Justice of which contains a Triumphal Arch
01 the 3rd century.

461 M. Avignon (*ndtel de VEurope, PI. a, D. 5; B. li/o,
A. 3/4 fr. • Hotel du Luxembourg, PL b ; Louvre, PL c ; all 3/4M. from
the station, omnibus 50-75 c; best Cafes in the Place), the Avenio
of the Romans, who established a colony here B. 0. 48. It afterwards
belonged to the Burgundians, then to the Franks, became the cap-
ital of the County ofVenaisin, lost its independence to Louis VIII.
in 1226, fell into the hands of Charles of Anjou in 1290, was the
residence of the popes from 1309 to 1377, seven of whom , ffrom
Clement V. to Gregory XL, reigned here (the latter transferred his
seat to Rome in 1377), and continued subject to the pontifical sway
until it was annexed to France by the Revolution in 1791. The
population sunk from 70,000 in the reign of Louis XIV. to 17,000
at the Revolution, but has again increased to 38,000.

The town lies on the left bank of the Rhone, a little above
the influx of the Durance , and is connected with Villeneuve
on the opposite bank by a suspension-bridge. The old city-walls,
constructed in 1349-68 of massive blocks of stone, with towers at
intervals of 100-150 yds., are admirably preserved and testify to
the former importance of the place.

The town is commanded by the abrupt Rocher des Doms (rupes
dominorum), 300 ft. in height, which is surmounted by the Cathe-
dral of Notre Dame, (PL 10), a structure of the 14th cent., re-
cently restored. The portico is of considerably earlier origin. The
church contains the handsome *Monument of Pope John XXII.
(Euse of Cahors, d. 1334), and that of Benedict XII. (d. 1342) in
the left aisle. The square tower behind the Cathedral, called La
Olaciere, was formerly employed as a prison of the Inquisition,
and during the Days of Terror in 1791 became the place of exe-
cution of several innocent victims of the Revolution.

In the vicinity of the cathedral rises the *Papal Palace (PL 3 ;
E. 2), now used as a barrack, a lofty and gloomy pile, erected by

10 Route 1. AVIGNON. From Paris

Clement V. and his successors, with hnge towers and walls 100 ft.
in height. The faded frescoes in the Chapelle du St. Office were
executed by Simone Menimi of Siena (d. 1339). Rienzi was in-
carcerated here in 1351 in the Tour des Oubliettes , at the same
time that Petrarch was entertained in the palace as a guest.

Pleasant grounds have been laid out on the hill near the cathe-
dral. The best point of view is a rocky eminence in the centre.
The **Prospect, one of the most beautiful in France, embraces the
course of the Rhone and its banks ; Villeneuve on the opposite bank,
with its citadel and ancient towers ; in the distance towards the
N.W. the Cevennes; N.E. MontVentoux; E. the Durance, resem-
bling a silver thread, and beyond it the Alps ; below the spectator
the tortuous and antiquated streets of Avignon. On the prome-
nades is a statue to Jean Althen, erected in 1846, out of gratitude
to him for having in 1766 introduced the cultivation of madder,
which now forms the staple commodity of the district (used ex-
tensively in dyeing the French red military trowsers).

At the base of the Rocher des Doms lies the Place de I'Hotel de
Ville (PI. D, 3), with a number of handsome modern edifices. In
front of the Theatre (PL 36) are statues of Racine and Moliere; the
medallions above represent John XXII. and Petrarch. The ad-
joining Hotel de Ville (PL 24) possesses a quaint clock with figures
which strike the hours. In front of it stands a Statue of Crillon
(PL 34), erected in 1858 to this celebrated soldier (d. at Avignon
in 1615); the pedestal bears his motto, ^Fais ton devoir .

In the Rue Calade is the *Musee Calvet (PL 26 , C, 3 ; open
daily, custodian 1 fr.), containing a few ancient pictures, num-
erous works of the Vernet family, who were natives of Avignon
(Joseph, the painter of sea-pieces, his son Carle, and his celebrated
grandson Horace) , several small works of art , coins , etc. — The
Library contains 80,000 vols, and 2000 MSS.

In the garden at the back of the Museum a monument was
erected in 1823 by Mr. Charles Kensall to the memory of Petrarch's
Laura. Her tomb was formerly in the Eglise des Cordeliers, but
was destroyed with the church during the Revolution.

In 1326, Francesco Pelrarca, then 22 year.9 of age, visited Avignon,
and beheld Laura de Noves, who was in her 18th year, at the church of
the nunnery of St. Claire. Her beauty impressed the ardent young
Italian so profoundly, that, although he never received the slightest token
of regard from the object of his romantic attachment, either before or
after her marriage with Hugues de Sade , he continued throughout his
whole lifetime to celebrate her praises in songs and sonnets. In 1334 he
quitted Avignon for Vaucluse, travelled in France , Germany , and Italy,
and returned to Avignon in 1342 (with his friend Cola di Rienzi), where
he found Laura the mother of a numerous family. She died in 1348,
bowed down by domestic affliction. Petrarch lived till 1374, and long
after Laura's death dedicated many touching lines to her memory.

The long and intimate connection of Avignon with Rome, as
well as its reminiscences of Petrarch , may be said to invest the
town with an almost Italian character. The whole of Provence in-

to Nice. NIMES. 1. Route. 11

deed recalls the scenery of the south more than any other district
in France.

Avignon is a very windy place. The prevailing Mistral often blows
with great violence, and has given rise to the ancient saying :
Avenio ventosa,
Sine vento venenosa.
Cum vento fastidiosa.

The *Fodntains op Vaucldse may easily be visited in the course of
an afternoon with the aid of the Avignon - Cavaillon branch - railway.
After several unimportant stations , the train reaches Vlsle sur Sorgue
(in I-I1/2 hr. ; fares 2 fr. 90, 2 fr. 20, 1 fr. 65 c). Thence drive or walk
up the valley of the Sorgue, following its sinuosities towards Mont Ven-
toux, to the (3 M.) village of Vaucluse (Hotel de Laure). A footpath
leads hence in 1/4 hr. into the Vaucluse ravine, a rocky gorge, above
which the ruined castle of the Bishops of Cavaillon rises on the right. At
its extremity the sources of the Sorgue emerge from a profound grotto,
at one time in precipitate haste, at another in gentle ripples. This spot
is mentioned by Petrarch in his 14th Canzone, 'Chiare, fresche e dolci
acque."

Soon after quitting Avignon the train crosses the hroad hed
of the often impetuous and turbid Durance^ the Roman Druentia.

474 M. Tarascon (Hotel des Empereurs) , with 12,400 inhab.,
once the seat of King Rene of Anjou , the great patron of min-
strelsy, whose lofty old castle and above it the Gothic spire of the
church of St. Marthe (14th cent.) arrest the traveller's attention.
— On the opposite bank, and connected with Tarascon by a bridge,
is situated the busy town of Beaucaire, commanded by an ancient
castle of the Counts of Toulouse.

From Takascon to St. U&my (10 M., branch line in 40 min. ; one-
horse carr. for the excursion 10 fr.). On the site of the ancient Glanum,
'/2 M. above the small town, are situated two interesting "Roman Mon-
uments. One of these, 53 ft. in height, resembling the celebrated mon-
ument of Igel near Treves, was erected by the three brothers Sextus,
Lucius, and Marcus Julius to the memory of their parents , and is con-
structed of massive blocks of stone in three different stories. This magnifi-
cent relic belongs to the time of Csesar. Adjacent to it is a half ruined
^'Triumphal Arch, also adorned with sculptures.

Continuation of the line to Marseilles, see p. 13.

Railway prom Tarascon to Nimes in 8/4 hr. (fares 3 fr. 30,
2 fr. 45 , 1 fr. 80 c). The train crosses the Rhone to Beaucaire
(see above) and passes several unimportant stations.

I6I/2 M- Nimes. — Omnibus to the hotels 1/2 fr., cab 1 fr. — -Hotel
Du Luxembourg (PI. a; F, 4), in the Esplanade, well spoken of, R. 3, A.
ifr. ; '■■Hotel Manivet (PI. c; E, 4), opposite the Maison Carree, moderate;
Hotel du Midi (PI. d; D, 3), Place de la Couronne ; Cheval Blanc (PI. b;
E, 4), opposite the Arena. Good Caf^s in the esplanade, opposite the Arena
and the Maison Carre'e.

Nimes, the ancient Nemausus , capital of the Gallic Arecomaci,
and one of the most important places in Gallia Narbonensis, is now
the chief town of the Department of the Gard. The town, which
numbers 15,000 Protestants among its present population of 60,000,
has several times been the scene of fierce religious struggles, espe-
cially during the reign of Louis XIV.

12 Route 1. NIMES. From Paris

The town is surronnded by pleasant Boulevards, which termin-
ate in the Esplanade , adorned with a handsome modern fountain-
group (representing the city of Nemausus, with four river-deities).
— The *Museum, in the liue St. Antoine, contains a collection of
Roman antiquities (rich in inscriptions), a library, and about 200 pic-
tures, including several good works chiefly by modern French artists.

The extremely interesting Roman antiquities are not far distant
from the station. We first reach the *Arena, or Amphitheatre (PI.
3; E, 4), consisting of two stories, each with 60 arcades, together
74 ft. in height. The exterior is in excellent preservation. The in-
terior contains 32 tiers of seats (entrance on the W. side, where
a notice indicates the dwelling of the concierge ; 50 c), and could
accommodate 23,000 spectators; longer axis 145, shorter 112 yds.,
height 74 ft., inner arena 76 by 42 yds. ; upper gallery about V4M.
in circumference.

The founder is unknown, but is conjectured to have been the emperor
Antoninus Pius, about B.C. 140, whose ancestors were natives of Nemau-
sus. The four original entrances are still traceable. Doors in the pave-
ment of the arena lead to the (modern) 'souterrain\ the ceiling of which
is supported by beams. In the middle ages the Arena was employed by
the Visigoths and afterwards by the Saracens as a fortress. Extensive
works of restoration are now going on, especially in the interior and on
the E. side of the exterior, as the Arena is still used for the exhibition
of bull-fights (but of a bloodless character).

The next object of interest is the *Maison Carrie (PL 19 ; D, 3),
a well preserved temple (83 ft. long , 42 ft. wide) , with 30 Corin-
thian columns (10 detached, 20 immured), dating from the reign of
Augustus, or, more probably, of Antoninus Pius, employed as a
church in the middle ages and subsequently as a town-hall. This
temple was connected with other buildings , the foundations of
which still exist, and in all probability constituted part of the an-
cient forum, like the similar Temple of Augustus at Vienne (p. 7).

From the Maison Carree the visitor should next proceed by the
Boulevards and the canal to the Jardin de la Fontaine, where the
*Nymphaeum [PI. 2S\ E, C, 2), formerly supposed to be a. Temple of
Diana, is situated. This fine vaulted structure, with niches for the
reception of statues, has partly fallen in ; it contains statues, busts,
architectural fragments, etc., from the excavations which have been
made here. The nature of the extensive ruins behind the Nym-
phseum cannot now be ascertained. Here , too , are the Roman
*Baths excavated by Louis XIV. They contain a large peristyle
with low columns, a number of niches , a basin for swimming, and
the spring by which Nimes is now supplied with water. Well kept
pleasure-grounds in the rococo style adjoin the baths. (The con-
cierge at the E. entrance to the garden keeps the keys of the Nym-
phieum and the Baths ; 1 fr.)

Beyond the spring rises a hill with promenades , surmounted by
the *2'ourr«a(7ne (turris magna ; PL 30; C, 1), a Roman structure,
variously conjectured to have been a beacon-tower, a temple, or a

1 .0»rffim^{ip\7]u/ > .

8 Arenrt

5 CoUeye

f> Ec«le MubtpUe

Eglise

8 Stn„ir!es

'SSS'Paul
MSiPrrpt^e
12 Gnmdlhnpje
UFrtifTeniple

1j Hotel Dim
\^ Hotel, 7e I me

18 M(omteidimi
13 Jfaison nirree
"SS d:4rreli

Q. Cenh;3e

nVahisdeJuMiet
V) Poiie ti:bcip,f/e
21- defku,ee

ZiJMerbirr

ti SrtuuiiXfue

28 Tiitifflrde Diiuip (Sm^f/i>

29 Tlmitre

30 7aa' niatpte

ogi-3i>li . AastAlt von.

E8
E.2
F3
D3
F +
F5
D2
ES
Dt
E.3

in-

Fi
D.S
El-
El

D.l.i

r.3

Fl
1)3

?i~tF^^Tki

"WagruT «. Drtes .leipzig

to Nice. MONTPELLIER. /. Route. 13

treastiry (keys at a small red house , to the right on the way from
the baths, ahout 200 paces below the summit). It was more pro-
bably a monumental tribute to some illustrious Roman. The tower
Is of octagonal form, and is ascended by a modern staircase of 140
steps. The *View from the summit well repays the ascent ; it em-
braces the town and environs , as far as the vicinity of the estuary
of the Rhone, and the distant Pyrenees to the W. The extent of
the ancient Nemausus is distinctly recognised hence ; two of the an-
cient gates , the Porta Augusti (PI. 23 ; F, 3) and the Porte de
France (PI. 24 ; D, 4, 5) are still partly preserved. The former,
discovered in 1793 , has four entrances and bears the inscription :
Imp. Caesar. Diyi. F(ilius) Avgvstys. Cos. xi. Trie. Pot. Por-
TAs. MvROS. QvE. Col. Dat., signifying that Augustus provided
the colony of Nemausus with gates and walls in the year B.C. 23.
The other gate is of simpler construction , and one arch of it only
is preserved.

ExcDKsioN TO THE PoNT Du Gakd , 14V2 M. , Uninteresting country,
by carr. in 2 hrs. One-horse cavr. there and back 12 fr. (from the Hotel
du Luxembourg). Or the traveller may avail himself of one of the omni-
buses which run to EemouUns several times daily, as far as La Foux.,
whence a road on the right bank of the Gard leads to the far-famed 'Ponf
(li/z M.), at a small house near which refreshments may be obtained.

The ■"' Pont du Gard , a bridge and aqueduct over the Gard, which
descends from the Cevennes, passing the town oi Alais with its extensive
iron-works , is one of the grandest Roman works in existence. The
desolate rocky valley of the Gard is bridged over by a threefold series
of arches (the lowest 6, the next 11, and the highest 35 in number) which
present a most majestic appearance. Agrippa, the general of Augustus,
is supposed to have been the founder. The object ol this structure was
to supply Nimes with water from the springs of Airan near St. Quentin
and Ure near Uzes, a distance of 25 M. Several arches are also seen to the
N. of the Pont du Gard, and other traces of the aqueduct still exist nearer
the town. The bridge for carriages was added to the Roman aqueduct
in 1743.

Beyond Nimes the train traverses the broad and fertile plain on the
S. of the Cevennes, and in 1V2-2 hrs. reaches —

Montpellier {HoUl Nevet), capital of the Department of the Herault,
an industrial town with 55,600 inhab., and the seat of a university found-
ed in 1196. The finest point in the town is the '-Promenade du Peyrou, an
extensive terrace planted with lime-trees, with an equestrian Statue of
Louis XIV., and the Chateau d'Eau. Fine view hence; in clear weather
the summit of the Canigou in the Pyrenees is visible. The Jardin des
Plantes is the oldest in France. The Mus^e Favre contains a picture-
gallery of some value , the gem of which is a 'Portrait of Lorenzo de'
Medici by Raphael. The public Library possesses a few interesting MSS.
and other curiosities.

From Tarascon (p. 11) to Arles the railway skirts the left
bank of the Rhone. The country, which Is flat, and planted with
the vine and olive , presents a marked southern character. The
manners and unintelligible patois of the inhabitants differ materially
from those of N. France. The peculiar softness of the old Pro-
venfal language employed by the Troubadours may still be traced.
S is pronounced here like sh (e. g. pershonne), ch like s (serser for

14 Route 1. ARLES. From Paris

cherclier). These characteristics , as well as the vivacious and
excitable temperament of the natives , betoken the gradual transi-
tion from France to Italy.

483 M. Aries (*H6tel du Nord; Hotel du Forum), the Arelate or
Arelas of the ancients , once one of the most important towns in
Gaul, is now a somewhat dull place (26,400 inhab.) on the Rhone,
24 M. from its mouth. It is connected with Trinquetaille on the
opposite bank by a bridge of boats.

The principal sights of Aries , for which 3-4 hrs. suffice , are
all within easy distance from the hotels : to the E. St. Trophime,
the extensive Museum, and the Theatre of Augustus ; N. the Am-
phitheatre, and S.E. the Champs-Elyse'es.

In the Place of the Hotel de VUle, which was erected in 1673,
rises an *Obelisk of grey granite from the mines of Estrelle near
Fre'jus (p. 19), an ancient monument of unknown origin, found in
the Rhone in 1676.

In the vicinity stands the *Cathedral of St. Trophime (Trophi-
mus is said to have been a pupil of St. Paul), founded in the 6th
or 7th cent., possessing an interesting Romanesque *Portalofthe
12th or 13th cent. , of semicircular form, supported by twelve columns
resting on lions, between which are apostles and saints (St. Tro-
phimus, St. Stephen, etc.) ; above it Christ as Judge of the world.

The Intekiok contains little to interest the visitor, with the [ex-
ception of several sarcophagi and pictures. — On the S. side (entered
from the sacristy) are the 'Cloisters, with round and pointed arches
and remarkable capitals, dating from various epochs. The N. side is in
the half antique style of the Carlovingian period (9th cent.), the E. side
dates from 1221, the W. side (the most beautiful) from 1389, and the S.
side from the 16th century.

The *Museum , established in the old church of St. Anna,
contains numerous antiquities found in and near Aries. The
following relics deserve special mention: *Head of Diana (or
Venus); Augustus (found in 1834); recumbent Silenus with pipe,
once used as a fountain-figure ; and sarcophagi from the ancient
burial-ground (see below), etc.

The *Theatre (commonly called that of 'Augustus'), a most pic-
turesque ruin, is in a very dilapidated condition. The most perfect
part is the stage- wall, which according to the ancient arrangement
had three doors. In front of it was a colonnade, of which two col-
umns, one of African, the other of Carrara marble, are still stand-
ing. The opening for the letting down of the curtain is distinctly
recognisable. The orchestra, paved with slabs of variegated marble,
contained the seats of persons of rank. The lower tiers only of the
seats of the ordinary spectators are preserved.

The theatre once possessed a second story, indications of which arc
observed when the ruin is viewed from the Saracens' Tower (in the
direction of the public promenade). The dimensions of the building when
perfect were very extensive (breadth from N. to S. 337'/2 ft.) , and the
effect it produces is extremely striking.

The * Amphitheatre is larger than that of Nimcs (p. 12), but in

to Nice. ARLES. 1. Route. 15

inferior preservation. It is about 500 yds. in circumference ; the
longer axis is 150yds., the shorter 116yds. long; the arena 75yds.
long and 43 yds. wide. It possessed five corridors and forty-three
tiers of seats, holding 25,000 spectators. The two stories of 60
arches, the lower being Doric, the upper Corinthian, present a most
imposing aspect. The entrance is on the N. side.

The Intekiok (the concierge lives opposite the N. entrance) was for-
merly occupied by a number of dwellings tenanted by poor families, but
these have been almost entirely removed since 1846-47. After the Roman
period the amphitheatre was employed by the Goths, then by the Sara-
cens, and again by Charles Martel (who expelled the latter in 739), as a
stronghold, two of the four towers of which are still standing. A stair-
case of 103 steps ascends the W. tower, which commands a pleasing sur-
vey of the neighbourhood. The vaults beneath the lowest tier of seats
served as receptacles for the wild beasts, the gladiators, etc. They com-
municated vi'ith the arena by means of six doors. The spectators of high
rank occupied the front seats and were protected from the attacks of the
wild animals by a lofty parapet. Bloodless bull-fights are now occasion-
ally exhibited here.

In the Place du Forum , the site of the ancient market-place,
two granite pillars and fragments of a Corinthian pediment are still
seen (near the Hotel du Nord).

On the S.E. side of the town are the Champs Elysees (Aliscamps),
originally a Roman burying-ground, consecrated by St. Trophimus
and furnished by him with a chapel. In the middle ages this
cemetery enjoyed such celebrity that bodies were conveyed hither
for sepulture from vast distances. It is mentioned by Dante in
his Inferno (9, 112): '<Sj come ad Arli , ove Rodano stagna, . . .
fanno i sepolcri tutto il loco varo\ ('As at Aries where the Rhone
is dammed, .... the graves make the whole ground uneven'.)
To this day many ancient sarcophagi are still to be seen in the
environs of the curious old church , although after the first Re-
volution great numbers were sold to relic-hunters from all parts
of the world.

From Arles to Montpellier (p. 13) a branch-line runs in V/2 hr.

Below Aries begins the flat delta of the estuary of the Ehone called
the lie de la Camargue. It is protected against the incursions of the sea
by dykes , and is employed partly as arable and partly as pasture land,
which supports numerous flocks and herds. A canal, constructed in 1864-71,
admits vessels to the estuary of the Rhone, which had previously been
inaccessible.

Between Aries and Salon the line intersects the stony plain of
Crau , which the ancients mention as the scene of the contest of
Hercules with the Ligures. Near St. Chamas the line skirts the
long Etang de Berre, an extensive inland lake on the right. From
(519 M.) Rognac, a branch-line diverges to Aix, the ancient Aquae
Sextiae. Beyond (525 M.) Pas-des-Lanciers the train traverses the
longest tunnel in France, nearly 3 M. in length, on emerging from
which it passes some grand rocky scenery. The sea now comes in
sight, and the rocky islands of Chateau dUf, Ratonneau, etc. are
seen rising from the Gulf of Marseilles.

16 Route 1. MARSEILLES. From Paris

536 M. Marseilles. — Arrival, ffotel Omnibuses at the station
(Vz-l'/zfr.). Cabs ('voituves dc la gare"), with two seats, 1 pers. Ifr. 25;
with four seats, 1 pers. Ifr. 75c.; each pers. additional 25c.; each
trunk 25c. — Carriages in the town ('voitures de place"), one-horse, per
drive Ifr., per hour 2fr. ; two-horse, I'A and 2V4fr. ; from midnight till
6 a.m., one-horse I'/a and 2V2, two-horse 2 and 3fr.

Hotels. 'Hotel Noailles (PI. c; D, 3), 'Grand Hotel pd LonvRE et
DE LA Paix (PI. a; D, 3), with 250 rooms and a lift principal facade
facing the S., '-Grand Hotel de Marseille (PI. b; D, 3), with hoist, all
three in the Rue de Noailles , and fitted up in the style of the great
Parisian hotels, rooms from 2fr. upwards, table d'hote at 6 p.m. 5fr.,
B. IVzfr., A. and L. I'/afr. ; "Hotel dd Petit Louvre (PI. d; D, 3),
Rue Cannebiere 16, R. 2, A. and L. 1, omn. 1 fr. ; Hotel du Ldxembourg
(PI. e; D, 3), Rue St. Ferre'ol 25; Hotel des Colonies, Rue Vacon;
Hotel des Princes (PI. g ; D, 3), Place de la Bourse (formerlv Place Royale") ;
Hotel d'Italie (PI. i ; I), 3), at the harbour; Hotel de Rome (PI. k ; D, 3),
patronised by Roman Catholic clergy. — Bouillabaisse^ a good fish. —
The white wines usually drunk are Chablis, Graves, and Sauterne.

Cafes. The Cannebiere contains a great number of handsome cafes
in the Parisian style.

Post Office, Rue Grignan 53 (PI. 37; E, 3). — Telegraph Office, Rue
Pavce-d'Amour 10.

Steamboats to Ajaccio (Corsica), Algiers, Genoa, Naples, Palermo,
Malta, etc.

Sea Baths, handsomely fitted up, in the Anse des Catalans (PI. E, 6),
on the E. side of the town, below the conspicuous former Residence Im-
periale , which is now a hospital; also warm seawater-bath::, douche,
vapour, etc., for gentlemen and ladies. Adjacent, a large *H6tel, with
restaurant. Omnibus to or from the town 30 c. The Bains du Roucas
Blanc (PI. H, 4), somewhat more distant, arc also well fitted up and
contain similar baths; hotel and pension in connection.

English Church Service performed by a resident chaplain.

Marseilles , with upwards of 300,000 inhal)., the capital of the
Department of the Embouchures of the Rhone, is the principal sea-
port of France , and the depot of a brisk maritime traffic with the
East, Italy, and Africa.

Massilia was a colony founded about B.C. 600 by Greeks from Phoceea
in Asia Minor, who soon became masters of the sea, defeated the Car-
thaginians in a naval battle near Corsica, and stood in friendly alliance
with the Romans as early as B. C. 390. They also established new colonies in
their neighbourhood, such as Tanroeis (near Ciotat), Olbia (near Hyeres),
AntipoUs (Antibes), and Nicaea (Nice) , all of which, like their founders,
adhered to the Greek language, customs, and culture. M<assilia maintained
this reputation until the imperial period of Rome, and was therefore treat-
ed with leniency and respect by Julius Csesar when conquered by him,
B.C. 49. Tacitus informs us that his father-in-law Agricola, a native of
the neighbouring Roman colony of Forum Julii (Frejus), found, even under
Claudius, ample opportunities for completing his education at Massilia
in the Greek manner, for which purpose Athens was usually frequented.
The town possessed temples of Diana (on the site of the present cathedral),
of Neptune (on the coast), of Apollo, and other gods. Its government was
aristocratic. After the fall of the W. Empire Marseilles foil successively
into the hands of the Visigoths, the Franks, and Arelate; it was de-
stroyed by the Saracens, restored in the 10th cent, and became subject to
the Vicomtes de Marseille; in 1218 it became independent, but .shortly af-
terwards succumbed to Charles of jVnjcm. In 1481 it was united to France,
but still adhered to its ancient iiriviU-gos, as was especially evident in
the wars of the Ligue, against Henry 1\'. In 1G60 Louis XIV. divested the
town of its privileges, so that it retained its importance as a sea-port only.
In 1720 and 1721 it was devastated by a fearful pestilence. During the
revolution it remained unshaken in its allegiance to royalty and was there-

: .trsaial F. . 5 H Douanr EJ &3 Jloui^VwS^e'A.Z. iB

. Banqite. K 5 IT .Oaidarma-ie C* 34 -Wrw/c B. I. :.n,

R'bUothtqur _ D 2 ^A. ITnUe nam- B 5. i!,OI>Mrraioirr _ B.l. -W

haurac D.J iO^Hi/iijIal JelaOarUe' C t ii J'alais <U JusHct EI. +1

Comiffne OS •'» - . rfu.J^.E<iP>r<i -D 4. S7 fi.i«t au.r ?««r«--K S. 4»

«; 1 il.B3td. dt JVU D* itJ^-^fecbjrc E» 4J

izz r c ! zzzEizm

jgrajpk Aajrt v 1/Vii^iiei- -u Debes, leipzig.

to Nice. MARSEILLES. /. Route. 17

fore severely punished. In 1792 hordes of galley-slaves vyere sent hence
to Paris, where they committed frightful excesses. It vras for them that
Rouget de VIsle, an officer of engineers, composed the celebrated Afarseil-
laise, 'Allons, enfants de la patrie'', which subsequently became the battle-
hymn of the republican armies.

The docks and quays (comp. plan) are very extensive. The
harbour has been extended to four times its former size since 1850,
notwithstanding which there is still a demand for increased accom-
modation. In 1853 the Port de la Joliette was added to the Ancien
Port, and is now the starting-point of most of the steamboats. The
Bassin du Lazaret and d'Arenc were added next, in 1856 the Bassin
Napoleon (now NationaVj, and recently the Bassin de la Gare Mari-
time. Other extensions are projected.

The old harbour is long and narrow. Its entrance is defended
by the forts of St. Jean and St. Nicolas. — Near the former is the
Consigne (PI. 6 ; D, 5 ; entrance by the gate, fee 50 c), or office of
the 'Intendance Sanitaire' (quarantine authorities).

The principal hall contains several good pictures : Horace Vernet., The
cholera on board the frigate Melpomene; David, St. Rochus praying to
the Virgin for the plague-stricken, painted in Rome, 1780; Giiirin, The
Chevalier Rose directing the sepulture of those who have died of the
plague; Piiijet, The plague at Milan, a relief in marble; Gerard, Bishop
Belsunce during the plague of 1720; Tanneurs, The frigate Justine return-
ing from the East with the plague on board.

A few paces farther N. is the Cathedral (PL C, D, 5), a new
edifice constructed of alternate courses of black and white stone, in
a mixed Byzantine and Romanesque style. The towers are sur-
mounted by domes, designed by Vaudoyer. The terrace commands
a pleasant survey of the Bassin de la Joliette. — To the E. , in
front of the old harbour, is the former 'Re'sidence Impe'riale', now
Chateau du Pharo, a hospital (PI. E, 5). In the vicinity are the
sea-baths (p. 16).

*La Cannebiere (PI. D, 3), a broad and very handsome street,
intersects the town from W. to E. , from the extremity of the
Ancien Port to the centre of the town where the ground rises. In
this street, a few paces from the harbour, stands the Bourse, with a
portico of Corinthian columns, erected 1854-60.

A short distance further the Cours (PI. C, D, 3) is reached on
the left, a shady promenade generally thronged with foot-pass-
engers, at theS. end of which stands the statue of Bishop BeZsMnee,
who during the appalling plague in 1720, which carried off 40,000
persons, alone maintained his post and faithfully performed the
solemn duties of his calling. — From this point the Rue d'Aix
ascends to the Arc de Triomphe (PI. 1 ; C, 3), erected in 1823, and
afterwards adorned with representations of Napoleonic battles in
relief by Ramey and David d' Angers.

We now return to the Cannebiere. Opposite the Cours opens
the Cours des Fleurs, continued by the Rue de Rome and the Pro-
MENAUE uu Prado, wMch is 2V2M. in length (comp. PI. F, G, H, 1).
In the latter, at the point where it turns to the S.W., lies the

Baedekek. Italy I. 5th Edit. 2

18 Route 1. MARSEILLES. From Paris

Chateau des Fleurs, the property of the Rifle-shooting Cluh, while at
its end, close to the sea, is the Chateau Borely, situated in an ex-
tensive park, and containing a valuable Musee des Antiques (Egyp-
tian, Phoenician, Greek, and Roman inscriptions and antiquities).

To the left in the Cours des Fleurs at the entrance to the nar-
row Rue de la Pahid , is a fountain , adorned with an insignificant
bust of Pierre Puqet , the celebrated sculptor , who was a native of
Marseilles (1622-94).

At the E. end of the Boulevard de Longchamp rises the new
and handsome *Musee de Longchamp (PI. 34; B, 1), consisting of
two extensive buildings connected by a colonnade of the Ionic
order, adorned with a fountain in the centre. The right wing
contains the Musee d'Histoire Naturelle ; in the other is the Musee
des Beaux Arts , containing several good pictures (Perugino , Ma-
donna and Saints; Murillo , Capuchin Monk; Holbein, portrait,
retouched, and others).

The well-kept grounds at the back of the Museum extend to
the Jardin des Plantes {^Zoological Garden; PI. A,B,1 ; adm. 50 c).

*ViEw. The best survey of the town and environs is afforded
by the church of *Notre Dame be la Garue (PI. F, 3), situated
on an eminence to the S. of the old harbour, an ancient shrine,
rebuilt from designs by Esperandieu in 1864. The highly ornate
interior contains an image of the Virgin and innumerable votive
tablets presented by those who have been rescued from shipwreck
or disease. The terrace in front of the church, and especially the
gallery of the tower (154 steps), which contains a huge bell, 10 tons
in weight , and is to be crowned with a large figure of the Virgin,
command an admirable survey of the extensive city , occupying the
entire width of the valley , the innumerable white villas (hastides)
on the surrounding hills , the harbour and the barren group of
islands at its entrance, with the Chateau d'lf, where Mirabeau was
once confined (also mentioned in Dumas' Monte Christo), and part
of the Mediterranean. Several different paths ascend to this point
from the old harbour, terminating in steps , a somewhat fatiguing
climb. The full force of the prevailing Mistral (see p. 11), or
piercing N.AV. wind, the scourge of Provence, is often felt here.

The following drive of several hours is recommended. Ascend the
Promenade die Prado (see above; PI. F, G, 1), pass the Chateau des Fleurs
(1*1. 11, 1), descend to the sea, and return to the town by the picturesque
Chemin de Ceinture (or la Corniche), on which lies '*Sest. Roubion, beauti-
fully situated.

Railway from Marseilles to Nice (140 M., in b^j-i-l^lt hrs. ;
fares 27 fr. 70, 20 fr. 75, 15 fr. 20 c.). The interesting route at first
traverses rocky defiles at some distance from the sea, and, farther
on, cx)mmands striking views. Several tunnels. — 23 M. La dotal,
charmingly situated on the coast , and the most beautiful point on
the whole journey.

to Nice. TOULON. 1. Route. 19

4:2 m. TovLlon (Grand Hotel, near the station ; Victoria; Croix
cVOr ; Railway Restaurant), the war-harbour of France for the Medi-
terranean, with 77,100 inhab., possesses a double harbour, protect-
ed by eleven forts which crown the surrounding heights. In 1707
the town was besieged in vain by Prince Eugene, and in 1793 the
inhabitants surrendered to the English Admiral Hood. In De-
cember of that year it was gallantly defended by a small body of
English soldiers against an enemy of tenfold number , but was at
last taken by storm. The attack was conducted by Buonaparte,
lieutenant of artillery, then 24 years of age. Beautiful *View from
the hill on which stands the fort of La Malgue.

Beyond Toulon the train quits the coast and winds through the
Montagues des Maures to the N.E. 48 1/2 M. La Pauline.

Bkanch-line to (6 M.) HrfeKEs in 24 minutes. The small town of
Hyeres (Hotels des Ambassadeurs, de V Europe, des lies d'Hyeves, all three
open throughout the year; des lies d'Or; des Hespirides ; d'' Orient; du Pare;
du Louvre ; des Etrangers ; de la Miditerranie, less pretending, well spoken
of), lies 3 M. from the sea, on the slope of the lofty Mts. des Maures,
but not sufficiently protected from the Mistral (see p. 11). It is much
visited as a winter -residence by persons suffering from pulmonary com-
plaints. Beautiful gardens and a fine avenue of palms. The Islands of
Hyeres (the Sloechades of the ancients) are a group of rocky islands and
cliffs near the coast. The largest of them are the lie du Levant or Titan,
Portcros, PorqueroUes, and Bagueau. Some of them are fortified and in-
habited, but they do not enjoy so mild a climate as Hyeres itself, being
more exposed to the wind. The peninsula of Oiens, which may be visited
from Hyeres by carriage (about 20fr.), affords a charming view of the
islands.

85 M. Les Arcs, whence a branch-line runs to Draguignan.

98 M. Frejus (Hotel du Midi), a small town with 3000 inhab.,
the ancient Forum Julii , founded by Julius Caesar , contains a
number of Roman remains , an amphitheatre , archway (Porte
Doree) , and aqueduct , none of which possess much interest.

J 01 M. St. Raphael, delightfully situated in a ravine on the
coast At the small harbour of this place Napoleon landed in
Oct., 1799, on his return from Egypt. Here, too, after his abdi-
cation, he embarked for Elba, 28th April, 1814. The line tra-
verses a romantic , rocky district , occasionally affording charming
glimpses of the numerous bays of the coast. Then four tunnels.

123 M. Cannes. — Hotels, upwards of fifty in number, of which
a few only need be mentioned. Near the sea : Splendide Hotel, with
lift; Hotel de Geneve; Gkand Hotel de Cannes (the most handsomely
fitted up); Hotel Gray & d'Albion ; Bead Rivage ; Gonnet; delaReine;
DE la Plage; des Princes, D. 5, B. I'/^fr., well spoken of; de la
MfeDiTERRANfiE ; DES Quatre-Saisons ; Hotel-Pension Suisse. On the road
to Frejus (towards the W., frequented by English visitors) : Bead Site,
lately ^enlarged , R. from 2 f r. , lift ; dd Pavillon ; de Bellevde ;
d'EstiSkiSl ; DD Sqdare-Bkougham. — In the interior of the town: Hotel
DU NoRD; DE LA PosTE, Rue d'Antibes. — In the Cannet quarter: Hotel
DE France ; dd PufiNix ; *d'Alsace-Lorraine ; de Peovence ; Victoria ;
DD Paradis ; DE l'Eueope ; DU LoDVRE , near the station. — In the B.
quarter : Hotel Bead-SiiJoue ; Hotel et Pension Montfledet ; Hotel de
LA Califoknie.

Pensions. Towards the E. : St. Charles; de LfiKiNS; des Anges. On

20 Route 1. CANNES. From Paris

the Route d'Antibes: Thuillier; Anne Th6r6se; Augusta. — In the Can-
net quarter: Richmond; Anglaise; Bel-Aib; de la Paix; d'Angletekre.
— To the W. : Pension Italienne ; des Grangers ; de la Terrasse ; de
St. Rook (chiefly frequented by English visitors).

The charges at the Pensions vary from S to 14 fr. per day, at the
hotels from 12 to 20 fr. and upwards. Private apartments are easily obtained.
Engagements are usually made for the whole season , from October to
May, the rent being 1200-2000 fr. and upwards. Cannes is considered a
somewhat expensive place.

Cafes. Ccfi des Allees, in the Cours ; de Paris ; de la Rotonde, in the
Boulevard de la Plage.

Carriages. One-horse carr. 1 fr. 25, two-horse ifr. 50c. per drive;
2fr. 50 and 3fr. per hour; one-horse carr. for two persons only, some-
what less.

English Church Service. Also Preshyterian Service.
Cannes, a small but rapidly increasing town with 12,000 inhab.,
picturesquely situated on the Golfe de la Napoule, is indebted to
its sheltered situation for its repute as a wintering-place for con-
sumptive and delicate persons. It is protected by the Esterel Mts.
(see above) from the N. and N.W. winds.

The town consists of a main street, parallel with which, along
the coast , runs the Boulevard de la Plage , terminating on the W.
in the Cours , a 'place' with promenades and fountains. The most
sheltered situation is the space between the N. side of the town
and the village of Le Cannet. The W. end of the town is chiefly
occupied by English families (the English Churcli is situated here).
The best French society is also well represented.

The old town lies at the foot of the Mont Chevalier , on which
the parish church rises , and from which the pier closing the S.W.
side of the harbour extends. Fine view from the top.

Opposite the Cap de la Croisette , the promontory which sepa-
rates the Golfe de la Napoule from the Golfe de Jouan , rise the
lies de Lerins. On Sainte Marguerite , the largest of these , is
situated Fort Monterey (poor inn) , in which 'the man with the
iron mask' was kept in close confinement from 1686 to 1698, and
recently well known as the prison of Marshal Bazaine (from 26th
Dec. 1873 to the night of 9th Aug. 1874 when be effected hia
escape). The island commands a fine survey of Cannes and the
coast. On the island of St. Honorat rise the ruins of a fortified
monastery and church (boat there and back 10-12 fr.).

The Environs of Cannes are delightful , and studded with
numerous villas. On the Frejus road (to the W.) is the Chateau
des Tours, the property of the Due de Valiombrosa, with a beautiful
*Oarden, to which visitors are admitted. Another walk may be made
towards the E. to the Cap de la Croisette, where the Jardin des
Jlesperides, with its fine orange phmtations, is situated. A somewhat
more fatiguing excursion is to the Chapel of St. Antoine on the
road to Vallauris, which commands an admirable view. Visits may
also be paid to Mougins, the monastery of St. Cassien, and the ruin
of Napoule. The active pedestrian should walk to the rocky nest
of Auribeau , and thence to Mouans, on the railway from Cannes

to Nice. ANTIBES. 1. Route. 21

to Grasse, or to Grasse itself. From Grasse an easy trip may be
made to Le Bar , near which is the interesting Gorge de Courmes.
The vegetation is luxuriant, but lemon-trees are not common here.
Orange-trees are principally cultivated for the sake of the blossoms,
which form an important article of commerce.

Beyond Cannes the line passes Golfe Jouan ; a column marks
the spot where Napoleon bivouacked on the night after his arrival
from Elba, 1st March, 1815.

128 M. Antibes (Hotel de France) , the ancient Antipolis , a
colony of the Massilians , is now a small , but busy seaport (6000
inhab.), beautifully situated on a promontory, and commanding a
charming view of the sea , the Bay of Nice, and the Alpes Ma-
ritimes. A pier constructed by Vauban connects it with several
islands in the vicinity. The Cap d' Antibes (Hotel), 21/4 M. from
the town , should be visited for the sake of the beautiful view
which it affords. — This portion of the line traverses a remark-
ably rich and attractive district. It soon crosses the Var (Varus ;
station), an impetuous mountain - torrent , which in modern, as
well as ancient times formed the boundary between France and
Italy , until in 1860 Nice was ceded to France , and the frontier
removed farther to the E.

140 M. Nice, see p. 101. From Nice to Genoa, see R. 14.

2. From Paris (Geneva) to Turin by Mont Cenis.

496 M. Kailwat in 22-301/2 hrs. (fares 100 fr. 20, 74 fr. 35, 54 fr. 25 c.).

From Paris to Macon (274 M.), see R. 1. The railway here
quits the Lyons line and turns to the left , crosses the Saone , and,
at Stat. Pont-de-Veyle, the Veyle. In front and to the left a view
of the Jura is obtained. The next place of importance is —

2971/2 M. Bourg (Hotels de I'Europe , du Midi , de France),
with 14,000 inhab. , the ancient capital of Bresse, situated on the left
bank of the Reyzousse, ^/^ M. from the station. The church of Notre
Dame de Bourg, erected in the 15th -17th cent., in a variety
of styles , contains several pictures , sculptures , and fine wood-
carving. On the promenade Le Bastion is the ^Monument of
Bichat (d. 1802), who once studied at Bourg, by David d'Angers.
The house in which Lalande (d. at Paris in 1807) was born is
indicated by a tablet with inscription. — Bourg is the junction
of the line to Lyons, Mouchard, Besan^on, and Miilhausen, which
is the direct railway between Lyons and Strassburg (comp. p. 4).

The celebrated ''Church of Brou, in the florid Gothic style, erected
in 1511-36 by Margaret of Austria, Regent of the Netherlands, is situated
l'/2 M. from the town. It contains the sumptuous "Monuments of the
foundress , the Duke Philibcrt of Savoy her husband , and Margaret of
Bourbon, her mother-in-law. Her well-known motto '■Fortune infortune
forte une\ may be seen in difi'erent parts of the church.

The line intersects the forest ofSeillon. Near Stat. Pont d'Ain
the Ain is crossed.

22 Route 2. CTJLOZ. From Paris

317 M. Amberien, a pleasant little town on the Albarine , sit-
uated at the base of the Jura Mts., is the jvinction for Lyons (p. 5).

The train now continues to ascend the valley of the Albarine.
To the left lie the ruined castles of Vieux-Mont-Ferrnnd and St.
Germain. Beyond St. Ramhert de Joux the valley becomes wilder
and more imposing. The line quits the Albarine at stat. Tenay, and
enters a sequestered valley to the right , where Les Hopitaux is
situated. Near Rossillon are a few fragments of an ancient strong-
hold. Beyond a tunnel , i/s M. in length, the lakes of Pugieu are
observed on the right. Beyond two small stations the train next
reaches the valley of the Rhone near —

348 M. Culoz (774 ft. ; Hotel Folliet; *Rail. Restaur.), at the
base of the Colomhier (5032 ft.), the junction of the Geneva line.

From Geneva to Cdloz (41 V2 M.) railway in l^A-S'/s hrs. (fares 8fr. 10,
6fr., 4fr. 45c.). The line follows the right bank of the Rhone, on the
slopes of the Jura Mts. Beyond CoUonges, the fifth station, the Rhone flows
throujih a narrow rocky valley, confined between the Jura and Monl
Vuiiac/ie, and commanded by the Fort de VEcliise , which rises far above
on the right. The line quits the defile by the long Tunnel du Credo
(2V3 M.), crosses the grand Valserine Viaduct, and reaches (20'/2M.) Bellegarde
(Poste), at the influx of the Valserine into the Rhone (French custom-
house examination). The latter here forms a species of rapid, known as
the Perte du Rhone, where the water is occasionally lost to view. Sta-
tions Pyrimont, Seyssel, and Guloz.

The train crosses the Rhone, and at stat. Chdtillon reaches the
Lac du Bourget (12 M. in length, I1/2M. in breadth), the E. bank
of which it follows. Several tunnels and tine views.

363 M. Aix-les-Bains (850 ft.; * Grand Hotel d'Aix , *Venat;
*H6tel de I'Europe; *GuUland et de la Poste, less expensive; and
many others), the Aquae AUobrogum or Aquae Gratianae of the
Romans, is a celebrated watering-place with 4400 inhab. (8000
visitors to the baths annually), possessing sulphur-springs (113°
Fahr.), adapted for internal and external use. The large new
Etablissement Thermal, with baths and pump-room, deserves in-
spection. In the place in front of it rises a Roman triumphal arch
of the 3rd or 4th cent. ; the other scanty relics of the Roman period
(fragments of a temple and of baths) are almost all within the pre-
cincts of private property and not easily accessible. — Pleasant ex-
cursion by steamboat to '* Haute- Comhe, a Cistercian Abbey on the
N.W. bank of the Lac du Bourget. The church contains a number
of handsome monuments erected to Princes of Savoy.

The line quits the lake and traverses the broad valley of the
Laisse ; to the left the beautifully wooded slopes of the Mont d'Azi
and the Dent de Nivolet (5025 ft.).

370 M. Chambery (883 ft. ; Hotel de France ; Hotel des Princes;
Hotel de la Paix^ is the capital of the Department of Savoy, with
18,500 inhab., and an archiepiscopal see. A square tower and
remnants of the fa(;ade of the old palace of the Dukes of Savoy,
erected in 1230, still exist. On the Promenade is the Monument

to Turin. MODANE. 2. Route. 23

of General de Boigne (d. 1830} , adorned with life-size figures of
elephants.

The line traverses a picturesque district , passing the ruined
castles of Bdtie and Chignin. — 377 M. Les Marches is the junc-
tion for the branch-line to Grenoble , which enters the valley of
the Isere (or Valley of Graisivaudan') to the right. From Grenoble
to Marseilles by railway in 12 hrs.

380 M. Montmelian. The ancient castle , of which scanty frag-
ments now alone exist, was long the bulwark of Savoy against
France. The train crosses the Isere. — 385 M. St. Pierre d'Al-
bigny ; the town lies opposite on the right bank , commanded by
the ruins of the Chateau of Miolans. Near (388 M.) Chamousset
the line turns to the right , and traverses the valley of the Arc
(Vallee de Maurienne), which here joins the Isere. Beyond (393 M.)
Aiguebelle , which is grandly situated , the Arc is crossed (in the
vicinity, on the left bank , the extensive iron mines of St. George
des Hurtihres). Between stations Epierre and La Chambre the train
passes through a tunnel.

413 M. St. Jean de Maurienne. — 421 M. St. Michel (2330 ft.).
The train crosses the Arc several times. Numerous tunnels (nine
between St. Michel and Modane). — 427 M. La Praz (3137 ft.).

431 M. Modane (3468 ft. ; Hotel International; Rail. Restau-
rant, dear, D. 41/2 f""-) is the seat of the French and Italian custom-
house authorities (change carriages).

The train (best view on the right) describes a wide curve round
the village, and passing through two short tunnels, enters, beyond
the small village of Fourneaux, the great *Moiit Cenis Tunnel, by
which the Col de Frejus (8338 ft.) is penetrated in a S.E. di-
rection.

The tunnel (8 M. in length; N. entrance 3802 ft., S. entrance 4163 ft.
above the sea-level; height in the centre 4245 ft., depth below the sur-
face of the mountain 4093 ft.) was begun in Jan. 1861 and completed in
Dec. 1870, under the superintendence of the engineers Sommeiller, Grandis,
and Grattoni. Its total cost was 75,000,000 fr. The ingenious boring-
machines, constructed for the purpose, were worked by compressed air.
From 15C)0 to 2000 workmen were constantly employed on each side.
The tunnel is 26 ft. wide, 19 ft. high , and almost entirely lined with
masonry. It is lighted by lanterns placed at intervals of 500 metres, and
the distances are given in kilometres. The carriages are lighted with
gas. The air in the tunnel, although somewhat close, is not unpleasant,
even when the windows are left open. The transit occupies 30 minutes.
, The now deserted Mont Cents Koad, which continues to ascend the
valley of the Arc, was constructed by Fabbroni in 1802-5, during the
reign of Napoleon I. The culminating point of the Mont Cenis (6950 ft.)
lies 17 M. to the E. of the tunnel which was therefore hardly appro-
priately called after the mountain. The road then descends to Susa (p. 24),
about 40 M. from Modane.

At the S. end of the tunnel is (443 M.) stat. Bardonecchia
(4127 ft.). Two tunnels. Stat. Beawiard. Near stat. OmZx (3497 ft.),
the Roman Villa Martis , the line enters the valley of the Dora
Riparia. (A road to the S.W. leads hence to Cesanne at the con-

24 Route 2. SUSA.

fluence of the Dora and Ripa , and over the Mont Oenevre to the
French fortress of Brianfon on the Durance; comp. p. 66.)

The train traverses the picturesque valley of the Dora. Be-
yond a bridge and two tunnels , we reach stat. Salberirand (3302
ft.). The river again is crossed. Before the next station (Chiomonte),
nine tunnels are traversed. To the left, between the second and
third, a glimpse is obtained of the small town of Exilles with the
frontier fortress of that name ; farther on, a fine waterfall. — 453 M.
Chiomonte , or Chaumont (2526 ft.). Then a number of tunnels
and aqueducts. The valley contracts and forms a wild gorge (Le
Gorgie) , of which beautiful views are obtained, with the Mont Ce-
nis road winding up the hill on the farther side , and the Roche-
melon, Roche-Michel, etc. towering above it. "When the valley ex-
pands , Susa with the arch of Augustus comes in sight on the left
(see below). — 456'/2 M. Meana (1949 ft.), 1 M. from Susa, lies
324 ft. higher than the latter. Three tunnels. The train then
descends through beautiful chestnut woods , and crosses the Dora.
462 M. Bussoleno.

A short branch-line runs hence to Susa (1625 ft.; Motel de France;
Soleil), a small and ancient town, the Roman Segusio, situated on the
right bank of the Dora. A garden on the W. side of the town contains
a '^Triumphal Arch , 44 ft. in height , 39 ft. in width, and 23 ft. in depth,
with projecting Corinthian columns at the corners and sacrificial scenes on
the frieze, erected according to the inscription in A.D. 8. There are
also a few other Roman relics. The church of S. Giusto dates from
the 11th century. On the opposite bank of the Dora rises the fort La
Brunette , which was destroyed by the French in 1798.

Next stations Borgone (where the Dora is crossed) , S. Anto-
nino , Condove , and S. Ambrogio , high above which , on a rocky
eminence to the right, rises the abbey of S. Michele delta Chiusa, or
La Sagra , remarkable for a peculiar property of its tombs which
convert dead bodies into natural mummies. At stat. Avkjliana the
valley expands into a broad plain. Stations Rosta , Alpignano,
Collegno.

496 M. Turin, see p. 54.

3. From Martigny to Arona on the Lago Maggiore
(and Milan) over the Simplon.

i23'/2 M. Railway from Martignv to (48 M.) Brieg in 2V"-3 hrs, (fares
9fr. 40, Gfr. 20, 4fr. 70c.). Diligence from Brieg over the Simplon
to Domo d'Ossola (40 M.) once daily in gs/j hrs. ((fare 16 fr. 35, coupe
19 fr. 65 c.); from Donio d'Ossola to Arona (35V2 M.) once daily in 6 hrs.
(fare 8fr. 85, coupe 14fr. 75c.). — Two-horse Carriage from Brieg to
the Lago Maggiore (Baveno, Stresa, Pallanza) about 150fr. and gratuity
(return-carriages cheaper). The night is usually spent at Domo d'Ossola.

Martigny (1558 ft. ; *H6tel Clerc ; Hotel de la Tour; *Grande-
Maison-Foste ; ''Hotel du Mont Blanc . moderate) , is a busy little
town in summer, being the starting-point of the Great St. liernard
and Chamouny routes.

BRIEG. 3. Route. 25

The Railway runs in a straight direction past the Baths of
Saxon to Riddes, where the Rhone is crossed.

151/2 M. Sion, Ger. Sitten (1709 ft.; *Poste; du Midi), with
4895 inhab., the capital of the Canton du Valais, has an important
appearance in the distance with the picturesque castles of Tour-
billon, Majoria, and Valeria towering above it.

25'/2 M. Sierre, Ger. Siders (1765 ft. ; Hotel Bellevue ; Poste),
picturesquely situated on a hill. — Beyond Sierre a tunnel is
passed.

27 M. Salgesch, French Salquenen. The rocks have been
blasted in several places for the construction of the railway. The
train passes through two short tunnels, and crosses the Rhone.

301/2 M. Leuk-S'usten, Fr. Loueche-Souste (2044 ft. ; Hotel de
la Souste), station for the Baths of Leuk. The important looking
old village of Leuk , with its castle and towers, lies high on the
opposite slope. — SS'/o M. Turtman, Fr. Tourtemagne (2080 ft.),
at the mouth of the Turtman Valley. — 35 M. Gampel. — 381/2 M.
Raron, Fr. Rarogne, at the mouth of the Bietschthal. — The line
crosses the Visp, which has covered a great part of the valley with
debris.

42 M. Vispach or Visp, Fr. F%e (2155 ft. ; *Post ; *Sonne ;
*Railway Restauranf) , picturesquely situated at the entrance to
the Visp Valley, at the head of which rises the snow-clad Balfrin
(12,474 ft.). Beyond Vispach the line again approaches the Rhone.
48 M. Brieg, Fr. Brigue (2244 ft.; *H6tel des Couronnes et
Poste, R.21/2, D. 41/2 fr.; *Angleterre, D.4fr.), a well-built little
town , with a chateau with four towers. The railway terminates
here.

The SiMPLON Route , properly so called, which begins here,
was constructed by order of Napoleon in 1800-1806, and was the
first carriage-road across the Alps from Switzerland to Italy, and,
after the Brenner, the first great route across the Alps. In con-
struction it is less imposing than the Spliigeu, but its scenery is
much liner. The road quits the valley of the Rhone at Brieg, and,
ascends in numerous windings.

9 M. Berisal (5006 ft.), the Third Refuge (*H6tel de la Poste,
R. 2 fr.). Above the Fourth Refuge (5645 ft.) a retrospect is
obtained in clear weather of the Bernese Alps (to the N.), from
which the huge Aletsch Glacier descends. The part of -the road
between the Fifth Refuge (6358 ft.) and the culminating point
is the most dangerous during the period of avalanches and storms.
The road passes through the Kaltwasser Glacier Gallery (6460 ft.),
over which the stream issuing from the glacier is precipitated into
the depths below, forming a waterfall which is visible through a
side opening. The road then passes through two other galleries.
From the Sixth Refuge (6540 ft.) a splendid final view is enjoyed
of the Bernese Alps ; far below in the Rhone Valley lies Brieg.

26 Route 3. SIMPLON. From Martigny

The Simplon Pass (6595 ft.) is 6 M. from Berisal. About
3/4 M. beyond the summit is the Hospice (no payment demanded
for hospitality , but travellers should contribute at least as much
to the poor-box as they would have paid at an hotel) , a spacious
building founded by Napoleon , but not completed till 1825. A
broad, open valley, bounded by snow-capped heights and glaciers,
forms the highest portion of the Pass. The imposing Raut Glacier
is a conspicuous object on the mountains to the S. ; to the E. rises
the Monte Leone (11,690 ft.). The Old Hospice, a lofty square
tower now tenanted by herdsmen, lies far below the new road.

201/2 M. Simplon, Ger. Simpeln, Ital. -S'empjone (4856 ft. ; *Poste,
R. and A. 2fr. ; *Hdtel Fletsclihorn). The road now describes a long
curve to the S. , which pedestrians may cut off by a rough path regain-
ing the road at the Alqaby Gallery, where the most interesting part
of the Simplon route begins. It leads through the *Ravine of Gondo,
one of the wildest and grandest in the Alps , becoming narrower
and more profound at every step, until its smooth and precipitous
walls of mica-slate completely overhang the road , below which
rushes the impetuous Diveria. The most remarkable of the cut-
tings by which the road penetrates the rocks is the Gallery of
Gondo , a tunnel 245 yds. in length , constructed by Napoleon in
1805 and fortified by the Swiss in 1830. At the end of the tunnel
the Fressinone (ov Alpienbach) forms a line waterfall, which is cross-
ed by a slender bridge. On both sides the rocks tower to a dizzy
height of 2000 ft. The dark entrance of the tunnel forms a striking
contrast to the white foam of the falling torrent. This magnificent
*Alpine Scene , especially when viewed at a distance of 40-50
paces, surpasses the Via Mala. Gondo (2818 ft.) is the last Swiss
village ; V2M. beyond it is the Italian boundary-column. S. Marco,
1/4 M. farther, is the first Italian village.

29 M. Iselle (2175 ft.; Po'^ta) is the seat of the Italian
custom-house. The valley, although now less wild, continues to be
extremely picturesque. It unites with the broad and fertile valley
of the Tosa (or Toce) at the bridge of Crevola, 100 ft. in height,
below which it is called the Val d'Ossola. The characteristics of
the scenery are thoroughly Italian.

40 M. Domo d'Ossola (1000 ft. ; Grand Hotel de la Ville ct
Poste, high charges; Hotel d'Espagne, K. 3, L. ^f^, A. ^/4fr. One-
horse carr. to Baveno 25, to Brieg 60 fr. ; diligence twice daily to
Pallanza on Lago Maggiore, 6fr.), a small town with 3300 inhab.,
beautifully situated. Near (4 M.) Villa, the Antrona Valley opens
on the right; then (3 M.) Pallanzeno, and (3 M.) Masone, opposite
which opens the Anzasca Valley. The Tosa is crossed.

48 M. Vogogna (*Corona , unpretending), a small town, at
the base of precipitous rocks. The next villages are (IV2 M.) Pre-
mosello , Cuzzago , and {^i^/2'M.') Migiandone , where the Tosa is
crossed by a flve-arched stone bridge.

to AroTM. BAVENO. 3. Route. 27

56 M. Omavasso (Italia ; Croce Bianca). The marble-quarries
in the vicinity yielded the material of which the cathedral of Mi-
lan is built. To the S. a road leads through the valley of the
Strona, which falls into the Tosa near Gravellona, to Orta (p. 160).
— Near Feriolo, the next village, situated in a most luxuriant dis-
trict, covered with olive-groves, maize-fields, vineyards, chest-
nuts, and flg-trees, the road passes an extensive granite quarry,
where the columns of the restored Basilica S. Paolo Fuori Ic Mura
near Rome were hewn, and soon reaches the S.W. bank of Logo
Maggiore (R. 22), from which in the distance rises the Isola Madre,
the most N. of the Borromean Islands.

62 M. Baveno (* Bellevue ; *Beau-Rivage; Simplon) is a
steamboat station, but not a post-station, so that a seat in the dili-
gence is not always prociirable. Travellers from the Simplon
usiially visit the Borromean Islands from this point (comp. p. 155).
Queen Victoria resided at the Villa Clara here from 31st March
to 23rd April, 1879. The road , most of which rests on buttresses
of granite and solid masonry , skirts the lake and leads by Stresa
(p. 156), Belgirate, Lesa, and Meina, to —

751/2 M. Arona, see p. 157. Railway to Milan, see p. 158; to
Genoa, see p. 158; to Turin by Novara, see p. 158 and R. 10.

4. From Lucerne to Bellinzona and Lugano over
the St. Gotthard.

126 M. Steamboat from Lucerne to Fluelen (and back) 6-7 times daily
in 2V4-23/4 hrs. (fares 4fr., 2fr. 30c.). — From Fluelen to Biasca (station)
Diligence three times daily in summer, and once in winter, in 13'/2 hrs.
(22 fr. 15 c., coupe 25 fr. 45 c.). The afternoon diligence from Fluelen
stops for the night at Andermatt. — Railway (St. Gotthard Line) from
Biasca to Locarno via Bellinzona in 13/4 hr. ; fares 4fr. 10, 2fr. 90 c.
(steamboat from Locarno to Arena). — The direct route to Milan is via
Lugano, to which the Swiss Diligence will continue to run from Bellin-
zona until the completion of the Monte Cenere tunnel (4V4 hrs. ; fare
4fr. 90c., coupe 6fr. 40c.). Railway from Lugano to Como and Milan,
see pp. 147, 134. Tickets for this route may be procured at the post-
office of Lucerne (where coupe-places are most easily secured) , or on
board the steamboat. Travellers are cautioned against forwarding their
luggage across the frontier (comp. Intrnd. vii.). — Extea-Post from Fliielen
to Biasca, with two horses 152fr. 10c. , with three horses 212fr. 50c.,
with four horses 272fr. 90c.

The Carkiage Tariff of the Canton Uri, which the drivers are apt to
disregard, fixes the following charges: carriage and pair to Airolo l(jOfr.,
to Faido 120fr., to Biasca 150fr., and a fee. Application for a carriage
had better be made to the innkeeper, but the traveller should be on his
guard against extortionate demands, especially on the Italian side. The
drivers are prohibited from changing horses. T-hc night is usually spent
at Andermatt or Hospenthal.

St. Gotthard Railway. The St. Gotthard line, commenced in 1872, will
consist of the Lucerne, Fliielen, Airolo, Bellinzona, and Locarno , the Bellin-
zona , Lugano , and Como, and the Bellinzona, Magadino, and Pino lines.
The great St. Gotthard Tunnel is 91/4 M. in length (i. e. about I'A M.
longer than the Mont Cenis Tunnel) , extending from Geschenen (p. 29) on
the N. side to Airolo (p. 31) on the S. side. This stupendous work was
completed in 1880, and the whole line is to be opened in 1882.

28 Route 4. LUCERNE. From Lucerne

Lucerne. — -Sohweizekhof; *Luzeenek Hof; *H6tel National;
•■■-Beaukivage ; 'Angleterre; *Ctgne ; '"Hotel dd Bigi, all near the
steamboat-pier. *H6tel dd Lac, and *St. Gotthakd, both near the station.
♦Balances, on the Beuss. — Engel, Adler, Rossli, Poste, Mohr, all
unpretending.

Lucerne , the capital of the canton of that name , with 14,500
inhab., is situated at the efflux of the Reuss from the Lake of
Lucerne. The view from the Schweizerhof- Quai is strikingly
beautiful. The celebrated *Lion of Lucerne, designed by Thor-
valdsen, to the N., outside the Waggis Gate and 1/4 M. from the
Schweizerhof, and the new Museum in the town-hall are the
principal attractions in the town. Walks and excursions, see Bae-
deker's Switzerland.

The *Lake of Lucerne (1433 ft.) , or Lake of the Four Forest-
Cantons (viz. Uri, Schwyz, Untcrwalden, Lucerne), is unsurpassed
in Switzerland, and perhaps in Europe , in the beauty and magni-
ficence of its scenery. It is nearly cruciform in shape; length from
Lucerne to Fliielen 27 M., greatest width about 8 M.

The Steamboats start from the railway station and touch at
the Schweizerhof Q'l'iy, on the opposite bank , before their final
departure. Strikingly picturesque retrospect of the town , as the
quay is quitted. As the vessel proceeds, the Rigi on the left, Pila-
tus on the right , and the Biirgenstock and Stanser Horn opposite
the traveller are the most conspicuous mountains. To the left of
Pilatus, the Majestic Bernese Alps (Schreckhorner, Monch, Eiger,
Jungfrati) gradually become visible.

A view is soon obtained of the Lake of Kussnacht to the left,
and of the Alpnacher See to the right. The steamer soon reaches
(on the left) Waggis, in a very fertile district, at the foot of the Rigi
(5906 ft.). The next village is Vitznau, the terminus of the Rigi-
railway (see Baedekers Sivitzerland).

Two promontories, aptly termed the Nasen (noses) , the one a
spur of the Rigi , the other of the Burgenstock , here extend far
into the lake and appear to terminate it. The bay towards the W.
beyond this strait takes the name of the Lake of Buochs, from the
village of Buochs on the right, above which rise the Buochser Horn
(5934 ft.) and Stanser Horn (6231 ft.).

To the right Beckenried. Then, on the opposite bank, Gersau
(*IIotel MuUer).

To theE. rise the bald summits of the two Mythen (6244 ft. and
5954 ft.) , at the base of which , 3 M. inland , lies the small town
o{ Schwyz. To the right, Treib. Opposite, on the E. bank of the
lake, at the mouth of the Muotta, is situated ZJrunnen (*Waldstiltter
Hof; *Adler); on the hill *Kurhaus Axenstein and Hot. Axenfels.
Near Brunnen begins the S. arm of the lake , called the Lake
of Uri, the grandest part of the lake , with mountains rising al-
most perpendicularly on both sides. At the sharp angle which here
abuts on the lake, rises the Mythenstein, a pyramid of rock, 80 ft.

to Como. FLUELEN. 4. Route. 29

in height , bearing an inscription in honour of Schiller. A little
farther on, at the base of the Seelisberg, lies the Riitli , a meadow,
memorable as the spot where, as the story goes, on the night of
7th Nov., 1307, the first Swiss league (between Uri , Schwyz,
and Unterwalden) was solemnly concluded. A little beyond it, on
the opposite bank, rises the Axenberg (3353 ft.) , at the base of
which nestles the Chapel of Tell amid rock and wood. It stands on
the Tells-Platte , a ledge of rock on the margin of the lake, where
Tell is said to have sprung out of Gessler's boat when overtaken
by a storm. Above it runs the *Axenstrasse, a highly picturesque
road , leading from Brunnen to Fliielen , hewn in many places
through the solid rock.

27 M. (from Lucerne) Fliielen, Ital. Flora {IJrnerhof, D. 4fr.;
Flilelerhof; Adler ; *Kreuz) is beautifully situated at the S. end of
the Lake of Lucerne, at the mouth of the Reuss.

281/2 M. Altorf (1466 ft. ; *AcUer or Post, R. 2 fr. ; '""Schlussel ;
Lowe), the capital (2700 inhab.) of the canton of Uri, rebuilt after
a destructive lire in 1799, is the place where Tell is said to have
aimed his arrow at the apple on his son's head.

The road crosses the impetuous Schdchenbach, and at the Kius,
opposite Erstfeld, approaches the Reuss. To the left rise the Kleine
Windgelle or Seivelistock (9846 ft.) and the Grosse Windgelle or
Kalkstock (10,463 ft.). Towards Silinen , which lies to the right
of the road, a line view of the Bristenstock (10,089 ft.) is obtained.

371/2 M. Amsteg (1759ft.; *Stern or Post; Kreuz; Hirsch) lies
picturesquely at the foot of the Bristenstock and at the mouth of
the Maderaner Thai.

The St. Gotthard Route , properly so called , begins at the
new bridge over the Reuss a little beyond Amsteg. It was construct-
ed in 1820-32 by the cantons of Uri and Ticino. The scenery sur-
passes that of the other great Alpine routes. The road at first
gradually ascends on the left bank of the Reuss, which flows in its
deep channel far below. Beyond Intschi (2168 ft.), a village 1 1/2 M.
from Amsteg, a fall of the Intschialpbach is passed. The road next
crosses the rapid Meienbach.

45 M. Wasen (2779 ft. ; *mtel des Alpes ; * Ochs ; * Krone) is
picturesquely situated on a height. To the right of the Reuss bridge
is a beautiful fall of the Rohrbach, near Wattingen. We now cross
the fifth bridge, the 'Schonibriicke' (3212 ft.). To the W. of (21/2
M.) Geschenen (3488 ft. ; *H6tel Geschenen; Rossli), 21/4 M. from
Wasen , opens the valley of the Geschenen-Reuss, terminated by
the grand Dammafirn.

About 1 M. beyond Geschenen, below the Vordere, or Hdderli
Briicke, is the N. entrance to the great St. Gotthard Tunnel (p.
27) , to which visitors are not admitted. Here begins the dark and
rocky defile of the *Schollenen. On both sides rise vast and almost
perpendicular walls of granite , at the base of which dashes the

30 Route 4. ANDERMATT. From Lucerne

impetuous Reuss. The road -winds upwards and crosses numerous
bridges. Pedestrians may cut off most of the curves hy the old
bridle-path. This part of the road is much exposed to avalanches,
and is carried past the most dangerous spot by a gallery or tunnel,
80 yds. in length.

The *Devil's Bridge (4593 ft.), in the midst of a scene of wild
desolation , is now reached (872 M. from Geschenen). The Reuss
here forms a beautiful fall, about 100 ft. in height, the spray of
which bedews the bridge above. The old moss-grown bridge below
is disused. In 1799 this spot was the scene of fierce struggles
between the French and Austrians, and a month later between
the French and Russians.

Immediately beyond the bridge the road passes through the
JJrner Loch, a tunnel 70 yds. long, cut through the solid rock in
1707, but not accessible to carriages until it was enlarged when the
new road was constructed. The Valley of Vrsern , which the road
enters beyond the tunnel , forms a striking contrast to the bleak
region just traversed. This peaceful dale , watered by the Reuss,
and surrounded by lofty and partially snow-clad mountains , was
probably a lake before the Reuss had forced a passage through the
Schollenen.

521/2 M. Andermatt, orUrsem, Ital. Orsera (4738 ft. ; '^'Belle-
vue; *St. Gotthard; *Drei Kbnige ; *Oberalp; Hotel-Pension Nager ;
Krone'), IY2 M. from the Devil's Bridge, is the principal village in
the valley. The Oberalp route to the valley of the Vorder-Rhein
and Coire, diverges here to the left.

541/2 M. Hospenthal (4800 ft. ; *Meyerhof ; *Lowe), derives its
name from a former hospice. The Furca road to Realp and the
Rhone Glacier diverges here to the right.

The St. Gotthard road now ascends in numerous windings
through a desolate valley , on the left bank of that branch of the
Reuss which descends from the Lake of Lucendro (6831 ft. ; not
visible from the road), and crosses the river for the last time by
the liodont Bridge, I1/4 M. from the summit of the Pass of St.
Gotthard (6936 ft.). It then leads between several small lakes
and traverses a dreary valley , enclosed by the barren peaks of the
St. Gotthard group.

621/2 M. Albergo del S. Gottardo (6867 ft.), 1/4 M. beyond the
pass, a large, gloomy Italian inn ; opposite is the *H6tel du Mont
Prosa (post and telegraph station), adjoining which is the Hospice
for poor travellers. Pedestrians may descend to Airolo in 2 hrs.
Snow often lies on the pass throughout the summer.

About 1/2 M. below the hospice the road crosses that branch
of the Ticino, which flows from the Layo di Sella on the E. (not
visible from the road). Near the 1st Refuge, Cantoniera S. An-
tonio, the road enters the Val Tremola, a dreary valley I1/2 M.
long , into which avalanches are frequently precipitated in winter

to Como. AIROLO. 4. Route. 31

and spring. Beyond the third Cantoniera di Val Tremola, an ex-
tensive *View of the green valley of the Ticino ( Valle Leventina)
down to Quinto is obtained. To the right opens the Val Bedretto,
from which the W. arm of the Ticino descends.

TO M. Airolo, Ger. Eriels (3868 ft. ; *Posta ; *H6tel Airolo),
the first village where Italian is spoken , in great part rebuilt
after a fire in 1877. On the left opens the Val Canaria. The
road enters the Stretto di Stnlvedro , a defile which in 1799 was
defended by GOO French against 3000 Russians , and passes by
means of rock - hewn galleries through four parallel ridges which
descend to the Ticino. On the right bank , 1 M. below the ravine,
is the beautiful waterfall of the Calcaccia.

We next pass Piotta, Ambri, Fiesso; 6 M. farther, beyond the
poor inn of Dazio Grande (3110 ft.), the mouth of a second *Ravine
is reached. The Ticino has here forced a passage through the
Monte Piottino, and precipitates itself in a succession of *Cataracts
through the gloomy ravine into which the road descends close to
the falls. To the right, near Fa'ido, where the culture of the vine
begins, is a beautiful fall of the Piumogna.

81 M. Faido (2365 ft.; * Angela; ""Prince of Wales; Hdtel
Vella^, a village of thoroughly Italian character , is the capital of
the Leventina. Beautiful scenery, with numerous campanili in
the Italian style peeping most picturesquely from the surrounding
heights. Cascades on both sides of the road ; that of the *Cribiasca
resembles a veil in form. Huge masses of rock lie scattered about,
interspersed with fine chestnut-trees. Luxuriant vines, chestnuts,
walnuts, mulberries, and fig-trees now remind the traveller of his
proximity to 'the garden of the earth, fair Italy'. The vines ex-
tend their dense foliage over wooden trellis - work supported by
stone pillars, 6-10 ft. in height. Where the road descends in wind-
ings to the bottom of the valley, the Ticino forms another beau-
tiful fall, spanned by a bridge over which the road passes. Beyond
Giomico (1325 ft. ; Cervo ; Corona) is another picturesque water-
fall on the right, called La Cramosina.

91 M. Bodio (1086 ft. ; Posta ; Aquila). Beyond Polleggio
(978 ft.) the Val Blegno opens to the left. The valley of the Ticino
now expands and takes the name of Riviera, or river-valley. Fre-
quent inundations render the district unhealthy.

94 m. Biasca (*Hdtel de la Gare; *Grand Hotel Biasca, Vnione,
in the village ; Railway Restaurant), is at present the terminus of
the St. Gotthard line. The station lies 1 M. to the S. of the village.
A series of oratories leads hence to the Petronella Chapel, which
commands a fine view.

The Railway from Biasca to Bellinzona and Locarno
traverses the very hot and dusty valley of the Ticino close to the
base of the richly cultivated E. slopes of the mountains. — 41/2 M.
Osogna (965 ft.), at the foot of an abrupt and rocky height. Near

32 Route 4. BELLINZONA.

Cresciano, on the left, are several picturesque waterfalls. — 71/2 M.
Ctoro{_1017ft.}, at the foot of the mountain of that name (8760 ft.),
with the monastery of S. Maria on the hill-side. — 10 M. Cas-
tione; on the left, farther on, opens the Val Mesocco (Bernardino
route, pp. 37, 38), whence descends the Moesa, which is crossed
by the railway.

121/2 M. (106 1/2 from Lucerne) Bellinzona (777 ft. ; *Poste et
Pension Suisse ; Hotel de la Ville ; * Angela , moderate ; Railway
Restaurant}, the capital of the canton of Ticino, with 2600 in-
hah., presents a strikingly picturesque appearance when viewed
from a distance, but the charm is dispelled when the town is
entered.

The three picturesque Castles were once the residence of the bailiffs
of the three ancient confederate cantons. The largest, the Castello Grande,
on an isolated hill to the W., belonged to Uri; of the other two, towards
the E., the lower, Jl Castello di Mezzo, belonged to Schwyz, and the
Castello Corbario or Corbi (1502 ft.), the upper, now a ruin, to Unter-
walden. The Castello Grande is now used as an arsenal and prison;
visitors are admitted to the court and gardens to see the beautiful view
(fee to the guide). Another admirable point is the loftily situated pil-
grimage-chapel of jS. Maria della Salute.

The lower valley of the Ticino forms a wide plain, enclosed by
lofty mountains. I4V2 M. Giubiasco ; 171/2 M. Cadenazzo. The
high-road to Lugano ascends to the left (see below) ; the road in
a straight direction leads to Magadino (p. 153). — The train crosses
the Ticino beyond Cugnasco. 21 1/9 M. Gordola. It next crosses
the Verzasca, which dashes forth from a gorge on the right, and,
farther on, skirts the Lago Maggiore. — 251/2 M. (II91/2 M. from
Lucerne) Locarno, see p. 153.

The High Road from Bellinzona to Lugano leaves the valley
of the Ticino near Cadenazzo (see above), and winds upwards for
41/2 M. among chestnut and walnut-trees on the slopes of Monte
Cenere(see below), commanding a succession of *Views of Bellinzona
and the Ticino Valley, the influx of the Ticino into the Lago Mag-
giore , the N. end of that lake, and Locarno. On the summit of
the pass (1814 ft.) stands the Osteria Nuova (inn). The road
then descends through the fertile valley of the Lcgnana to —

10 M. Bironico (1420 ft.), where the Legnana unites with the
Vedeggio, a stream coming from Mte. CamoghS; the combined river
is called the Agno.

The Monte Camog}i& (7303 ft.), which may be ascended from Bellinzona
or Bironico in 6-7 hrs., commands a magniflcent '-'View of the broad plain of
Lombardy, the lakes, and the Alps. The summit oi Monte Cewere (3777 ft ),
reached by an easy ascent from the Osteria Nuova in 2 hrs., also cou.-
mands an admirable view.

Beyond Bironico the scenery of the Agno valley is picturesque
and the soil fertile; the double-peaked Mte. Camoghc is kept con-
stantly on the left. 3^/4 M. Taverne Superiori ; 1/4 M. *Taveme
Jnferiori; 21/2 M. Cadempino; 1 M. Vezia (view from the church

COIRE. 5. Route. 33

of Madonna di S. Martino). As we descend via Massagno towards
(l'/2 M.) Lugano, the beauty and fertility of the country increase.
The hill and shrine of Monte S. Salvatore first become visible ;
then the lake , in the clear green water of which the beautiful out-
lines of the mountains are rellecte!l. The road passes several hand-
some villas and soon reaches the town with its flat-roofed houses.
On the high ground to the right lies the station.
19 M. Lugano (932 ft.), see p. 148.

5. From Coire to Colico over the Spliigen.

751/2 M. Diligence from Coire to Colico twice daily in summer in
161/4 hrs. (coupe 27 fr. 90c., interior 24fr. 5c.). Extka Post from Coire
to Colico with two horses 160 fr. 10 c, with three horses 235 fr. 75 c.
Through-tickets from Coire to Milan, Genoa, Florence, etc.

Coire, Gcr. Chur, Ital. Coira (1936 ft.; *Steinbock, outside
the town ; *Lukmanier, near the station ; *St€m ; Bother Lowe, near
the post-oflice; Sonne), situated on the Plessur, I1/2M. from its
confluence with the Rhine, is the capital of the Canton of the Ori-
sons, or Graubiinden, with 7500 inhab., and an episcopal resi-
dence. Within the 'Episcopal Court', which is surrounded by walls
and rises above the town , are the Cathedral of St. Lucius , the
oldest part of which is said to date from the 8th cent, (choir 1208,
nave consecrated in 1282), the mediajval Episcopal Palace (a passage
in the upper floor of which is decorated with a Dance of Death
ascribed to Holbein?), and a few Roman remains.

The Diligence Road from Coire ascends the broad valley of
the Rhine. The scenery is uninteresting as far as Reichonau. On
the opposite bank of the river , at the base of the Calanda, lies the
village of Felsbery, which was partly destroyed by a landslip in
1850. The road passes through the thriving village of Ems, near
the ruins of the old castle of Hohenems, and crosses the Rhine by a
temporary bridge erected in the place of an older one burned down
in 1880, before reuching —

6 M. Reicheuau (1936 ft. ; *Adler), a group of houses at the
confluence of the Vorder and Hinter-Rhein. The chateau of M.
de Planta afforded refuge in 1794 to Louis Philippe , then Duke
of Chartres.

A second covered wooden bridge crosses the Vorder - Rhein,
immediately before its confluence with the Hinter-Rhein. Through
the valley of the Vorder-Rhein a post-road, not crossing this bridge,
but branching off to the right , on the left bank of the Vorder-
Rhein , leads to Disentis and Andermatt (p. 30). The road soon
ascends for a short distance, and passes the villages of Bonaduz and
Rhdzilns. The Domleschg Valley, Romansch Domgiasca, which we
follow as far as Thusis, on the right (E.) bank of the Rhine (the
W. side of which is csXIqA Heinzenb erg , 01 Montagna), is remarkable
for its fertility and its numerous castles. Some of the villages are

Baedekek. Italy I. 5th Edit. 3

34 Route 5. THUSIS. From Coire

quite Romansch, others German ; some are Roman Catholic, others
Protestant.

Between the Bridge of Rothenbrunnen and Katzis are the castles
of Juvalta^ Ortenstein, Paspels, Canova, Rietberg, and Fiirstenau
on the right, and that of Kealta on the left bank. Towards Katzis
(2185 ft.) the scenery is particularly fine. To the S. rises the
snow-clad summit of the Piz Curver (9760 ft.) ; beyond this , to
the left, lies the Schyn Pass, with the majestic Piz St. Michel
(10,371 ft.) in the background; to the N. the Ringelspitz (10,659
ft.) and the Trinserhorn (9934 ft.). Near Thusis, above the vil-
lage of Masein, rises the castle of Tagstein.

16 M. Thusis, Romansch Tusaun (2448 ft.; *Via Mala;
*Adler or Post; *H6tel and Pension Rhaetia), lies at the confluence
of the Rhine and the Nolla , the turbid water of which tinges the
Rhine for a considerable distance. Interesting view from the bridge
over the Nolla. In the background of the valley towers the barren
Piz Beverin (9843 ft.).

Beyond Thusis the valley of the Rhine is apparently terminated
by lofty mountains. The entrance of the ravine of the Rhine is
guarded on the right bank by the ruined castle of Hohen-Rhdtien,
or Hoch-Realt. Prior to 1822 the bridle-path from Thusis ascended
the valley of the Nolla on the right bank through forest , and en-
tered the gorge below Rongellen (see below). The path through the
gorge, the celebrated *Via Mala, was then only 4 ft. wide, and
followed the left bank. The new road was constructed in 1822.
The limestone-rocks rise almost perpendicularly on both sides to a
height of 1600 ft. At the Kdnzli, a little way from the entrance
of the ravine, there is a line retrospect. About IY2 M. from
Thusis is the Verlorne Loch, a tunnel 50 yds. long, penetrating
the projecting rock. Before reaching it the road passes beneath
a huge overhanging cliff. At the point, beyond the tunnel, where
the side-wall ceases and the wooden railings recommence, a view of
the brawling torrent is obtained. The retrospective *View, through
the narrow and gloomy defile, of the solitary tower of Hohen-Rhae-
tien and the sunny slopes of the Heinzenberg beyond is very striking.

Near the (3/4 M.) post-house of Rongellen the gorge expands,
but soon again contracts. The road crosses the river three times at
short intervals. The scene is most imposing in the vicinity of the
*Second Bridge (2844 ft.), built in 1738, 1 M. from Rongellen. The
Rhine, 260 ft. below the road, winds through a ravine so narrow
that the precipices above almost meet. At the third bridge, built
in 1834, about 1 M. farther, the Via Mala ends.

The road now enters the more open Valley of Schams , the
green meadows and cheerful cottages of which present a pleas-
'ant contrast to the sombre defile just quitted. To the S. in the
background are the peaks of the Hirli (9373 ft.). Above the old
bridge the Rhine forms a small waterfall. The first village in the

to Colico. ANDEER. 5. Route. 35

valley of Schams (6 M. from Thusis) is Zillia , Roman. Ciraun
(3061 ft. ; Post), with the oldest church in the valley. On the
hill to the right, on the left bank of the Rhine, stands the ruined
castle oi Fardiin, or La Turr. Farther down is the village otDonat,
above which towers the Piz Beverin.

231/2 M. Andeer (3212 ft. ; *Krone, or Hotel Fravi) is the
principal village in the valley, with 600 inhabitants. Near it stands
the tower of Castellatsch. Fine view of the valley from the church,
built in 1673.

The road ascends in windings , passes the ruins of the Baren-
burg , and enters the *Roffna Ravine , a gorge 3 M. in length, in
which the Rhine forms a series of waterfalls. Near the entrance
the Averser Rhein descends from the Ferrera Valley and joins the
Hinter-Rhein.

Towards the end of the gorge , an ancient bridge crosses the
Rhine. Farther on, a rocky gateway (Sassa Plana), 16 yds. in
length, is passed. The open Alpine landscape of the Rheinwald-
thai (Val Rhein) is now disclosed; to the right is the village of
Suvers (4673 ft.); opposite rise the Pizzo Uccello (8911 ft.) and
the Einshorn (9650 ft.) ; to the left of the Spliigen, near the Uc-
cello , is the Tambohorn (10,748 ft.); to the W. the Zapporthorn
(9803 ft.), etc.

321/2 M. Spliigen, Roman. Spluga (4757 ft. ; *H6tel Bodenhaus
or Post^, the capital of the Rheinwaldthal, is a busy place, owing to
its position at the junction of the Spliigen and Bernardino routes.
The latter (p. 37) here runs to the W. The Spliigen route turns
to the left, crosses the Rhine , and ascends in windings , passing
through a tunnel 93yds. in length. Retrospect of the barren Kalk-
berg rising above Spliigen. The road then enters a bleak valley
and ascends on the W. side by numberless zigzags , passing a soli-
tary Refuge, to the summit of the Spliigen Pass {Colmo dell' Orso;
6946 ft.) , lying between the precipitous Tambohorn , or Schnee-
horn (10,748 ft.) to the W., and the Surettahorn (9925 ft.) to
the E. This narrow ridge forms the boundary between Switzer-
land and Italy. The pass , which was known to the Romans, was
traversed down to 1818 by a bridle-path only. The road was con-
structed by the Austrian government in 1819-21. About 2/4 M.
beyond the pass is the Dogana (6247 ft.) , the Italian custom-
house, at the head of a bleak valley surrounded by lofty mountains.

The road now descends by numberless zigzags along the E.
slope, being protected against avalanches by three long galleries.
Beyond the second gallery a beautiful view is obtained of Isola and
the old road, destroyed by an inundation in 1834. The new road
avoids the dangerous Liro gorge between Isola and Campo Dolcino.
Beyond Pianazzo, near the entrance to a short gallery, the Madesimo
forms a magnificent waterfall , about 700 ft. in height , which is
best surveyed from a small platform by the road-side.

36 Route 5. CHIAVENNA. From Coke

50 M. Campo Dolcino (3457 ft.) consists of two large groups
of houses. The first coiitaius the church, surrounded by ash-trees,
and the 'Campo Santo'. At the second, V2 M. farther, is the Croce
cCOro Inn (moderate). Tlie Lira Valley is strewn which fragments
of rock, but the wildness of the scene is softened by the luxuriant
foliage of the chestnuts lower down, from which rises the slender
white campanile of the church of Madonna di Gallivaggio. Near
S. Oiacomo there are whole forests of chestnuts, which extend far
up the steep mountain slopes. The vineyards of Chiavenna soon
begin, and the rich luxuriance of Italian vegetation unfolds itself
to the view.

58V2 M. Chiavenna, Ger. Clefen or Claven (1090 ft. ; *Hdtel
Conradi, near the post-offlce, R. 3, D. 5, S. 31/2, B. lV2fr-; Chiave
d'Oro), the Roman Clavenna, an ancient town with 4100 inhab., is
charmingly situated on the Maira, at the mouth of the Val Bregaglia,
through which the road to the MalojaPass and the Engadine leads.
Opposite the post-offlce, on the road , are the extensive ruins of a
castle, formerly the property of the De Salts family. Picturesque
view from the castle-garden or ^paradiso' (fee 72^.), which extends
along an isolated vine-clad rock. — S. Lorenzo, the principal church,
near the post-offlce, has an elegant slender clock-tower or campa-
nile, rising from the old Campo Santo, or burial-ground, with its ar-
cades. The Battisterio contains an ancient font adorned with reliefs.

The road to Colico at first traverses vineyards ; farther on , the
effects of the inundations of the Maira, and its tributary the Liro,
which joins it below Chiavenna, become apparent. Near —

65 M. Riva the road reaches the Lago di Eiva, or di Mezzola,
which , before the construction of the road, travellers were obliged
to cross by boat. This piece of water originally formed the N. bay
of the Lake of Como , but the deposits of the Adda have in the
course of ages almost entirely separated the two lakes , and they
are now connected by a narrow channel only. The road skirts the
E. bank of the lake, in some places supported by embankments and
masonry, in others passing through galleries, and crosses the Adda.
The ruins of the castle of Fuentes , erected by the Spaniards in
1603 , and destroyed by the French in 1796, are now seen on the
right. It was formerly situated on an island , and considered the
key of the Val Tellina. Before reaching Colico the road is joined
by the Stelvio route from the left.

751/2 M. Colico (722 ft.; Isola Bella, Angela, both in the Italian
style; Ristoratore della Posta, on the lake), is situated at the N.E.
extremity of the Lake of Como (R. 20). From Colico to Como, see
pp. 139-144.

to Colico. HINTERRHEIN. 5. Route. 37

From Coire to Biasca by the Lukmanier.

76 M. Diligence in summer daily in 15hrs.-, fare 27 fr. 85c.

From Coire to (6 M.) Reichenau., see p. 33. The road, one of the
most picturesque in Switzerland, ascends the valley of the Vorder-Rhein,
which is plentifully sprinkled with castles. Numerous villages and ham-
lets are passed. At &/i M.) Trins rises the ruined castle of H<jhentrins.

13 M. FHms (3616ft.), a small and ancient town. — The pensions of
Waldhanser, 1 M. farther, are in great request in summer. — At Schleuis
(2507 ft.) is the chateau of Lowenherg.

2OV2 M. Ilanz (2355 ft. ; Oherali^ ; Lukmanier)., magnificently situated
at the mouth of the Lugnetz Valley. — To the right, near the village of
Waltenshwg , are the ruins of Jorgenherg. The Rhine is crossed near
Tavanasa., and again near Zignau or Rinkenberg. The Rinkenberg bridge
commands one of the finest views in the valley.

32 31. Trons (2822ft.; Krone; Zum Todi). — At Somvix the valley of
the same name opens on the S. The road between Somvix and Disentis
is remarkable for the boldness of its construction. Several tributaries of
the Rhine are crossed.

38V2 M. Disentis (3773ft.; '-Disentiser Ho/; "mtel Corulrau, zur Post;
^ Hotel Condrau., zur Krone)., a market-town with a Benedictine Abbey,
situated at the confluence of the Medelser, or Mittel-Rhein, and the Vor-
der-Rhein. The Lukmanier road ascends the valley of the former, while
the road to Andermatt (p. 30) leads through the Vorder-Rhein valley.

The New Road over the Lukmanier Pass (opened in 1878) crosses the
Vorder-Rhein just above its confluence with the Mittel-Rhein, and enters
the " Val Medel , the profound and wild ravine of the latter stream.
Eleven tunnels are passed through before Curaglia is reached, and numerous
magnificent views are enjoyed. At the end of the ravine the road crosses
to the right bank of the Rhine.

4172 M. Curaglia (4370 ft.; Post), at the entrance to the Val Platta.
— 46 M. Platta (4528ft.; Post). Several hamlets are passed. — 48V2 M.
Perdatsch {bf^'iii.)., a group of hovels, at the mouth of the Val Cristallina.
The road ascends by a long bend to St. Gion (5298 ft.), and then gradually
mounts to the hospice of —

50 M. S. Maria (6043ft.; Inn, tolerable). About I'A M. farther, the
road crosses the summit of the Lukmanier (6289 ft.), the boundary be-
tween the Grisons and Canton Licino, and, with one exception (the Maloja,
5941 ft.), the lowest of the Alpine passes from Switzerland to Italy. The
road is now level for some distance, and then leads high above the
Brenno, on the precipitous N. side of the Val S. Maria., being hewn at

E laces in the face of the rock. The road next descends to (4'/2 M.) the
ospice of Camperio (4028 ft.), where it crosses the Brenno.

68 M. Olivone (2927ft.; -Hdtel Bolla), the highest village in the Val
Blegno, picturesquely situated. — The road descends on the left bank of
the Brenno, passing numerous villages. The lower part of the Val Blegno
is monotonous.

76 M. Biasca., see p. 31. The station is 1 M. to the S. of the village.

From Coire to Bellinzona by tbe S. Bernardino Pass.

76 M. — Diligence from Coire to Bellinzona once daily in summer
in 16hrs. (fare 26 fr. 15, coupe 30 fr. 15 c.). Carriages are changed at
Spliigen, where coupe places cannot always be secured.

From Coire to Spliigen, 32V2 M., see pp. 33-35. — The Bernardino
Road, constructed in 1819-23, ascends from the village of Spliigen (4757ft.)
to the W., in the uppSr Rheinwaldthal, or Val Rhein, on the left bank of
the Hinter-Rhein to —

38V2 M. HJnterrhein (5302 ft.; Post), the highest village in the valley.
The source of the Hinter-Rhein (7270 ft.), which issues from the Rheinwald
or Zapport Glacier, may be reached hence in 3V2 hrs. The road crosses the
Rhine, about V2 M. beyond the village, and then winds up the steep S.
slope of the valley, finally leading through a bleak upland glen to the

38 Route 5. MESOCCO.

S. Bernardino Pass (676S ft.), which was known to the Romans, and was
called the Vogelberg down to the 15th century. When S. Bernardino of Siena
preached the gospel at that period in this region , a chapel was erected
on the S. slope and gave its name to the pass. The small Lago MoesoJa
(2 hrs. from Hinter-Uhein) lies on the summit of the pass (Inn). From
the S. end of the lake issues the 3/oesa, which the road follows down to
its confluence with the Ticino above Bellinzona. The new road descends
in numerous windings , crossing lower down to the right bank of the
Moesa.

491/2 M. S. Bernardino (5335ft.; 'Hotel Broceo; Ravizza; Sesteffanis),
4 M. from the summit of the pass, the highest village in the Val Mesocco,
or Mesolcina. Several waterfalls are observed. T^ear S. Giacomo the road
again crosses the river, and then descends rapidly to —

53 M. Mesocco, or Cremeo (2559ft.; Toscani; '-Desteffanis), a charming-
ly situated village, where walnut-trees, chestnuts, vines, and maize-
fields begin to indicate the Italian nature of the climate. On a rocky
eminence to the left of the road , V2 M. below Mesocco , stand the im-
posing ruins of the Chdteau of Mesocco with its four towers, which was
destroyed by the inhabitants of the Grisons in 1526. Beyond (2 M.)
Soazza (2067 ft.) the bottom of the valley is reached, and the road becomes
level. Near the second bridge below Soazza the Buffalora forms a fine
cascade near the road. Near Caibiolo is another waterfall.

68 M. Cama (1260 ft.). The next villages are Leggia and Grono, the
latter at the entrance to the Val Calanca.

71 M. Roveredo (974ft.; Posla; Grace; "Angelo), the capital of the
lower Val Mesocco, with the ruined castle of the Trivulzio family.

S. Vittove (882ft.) is the last village in the Grisons, Lumino the first
in the Canton Ticino. On this side the bridge over the Moesa the road
unites with the St. Gotthard route (p. 32). Below the confluence of the
Moesa and the Ticino lies Arhedo^ where a battle was fought in 1422 be-
tween the Milanese and the Swiss, in which 2000 of the latter fell.

76V2 M. Bellinzona, a station on the line to Locarno, on the Lago
Maggiore, see p. 32; diligence to Lugano, sec p. 32.

6. From Innsbruck to Verona by the Brenner.

1641/2 M. Railway in 9V2-12 hrs.; express fares 15 fl. 91, 11 fl. 84 kr. ;
ordinary 13 fl. 32, 9 fl. 99, 6 fl. 66 kr. (these arc the fares in silver, to
which is added a trifling stamp duty, and, if they are paid in paper, the
difterence in value between silver and paper). Views on the right as far
as the summit of the Brenner. Information as to through-tickets, see
Introd. vii.

The Brenner, the lowest pass over the principal chain of the Alps, is
traversed by the oldest of the Alpine routes , which was used as early as
the Roman period, and rendered practicable for carriages in 1772. The
railway, opened in 1867, one of the grandest modern works of the kind,
affords the most direct communication between Germany and Italy. Within
a distance of 78 M. the lino is carried through 22 tunnels, and over 60
large and a number of smaller bridges. The greatest incline, 1:40, is
between Innsbruck and the culminating jjoint.

Innsbruck (1912 ft.; *Tiroler Hof ; *Europdischer Hof, both
near tlie station ; *Ooldene Sonne, *6oldener Adler, in the town ;
*Hirsch, second-class), see Baedeker's Eastern Alps. The train
passes the Abbey of Wilten (on the right) and penetrates the hill
of Isel by a tunnel 750 yds. in length. It then passes throngh an-
other tunnel, and crosses to the right bank of the Sill, on which it
ascends. On the S. rises the Waldraster-Spitze (8907 ft.). Five
tunnels. Beyond (5 M.) Patsch (2550 ft.), the valley becomes
narrower and wilder. Four more tunnels. The Sill is crossed twice.

BRIXEN. 6. Route. 39

12 M. Matrei (3241 ft.), with the chateau of Trautson, the prop-
erty of Prince Auersperg, is charmingly situated. — 14 M. Steinach
(3430 ft.}; the village lies on the other side of the valley, at the
mouth of the Gschnitzthal. — The train now ascends a steep incline,
crosses the Schmirner Thai in a wide curve above the village of
Stafflach (two tunnels), and runs high above the profound ravine
of the Sill to (191/2 M.) Gries (4100 ft.). It then, in another curve,
passes the small green Brennersee, and reaches —

23 M. Stat. Brenner (4485 ft.), on the summit of the pass, the
watershed between the Black Sea and the Adriatic. View limited.
The Sill, which rises on the N. side of the pass, falls into the Inn ;
the Eisack, rising on the S. side, descends to the Adige. The train
follows the course of the Eisack and soon stops at (2(3 M.) Brenner-
bad (4353 ft. ; *Logirhaus), a small bath-establishment. It then
descends rapidly by means of a long embankment and through two
tunnels to stat. Schelleberg (4065 ft.), where it turns into the
Pftersch-Thal. Here it enters the N. slope of the valley by a curved
tunnel, 800 yds. long, from which it emerges in the opposite direc-
tion , soon reaching (33 M.) Gossensass (3481 ft. ; *Brauhaus),
which lies 584 ft. below Schelleberg. This is one of the most in-
teresting parts of the line , and is most striking when seen in the
reverse direction. — The train now runs high above the Eisack,
passing at places through wild rocky scenery , and enters the broad
basin in which lies —

361/2 M. Sterzing (3107 ft. ; *Post; *Schwarzer Adler; *i?ose,-
Stoetter's Hotel, at the station), a clean and picturesque little town
with curious old buildings and arcades, deriving its prosperity from
mines formerly worked here.

The train now crosses the Pfitscher Bach ,■ on the left rises the
castle of Sprechenstein , and on the right bank of the Eisack , the
ruins of Thumhurg and Reifenstein are visible. — 401/2 M.
Freienfeld. The train crosses the Eisack ; on the left bank rises the
ruined castle of Welfenstein (said to be of Roman origin), and the
village of Mauls. — Beyond (45 M.) Grasstein the train enters the
narrow defile of Mittewald , where the French were defeated in
1809.

The lower end of the defile, called the Brixener Klause, near
Unterau (2460 ft.), is strongly fortified by the Franzensfeste,
which was constructed in 1833, and commands the Brenner route.
Franzensfeste (471/2 M. from Innsbruck) is the junction for the
Pusterthal line (for Carinthia) ; the station (*Rail. Restaurant,
D. 1 fl. 20 kr.) lies at some distance from the fortifications. The
vegetation now assumes a more southern character, vineyards and
chestnuts gradually appearing.

541/2 M. Brixen, Ital. Bressanone (1833 ft. ; *Elephant, adjoining
the post-office, 1/2 M. from the station), was for nine centuries the
capital of a spiritual principality, which was dissolved in 1803,

40 Route G. BOTZEN. From Innsbruck

and is still an episcopal residence. Most of the churches date from
the 18th cent., and are unimportant. At the S.W. end of the town
is the Episcopal Palace with an extensive garden.

The train next crosses the Eisack by a lofty iron bridge ; on
the right, above, lies Tschotsch ; on the left, the pleasant village of
Alheins.

61 1/2 M. Klausen (1676 ft. ; *Lamm ; Post), consisting of a single
narrow street, is situated in a defile, as its name imparts. The
Benedictine monastery of Seben, on the right, commands a very
striking view. It was once a Rhffitian fortress , then a Roman fort
under the name of Sabiona, afterwards an episcopal residence down
to the 10th cent., and finally a baronial castle.

Below Klausen the valley contracts. The line skirts precipitous
porphyry cliffs. On the heights above extend fertile plains,
sprinkled with numerous villages. 641/2 M. Waidbruck (1520 ft. ;
Sonne), at the mouth of the Grodener Thai. On the left, high
above, rises the Trostburg, the property of Count Wolkenstein.

The train crosses the Grodenerbach, and then the Eisack in a
narrow valley enclosed by abrupt porphyry rocks , called the Kun-
tersweg after the first constructor of the road. — 691/2 M. Atzwang
(1244 ft. ; *Post} , at the mouth of the Finsterbach. "Several tun-
nels. 74 M. Blumau, at the mouth of the Tierser Thai. On the
right bank are the vine-clad slopes of the Bozener Leltach; another
tunnel is passed through, and the train crosses to the right bank
of the Eisack near the village of Kardaun, at the opening of the
Eggenthal. The train now enters the wide basin of Botzen, a district
of luxuriant fertility, resembling a vast vineyard.

78 M. Botzen, or Bozen , Ital. Bolzano (860 ft.; *Kaiser-
krone, in the Musterplatz, R. from 80 kr., *H6tel Victoria, near the
station; Mondschein; Erzherzog Heinrich; Kruutner ; Schivarzer
Greif), with 9400 inhab., the most important commercial town in
the Tyrol , is beautifully situated at the confluence of the Eisack
and the Talfer , which descends from the Samthal on the N. The
background towards the E. is formed by the strikingly picturesque
dolomite mountains of the Val di Fassa; to the W. rises the long
porphyry ridge of the Mendola. The Gothic Parish Church of the
14th and 15th cent, has a W. Portal, with two lions of red marble,
in the Lombard style. Beautiful open tower , completed in 1519.
On the E. side is the new Cemetery. — The Calvarienberg (25
min. walk ; beyond the Eisack bridge cross the railway to the right)
commands a fine view of the town and environs. — Gries (1 M. from
the station) , in a sheltered situation on the right bank of the Tal-
fer , has of late years become a winter-resort for invalids (several
large hotels).

Beyond Botzen the train crosses the Eisack, which falls into the
Etsch (or Adige) 4 M. below the town. The latter becomes navigable
at (85 M.) Branzoll (Ital. Bronzollo). In the distance, to the right,

to Verona. TRENT. 6. Route. 41

rises the dilapidated castle of Sigmundskron, and the wooded range
of the Mittelberg, which separates the vine-covered plain of Eppan
from the valley of the Adige. Beyond (88. M) Auer (Ital. Ora), near
Gmund, the train crosses the river ; to the right lies the Kalterer
See; ahove it, on the hill, Kaltern, with its famous vineyards. —
92 M. Neumarkt , Ital. Egna. Roads to the Fleimserthal diverge at
Aiier and Neumarkt. On the slopes to the right lie the villages of
Tramin, Kurtatsch, and Margreid. — 97 M. Salurn on the left
bank of the river, commanded by a ruined castle on an apparently
inaccessible rock. — The Rocchetta Pass to the right leads to the
Val di Aon. Mezzo Tedesco and Mezzo Lombardo (or Deutsch and
Wdlsch-Metz), situated on different sides of the pass, separated by
the Noce, are both Italian.

102 M. S. Michele , or Wdlsch- Michael , with a handsome old
Augustinian monastery (suppressed), is the station for the Val
di Non. The train again crosses the Adige. 107 M. Lavis on the
Avisio, which here descends from the Val Cembra. This impetuous
torrent with its different ramifications is crossed above its junction
with the Adige by a bridge 1000 yds. in length.

113 M. Trent. — -Hotel Trento (PI. a), R. Ifl. 20, A. 25, L. 50kr. ;
*H6tel de la Ville (PI. c.) , both near the station. In tlie town: *Ed-
iioPA (PI. b) ; ViTToRiA (PI. d). Of the second class : Agnello d'Oko, near
S. Pietro; Aqdila Bianua , near the castle. — Restaurants. "AlV Isola
Nuova, at the station ; Frassoni., at the theatre. — Cafes : Europa ; Specchi ;
Nones. — Carriages may be hired of F. Gennari, the postmaster: with
one horse to Arco, 8fl., with two horses 14, with three, 20 fl.; to Riva
9, 16, or 22 fl

Trent (685 ft.), or Trento, Lat. Tridentum, with 17,000 inhab.,
formerly the wealthiest and most important town in the Tyrol,
founded according to tradition by the Etruscans, and mentioned by
Strabo , Pliny, and Ptolemy, possesses numerous towers, palaces of
marble, dilapidated castles, and broad streets , and bears the im-
press of an important Italian town. The Piazza del Duomo in par-
ticular presents a very imposing appearance.

The *Cathedral, founded in 1048, begun in its present form in
1212, and completed at the beginning of the 15th cent., is a
Romanesque church surmounted by two domes. The portal, as at
Botzen, is adorned with a pair of lions (p. 40). In the S. transept
are several old monuments , half-faded frescoes , and on the wall
the porphyry tombstone of the Venetian general Sanseverino,
whom the citizens of Trent defeated and killed at Galliano (p. 44)
in 1487. In the Piazza of the cathedral, which is embellished with
a Fountain, are the Courts of Justice, and the Torre di Piazza.

S. Maria Maggiore, where the celebrated Council of Trent sat
in 1545-63 , contains a picture , on the N. wall of the choir, with
portraits of the members of the council, and an excellent organ
dating from 1534. Adjoining the S. side of the choir is a column
dedicated to the Virgin , erected in 1855 on the 300th anniversary
of the meeting of the Council.

42 Route 6.

TRENT.

From Innsbruck

The Museum in the Municipio , Via Larga, near the cathedral,
contains a collection of bronzes and other antiquities from S. Tyrol,
Egyptian antiquities, majolicas, Japanese curiosities, etc.

To the E. of the town, and N. of the large Piazza d'Armi, is
situated the extensive chateau of Buon Consiglio, formerly the seat
of the Prince-Bishops of Trent, and now a barrack, which contains

remains of ancient frescoes. The colossal, circular Torre di Augusto
is supposed to date from the time of the Romans.

Among the numerous old palaces, the painted facades of which
ill conceal the poverty within, may be mentioned Palazzo ZambeUi,
opposite the Hotel Europa, dating from the 16th cent, (fine view
from the garden), and Palazzo Tabarelli, in the Contrada del Teatro,
said to have been built from designs by Bramante.

The rocky eminence of Verruca, or Dos Trento, on the right
bank of the Adige, was fortified in 1857, and affords a fine point
of view (permission from the commandant necessary). The terrace
of the Capuchin Church on the E. side of the town also commands
a good view.

to Verona. ROVEREDO. 6. Route. 43

From Trent to Riva on the Lago di Garda, a walk of 9 hrs., very
fatiguing in hot weather. Omnibus once daily, usually at 9 a.m., fare
2fl. ; carriage, see p. 41.

This route is far preferable to the direct railway-journey to Verona
(see p. 44) on account of the charming scenery of the Lago di Garda.
The traveller from Botzen, whose time is limited, may shorten the route
by taking the railway as far as stat. Mori (p. 44), and driving thence to
(10 M.) Riva (see p. 181).

The road crosses the Adige, traverses the suburb Pie di Castello, and
winds round the S. slope of the Dos Trento (p. 42). A wild and rocky
defile (Bucco di Vela) is now entered, the upper end of which (3 M.) is
closed by a newly erected fort. Traversing the bleak mountain ridge,
the road reaches (I'/a M.) the small village of Cadine (1715 ft.); to the
right in the valley lies the village of Terlago with its small lake (1320 ft.),
at the base of the precipitous Monte Oazza (6515 ft.). The road now de-
scends to (I1/2 M.) Vigolo-Baselga and (3 M.) Vezzano (Croce, with garden,
good wine, R. 50, A. 30, B. 42 kr. ; Stella), the principal place between
Trent and Arco. At (IV2 M.) Pademione, at the mouth of the Vol
Cavedine, where we observe the first olive trees, the Lake of Toblino
becomes visible. The road crosses the narrowest part of it by a bridge,
and skirts the N. bank; to the left, on a promontory, rises the pictur-
esque castle of Toblino, the property of Count Wolkenstein (the castel-
lan keeps good wine). Below (3 M.) Le Sarche (Inn unpretending but
dear) , where the Sarca emerges from a gorge , and the road to Giu-
dicaria diverges, the Sarca is crossed by a bridge. Next (IV2 M.) Pietra
Murala. Near (IV2 M.) Drb is the ruined Castello di Drena on an emi-
nence to the left. The road, which has hitherto led through a bleak and
rocky wilderness, now traverses a more fertile district. (3 M.) Arco
(300 ft. ; -Curhaus, with 80 rooms, 'pension' 21/2-5 fl. ; "Corona; ''Hut. Gruseh;
Olivo; Pension Rirchlechner), with a handsome parish-church with metal-
clad domes, has of late become a favourite winter resort for invalids,
owing to its sheltered situation. New chateau belonging to Archduke
Albrecht of Austria. To the N., on a precipitous rock (400 ft.), rises the
Chateau of Arco, which during the Spanish War of Succession was de-
stroyed by the French (key kept by the gardener. Via degli Ulivi al
Castello ; 40-50 kr.), — Interesting excursion from Arco towards the W.
to Tenno, see p. 182. — The road now leads through the broad, beautiful
valley (to the left the Monte Brione, to the right Tenno) to &U M.) Riva
(comp. p. 181).

From Trent to Bassano by the Val Shgana, 57 M. Diligence three
times daily in 4 hrs. from Trent to (21 M.) Borgo , the last starting at
2 p.m. (Ifl. 50kr. ; one-horse carr. 5fl.); twice daily from Borgo by Pri-
molano to Bassano in 6 hrs. (21/2 fl. or 6fr.). This direct route to Venice
(although not the most expeditious) traverses the beautiful Venetian Moun-
tains. The road, which ascends immediately beyond Trent, enters the
narrow valley of the Fersina, and is partially hewn in the rocks or sup-
ported by buttresses of masonry. The narrowest part is defended bv an
Austrian fortification.

71/2 M. Pergine (1578 ft. ; Fratelli Voltolini), a considerable market
town, commanded by the handsome castle of that name. The road now
crosses a range of hills. Retrospect to the left of the castle of Pergine,
to the right of a small portion of the Lale of Caldonazzo. The small
Lago di Levico is then skirted to —

Levico (Hotel Bellevue, Concordia, Stabilimento, Pension Svizzera, all
with table-d'hote), a small watering-place with mineral baths, frequented
by Italians from May to September. The Val Sugana , watered by the
Brenia, begins at Levico, its capital being —

21 M. Borgo (1230 ft.; *Croce), on the N. side of which rises the ruined
castle of Telvana, with the remains of a second castle high above it.
Below the town is the beautiful chateau of Ivano , belonging to Count
Wolkenstein-Trostburg.

Near Grigno the valley of Tesino opens to the N., watered by the
Origno. Beyond Grigno the valley is confined between lofty cliffs which

44 Route 6. ALA.

barely leave room for the road. The Austrian custom-house is at Le
Tezze, the Italian s/i M. beyond it. In a rocky cavity beyond (2'/4 M.) —

38 M. Primolano, is situated the ruined castle of Covelo , a mediaeval
stronghold. About 1 M. farther the Cismone descends from the Val Pri-
miero. 7 M. Yalslagna is inhabited chiefly by stravsr-hat makers.

Near (5 M.) Solagna the ravine of the Brenta expands. About I'/a M.
farther the road turns a corner, and a view is obtained of a broad plain
with large olive-plantations in V7hich lies the picturesque tov^n of —

57V2 M. Bassano, see p. 211.

Beyond Trent the railway continues to traverse the broad and
fertile valley of the Adige. To the S.W. of Trent, on the right
bank, is the village of Sardagna, with a considerable waterfall.
117 M. Matarello. On a height near (123 M.) Calliano rises the
extensive castle of Beseno , the property of Count Trapp. The
rocky debris here are the result of a landslip.

127 M. Roveredo (680 ft. ; Corona), a town with 11,000 in-
hab., is noted for its silk-culture. The most remarkable building
is the old Castello in the Piazza del Podesta. — Road to Schio, see
p. 203.

The lower part of the valley of the Adige, down to the Italian
frontier, which yields abundance of fruit and good red wine, is
called the Val Lagarina. On the right bank lies Isera, with vine-
yards, numerous villas, and a waterfall. On the left bank, to the
E. of the railway, near Lizzana, is a castle, which about the year
1302 was visited by Dante when banished from Florence. The
train follows the left bank of the Adige.

130 M. Mori; the village lies in a ravine on the opposite bank,
on the road leading to Riva, and is famed for its asparagus. —
Omnibus to Riva (IOV2 M.), see p. 181.

Near S. Marco the line intersects the traces of a vast landslip,
which is said to have buried a town here in 833, and is described
by Dante (Inferno xii. 4-9). At (133 M.) Serravalle , a fort which
once guarded the deflle, the valley contracts.

138 M. Ala (415 ft. ; Vapore), a place of some importance, pos-
sesses velvet-manufactories which once enjoyed a high reputation,
and is the seat of the Italian and Austrian custom-house authorities.
Those who have forwarded luggage by this route to or from Italy
should take the precaution to enquire for it at the custom-house
here. Halt of Y2 ^^- — Avio is the last station in the Austrian
dominions. The village, with a well preserved chateau of Count
Castelbarco, lies on the right bank of the Adige.

Peri is the first Italian station. The Monte Baldo (7280 ft.) on
the W. separates the valley of the Adige from the Lago di Garda.
Stat. Ceraino. The train now enters the celebrated Chiusa di
Verona, a rocky deflle in which in 1155 Otho of Wittelsbach pro-
tected against the Veronese the retreating German army under Fre-
derick Barbarossa. On an eminence on the right bank lies Rivoli,
which was stormed several times by the French in 179G and 1797
under Massena, and afterwards gave him his ducal title.

SEMMERING. 7. Route. 45

Next stations Domegliarh, Pescantina , and Parona. The train
crosses the Adige , reaches the Verona and Milan line at S. Lucia
(p. 172), and then the station of —

163 M. Verona, see p. 186.

7. From Vienna to Trieste. Semmering Railway.

358 M. Austrian S. Railway. Express (1st, in winter 1st and 2nd class)
in 15 hrs. (fares 33 fl. 76, 25 fl. 12 kr.); ordinary trains in 22-23 hrs.
(fares 28 tl. 26, 21 fl. 20, 14 n. 13 kr). 50 lbs. of luggage free, provided
it is at the station at least V2 hr- before tlie departure of the train ;
otherwise the whole is liable to be charged for. — Best views generally
on the left. For farther particulars, see Baedeker^s Eastern Alps.

The station of the S. Railway is between the Belvedere and the
Favorite 'Lines', or boundaries of the city. The train, soon after
starting, affords a good survey of Vienna, and the broad plain with
its innumerable villas and villages , as far as the hills of the
Leitha, to the S. 3 M. Hetzendorf, with an imperial chateau. On
the hills to the right, near (8 M.) Brunn, are several artificial ruins.
— Near (91/2 M.) Modling, the Bruhl, a picturesque rocky valley,
opens on the W., and a branch- line diverges to the E. to the im-
perial chateau and park of Laxenburg. Stations Ountramsdorf and
Gumpoldskirchen, famous for its wines. A short tunnel is passed.
16 M. Baden (695 ft. ; *H6tel Munsch ; Stadt Wien), with hand-
some villas , celebrated for its warm mineral springs, the Roman
Thermae Pannonicae. Beautiful environs (Calvarienberg, Helenen-
thal).

I8V2 M. Voslan (800 ft. ; *H6tel Back), which yields the best
Austrian wine, is also frequented as a watering-place (74° Fahr.}.
The next stations are Kottinghrunn , Leobersdorf (where the
barren Sclmeeberg , 6808 ft., rises on the right), Felixdorf, and
Theresienfeld.

30 M. Neustadt, or Wienerisch-Neustadt (930 ft.; Hirsch;
Kreuz), with 20,000 inhab., is an important manufacturing town.
On the E. side lies the old ducal Castle of the Babenberg family,
converted in 1752 into a military academy.

On the right beyond Neustadt the Schneeberg is visible almost
from base to summit; on the left rises the Leitha range. On the
hills to the right , in the distance , stands the well - preserved
castle of Sebenstein, the property of Prince Liechtenstein. — 35 M.
St. Egyden ; 39 M. Neunkirchen, a manufacturing place ; then Ter-
nitz and Potschach. On the height to the left, near Gloggnitz, rises
the castle of Wartenstein. Schloss Gloggnitz on the hill, with its
numerous windows, was a Benedictine Abbey down to 1803.

At (461/2 M.) Gloggnitz (1426 ft. ; *Kaffehaus ; *Alpenhorn),
begins the imposing ^Semmering Railway , one of the most inter-
esting lines in Europe (best views on the left), completed in 1853.
In the valley lies the green Schwarzau, with the imperial paper-

46 Route 7, GRATZ. From Vienna

factory of Schleglmuhl. On the left the three-peaked Sonnwend-
stein; to the W. in the back -ground the Raxalp. The line de-
scribes a wide circuit round the N. side of the valley to (51 M.)
Payerbach (1513 ft.; Mader ; Rail. Restaurant, with beds), and
crosses the Valley of Reichenau by a viaduct with 13 arches, 300
yds. long. The train now ascends rapidly on the S. slope of the
valley (gradient 1 : 40). Beyond two short tunnels, it skirts the
Gotschakogel, and beyond two more tunnels reaches (57 M.) Klamm
(2254 ft.), with a half-ruined castle of Prince Liechtenstein, on a
rocky pinnacle, once the key of Styria. Far below runs the old
Semmering road ; several factories , and the white houses of
Schottwien , nestling in a narrow gorge, are visible. The train now
skirts the Weinzettelwand by a long gallery and reaches (61 M.)
Breitenstein (2544 ft.). Two more tunnels are traversed, and the
ravines of the Kalte Einne and the Vntere Adlitzgraben crossed by
lofty viaducts. After three more tunnels the train reaches —

64 M. Semmering (2884 ft.). In order to avoid the remain-
ing part (360 ft.) of the ascent, the train penetrates the highest part
of the Semmering, the boundary between Austria and Styria, by
means of a tunnel nearly 1 M. in length , the middle of which is
the culminating point of the line (2890 ft.) and then descends
rapidly on the N. slope of the peaceful dale of the Froschnitz to
(68 M.) Spital and (73 M.) Miirzzuschlag (2195 ft. ; *Brauhaus ;
*Elephanti Rail. Restaurant), an old town on the Miirz.

The train now follows the picturesque , pine-clad valley of the
Milrz , containing numerous forges. 79 M. Krieglach ,• 82y2 M.
Mitterdorf, the latter with extensive gun-manufactories. On the
right rises the chateau of Piichl, with its four towers, and beyond,
the ruins of Lichtenegg. Stations Kindberg and Kapfenberg with the
castles of these names. Near stat. Bruck rises the ancient castle of
Landskron.

98 M. Bruck (1589 ft. ; *Bernauer, at the station) is a small
town at the confluence of the Miirz and the Mur , with an old
castle. The train now enters the narrow valley of the Mur. 104 M.
Pernegg, with a large chateau. Near Mixnitz there are interesting
stalactite caves. The forges of (113'/2 M.) Frohnleiten on the right
bank and the castle of Pfannberg on the left belong to Prince Lob-
kowitz. Schloss Rabenstein on the right bank is the property
of Prince Liechtenstein. The train next passes the Badelwand,
and skirts the river by means of a rocky gallery of 35 arches,
above which runs the high road. llS'/a M. Peggau possesses silver
and lead mines.

The train crosses the Mur. 121 M. Klein-Stiibing, with a hand-
some chateau ; 124 M. Grativein. Near (126 M.) Jwrfcjirfor/", on an
eminence to theW., rises the picturesque Gothic pilgrimage-church
of Strassengel with handsome towers. The train now skirts a
height, at the foot of which rises the castle of OiJsting, the prop-

to Trieste. MARBURG. 7. Route. 47

erty of Count Attems , a favourite resort of the Gratzers , and
enters the fertile basin in which Gratz is situated. In the fore-
ground rises the Schlossberg.

131 M. Gratz (1068 ft.). — Hotels on the right bank of the Mur :
'Elephant, E. If!. 10, L. 20, A. 35, B. 65, omnibus 30 kr.; *Oesterreich-

ISCHEK HOF; *GoLDNES RoSS ; *FloRIAN ; 'GOLDNER LoWE ; DrEI RaBEN.

— On the left bank : ''Erzherzog Johann ; Kaisekkrone.

Gratz, the capital of Styria, picturesquely situated on both banks
of the Mur, which is here crossed by four bridges, with nearly 90,000
inhab., is one of the pleasantest provincial capitals of Austria. The
fortiiications have recently been removed, and their site is now
occupied by the handsome Ringstrasse and the Stadtpark. — The
*Schlossberg, which rises about 400 ft. above the river, commands
one of the finest *Views in Austria , embracing the course of the
Mur and the populous valley, enclosed by picturesque mountains.
On the S. side of the hill rises the handsome Clock- Toiver , and
in front of the Swiss house the Statue of Fieldmarshal Baron v.
Welden (d. 1853), in bronze, by Gasser. — The Gothic Cathedral,
dates from 1446, and the copper-clad dome was added in 1663.
In front of the Landes- Theater rises a bronze Statue of Emperor
Francis I. , designed by Marchesi ; in front of the Stadthaus is a
Statue of Archduke John, by Ponninger.

The train proceeds through the broad valley of the Mur, at
some distance from the river. 1341/2 M. Puntigam; on the hills to
the right rises the castle of Premstetten ; on the left, beyond (139 M.)
Kalsdorf, the castle of Weisseneck. Near (144 M.) Wildon the
Kainach is crossed by a wooden bridge ; on the height above rise
the ruins of Ober- Wildon; to the right are the outskirts of the
Schwanberg Alps. 148 M. Lebring. To the right, near (153 M,)
Leibnitz, is the archiepiscopal chateau of Seckau ; farther on , the
castle of Labeck to the left. The train next crosses the Sulm by an
iron chain-bridge and approaches the Mur. 158 M. Ehrenhausen,
with the chateau of the same name , and the mausoleum of the
princes of Eggenberg on a wooded height to the right. 160 M.
Spielfeld, with a handsome chateau of Count Attems.

The line quits the Mur and enters the mountainous district
which separates the Mur from the Drave. On the watershed a
tunnel, 700 yds. in length, and near (1671/2 M.) Possnitz a viaduct
of equal length are traversed.

172 M. Marburg (880 ft.; *Wohlschlager ; Stadt Wien ; Stadt
Meran; *Rail. Restauranf) is an important town with 11, 000 inhab.,
picturesquely situated on the Drave, and the junction of the lines
to Villach and Franzensfeste. To the S.W. extends the long vine
and forest-clad Bacher-Gebirge. A pleasing view is obtained from
the train as it crosses the Drave ; on the right bank are the extensive
locomotive works of the S. Railway. Traversing a broad plain, with
the slopes of the Bacher Mts. on the right, we next reach (179 M.)
Kranichsfeld, with an old chateau , and (183 M.) Pragerhof, the

48 Route 7. LAIBACH. From Vienna

junction for the line to Kanizsa and Ofen. The train now enters a
region of lower hills, and traverses two tunnels. 189 M. PiJltschach,
at the foot of the Wotsch (3218 ft."), on the N. slope of which are
situated the picturesque ruins of the Carthusian monastery of Seitz.

The German language is now replaced by a Slavonic or Wend
dialect. The train winds through a sparsely peopled district. The
valleys are generally narrow and picturesque, the mountains richly
wooded , with occasional vineyards and fields of maize. Several
small stations and foundries are passed, and an extensive view of
the Sannthal , a populous and undulating plain , bounded by the
Sulzbach Alps, is at length suddenly disclosed.

213 M. Cilli (787 ft.; Erzherzog Joliann; Kaiscrkrone) , an
ancient town of some Importance, founded by p]mp. Claudius (Clau-
dia Celleia), contains several Roman reliefs and memorial slabs on
the town-walls. On a wooded height in the vicinity stands the
ruined castle oWbercilli; on the slope to the N.E. lies theLazarist
mo]iastery of St. Joseph, with its two towers.

The train crosses the green Sann , and enters the narrow and
wooded valley of that stream. The most picturesque part of the
whole line is between Cilli and Sava. 219 '/2 M. Markt Tufjfer,
with a ruined castle. 224 M. Romerhad (which memorial stones
prove to have been known to the Romans), also called Teplitza (i. e.
'warm bath'), a beautifully situated watering-place.

228 M. Steinbriick (*Rail. Restaurant; 25 min. allowed for
express passengers to dine in going to Vienna), a thriving village
on the Save, or Sau , which here unites with the Sann , is the
junction for the line to Agram and Karlstadt. The train now runs
for 1 hr. in the narrow valley of the Save, enclosed by lofty lime-
stone cliffs, which often barely afford space for the river and rail-
way. Stations Hrastnigg (with valuable coal - mines) , Trifait,
Sagor (the first place in Carniola), and Sava.

The valley now expands. At Littai the Save is crossed. Scen-
ery still very picturesque. Stations Kressnitz, Laase. At the
influx of the Laibach into the Save , the line quits the latter and
enters the valley of the former. The lofty mountain-range to the
N.W. is that of the Julian or Carnian Alps. 274 M. Salloch.

267 M. Laibach (940ft.; StadtWien; Elephant; Europa; *Rail.
ReAaurant), Slav. Ljubljana, on the Laibach, the capital of Car-
niola , with 25,000 inhab. , is situated in an extensive plain en-
closed by mountains of various heights. An old Castle, now used
as a prison , rises above the town. The Cathedral, an edifice in
the Italian style , is decorated with stucco and numerous frescoes
of the 18th century.

The line now traverses the marshy Laibacher Moos by means
of an enibankment , 1^/^ M. in length , and crosses the Laibach,
which becomes navigable here , although hardly 3 M. below the
point where it issues from the rocks near Oberlaibach. Near

Chiese.

7. SLintonio nnooo
tCaliedralc SGiusio
9 SJfan'it JIai)gtore

WJUuJticifjLO

12 Itoi/ctrw ruuroa

nUtiviicufdi'iia Sami^
XMa^Mureito nnovo
15 , tiecchio

X^.Ji/useo nuuiLctpttla tt'iotitrJn
Jlantune/flo ffinkebntuut,
17 i*speduilc rtDthi

19. PefcJtierrt

Zfi SUiMUftiB deltu Siradti.

^ I

TiliSTE

e^aoico 3tus<'o Fcrdinando
Z^rco diHictirtio F 4

i. CfMnaia grande 1) 1 ^t

^CiUnjietltf UUertweo dt-^tfifti/*

'oa con proprta btbtioitca. £ 'li' ^

I>3 ^*

^kw^-^

to Trieste. TRIESTE. 7. Route. 49

(281 M.) Franzdorf the line crosses a lofty viaduct, and enters a
more mountainous district. — 292 M. Loitsch (1555 ft. ; Post or Stadt
Triest). About 15 M. to theN.W. of Loitsch are the rich quicksilver
mines of Idria. — 300 M. Rakek , S'/., M. to the S.E. of which is
the Zirknitzer See , enclosed by lofty mountains. Then (308 M.)
Adelsberg(1798ft. ; *Gr. Hot. Adelsberg ; *Krone), Slav. Posto/na.

The celebrated -'Stalactite Caverns, known in the middle ages and
accidentally re-discovered in 1816, are 3/4 M. W. of Adelsberg. All the
fees are fixed by tariff, and are somewhat high for a single visitor (from
2 (1. 30 kr. to 21 fl., according to the illumination), but less when shared
by a party. Brilliant illumination is necessary in order to produce a
satisfactory effect. A visit to the grotto occupies 2V2-3 hrs., or if pro-
longed to the Belvedere 4 hrs. Temperature 48° Fahr. Entrance 1 M.
from the station. Fuller particulars, see Baedeker's Eastevn Alps.

The train now traverses a dreary, inhospitable plain, strewn
with blocks of limestone, called the Karst (Ital. Carso'), extending
from Fiume to Gorizia (p. 262}. The train (2 hrs. by express from
Adelsberg to Trieste) threads its way through this wilderness of
stones, crosses the Poik at (311 M.) Prestranek , and beyond
(316 M.) St. Peter (branch-line to Fiume) passes through six
tunnels. Stations Lesece, Divazza (2V2 M. to the S.E. are the
grottoes of S. Canziari), Sessana (1627 ft.). The train descends
to Prosecco and (348 M.) Nabresina (Hotel Boswirth), where the
line to Venice by Udine diverges (R. 37), and affords a magni-
ficent *View of the blue Adriatic, Trieste, and the Istrian coast
(views to the right). The slopes are planted with olives , flg-trees,
and trellised vines. — 353 M. Grignano, the last station , is not
above 11/2 M. below Prosecco in a straight direction. On the Punta
Grignana, which here projects into the sea, is situated the hand-
some chateau of Miramari^. 52 ; station). Before reaching (358 M.)
Trieste the train enters a tunnel, 906 ft. in length, which termi-
nates at the station.

Trieste. — Hotels. Hotel de la Ville (PI. a), R. 1V2-5 £1. ; *H6tel
Delokme, opposite the Exchange, R. IV2 A-, L. 30, B. 30, omn. 40 kr. ;
EuROPA (PI. c), V4 M. from the station, R. 1-1 V2 A., with restaurant; Aquila
Neka, with a good restaurant (beer) ; Albergo Daniel (PI. e), good restau-
rant; LocANDA Grande (PI. b), in the Pescheria; Hotel Garni, Piazza
Grande 5, with baths. — Sardone, Brcmzino , Tonina., and Barbone are
good sea-fish. Prosecco is a half-efferveseing wine like that of Asti (p. 73);
Refosco, a very dark sweet wine; the ordinary wines are Terrano and
IstrianOj usually drunk with an admixture of water.

Cafes. HStel de la Ville (see above); Liilce , Degli Specchi, Piazza
Grande ; AW Europa Felice, in the Pescheria ; Stella Polare ; Caffi Adriatico,
near the post-office , and others. — Restaurants. Stein/elder Bierhalle.,
Piazza della Borsa ; Berger, opposite the Aquila Nera ; Ponte Rosso ; Borsa
Vecchia; Re d'' Ungheria ; Birreria Vecchia; Cervo d'Oro; Berger (Belvedere).,
in the old town below the castle , good view from the ga den. — Osterie
in the Italian style : AlV Adriatico, Via di Vienna ; Risaldir Canal Grande ;
Nina Ferrari, in the old town.

Fiacres. From the station to the town, one-horse 60, kr., two-horse
IV2 fl. ; from the town to the station 40 kr. or 1 fl. ; drive in the town,
Vi hr. 30 or 45 kr. , 1/2 hr. 50 or 80, Vi ^r. 75 kr. or 1 fl. 10 kr., 1 hr.
1 fl. or 1 fl. 80 kr., each additional 1/4 hr. 20 or 30 kr., at night 5 kr.
more per V4 hr. ; luggage 15 kr. per box. — Omnibus from the station to

Baedeker. Italy I. 5th Edit. 4

50 Route 7. TRIESTE. From Vienna

all the hotels 20, at night 30 kr. — Tramway from the station, past the
Tergesten, and through the Corso to the Giardino Pubblico, Boschetto,
and Campo Marzo. — Porter's charge, up to 110 lbs. 20 kr.

Steamboats to Jluggia, Capo d'Istria, and Pirano, several times daily ;
small vissils to Parenzo, Rovigno, and Pola, daily. Steamboats of the
Austrian Llciyd to Venice (see p. 263) three times weekly, via Istria and
Dahiialia ; to Fiume tveice weeklv, etc.

Post Office, PI. 26 (D, 2). — Telegraph Office, Via della Dogana, No. 926.

Baths. Oesterreicher , near the Artillery Arsenal; Hotel de la Yille ;
warm salt and fresh-water baths at both. Turkish baths at the Bagni
Russi., near the public gardens. — Sea-baths at the Bagno Maria, opposite
the Hotel de la Ville ; Bagno Buckler ; Military Swimming Bath, below the
lighthouse, to the left. Ferry to the baths 3 kr. each way (a single person
G kr.). — Boats i-li/i A- per hour.

Public Gardens. One by S. Antonio Vecchio; another in the Piazi^A
Grandi •. a third, the Giardino Pubblico, by the Boschetto (Cafe).

Theatres. Teatro Grande (PI. 21), opposite the Tergesteo ; Teatro
Filodraiiuuatico (PI. 23), French and German plays sometimes performed ;
Armonia(¥\. 24), dramas and operas; Politeama Rossetti, on the Acquedotto.

Railway Station, a handsome structure, 1 M. from the Exchange, near
the ijuay.

English Church Service performed by a resident chaplain.

Trieste, the Tergeste of the Romans, situated at the N.E.
extremity of the Adriatic , is the capital of lUyria and the most
important seaport of Austria (pop. 70,000, incl. villages 123,000).
It was made a free harbour by Emp. Charles VI. in 1719, and may
bo termed the Hamburg of S. Germany. Every European nation, and
also the United States, has a consul here. The population is very
heterogeneous, but the Italian element predominates in the city.

The Harbour is the centre of business. It is entered and quitted
by 15,000 vessels annually, of an aggregate burden of one million
tons. The quays have been greatly extended within the last few
years to meet the increasing requirements of the shipping trade.
The Lighthouse on the S.W. Molo Teresa is lOG ft. high.

The New Town, or Theresienstadt, adjoining the harbour, is laid
out in broad, well-paved streets with handsome houses, and is in-
tersected by the Canal Orande (PI. 5; D, 3, 4), which enables
vessels to discharge their cargoes close to the warehouses. At the
end of the Canal is the church of S. Antonio Nuovo (PI. 7; D, 3),
built in 1830 by Nobile in the Greek style.

Adjacent to the Hotel de la Ville towards the S. is the *Gkkbk
Church (5. Niccolh dei Greci, PI. 10; E, 4; divine service 0-8.30
a.m. and 5-7 p.m.~), with its two green towers, sumptuously fitted
up. To the left of the Hotel de la Ville is the Palazzo Carciotti,
with a green dome, and in the vicinity, near the Ponte Rosso, a
new Servian Church.

A few paces farther , in a S.E. direction, is the *Tkrgbstko
(PI. 25 ; E, 4), an extensive pile of buildings, on the outside of which
are shops, atid in the interior a glass gallery in the form of a cross,
where the Exchange (12-2 o'clock) is situated. The Reading Room
of tlie exchange is well stocked with newspapers (visitors admitted).
The principal part of the edifice is occupied by the offices of tho

to Trieste. TRIESTE. 7. Route. 51

'Austrian Lloyd\ a steamtoat-compaiiy established in 1833, by
which the postal service and passenger traffic between Austria and
the E. Mediterranean and India are undertaken.

In the Piazza della Borsa (PI. E, 4), where the old Exchange
is situated, stands a Neptune group in marble, and a Statue of Leo-
pold /., erected in 1660. — In the Piazza Grande is the new Muni-
cipio (PI. 11 ; E, 4], containing the handsome hall of the provincial
diet.

The Corso (PI. E, 3, 4), the principal street of Trieste, together
with the two piazzas just mentioned, separates the new town from
the old. The latter, nestling round the hill on which the castle
rises, consists of narrow and steep streets, not passable for carriages.
To the left on the route to the cathedral and the castle is situated
the Jesuits' Church [S. Maria Maggiore, PI. 9 ; F, 4), containing
a large modern fresco by Sante. To the W., a few paces higher up,
is the Piazzetta di Riccardo , named after Richard Cceur de Lion,
who is said to have been imprisoned here after his return from
Palestine. The Area di Riccardo (PI. 2) is believed by some to
be a Roman triumphal arch, but probably belonged to an aqueduct.

The *Catteuiiale S. Giusto(P1. 8; F, 3) consisted originally of
a basilica, a baptistery, and a small Byzantine church, dating from
the 6th cent., which in the 14th cent, were united so as to form
a whole. The tower contains Roman columns , and six Roman
tombstones (busts in relief) with inscriptions are immured in the
portal. The facade is adorned with three busts of bishops in
bronze. The altar-niches of the interior contain two ancient mo-
saics, representing Christ and Mary. The Apostles in the left bay,
under the Madonna, are Byzantine (6th cent.). Some of the capi-
tals are antique, others Romanesque.

A disused burial-ground adjoining the church is now an open-
air Museum of Roman Antiquities (Pl. 16), those on the upper
terrace having been found at Trieste, those on the lower at Aqui-
leia (key kept by the sacristan of the cathedral, 50 kr.). Winckel-
mann , the eminent German archreologist, who was robbed and
murdered by an Italian at the Locanda Grande in 1768, is interred
here, and a monument was erected to him in 1832.

Fouche, Due d'Otranto, once the powerful minister of police of
Napoleon I., died at Trieste in 1820, and was interred on the
Terrace in front of the church. Fine view thence of the town
and sea.

On the slope of the hill opposite the Cathedral rises the Arme-
nian Catholic Church, a Byzantine edifice. — The new Protestant
Church, in the Piazza Carradori, was completed in 1874.

In the Piazza Lipsia is the Nautical Academy (PI. 1 ; G, 5),
containing the Municipal Museum, the chief attraction of which is
a complete collection of the fauna of the Adriatic. In the same
piazza is the sumptuously furnished Palazzo Revolt ella, containing

52 Route 7. CAPO D'ISTRIA.

the municipal Picture Gallery (visitors admitted). — The Piazza
Giuseppe, which opens towards the Molo of that name (PI. F, G,
5, 6), is embellished with a *Monument to Emperor Maximilian of
Mexico (d. 1867), in bronze , designed by Schilling, and erected
in 1875. The unlortunate prince, who was a rear-admiral in the
Austrian navy, generally resided at Trieste before he undertook his
ill-starred expedition to Mexico.

A long avenue, skirting the coast and commanding a succession
of beautiful views, leads on the E. side of the town, past the Villa
Murat, the Lloyd Arsenal, and the Gas -Works, to Servola (comp.
Plan, 1, 7-4).

The extensive * Wharves of the Lloyd Co., opposite Servola
(4'/2 M.) , may be visited daily, except holidays , Sundays, and
between 11 and 1 o'clock (guide V2-I A-)-

On the road to Zaule , famous for its oyster-beds , are the
handsome Cemeteries.

Another pleasant walk is along the Acquedotto through a pretty
valley to the Boschetto , a favourite resort (large brewery). From
the Boschetto a shady road leads to the Villa Ferdinandea (restau-
rant), adjoining which is the Villa Revoltella, with park and chapel,
commanding a charming view of the town, the sea, and the coast.

A very pleasant excursion (railway station , see p. 50 ; carr.
3 fl., boat 3 fl.) may be made to the chateau of *Mieamak, formerly
the property of Emp. Maximilian of Mexico (see above), charmingly
situated to the N.W. near Grignano, and commanding a liTie view
of Trieste, the sea, and the coast. The park is open to the public
daily. The sumptuously furnished Chateau is shown to visitors
(Sunday afternoons excepted) on application to the steward (fee
1/2 fl.). — Barcola (restaurant) is a favourite resort, halfway be-
tween Trieste and the chateau.

ExcDKsioNS. To ' Oplschina (3 M.; Hotel all' Obelisco), commanding a
beautiful view of the town and the sea ; Servola (see above) ; <S'. Giovanni ;
the grotto of Corniale, 9 M. to the E. ; to Lipizza (imperial stables), etc. —
A very interesting excursion , occupying one day (starting early in the
morning), is by steamer (p. 50) to Muggia; over the hill on foot (beau-
tiful view from the top) to Oltre (1 hr.), thence by boat (15 kr.) to Capo
d'Istria {Ciliii di Trieste; liadetzky; Cafte in the principal Piazza). The
town itself, situated on an island, with 7500 inhab., is the Justinopolis of
the Romans, and is connected with the mainland by a stone embank-
ment. The chief objects of interest are the Cathedral, the Palazzo Pubblico,
occupying the site of a temple of Cybelc, and the extensive salt-works.
We now proceed by the road on the shore, passing Semedella, to (3M.)
/sola (good Refosco wine), and (6 M. farther) Pirano, and return to Trieste
by steamer in the evening. — About 2 M. from Pirano lies the sea-bath-
ing place of S. Lorenzo, established in 1864 , a handsome building in an
extensive park.

From Trieste to Venice, see R. 37 ; to Pola, Flume, and Dal-
matia, see Baedeker's Eastern Alps.

II. Piedmont.

This district 'at the foot of the mountains'', end ised on three sides
by the Alps and Apennines, and separated from Lombardy by the Ticino,
embraces, according to the present division, the provinces of Turin, No-
vara, Ctmeo, and Alessandria, with 3,054,071 inhab., and an area of about
11,400 sq. M. It consists of lowlands flanking the banks of the Po and
its tributaries, which yield rice and maize, and of highlands where ex-
cellent wine and silk are produced, and lastly of a bleaker mountain
region of forests and pastures. The earliest Inhabitants were Celtic and
Ligurian tribes, who were but slowly influenced by Roman culture; and
it was not till the reign of Augustus that the subjugation of the higher
valleys was completed. The Dialect of the people still retains traces of
their ancient affinity with the French; itiMS, pieuve, instead of the Italian
piovere, om for uoino, coeur for cuore, sitd for citta, rason for ragione,
plassa for piazza. This patois is universally spoken , even by the higher
classes , and is unintelligible to strangers. Throughout Piedmont the
traveller will find that French will carry him quite as far as Italian.

The HiSTORT of the country is closely interwoven with that of its
dynasty. The House of Savoy (or Casa Sahauda) , a family of German
origin, professing even to trace their descent from the Saxon Duke
Wittekind, the opponent of Charlemagne, first became conspicuous among
the nobles of Upper Burgundy about the year 1000. Humbert I. (d. about
1050) is generally regarded as the founder of the dynasty. In 1101 his
descendants were created imperial counts of Savoy by Henry IV., and by
judiciously espousing the cause of the pope and the emperor alternately,
they gradually succeeded in extending their supremacy over Turin, Aosta,
Susa, Ivrea, and Nice. In consequence of a law passed by Amadeus 7.,
the Great, in 1367, which settled the succession on the male line in the order
of primogeniture, and constituted Chambery the seat of government, the
subdivisions of the country were at length united. In 1416, during the
reign of Amadeus VIII., the counts became Dukes of Savoy. Situated
between the two great mediaeval powers of France on one side , and
Austria and Spain on the other, the princes of Savoy frequently changed
sides, and although sometimes overtaken by terrible disasters , they con-
trived to maintain, and even to extend their territory. At one period
the greater part of the Duchy was annexed to France , but Emmanuel
Pkilibert ('Testa di Ferro', 1553-80) restored it to its original extent, being,
as regards internal organisation also , its second founder. Under his son
Charles Emmanuel I. (1580-1630) the Duchy again became dependent on
France. From the sons of this prince is descended the elder branch of
the family , which became extinct in 1831 , and the younger Carignano
line, which succeeded to the throne in the person of Carlo Alberto. The
following dukes were Vittorio Amadeo I. (1630-37), Francesco Giacinlo
(1637-38), Carlo Emanuele II. (1638-75), and Vittorio Amadeo II. (1675-
1730). The last of these , having boldly allied himself with Austria dui--
ing the Spanish War of Succession , managed to throw off the French
suzerainty (1703) ; he obtained Sicily as his i-eward, which island, however,
he was afterwards obliged to exchange for Sardinia (1720), and in 1713
assumed the title of King, which was subseqtiently coupled with the name
of the latter island. His successors were Carlo Emanuele III. (1730-73),
and Vittorio Amadeo III. (1773-96). After the battle of Turin (p. 66) the
Piedmontese princes directed their attention to Prussia , which served as
a model for the organisation of their kingdom. In both countries the

54 Route 8. TURIN. -

military and feudal element preponderated, and both were obliged to
succumb to the new powers evolved by the French revolution. Carlo
Emanuele IV. (1796-1802) was deprived of all his continental possessions
by the French in 1798, and restricted to the island of Sardinia, which
was protected by the English fleet. Vittorio Emanuele I. (1802-21) was at
length reinstated in his dominions, with the addition of Genoa, by the
Congress of Vienna. The Napoleonic period had swept away the feudal
institutions of Piedmont, and had bequeathed in their stead many of the
benefits of modern legislation, and high military renown. It is therefore
intelligible that the clerical reaction, which set in with the king's return,
gave rise to an insurrection which caused the king to abdicate, and
which had to be quelled by Austrian troops. His brother Carlo Felice
(1821-31) adhered faithfully to Jesuitical principles, and lived on the
whole in accordance with his motto, 'Non sono re per essere seccato".
With him the older line of the House of Savoy became e.xtinct, and was
succeeded by the collateral line of Carignano (p. 53; 27th April, 1831).
Carlo Alberto (b. 1798), who had been educated at a French military
school, and had headed the insurrection of 1821, was protected by France
and Russia against the attempts of Austria to deprive him of his claims
to the throne. His own experiences , and the force of circumstances,
rendered him an implacable enemy of Austria. With him began the
national development of Piedmont, although his efforts were not always
consistent. The liberals called him the 'Re Tentenna' (the vacillating),
while in 1843 he himself described his position as being '• between the
daggers of the Carbonari and the chocolate of the .lesuits\ On 6th
Jan. 1848 Count Cavour made the first public demand for the establish-
ment of a constitution , and on the 7th Feb. the king , half in despair,
yielded to the popular desires. The insurrection in Lombardy at length
induced him to become the champion of national independence , and to
give vent to his old enmity against Austria (23rd March), but one year
later his career terminated with his defeat at Novara (23rd March, 1849).
He then abdicated and retired to Oporto, where he died in a few months
(26th July). It was reserved for his son Vittono Emanuele II. (b. 1820,
d. 9th Jan. 187s) finally to give effect to the national wishes of Italy.
The present king is Umherto I. (b. 14th Blar., 1844).

8. Turin, Ital. Torino.

Arrival. The principal railway-station at Turin is the Stazione Cen-
Irale , or Porta Nnova (PI. E, 4, 5) , in the Piazza Carlo Felice , at the
end of the Via Roma , a handsome edifice with waiting-rooms adorned
with frescoes , and the terminus of all the lines. — Travellers to Milan
may take the train at the Stazione Porta Susa (PI. C, 3, 4), at the end
of the Via della Cernaia, the first stopping place of all the trains of the
Novara-Milan line (omnibuses and carriages meet every train) , or at the
Stazione Succursale, on the left bank of the Dora. — Station of the branch
line to liivoli in the Piazza dello Statuto (PI. 0,2); of that to Cirii-Lanzo
between the Piazza Emanuele Filiberto and the Ponte Mosca (PI. E, 1).

Hotels. *EuROPA (PI. a; E, 2), Piazza Castello 19; *Grand Hotel de
Turin (PI. b; E, 4, 5), opposite the central station ; *H6tel de la IjIGukie
(PI. c; F, 4), Via Carlo Alberto; 'Hotel Fedeu (PI. d; F, 3), Via S.
Francesco di Paola 8; Hotel Tkombetta (PI. e ; E, 3), Via Roma 29, Piazza
S. Carlo; Grand Hotel d'Angleterre (PI. f; E, 3, 4), Via Roma 31, and
Via Cavour 2. All these are of the first class, with similar charges : R.
from 3, B. 1V2-2, D. generally at 5 o'clock 4-5, L. 1, A. 1, omnibus I'/afr.
— The following are more in the Italian style, and have trattorie con-
nected with them: Albekgo Centrale (PI. g; E, 2), Via delle Finanze;
Bonne Femmb (PI. h; E, 4), Via Barbaroux 1 ; Hotel Sbisse (PI. i ; E, 4),
Via Sacchi 2, near the central station, R. from 2Vi, B. I'/i, H. with
wine 4'/j fr., L. 60, A. 60 c. ; these three well spoken of. Caccia Reale
(PI. k; E, 2), Piazza Castello 18; Hotel de France et de la Concorde
(PI. 1 ; F, 2, 3), Via di Po 20 ; Tke Couone (PI. m ; E, 2), Via S. Tommaso 3 ;

TttUNJi.

\.Mxadxania, deReBelLe^Arti

r.3.

2. " ■' Militare.

. r.2.

■\. " " deUe Sciaize

. E.3.

it.Ji-meria Reale,

E.2

'a. Arsenals

E.4.

6 BoTsw

F.3

l.Casa Cccrovr

F.4.

CMese .

% .BasUiccu MoffL-rtrcde

E.2

^.S. Carlo

E.3

Vi.Cattedrale,

E.2

Vi.la. Consolatfv

D.2.

)2..CoTpiu' Daniini.

E.2

\i.FrcmcescO di Sales

E.2.

U.&ran Madre d/ Bio

a. 3.

15 . .S". MassJr/w

F.G-.4

\<l).S.FUzppo

F.3.

17. S. Spirito

S..Z

\S.Tempio TaJdese

E.4-

2Q.Galleria deU' Industria

Subidpbw:

F.2.

2\.IstiticU> Tei-mco

E.4-.

22. Mercato del Tnu>

F.2

Monumenti .

Z'i.d'Azeglio .

E.4

2i!.M'Esercito Sardo .

E.2

l^.Ame^ex! .

E.2.

2&.Carvur

F.3

27. Carlo Jib erto

r.3

2S. Umanuele riliberto . .

. £.3.

Z%.&ioherti E.F.3.

'iO.Loffreaujfe £.4.

'ii.Paleocapa, E.4.

yi.Siccardi '0.2.

33.Jfet?eo drico r.2.

34. ; ,. zndvjrtriale F.3.

"ih.OspedalediS.Gio-r. Battz.ita F.3.
Palazzi .

ifi.Cccri^Tuuu) F.3.

"il.diCUUi E.2.

28. del Diica, di Qenava . E.2.

39JK"ad<Z7?ia: E.2.

¥) .di, Ma^iitrati' Suprem. D.2.

'^X.Municipdle D.E.2.

i^Z.del Frindpe . E.2.

^■i.delRe E.2.

ii.dfUe^ Torri E.2.

iS./'yrfa F.3.

iio.Prefettuni, . r.2.

VI .Sinagoga, . &.2.

Teatri.

m.d'Jngennes F.3.

iS.Cariffnano E.3.

50.G€rii/u} G-.3.

^\.Jazional£ . T.i.

hZJleffio F.2.

53.A).9yD(i T.3.

'a^-. Scribe F.2.

'^'h.Tittorio Emanutle . r.2.

^<a.Tdegrafi F.3.

'jl nnirersita F.2.

Sn.Europa

\).G^r.Edtel djs, Turin
C .Satel de lOL Liffurie.
t.Eotel Feder . . .
e. Satel Trombettw
i.Gr.Botel d'An^lcterre
g. Alhergo Centralc . .

Alber

E.2r
E.4.5
. 'F.4,
. F.3.

E.3
E.3.4.
. E.2

ghi.

\i. Bonne Femme. . ... E.2.

i.Sotel Suis.se E.4.

]L.Cacd(v Reale E.2.

1 .Sotel de France &

de. la, Concorde F. 2.3.

va^.Tre Carane E.2.

Tl.Doqana' -recchia E.2.

Vaguer c Detes, leipilg .

Cafea. TURIN. 8. Route. 55

DoGANA Veochia (PI. n; E, 2), Via Corte d'Appello 4, near the Palazzo
di Citfa, R. IV2, h. V2 fr-, A. 60, omnibus 60 c, well spoken of; Villk db
BoLOGNE, Corso Principe Amedeo. — The Grissini, a kind of bread in
long, thin, and crisp sticks, form a speciality of the place. Best wines:
Barbera, JSarolo, Nebiolo, and GrignoUno.

Restaurants. Cambio , Piazza Carignano 2, much frequented in the
morning, best Italian wines ; Paris^ Via di Po 21 ; Bifo , Via Roma 13 5
Trattoria di Piazza S. Carlo., D. 3 fr., in a room on the upper floor; Me-
ridiana., Galleria Geisser, Via S. Teresa 6 (Vienna beer) ; Due Indie , Via
Guasco 4; in the last two Italian, in the others French cuisine. Good
Restaurant also at the Stazione Centrale. — Good Piedmontese Wine at the
Trattoria d'Oriente., Via Lagrange, and at the Goccania, Via Dora Grossa.
Cafes. '-'Ca/^ de Paris, Via di Po 21; ''S. Carlo, Piazza S. Carlo 2;
Nazionale, Via di Po 20; Madera, Via Lagrange 10; "Romano, by the
Galleria deir Industria Subalpina, in the Piazza Castello (cafe chantant in
the evening); Caffi delta Borsa, Via Roma 25; Liguria, Corso del Re, near
the station. — Confectioners. Bass, Baratli tb Milano , both in the Piazza
Castello, S. side. — Beer. At the above mentioned '-Gaffi Romano; Lumpp,
at the corner of Via deir Arsenate and Via Alfleri ; in the Birreria, Via
di Dora Grossa 5.

Cabs, or Cittadine , stand in most of the piazzas and in the streets
leading out of the Via di Po. Per drive (corsa) 1 fr., at night (12-6 a.m.)
1 fr. 20 c; first 1/2 hr. 1 fr., first hour (ora) 1 fr. 50 c, each following
V2 hr. 75 c. , at night I1/2 fr. and 2 fr.; each trunk 20 c. — Two-horse
carriage 50 c. more in each case.

Tramways. From the Piazza Castello (PI. E, F, 2); 1. By the Via
Lagrange to the Barriera di Mzza (PI. F, 6); 2. To the Piazza Vittorio
Emanuele, across the bridge over the Po, and to the right to the Barriera
di Piacenza (PI. H, 5), and on to Moncalieri; 3. Across the bridge as in
the last route and then to the left to the Barriera di Casale (PI. H, 2)
and Madonna del Pilone; 4. By the Via Dora Grossa to the Barriera del
Martinetto (PI. A, 2); 5. By the Via Milano and the Piazza Emanuele
Filiberto to the Ponte Mosca (PI. E, 1) and the Borgo Dora. — From the
Piazza Vittokio Emanuele (PI. G, 3) : 1. By the Via S. Teresa to the
Piazza dello Statuio (PI. C, 2); 2. By the Corso del Re to the Piazza
Solferino (PI. D, E, 3). — From the Piazza Emanuele Filibekto (PI. E, 1)
by the Corso Maurizio, the Via Rossini, etc., to the Corso del Valentino
(PI. F, 5).

Consuls. British, Via di S. Filippo 20. American, Via de' Fiori 19.
Post Office, Via d'Angennes 10. Telegraph Office, Via d'Angennes 8.
Booksellers. Loescher, Via di Po 19, with circulating library of Eng-
lish, French, German, and other books; Casanova, Via Accademia delle
Scienze. — Fine Arts Warehouse: Cerruti, Galleria Subalpina (p. 56).

Military Music in the Piazza Castello every afternoon ; on Sundays
12-2, in summer in the Giardino Reale , in winter in the Piazza Vittorio
Emanuele; in the Piazza d'Armi in summer during the Corso. — The
chief promenades are the avenues of the Piazza d'Armi.

Baths. Via Provvidenza 40; Bagni di S. Carlo, Via Roma 22; Bagni
di S. Giuseppe, Via S. Teresa 21; Bagni Cavour, Via Lagrange 22. Bath
11/4-1 V^fr., with fee of 20c. — Swimming Bath (scuola di nuoto) above the
old bridge over the Po (PI. G, 3; 60c.).

Theatres. Teatro Regio (PI. 52) , in the Piazza Castello , with seats
for 2500 , generally open during Lent and the Carnival only (admission
3fr., reserved seats 6fr.); Carignano (PI. 49), in the Piazza of that name,
for Italian comedies, open the greater part of the year ; D^Angennes (PI. 48).
Via Borgo Nuovo, Rossini (PI. o3) , Via di Po 24, these two for plays in
the Piedmontese dialect; Scribe (PI. 54), Via Zecca 29, French, etc.

English Church Service performed in a chapel at the back of the
Tempio Valdese (PI. 18).

Principal Attractions : Armoury (p. 57), Picture Gallery (p. 59) and
Museum of Antiquities (p. 59), monuments in the cathedral (p. 61), view
from the Capuchin monastery (p. 65).

56 Route 8. TURIN. Palazzo Madama.

Turin (785 ft.) , the Roman Augusta Taurinorum, founded by
tlie Taurini, a Ligurian tribe , destroyed by Hannibal B.C. 218,
and subsequently re-erected , was the capital of the County of
Piedmont in the middle ages , and in 1418 became subject to the
Dukes of Savoy , who frequently resided here. From 1859 to
1865 it was the capital of Italy and residence of the king. Turin,
the seat of a university, and of a military academy , is situated in
an extensive plain on the Po , which receives the waters of the
Dora Riparia below the city. The plain of the Po is bounded on
the W. by the Graian and Cottian Alps, and on the E. by a range
of hills rising on the right bank, opposite the city (hill of the Ca-
puchins, p. 65; Superga, p. 66). Turin has always been the focus
of the national struggles for unity, and by the industry and per-
severance of its citizens has recovered from the severe losses conse-
quent on the removal of the court. The population in 1877, in-
cluding surrounding villages, was 214,200, of the town itself about
195,000 (in 1377, 4,200; in 1631, 36,447; in 1799, 80,752; and
in 1848, 130,849).

Turin is conspicuous among the principal cities of Italy for the re-
gularity of its construction. Its plan presents rectangular blocks of houses
(Isole), long, broad, straight streets (formerly called Contrcide, now Vie),
wide squares, and numerous gardens. Its history explains this. The
plan of the old town, with slight variations, is ascertained to be the same
as that of the colony founded by the Emperor Augustus. It formed a rec-
tangle of 1370 ft. in length, and 2210 ft. in breadth, and is now inter-
sected by the Via di Dora Grossa, which runs between the Piazza Castello
and the Via delta Consolata. It had four principal gates, of which the
Porta Palatina, to the N. (in the Palazzo delle Torri, PI. 44) still exists.
The whole town was comprised within this circumference during the middle
ages, until in the 17th cent., under the princes of Savoy, a systematic
extension of the city was begun in accordance with the original plan.
The fortifications constructed by Francis I. in 1536, and finally the siege
of 1706 cleared away most of the old buildings, and gave the town its
present appearance. The fortilications were demolished by the French
when in possession of the city and environs in 1801, and the citadel bad
to give place to the railway in 1857.

The spacious Piazza Castello (PL E, F, 2), with the Royal
Palace, forms the centre of the town. From this point the busiest
streets diverge : — the Via Roma, the Via di Bora Grossa, and the
broad and handsome Via di Po, leading to the bridge over the Po,
and flanked by arcades (Portici), containing shops, the handsomest
of wliich are near the Piazza Castello (those in the direction of the
Po, towards the Piazza Vittorio Emanuele, being inferior). These
arcades present a busy and brilliant scene in the evening , when
lighted by gas. The University in the Via di Po , see p. 63. —
In the S.E. angle of the Piazza Castello is the new Galleria dell'
Industria Subalpina , containing cafes, a large birreria, and concert
rooms, which is worthy of a visit , though inferior to the arcade at
Milan. The other end of the arcade is in the Piazza Carlo Alberto
(p. 58).

The Palazzo Madama (PI. 39 ; E, 2), the ancient castle, a lofty

Armoury. TURIN. 8. Route. 57

and cumbrous pile in the centre of the Piazza Castello , is the only
mediieval structure of which Turin boasts , and was erected by
William of Monferrat, when master of the town in the latter half of
the 13th century. It owes its present name to the mother of King
Victor Amadeus II. , who as Dowager Duchess ('■Madama ReaW )
occupied the building , and embellished it in 1718 by the addition
of a handsome double flight of steps and the fa(;ade with marble
columns on the W. side. The two original towers on the E. side
are still standing ; two others on the W. side , one of which is
intended for an observatory, are concealed by the facade. Down to
1865 the Palazzo Madama was the seat of the Italian senate, and it
now contains several institutions. — In front of the Palace stands a
Monument to the Sardinian Army (PI. 24) by Vine. Vela, erected by
the Milanese in 1859, and representing a warrior in white marble
defending a banner with his sword. In relief, Victor Emmanuel on
horseback at the head of his troops.

On the N. side of the Piazza Castello is situated the Palazzo
B.eale, or Royal Palace (PI. 43 ; E, 2), erected about the middle of
the 17th cent. , a plain editice of brick , sumptuously fitted up in
the interior. The palace-yard is separated from the Piazza by a gate,
the pillars of which are decorated with two groups in bronze of
Castor and Pollux , designed by Abbondio Sangiorgio in 1842. To
the left in the hall of the palace, to which the public are admitted,
in a niche near the staircase, is the 'Cavallo di Marmo', an
equestrian statue of Duke Victor Amadeus I. (d. 1637); the statue
is of bronze, the horse in marble; below the latter are two slaves.
The steps have recently been magnificently embellished ; among the
statues those of Emmanuel Philibert, by Varni, and Carlo Alberto,
by Vela, deserve special notice. The royal apartments are generally
accessible in the absence of the king.

The long S.E. wing of the edifice (Galleria Beaumont) contains'
the *RoYAL Armoury {^Armeria Reale; PI. 4; E, 2; entered from
the arcade, first door to the right when approached from the palace),
opposite and to the N.E. of the Palazzo Madama. It is open to the
public on Sundays, 11-3 o'clock , and daily at the same hours by
tickets (obtained between 11 and 3 o'clock at the office of the secre-
tary of the Armoury, on the ground-floor). The collection is very
choice and in admirable order (custodian V2"l fr.).

In the centre of Room I. are a bronze statuette of Napoleon I., the
sword he wore at the battle of Marengo , a quadrant he used when a
young officer, two French regimental eagles , and two kettle-drums cap-
tured at the battle of Turin in 1706. Numerous models of modern
weapons; in a cabinet near the window, Prussian helmets; then Japanese
and Indian weapons and armour. A cabinet on the right contains gifts
presented to Victor Emmanuel by Italian towns, a sword presented by Rome
in 1859, a gilded wreath of laurel by Turin 1860, and a sword in 1865,
on the occasion of the Dante Festival ; in the centre, the favourite horse
of Charles Albert ; Piedmontese flags from the wars of 1848-49 over the
cabinets. The long Hall contains, on the right, a gigantic suit of armour
worn at the Battle of Pavia by an equerry of Francis I. of France ; be-

58 Route 8. TURIN. Palace Garden.

yond it, in front of the chimney-piece, a choice and very valuable collec-
tion of 32 battle-axes, a sword executed by Benvenuto Cellini (?), and some
finely ornamented helmets of the 15th and 16th centuries. Under glass,
a 'Shield by Benvenuto Cellini (?), embossed, and inlaid vifith gilding, re-
presenting scenes from the war of Marius against Jugurtha. The finest
suits of armour are those of the ISrescian family Martinengo, three on
the left and one on the right. Adjacent is an ancient rostrum in the form
of a boar's head, found in the harbour at Genua. At the end of the hall
are the armour of Prince Eugene, the saddle of Emp. Charles V. in red
velvet, and the beautiful armour of Duke Emanuel Philibert. (A small
adjacent room is occupied by a very valuable Collection of Coins, trinkets,
mosaics, carved ivory, etc., and is entered from the library.) On the
right, as the long hall is re-entered, we observe, under glass, the sword
of St. Maurice, the sabre of Tipoo Sahib, etc. In the cabinet A are
Roman weapons, helmets, and the eagle of a legion. In the cabinet F, at
the top , the sword of the Imperial General Johann v. Werth (d. 1652),
bearing a German inscription in verse.

On the floor below is the Private Library of Victor Emmanuel (shown
daily 9-4), in which geographical, historical, and genealogical works are
particularly well represented. It also contains a valuable collection of
drawings (by Leonardo, Michael Angelo, and Venetian masters).

The Palace Garden ( Giardmo Reale; PI. E, F,2), entered from
the arcade opposite the Palazzo Madaraa, Is open daily in summer
(1st May to 1st Oct.) 11-3, on Sundays and festivals 12-2; mil-
itary music, see p. 55. Fine view of the Superga. Connected with
the Oiardino Reale is a well - stocked Zoological Garden (open to
the public Mon. and Thurs. ; to strangers daily on application
at the palace). — The Cathedral, which adjoins the palace on the
W., see p. 61.

In the Piazza Cakignano , near the Piazza Castello , to the S.,
rises the Palazzo Carignano (PI. 36; F, 3), with its curious brick
ornamentation, erected in 1680. The Sardinian Chamber of Depu-
ties met here from 1848 to 1860, and the Italian Parliament from
1860 to 1865. The handsome facade at the back, towards the
Piazza Carlo Alberto, was built in 1871 from the designs of Bollati
and Ferri.

The rooms used by the parliament are now devoted to the Natural
History Collections formerly in the Academy (open to the public every
week-day 10-4, in winter 10-3). The collection is divided into the Zoolo-
ijicnl and Comparative Anatomy Section and the Palaeontological, Geological,
and Mineralogical Section. The former contains a fine array of birds
and insects , and a collection of the vertebrates of Italy arranged in a
separate gallery. The palfeontological division contains a fine collection
of fossil mollusca from the tertiary formations , and the skeletons of a
gig.antic armadillo (Glpptodon Clavipes) from Rio de la Plata, and other
antediluvian animals.

In the Piazza Carignano , in front of the palace , stands the
finely-executed marble statue of the philosopher and patriot Gio-
berti (PI. 29), by Albertoni, erected in 1859.

The Piazza Caulo Albkuto (E. side of the Palazzo Carignano)
is emb(^llished with a bronze monument of King Charles Albert
(PI. 27), designed by Marochetti, and cast in London. The pedestal
stands on four steps of Scottish granite ; at the corners below
are four colossal statues of Sardinian soldiers ; above them are four
allegorical female figures , representing Martyrdom , Freedom,

Picture Gallery. TURIN. 8. Route. 59

Justice, and Independence. The Piazza Carlo Alberto is connected
with the Piazza Castello by the Galleria Subalpina, mentioned at
p. 56.

In the vicinity, at the corner of the Piazza Carignano and the
Via deir Accademia No. 4, is the Palazzo dell' Accademia delle
Scienze (PI. 3; E, 3), containing a picture-gallery and museums
of natural history and antiquities. To the right on the Ground-
FiiOOB are the Egyptian, Roman, and Greek sculptures; on the
FiEST Floor, the smaller Egyptian antiquities ; on the Second
Floor (98 steps), the picture gallery. These collections are open
daily 9-3, adm. 1 fr.; on Sund. 11-3, gratis.

Museum of Antiquities (Miiseo Egizio e di Antichita Greco- Romane). —
Hall I. contains large Egyptian sphynxes, figures of idols and kings, sarco-
phagi, reliefs; over the sitting figure of Sesostris is an inscription in hon-
our of the celebrated Parisian Egyptologist Champollion. Hall II. :
Egyptian statues and late Greek works found in Egypt; on the right a
good torso , on the left four figures placed round a column , bearing the
name ofProtys the sculptor. Minerva, over life-size. In the centre of the
room ''Mosaics found at Stampacci in Sardinia, representing Orpheus with
his lyre, and a lion, goat, and ass, probably the animals listening to him.
— The visitor now enters the — I. Gallery to the left. In the centre,
statue of a youth , Hercules killing the snakes (in Greek marble), Ama-
z(m (in black marble), Cupid asleep. Posterior wall, Jupiter, Marsyas
and Olympus.

The Small Antiquities are on the Second Floor, and consist of mum-
mies, papyrus writings, scarabees, trinkets, vases, and porcelain statu-
ettes and terracottas, many of which are Graeco-Eoman. In the centre of
the second room is the formerly celebrated Tabula Isiaca, found in the
pontificate of Pope Paul III. (d. 1549) in the Villa Caffarelli at Rome, a
tablet of bronze with hieroglyphics and figures partially inlaid with
silver. Attempts to decipher the characters elicited the most profound
and erudite explanations and conjectures from the savants of three cen-
turies, but it has been recently proved that the tablet is spurious, having
been manufactured at Rome in the reign of Hadrian. The celebrated
papyrus with fragments of the annals of Manetho, (a list of the kings of
Egypt down to the 19th dynasty),discovered by Champollion, is also pre-
served here.

On reaching the corridor we turn to the left and proceed (through a
room containing antiquities from Cyprus. Beyond, on the left, Is the
room devoted to Roman Sculptures : in the middle , heads of poets and
philosophers; along the window-wall, busts of emperors; in the corner to
the left, colossal female head (Venus), found at Alba in 1839, head of
Antinous, etc. On the riffht are the Grreco-Etruscan Vases and Terra-
cottas ('Head of Medusa, Mercury and a youth, Olympus from the group
already mentioned, graceful dancing nymphs), and the Bronzes, including
a tripod and a 'Silenus , found near Turin, head of Caligula, and -'Mi-
nerva, found in the Versa near Stradella in 1829.

The *Picture Gallery ( Pinacoteca) consists of 15 rooms con-
taining upwards of 514 paintings. This collection, being of recent
date , cannot boast of a very distinct character like most of the
other Italian galleries; but it affords the traveller an excellent
opportunity of becoming better acquainted with the works of
Gaudenzio Ferrari (1484-1549), in which we can distinctly trace
Leonardo's inspiration , coupled with the influence of the Umbrian
school (Nos. 49 and 54). Sodoma (Giovanni Antonio Bazzi, 1447-
1549), who originally belonged to the Lombard school, is also well

60 Route 8. TURIN. Picture Gallery.

represented by tliree pictures. Lorenzo di Credi's (1459-1537) Ma-
donna, No. 103, of this master's best period , shows that he was
influenced by Leonardo. The Madonna della Tenda was not painted
by Raphael himself, and the Madonna by I'itian is also a copy, like
so many other pictures in this gallery. Numerous and important
works of the old Netherlandish school, such as : 359. Petrus Cris-
tas; 358. Memling; 340. Sketch by Rubens; 338, 351, 363, 384.
by Van Dyck. (Catalogue 1 fr. 25 c.).

1. Room. Princes of the House of Savoy and battle-pieces. Beginning
on the right: ten of the battles fought by Prince Eugene, by Huchten-
hurgh; thirteen portraits of members of the House of Savoy; 28. Horace
Vernet, King Charles Albert; 29,31. Clouet; 26,30. Van Dyck; 4. Van
Schuppen^ Prince Eugene on horseback.

II., III., IV. Rooms contain works of the school of Vercelli and Mon-
ferratu, of no great value. Room II.: *49. Gaiidenzio Ferrari, St. Peter
and donor; 50. Sodoma, Holy Family; 50 bis. Macrino d'Alba, Madonna and
saints (1492); 54. Ferrari, Descent from the Cross. Room HI. : *55. Sodoma,
Madonna and saints. Room IV.: 90. Landscape hy Massimo d" Azeglio (d. 1866).

V. Room. 93. Fra Angelico da Fiesole (?), Madonna; 94, 96. Adoring
angels, by the same ; 97. PoUajuolo , Tobias and the angel ; 98. Sandra
BoUicelli, Same subject; 99. Madonna, with Christ and angels, by the
same; 101. Fr. Francia, Entombment; 103. Lorenzo di Credi, Madonna and
Child ; 106. Bugiardini, Holy Family ; 108 bis. After Raphael , Portrait of
Pope Julius II. in the Palazzo Pitti at Florence ; 111. School of Leonardo
da Vinci, Madonna and John the Baptist; 118. Girolamo Savoldo, Holy
Family; 121. FranciaMgio , Annunciation; 122. Franc. Pemni, Good copy
(1518) of Raphael's Entombment in the Palazzo Borghese at Rome ; 127 bis.
Clovio, Entombment; 129. After Titian, an old copy. Pope Paul III.; 130.
Paris Bordone, Portrait of a ladv.

VI. Room. 132. Bonifacio ,' noly Family; 137, 138, 142, 143. Andrea
Schiavone, Mythological scenes; 140. Antonio Badile, Presentation in the
Temple; 152. Rinaldo Mantovano , God the Father; "157. Paolo Veronese,
The Queen of Sheba before Solomon; 158. Annibale Carracci, St. Peter;
161. Caravaggio, Musician.

VII. Room. 163. Guido Reni, John the Baptist; 166. Badalocchio, St.
Jerome with the skull; 174. Spagnoleito, St. Jerome; 177, 178. Albani, Sal-
macis and the hermaphrodite ; 189 bis. Christ at Emmaus, after Titian
(original in the Louvre).

VIII. Room. Porcelain-paintings by Constaniin of Geneva, copied from
celebrated originals; Luca della Rohhia, Adoration of the Infant Saviour.

IX. Room. Fruit and flower-pieces; 227. by Mignon, 228. by De Ileem.
— Then a corridor with inferior works.

X. Room. *234. Paolo Veronese, Mary Magdalene washing the Saviour's
feet ; 236. Guido Reni, Group of Cupids ; 237, 238. Poussin, Waterfall, Cas-
cades of Tivoli ; 239, 242. Guercino, S. Francesca, Ecce Homo ; 244. Orazio
Gentileschi, Annunciation; 251. Slrozzi, Homer.

XI. Room. 257, 258. Sassoferralo , Madonnas, the first called 'della
Rosa'; 260, 264, 271, 274. Albani, The four Elements ; 276. Carlo Bold, Ma-
donna ; 284, 288. Bernardo BelloUi, Views of Turin ; 293. Tiepolo, Allegory,
a sketch; 295. Maratla, Madonna; 299, 300. Angelica Katifmann, Sibyls.

XII. Room. Netherlands and German school : 306. Engelbrechtsen,
Passion ; 309. Adoration of the Magi in the style of Hieron. Bosch (15th
cent.); 319. Brmjn, Portrait of Calvin (?); 322. Paul Bril, Landscape; 325.
Goltz, Warriors; -388. Van Dyck, Children of Charles I. of England; 340.
Rubens, Sketch of his apotheosis of Henry IV. in the Uffizi; 351. Van
Duck, I'rincc^ss Isal)ella of Spain.

XIII. KiKiM, containing the gems of the collection: 355. Mantegna,
Madonna and saints ; *358. Hans Memling, Seven Sorrows of Mary, the count-
erpart (jf the Seven Joys of Mary at Munich, a chronological composition
of a kind much in vogue among northern artists ; 359. Petrus Cristus,

Cathedral. TURIN. 8. Route. 61

Madonna; *363. Van Dyck, Prince Thomas of Savoy, a fine portrait; 364.
D. Tenters, Tavern ; 366. Wouwerman, Cavalry attacking a bridge ; 368. D. Ten-
iers, Younger, The music-lesson ; 369. Sandro Botticelli, Triumph of Chastity;
■373. Raphael, Madonna della Tenda (a very fine picture, but the original
is at Munich); 375. Donatello , Madonna (relief); 376. Sodoma, Lucretia
killing herself; '377. Paul Potter (1649), Cattle grazing; 377 bis. Jan Livens,
Man asleep ; 378. Jan or ' Velvet' Brevghel , Landscape with accessories ;
379. Frans Mieris , portrait of himself ; 380. Jan Breughel, Quay; -383
bis. Murillo , Capuchin; '384. Van Dyck, Holy Family, by far the finest
vifork of this master in Italy, painted under the influence of Titian; 385.
Honlhorst (Oherardo delle Notti) , Samson overcome .by the Philistines;
*386. H. Holbein, Portrait of Erasmus; 389. /. Rmjsdael , Landscape;
391. Gerard Dou, Girl plucking grapes; 392. Velazquez, Philip IV. of
Spain ; 393. Ruhens (?), Holy Family ; 394. C. Netscher, Scissors-grinder.

XIV. Room. 410. Floris, Adoration of the Magi; 417. School of Rubens,
Soldier and girl ; 420. Wouwerman, Horse-market ; 435. Gerard Dou , Por-
trait ; 434 bis. Jacob Ruysdael , Landscape ; 428. Teniers , Younger, Card-
Players; 450. School of Rembrandt, Portrait of a Rabbi; 458. Schallen,
Old vi^oman ; 470 bis. Murillo, Portrait of a boy.

XV. Room. 478, 483. Claude Lorrain, Landscapes; 481. Bourguignon,
Battle; 484 bis. Netscher, Portrait of Moliere.

The spacious Piazza S. Carlo (PI. E, 3; 587 ft. long, and
264 ft. wide), which adjoins the Academy, is emhellished with the
equestrian *Statue of Emmanuel Philibert (PI. 28), Duke of Savoy
(d. 1580), surnamed 'Te<e de Fef, in bronze, designed by Maro-
chetti, and placed on a pedestal of granite, with reliefs at the sides.
On the W. side the Battle of St. Quentin , gained by the duke
under Philip II. of Spain against the French in 1557 ; on the E.
side the Peace of Cateau-Cambre'sis (1558), by which the duchy
was restored to the House of Savoy. The duke as '■'pacem redditurus'
is in the act of sheathing his sword (his armour preserved at the
armoury is placed in the same attitude).

The Via Roma leads from the Piazza S. Carlo to (N.) the Piazza
Castello (p. 56), and (S.) to the Piazza Carlo Felice (p. 63)
and the railway-station. — To the left in the Via dell' Ospedale is
the Exchange (PI. 6 ; F, 3), and adjoining it, a Museo Industriale
Italiano (P\. 34; F, 3), with a technological collection. Farther on
is the large Ospedale S. Giovanni Battista (PI. 35; F, 3) with 557
beds. — The cross-street leads in a N. direction to the Piazza
Caklo Emanuelb II. (PI. F, 3), with a handsome *Monumeiit to
Cavour (PI. 26) , by Dupre of Florence , erected in 1873 : grateful
Italy presenting the civic crown to Cavour, who holds a scroll in his
left hand with the famous words 'libera chiesa in libero stato' ; the
pedestal is adorned with allegorical figures of Justice, Duty, Policy,
and Independence ; the reliefs represent the return of the Sardinian
troops from the Crimea , and the Paris Congress. — In the Via
Cavour, at the corner of the Via Lagrange, is the house (PI. 7) in
which Count Cavour was born in 1810 (d. 1861) , with a memorial
tablet.

Adjoining' the Palazzo Reale (p. 57) on the W. side rises the
Cathedral of S. Giovanni Battista (PL 10; E, 2), occupying the site

62 Route 8. TURIN. Palazzo di Cittd.

of three ancient churches erected in 1492-98 by Meo del Caprino
(of Florence, from Baccio Pintelli's design?), with a marble facade
in the Renaissance style.

The Interior consists of a nave and aisles , a transept , and an octa-
gonal dome in the centre, Over the W. Portal is a copy of Leonardo da
Vinci's Last Supper (p. 129). Over the second altar on the right are 18
small pictures, blackened with age, by Deferrari (not Alb. Diirer). Fres-
coes on the ceiling modern. The seats of the royal family are on the left
of the high altar.

Behind the high altar is situated the 'Cappella del SS. Sudario (open
during morning mass till 9 o'clock) , approached by 37 steps to the right
of the high altar, constructed in the 17th cent, by the Theatine monk
Guarini. It is a lofty circular chapel of dark brown marble, contrasting
strongly with the white monuments, separated from the choir by a glass
partition, and covered with a curiously shaped dome. This is the burial-
chapel of the Dukes of Savoy, and was embellished by King Charles
Albert in 1842 with statues in white marble and symbolical figures to the
memory of the most illustrious members of his family: (r.) Emmanuel
Philiberl (d. 1580), 'restitutor imperii', by Marchesi; Prince Thomas (d.
165G) 'qui magno animo italicam libertatem armis adseruit nee prius dimi-
care destitit quam vivere', by Gaggini; Charles Emmanuel II. (d. 1675),
by Fraccaroli; Amadeus VIII. (d. 1451), by Cacciatori. The chapel also
contains the marble monument of the late Queen of Sardinia Maria
Adelaide, consort of Victor Emmanuel (d. 1855), by Revelli. The peculiar
light from above enhances the eil'ect. In a kind of urn over the altar is
preserved the SS. Sudario, or part of the linen cloth in which the body
of the Saviour is said to have been wrapped. — The door in the centre
leads to the upper corridors of the royal palace, which are used as a
public thoroughfare.

Corpus Domini (PI. 12; E, 2), not far from the cathedral, was
erected in 1607 by Vitozzi, and derived its name from a miracle of
the Host in 1453. The church was restored in 1753 by Count
Alfieri , then 'decurione' of the city, and lavishly decorated with
marble, gilding, and paintings. — In the adjacent church of S.
Spirito, Rousseau, when an exile from Geneva, at the age of 16,
was admitted within the pale of the Roman Catholic Church in
1728, but he again professed himself a convert to Calvinism at Ge-
neva in 1754.

The Palazzo di Cittk (PI. 37; E, 2), the seat of the mu-
nicipality, and containing a library, was erected in 1659. The
IMazza in front of it is adorned with a monument to Amadeus VI.
(PI. 25), surnamed the ^conte verde" , the conqueror of the Turks
and restorer of the imperial throne of Greece (d. 1383), a bronze
group designed by Palayi, and erected in 1853. The marble sta-
tues in front of the portico of the Palazzo di Cittk (town-hall) of
(l.J Prince Eugene (p. 66; d. 1736) and (r.) Prince Ferdinand
(d. 1855), Duke of Genoa and brother of Victor Emmanuel, were
erected iii 1858 ; that of King Charles Albert (d. 1849) in the co-
lonnade to the left was erected in 1859 ; that of King Victor Em-
manuel, to the right, in 1860. Opposite these statues are several
Memorial Tallets bearing reference to the late wars and annexations.

In the Piazza Sayoia (PI. D, 2) rises the '■ Monumento Sic-
cnrdV (PI. 32), an obelisk 75 ft. in height, erected in 1854 to com-

University. TURIN. 8. Route. 63

memorate the abolition of ecclesiastical jurisdiction, named after
Siccardi, minister of justice, on whose suggestion it was erected
with the consent of the king and Chambers. The names of all the
towns which contributed to the erection of the monument, are in-
scribed on the column.

The Via della Consolata leads hence to the church of —

LaCousolata (PI. 11; D, 2), containing a highly revered Ma-
donna , and formed by the union of three churches ; the present
structure in the 'baroque' style of the 17th cent. , was erected by
Guarini in 1679, and decorated by Juvara in 1714. The chapel to
the left below the dome contains the kneeling statues of Maria
Theresa, Queen of Charles Albert, and Maria Adelaide, Queen of
Victor Emmanuel (both of whom died in 1855), erected in 1861.
The passage to the right of the church is hung with votive pic-
tures. — The piazza adjoining the church is adorned with a granite
column surmounted with a statue of the Virgin, erected in 1835 to
commemorate the cessation of the cholera.

Returning to the Piazza Savoia and crossing the Corso Siccardi,
we reach the new Giardino della Citadella (Pl.D, 2,3), where sta-
tues were erected in 1871 to Brofftrio (d. 1866), the poet and
orator, and in 1873, on the opposite corner, to the jurist J. B.
Cassini. — Farther on, in the triangular Piazza Pietro Micca (PI.
D, 3), at the corner of the Via della Cernaja, is a monument in
bronze , erected in 1864 in memory of Pietro Micca , the brave
'soldato minatore', who at the sacrifice of his own life saved the
citadel of Turin, on 30th Aug., 1706, by springing a mine when
the French grenadiers had already advanced to the very gates.
Nearly opposite rises the statue of Count Alex. La Marmora (d. 1855
in the Crimea).

The Piazza Solfeeino (PI. D , E, 3) is embellished with an
equestrian statue of Duke Ferdinand of Genua (p. 62), by Bal-
zico , erected in 1877 ; the prince is represented as commanding
at the battle of Novara.

In front of the imposing Central Station (p. 54 ; PL E, 4, 5)
extends the Piazza Caklo Felice, in which it is intended to erect
a colossal monument in memory of the completion of the Mont
Cenis tunnel. The bronze statue of Massimo d'Azeylio, the patriot,
poet, and painter (d. 1866), by Balzico , was cast at Munich, and
erected in 1873. This large piazza is adjoined by two smaller
ones , the Piazza Paleocapa to the W. , adorned with the statue
of the minister of the same name (PL 31), and the Piazza La-
grange , with the statue of Count Lagrange , the mathematician
(d. 1813 at Paris; PL 30).

In the Via di Po (p. 56) which leads to the S.E. from the Piazza
Castello, on the left, is the University (PL 57; F, 2), with a hand-
some court in the late Renaissance style , with two arcades, one

64 Route ,V. TURIN. Museo Civico.

above the other. It contains a Museo Lapidario of Roman anti-
quities, chiefly inscriptions. Marble statues have been erected here
to Carlo Enianuele III., and to Vittorio Amadeo II. (at the en-
trance), to Prof. Riberi (d. 1861), and Dr. L. Gallo (d. 1857). On
the corridor of the first floor are busts of celebrated professors and
a large allegorical group presented by Victor Emmanuel. The Li-
brary (open to the public daily, 8 a.m. to 6 p.m. in summer, and
9-4 and 7-10 p. m. in winter ; closed in Sept.), numbers 200,000
vols, and contains a number of valuable manuscripts from Bobbio
and rare editions (Aldi). The University (founded in 1404) has at
present a staff of 85 professors, and numbers about 1500 students.

No. 6, to the right in the Via dell' Accademia Albertina, is the
Accademia Albertina delle Belle Arti (PI. 1; F, 3; shown on week-
days on payment of a fee). It contains a small collection of pic-
tures; among them a Madonna ascribed to Raphael, a cartoon by Leon,
da Vinci, and '24 cartoons by Gaudenzio Ferrari.

The Via Montobello , the next cross-street , leads to the new
Synagogue (PI. 47; G, 2), begun by Antonelli in 1863, but after-
wards discontinued for lack of funds , and now being finished at
the expense of the city ; it is a square building resembling a tower,
with a singular facade consistiiig of several rows of columns, and
will when finished be the loftiest in Turin (354 ft.).

In the Via di Gaudenzio Ferrari , No. 1 , is situated the Museo
Civico (PI. 33 ; F, 2), containing the civic collections (open to the
public on Sun. and Thnrs. 11-3, on other days by paying a fee of
1 fr.). These collections comprise ethnological and prehistoric ob-
jects , medic-eval scxilptures and a copy of the Bucentaur (ground
floor) , modern paintings and sculptures (first floor), and small ob-
jects of medifcval .-nd Renaissance art, paintings and mementoes
of Massimo d'Azeglio, and an interesting collection of stained glass
(second floor).

The former Oiardino del Ripari , on the site of the old fortifi-
cations , is now superseded by new streets and squares in course
of construction. The squares in this new quarter are adorned with
several monuments, such as that to the Dictator of Venice, Dan-
tele Manin (d. 1857), beyond the Ospedale S. Giovanni Battista,
representing the Republic Venice, holding in her right hand a
palm-branch, and leaning, with her left, on the medallion portrait
of Manin. Also statues of Cesare Balbo (d. 1583), the minister and
historian, of Bava, the Piedmontcsc general, and, nearer the
Piazza Maria Teresa (PI. G, 3), of General Oucjl. Pepe (d. 1853),
the brave defender of Venice in 1849.

An avenue leads from the Piazza Vittorio Enianuele, along the
bank of the river, to the chain-bridge (PI. G, 4), constructed in
1840. In the Via S. Lazzaro, diverging to the right, is situated the
church of —

S. Massimo (PI. 15 ; F, G, 4), bniltin 1849-54 in the style of a

Cemetery. TURIN. 8. Route. 65

Roman temple, surmounted by a dome. The facade is adorned with
statues of the Four Evangelists. Good modern frescoes in the in-
terior, and several statues by Albertoni.

In the Corso del Re, which leads from the iron bridge to the
Piazza Carlo Felice, on the left, is the handsome Protestant Church
iTempio Valdese; PI. 18, F 4; see p. 66), completed in 1854, the
first erected at Turin since the establishment of religious toleration
in 1848.

A favourite promenade , especially in the evening , is the
*Nuovo Giardino Pubblico (PI. G, 4, 5), above the iron bridge on
the left bank of the Po (Cafe). It comprises the Botanical Garden,
and extends beyond the royal chateau Jl Valentino , a turreted
building of the 17th cent., now occupied by the Polytechnic
School ('Scuola superiore d'applicazione degli Ingegneri'). In the
adjacent Corso Massimo d'Azeglio is the Tiro Nazionale, a well
equipped rifle-range.

Opposite the spacious Piazza Vittorio Emanuele (seep. 56;
PI. G, 3) the Po is crossed by a Bridge of five arches, constructed of
granite in 1810. (Above the bridge are the swimming-baths, p. 55.)
Beyond the bridge, on the right bank of the river is a flight of 32
steps ascending to the spacious dome-church of Gran Madre di
Dio (PL 14 ; H, 3), erected in 1818 in imitation of the Pantheon
at Rome, to commemorate the return of King Victor Emmanuel I.
in 1814. The groups sculptured in stone on the flight of steps are
emblematical of Faith and Charity. The lofty columns of the por-
tico are monoliths of granite. — A few hundred yards farther is the
Villa della Regina , now a school for the daughters of officers who
have fallen in battle, commanding a fine view of the town.

Following the Via di Moncalieri to the right , we reach the
wooded hill on which rises the Capuchin Monastery, 11 Monte
(PI. H, 3, 4), 1/4 hr.'s walk from the bridge. Two paths ascend
the hill, the wider of which, to the left, is preferable, being shady
and unpaved. The terrace in front of the church (which should be
visited in the morning, as the evening light is dazzling) commands
a fine *Survey of the river, city, plain, and the chain of the Alps in
the background , above which (right) the snowy summit of Monte
Rosa (15,217 ft.) is prominent, then the Grand-Paradis (13,780 ft.),
and Monte Levanna (11,942 ft.); farther W. the valley of Susa
(p. 24), S. Michele della Chiusa (p. 24), rising conspicuously on
a hill (1042 ft.), above it the Roche-Melon (11,660 ft.) to the right
of Mont Cenis, and farther S.W. Monte Viso (12,670 ft.). This
hill of the Capuchins has always been a point of great importance
in the military history of Turin , and was fortified down to 1802.

The Cemetery (Campo Santo, open 12-4 o'cl. in winter in fine
weather ; in March and April 1 - 5 ; in summer 3-8 ; in Sept. and
Oct. 2-4 only; single cab fare), IV2 M. N.E. of Turin, and reached

Baedeker. Italy I. 5th Edit. 5

bb Route 9. IVREA.

from the Ponte delle Benne by a shady avenue (the road to Chi-
vasso, see p. 69), deserves a visit. The front part is enclosed by
a wall with arches, while the more interesting portion beyond is
surrounded by arcades covered with small domes. To the left by
the wall in the first section is the tomb of Silvio Pellico (d. 1854} ;
in the other section we observe the names of many celebrated
modern Italians, such as d'Azeglio, Bava, Brofferio, Gioberti, Pepe,
and Pinelli. A separate space on the N. side is reserved for the
interment of non-Romanists.

The Superga (2555 ft.), tlie royal burial-church, a handsome edifice
with a colonnade in front, and surmounted by a dome, conspicuously situ-
ated on a hill to the E. of Turin, is well worthy of a visit, and commands
a splendid view (comp. the Map, p. 55). The building vi'as begun in 1718,
from designs by Juvara, and was completed in 173i (closed 12-2). Ad-
jacent are a seminary for priests and a trattoria. — It was near the
Superga that the famous battle of Turin between the Italians and French
was fought , 7th Sept. 1706 , in which the latter were signally defeated,
and by which the House of Savoy regained the Duchy, which was created
a kingdom in the Peace of Utrecht, 1713. It is said that Prince Eugene
reconnoitred the hostile camp from this height before the commencement
of the battle, and that , observing symptoms of irresolution in their move-
ments, he observed to Duke Amadeus II. '■II me semble , que ces gens-la
soiit a demi baUiis\ The latter, it is said, on this occasion vowed to erect
a church here in honour of the Virgin , in case of his success in the
battle. An annual thanksgiving still takes place in the church on 8th Gept.

Pedestrians require three good hours to reach the Superga. The
plcasantest way is to take the tramway as far as the Madonna del Piloiie,
about 1 M. below Turin, where donkeys (somarelli, 1-3 fr.) may be en-
gaged for the ascent of the hill. Two-horse carriage from Turin and
back, 25 fr.

ExcDKsioN from Turin to the Valleys of the Waldenses ( ValUes Vau-
doises), extending along the French frontier, about 30 M. to the S.W.
The well-known and interesting Protestant communities (about 25,000
souls) who have occupied these valleys for 600 years, have steadily ad-
hered to the faith for which they were formerly so cruelly persecuted.
Their language is French. Railway from Turin to Pignerol (Ital. Pine-
rolo) in IV2 hr. (fares 3fr. 45, 2fr. 60, 1 fr. 75c.); omnibus thence once
daily in 1 hr. (fare Ifr. ; one-horse carr. there and back 7V2 fr.) to la
Tour, Ital. Torre Pellice , formerly Torre Luserna (UOurs; Lion d" Or),
the chief of these communities, which possesses excellent schools. — From
Pignerol a road ascends the valley of the Clusone by Perosa and Fenes-
trelle , a strongly fortified place , to the Monl Oenivre and the French
fortress of Brian^on in the lofty valley of the Durance. At Cesanne this
road unites with that from Susa.

9. From Turin to Aosta.

Si M. Railway to Ivrea (39 M.) in 2 hrs. (fares 7fr. 5, 4fr. 95,
3l'r. 45 c.). Diligence thence to Aosta (42 M.) in 9 hrs.

From Turin to (18 M. ) Chivasso, see p. 69. Between the de-
pressions of the lower mountains the snowy summits of the Grand-
Paradis are conspicuous; farther to the E., Monte Rosa is visible.

At Chivasso carriages are changed. — 22 M. Montanaro, 27 M.
Caluso, and 27 M. Stramblno, villages of some importance.

39 M. Ivrea (768 ft. ; Europa , in the Dora promenade ;
*Universo), a town with 9300 inhab., is picturesquely situated on

VERREX. 9. Route. 67

the Dora Baltea (Frencli Doire), on the slope of a hill crowned by
an extensive and well-preserved ancient Castle, with three lofty
towers of brick, now a prison. Adjacent is the modern Cathedral,
the interior of which was restored in 1855. An ancient sarcophagus
adorns the adjoining Piazza. Ivrea was the ancient Eporedia,
which was colonised by the Romans, B.C. 100, in order to command
the Alpine routes over the Great and Little St. Bernard. Pleasant
walk to the Madonna del Monte (pilgrimage church) and the lake
of S. Giuseppe with a ruined monastery (1 hr.).

Ivrea may be regarded as one of the S. gateways to the Alps. The
luxuriantly fertile valley, here IV2 M. in breadth , is flanked with
mountains of considerable height. The Road skirts the Dora
Baltea the whole way to Aosta. On a height to the right stands
the well-preserved, pinnacled castle of Montalto (a waterfall near
it); several other ruins crown the hills farther on. The vines
which clothe the slopes are carefully cultivated. The road leads
through the villages of Settimo-Vittone and Carema. At —

11 M. (from Ivrea) Pont St. Martin (Rosa Rossa) the road
crosses the Lys torrent, which descends from Monte Rosa. The bold
and slender bridge which crosses the brook higher up is a Roman
structure. This and the ruined castle here are most picturesque
features in the landscape. Several forges are situated on the bank
of the Dora.

Beyond Donnaz the road ascends rapidly through a profound
defile. On the left flows the river, on the right rises a precipitous
rock. The pass is terminated by the picturesque *Fort Bard (1019
ft.), which stands on a huge mass of rock in a most commanding
position. The fort was taken in 1052 by Duke Amadeus of Savoy
after a long and determined siege , and in May , 1800, before the
battle of Marengo, it was most gallantly defended by 400 Austrians,
who kept the whole French army in check for a week.

The new road , hewn in the solid rock, no longer leads by the
village of Bard, but follows the course of the Dora, below the fort.
On the left opens the Val di Camporciero, or Champorcher.

19 M. Verrex (1279 ft.; Ecu de France, ox Paste; *Couronne)
lies at the entrance of the (r.) Val de Challant.

The valleys of Aosta and Susa (p. 24) were alternately occu-
pied by the Franks and the Lombards , and belonged for a con-
siderable period to the Franconian Empire, in consequence of which
the French language still predominates in these Italian districts.
Bard is the point of transition from Italian to French , while at
Verrex the latter is spoken almost exclusively.

Above Verrex the valley expands. The ruined castle of St.
Germain, loftily situated, soon comes into view. The road ascends
through the long and steep *Defile of Montjovet. The rock-hewn
passage is supposed to have been originally constructed by the
Romans. The Doire forms a succession of waterfalls in its rugged

68 Route 9. AOSTA.

channel far below. The small village of Montjovet , on the roofs
of which the traveller looks down from the road , appears to cling
precariously to the rocks. The castle of St. Germain is again
visible from several different points of view.

As soon as the region of the valley in which Aosta is situated
is entered , a grand and picturesque landscape , enhanced by the
richest vegetation , is disclosed. The Pont des Salassins (see
below), a bridge crossing a profound ravine, commands a magnifi-
cent view. On the left rises the castle of Vsselle.

Near St. Vincent (Lion d'Or; Ecu de France") is a mineral
spring and bath-establishment. Then (l'/2 M. farther) —

271/2 M. Ch&tillon (1738 ft.; Hotel de Londres ; Liond'Or, poor),
the capital of this district, possessing a number of forges and hand-
some houses. To the N. opens the Val Tournanche, through which
a bridle-path leads to the Theodule Pass (10,899 ft.) and Zermatt
(see Baedeker's Switzerland).

The road is shaded by walnut and chestnut-trees and trellised
vines. The wine of Chambave, about 3 M. from Chatillon , is one
of the best in Piedmont. A slight eminence here commands an
imposing retrospect; to the E. rise several of the snowy summits of
Monte Rosa, on the right the Castor and Pollux (Les Jumeaux), on
the left the bold peak of the Matterhorn and the Theodule Pass (see
above). The background towards the "W. is formed by the triple-
peaked Ruitor.

To the left, at the entrance of the valley of Chambave, stands
the picturesque castle of Fenis. The poor village of Nus , with
fragments of an old castle, lies midway between Chatillon and Aosta.

A footpath leads from Villefranche to the castle of Quart on the
hill above (now a hospital) and descends on the other side. Beau-
tiful view from the summit.

42 M. Aosta (1912 ft.; *H6tel du Montblanc, at the upper end
of the town, on the road to Courmayeur ; Couronne, in the market-
place), the Augusta Praetoria Salassorum of the Romans, now the
capital (7800 inhab.) of the Italian province of that name, lies at
the confluence of the Buttier and the Doire, or Dora Baltea. The
valley was anciently inhabited by the Salassi , a Celtic race , who
commanded the passage of the Great and the Little St. Bernard,
the two most important routes from Italy to Gaul. They frequently
harassed the Romans in various ways , and on one occasion plun-
dered the coffers of Cfesar himself. After protracted struggles the
tribe was Anally extirpated by Augustus , who is said to have
captured the whole of the survivors , 36,000 in number, and to
have sold them as slaves at Eporedia. He then founded Aosta to
protect the high roads, named it after himself, and garrisoned it
with 3000 soldiers of the Pr;ctorian cohorts. The antiquities which
still testify to its ancient importance are the Town Walls, flanked
with strong towers, the double S. Oate, resembling the Porta Nigra

CHIVASSO. 10. Route. 69

of Treves in miniature, a magnificent Triumphal Arch constructed
of huge blocks and adorned with ten Corinthian half-columns, the
half-huried arch of a bridge, the ruins of a basilica, etc. The prin-
cipal relics may be seen in 1/2 ^"^^ ^6 follow the principal street
towards the E., and soon reach the Roman Gate and the Trium-
phal Arch. Proceeding from the latter in a straight direction we
cross the new bridge over the Buttier, a few paces beyond which
is the Roman Bridge, at first scarcely recognisable, the construction
of which is best seen by descending and passing below it.

The modern Cathedral possesses a singular Portal , with fres-
coes; above it the Last Supper in terracotta, gaudily painted.
Near the church of St. Ours are cloisters with handsome early
Romanesque columns. Modern Town Hall in the spacious Piazza
Carlo Alberto, or market-place.

The 'Becca di Nona (10,354 ft.), which rises to the S. of Aosta, com-
mands a superb view of the Alps. Good bridle-path to the summit. Two-
thirds of the way up is the Alp Comboh (simple fare) ; on the top is a new
refuge hut.

From Aosta over the Oreat St. Bernard to Martigny (p. 24), and from
Aosta to Courmayeur and round Mont Blanc to Cfiamouny, and excursions
to the Qraian Alps, see Baedeker's Switzerland.

10. From Turin to Milan by Novara.

931/2 M. Railway in 33/4-51/2 hrs. (fares 17 fr., 11 fr. 90, 8 fr. 55 c). —
The seats on the left afford occasional glimpses of the Alps. — Stations
at Turin, see p. 54.

The Dora Riparia is crossed , then the Stura between stations
Succursale di Torino and Settimo (whence a tramway runs towards
the N. to Rivarolo'), and beyond it the Malon and Oreo, all tribu-
taries of the Po. — 15 M. Brandizzo.

18 M. Chivasso (Moro) lies near the influx of the Oreo into the
Po. Branch-line hence to Ivrea, see p. 66. Beyond stat. Torrazza
di Verolan the Dora Baltea (p. 67), a torrent descending from
Mont Blanc, is crossed. Stations Saluggia, Livorno, Bianze, and
Tronzano.

37 M. Santhih possesses a church, restored with taste in 1862,
and containing a picture by Gaud. Ferrari in ten sections.

Bkanch-Line to Biella, I8V2 M., in 1 hr. , by Salussola, Vergnasco,
Sandigliano , and Candelo. — Biella (Albergo delta Testa Qrigia; Albergo
Centrale) , an industrial town and seat of a bishop, possesses streets with
arcades and a fine cathedral in a spacious Piazza , where the episcopal
palace and seminary are also situated. The palaces of the old town, rising
picturesquely on the hill, are now tenanted by the lower classes. Celebrat-
ed pilgrimage-church of the Madonna d''Oropa, 8 M. farther up the valley
(omnibus thither). On the way to it two finely situated hydropathic
establishments are passed.

The train skirts the high road. — 401/2 M. S. Oermano.

491/2 M. Vercelli (Tre Re; Leone d'OroJ, an episcopal residence
with 26,000 inhabitants. The church of S. Cristoforo contains pic-
tures by G. Ferrari and B. Lanini, by the former a *Madonna and
donors in an orchard. S. Caterina also contains a work of Ferrari.

70 Route 10.

NOVARA.

The library of tlie cathedral contains a number of ra,re and ancient
MSS. A statue of Cavour was erected in the market-place in 1864.

Branch-Line to Alessandria, 35 M., in 2 hrs. (fares 6fr. 35, 4fr. 45,
3fr. 20c0- Stations Asigliano , Perlengo, Balzola, beyond which tlie i'o
is crossed. — 14V2 M. Casale (Albergo delV Angela, Leon d'Oro), the an-
cient capital of the Duchy of Monferrato , which afterwards belonged to
the Gonzagas. The interesting Romanesque Cathedral contains several
good paintings (by G. Ferrari and others), and sculptures by Lombard
masters. The church of ;S. Domeiiico, in the Renaissance style, the Pa-
lazzo di Citth, with its handsome colonnade, and other palaces are also
worthy of inspection. Casale is the junction of the Asti and Mortara line
(see p. 73). — The following stations are Borgo S. Marlino, Giarole, Va-
leiiza (see p. 159), Valmadonna, and Alessandria (see p. 73).

The train crosses the Sesia (p. 161); to the left rise the Alps,
among which the magnificent Monte Rosa group is most conspic-
uous. 521/2 M. Borgo Vercelli, 57 M. Ponzana.

63 M. Novara (*Rail. Restaurant; Albergo d' Italia, R. 2, B. 1,
L. V2j a. 3/4, omnibus V2 ft-, well spoken of; Tre Re), an epis-
copalf[residence and formerly a fortress, with 30,900 inhab., was

Oo^2a3i(r>cyArgna.

ll 12S00 i^^

MAGENTA. 10. Route. 71

the scene of a victory gained by the Austrians under Radetzky
over the Piedmontese in 1849, in consequence of which Charles
Albert abdicated. A walk through the town is interesting.

From the station we proceed in a straight direction along the
Via Vittorio Emanuele , passing a Monument of Cavour, by Dini,
and then turn to the right to the church of S. Gaudenzio, erected
by Pellegrini about 1570, the stately tower of which rises con-
spicuously over the town. The church is built without aisles, in
imitation of S. Fedele at Milan, and contains several good pictures
by Gaudenzio Ferrari (2nd chapel on the left). The tower, ascend-
ed by 300 steps, commands a very extensive prospect, most pictur-
esque in the direction of the Alps.

The Cathedral, a Renaissance structure with nave and aisles
upon an old Roman foundation , connected with the Baptistery by
an atrium or entrance-court, is a picturesque pile. The market-
place is surrounded by colonnades. — In front of the theatre is a
marble statue of Charles Emmanuel III., by Marches!. — The Mer-
cato, or Corn Exchange, near the Porta Torino, is a handsome
building, surrounded with colonnades. — In the Corso di Porta
Genova, near the Palazzo Civico, is a monument to Charles Albert.

The celebrated philosopher Petrus Lombardus (d. 1164 as Bishop of
Paris), surnamed the 'Magister Sententiaruni'' and a pupil of Abelard, was
born near Novara about 1120.

Bkanch-Line to Gozzano, 2272 M., in IV4 hr. (fares 4 fr. 10, 2 fr. 85 c,
2 fr. 5 c). Stations Caltignaga , Momo , Borgomanero (a thriving town),
Gozzano (near it Bolzano, an episcopal chateau with a church and sem-
inary) ; omnibus hence to Buccione (see p. 160).

At Novara the Turin and Milan line is crossed by that from
Arena to Genoa (p. 158). Frequent changes of carriage.

69 M. Trecate. Near iS. Martina the line crosses the Ticino by
a broad and handsome stone bridge of eleven arches , which the
Austrians partially destroyed before the battle of Magenta.

Farther on, the Naviglio Orande, a canal connecting Milan with
the Ticino and the Lago Maggiore , is crossed (comp. p. 118). On
the right , before (77 M.) Magenta is reached, stands a monument
erected to Napoleon III. in 1862, to commemorate the victory gained
by the French and Sardinians over the Austrians on 4th June,
1859, in consequence of which the latter were compelled to evac-
uate the whole of Lombardy. A number of mounds with crosses in
a low-lying field opposite the station mark the graves of those who
fell in the struggle. A small chapel has been erected on an
eminence in the burial-ground, and adjoining it a charnel-house.

The line intersects numerous fields of rice , which are kept
under water during two months in the year. The next stations are
Vittuone and Rhb (p. 158), where the line unites with that from
Arona.

931/2 M. Milan (see p. 116).

11. From Turin to Piacenza by Alessandria.

117 M. Railway in 4-8 hrs.; fares 21 fr. 30, 14 fr. 90, 10 fr. 60 c.

From Turin to Alessandria, 57 M. , see R. 12. Beyond Alessandria
the train traverses the Battle-field of Marengo (p. 74). 62 M.
Spinetta, a little to the N.W. of Marengo. — 65 M. S. Giuliano.
The train then crosses the Scrivia, and reaches (70 M.) the small
town of Tortona (Croce Bianca) , the ancient Dertona, -with a Ca-
thedral erected by Philip II. in 1584, containing a remarkably
tine ancient sarcophagus.

Bbanch-Line to Novi (p. 74), IIV2 M. , by stat. Pozzuolo , in 35-45
min. (2fr. 15, 1 fr. 55, 1 fr. 10 c).

The train traverses a fertile district, and near stat. Ponte-
curone crosses the impetuous Curone. — 81 M. Voghera (Italia;
Albergo del Popolo), a town with 15,400 inhab., on the left bank
of the Staffora (perhaps the ancient Iria), was once fortified by
Giov. Galeazzo Visconti. The old church of S. Lorenzo, founded in
the Uth cent. , was remodelled in 1600. From Voghera to Milan
via Pavia, see R. 24.

On the high road from Voghera to the next station Casteggio,
to the S. of the railway , is situated Montebello , where the well
known battle of 9th June, 1800 (five days before the battle of Ma-
rengo), took place , and on 20th May , 1859, the first serious en-
counter between the Austrians and the united French and Sar-
dinian armies. Casteggio , a village on the Coppa , is believed to
be identical with the Clastidium so frequently mentioned in the
annals of the wars of the Romans against the Gauls.

The train skirts the base of the N. spurs of the Apennines.
Stations -S. Giuletta, Broni, Stradella. At (981/2 M.) .Arena-Po it
enters the plain of the Po. — 103 M. Castel S. Giovanni is situated
in the ex-Duchy of Parma. The last stations are Sarmato, Rotto-
freno , and S. Niccolh. The last, in the plain of the Trebia, is
memorable for the victory gained by Hannibal, B. C. 218, over the
Romans, whom he had shortly before defeated near Somma.
117 M. Piacenza, see p. 266.

12. From Turin to Genoa.

a. Vi& Alessandria.

103 M. Railway in 41/4-53/4 hrs.; fares 18 fr. 80, 13 fr. 50, 9fr. 40 c.

The line , the construction of which was zealously promoted by
Count Cavour in order to bring Genoa into closer relations with
Turin (opened in 1853), at first proceeds towards the S., at some
distance from the left bank of the Po. Near (5M.) Moncalieri, where
the line turns to the E. , the river is crossed by a bridge of seven
arches. On a height above Moncalieri, which is picturesquely
situated on the hill-side, rises the handsome royal chateau, where
Victor Emmanuel 1. died in 1823. A final retrospect is now ob-

ALESSANDRIA. 12. Route. 73

tained of the hills of Turin, and, to the left, of the principal snowy
summits of the Alps. At (8 M.) Trofarello hranch-lines diverge
to Savona (p. 74) and Cuneo (p. 108), and to Chieri. Stations Cam-
biano, Pessione, Villanuova, Villafranca, Baldichieri, S. Damiano.
The line then crosses the Borbone, and reaches the valley of the
Tanaro, on the left bank of which it runs to Alessandria.

351/2 M. Asti (Leone d'Oro ; Albergo Reale), the ancient Asia,
with 33,500 inhab. , and numerous towers , the birthplace of the
dramatist Alfieri (d. 1803), is famous for its sparkling wine and its
horticulture. The left aisle of the Gothic Cathedral, erected in 1348,
contains (in the 2nd chapel) a Madonna with four saints by a master
of the school of Vercelli, and (in the 3rd chapel) a Sposalizio, pro-
bably by the same. — The adjacent church of S. Giovanni (the
sacristan of the cathedral keeps the key) is built above an ancient
Christian basilica, part of which has again been rendered accessible,
and is borne by monolithic columns with capitals bearing Christian
symbols (6th cent.). The Piazza is adorned with a Statue of Al-
fieri, by Vini, erected in 1862. Near Porta Alessandria is the small
Baptistery of S. Pietro (11th cent.), an octagonal structure, borne
by short columns with square capitals , and surrounded by a low,
polygonal gallery. On the right and left, at some distance from the
town , rise vine-clad hills which yield the excellent wine of Asti.

From Asti to Moetara (Milan) 46 M. , in 3V2-4 hrs. — Stations un-
important; (29 M.) Casale, see p. 70; Mortara, see p. 158. — Feom Asti
TO Castagnole (p. 75), 13 M., in 3/4 hr.

Next stations Annone, Cerro, Felizzano, Solero. The country
is flat and fertile. Before Alessandria is reached, the line to Arona
(p. 158) diverges to the N. The train now crosses the Tanaro by a
bridge of 15 arches, skirts the fortifications, and reaches —

56V2 M. Alessandria (Hotel deVVnivers, R. 2, B. IV2 fr- ;
Europa; Italia; ^Railway Restaurant), a town with 58,000 inhab.,
situated on the Tanaro in a marshy district, and only remarkable as
a fortified place. It was founded in 1168 by the Lombard towns
allied against the Emp. Frederick Barbarossa , and named after
Pope Alexander III., with the addition of dellapaglia, i.e. of straw,
perhaps because the first houses were thatched with straw. — Ales-
sandria being a junction of several lines, carriages are generally
changed here. Railway to Vercelli by Valenza , p. 70 ; to No vara
and Arona, pp. 158, 159; to Milan by Mortara and Vigevano, see
p. 158; to Pavia by Valenza, see p. 165; to Piacenza, Parma, Bo-
logna, etc., see RR. 11 and 38; to Cavallermaggiore, see p. 75.

Fkom Alessandria to Savona (via Acqui), 65 M. , in 41/4-43/4 hrs.
(fares 11 fr. 94, 8fr. 40 c., 6 fr.). — As far as Cantalupo the line is the
same as to Bra and Cavallermaggiore (see p. 75). — 21 M. Acqui (Al-
hergo del Moro)^ the Aquae Statielae of the Romans, an episcopal town on
the Bormida with 11,200 inhab., is well known for its mineral waters,
which resemble those of Aix-la-Chapelle in their ingredients and effects.
The Cathedral, with its double aisles, dates from the 12th century. Near
Acqui the Austrians and Piedmontese were defeated by the French in
1794. Good wine is produced in the vicinity. — The line ascends the

74 Route 12. NO VI. From Turin

valley of the Bormida , passing throngh ten tunnels. Stations Terzo, Bi-
stagno, Ponti, ifontecfiiaro, Spigno (with silk and wool factories), Merana,
Picma, Degu, RocclieUa, and Cairo. — 52 M. S. Giuseppe di Cairo , see
p. 76. — 65 M. Savona, see p. 93.

Tte line crosses the Bormida , which a short distance below
Alessandria falls into the Tanaro. Ahout I1/4 M. E. of the hridge,
in the broad plain between the Bormida and the Scrivia, is situated
the small village of Marengo , near which , on 14th June , 1800,
was fought a battle which influenced the destinies of the whole
of Europe. The French were commanded by Napoleon, the Austrians
by Melas. The battle lasted 12 hrs., and the French lost Desaix,
one of their best generals. — 63 M. Frugarolo.

70 M. Novi {*La Sirena ; branch-line to Pavia and Milan via
Tortona and Voghera, see pp. 71, 72, and R. 24; to Piacenza, see
R. 11), situated on the hills to the right, commanded by a lofty
square tower, was the scene of the victory gained by the Austrians
and Russians under Suwarow over the French on 15th Aug., 1799.
At (75 M.) Serravalle the train enters a mountainous district. —
79 M. Arquata, with a ruined castle on the height. Between this
point and Genoa there are eleven tunnels. The train threads its
way through profound rocky ravines (la Bocchetta), traversing lofty
embankments, and several times crossing the mountain-brook (Scri-
via). The scenery is imposing and beautiful. — 83 M. Jsola del
Cantone; on the height to the right the ruins of an old castle.

891/2 M. Busalla (1192 ft.), the culminating point of the line,
is the watershed between the Adriatic and the Tyrrhenian Sea.

The last long tunnel, the Galleria dei Giovi, is upwards of 2M.
in length, and descends towards the S. Then several short cuttings.
The landscape becomes more smiling ; the hills , planted with
vines and corn, are sprinkled with the villas of the Genoese.

To the right, on the loftiest summit of the mountain near
(951/2 M.) Pontedecimo (282 ft.), rises the white church of the Ma-
donna de'Ua Guar dia. QSM. Bolzaneto, and (lOOM.) Bit'aroio. The
railway now crosses the Polcevera, the stony channel of which is oc-
casionally filled with an impetuous torrent, by a handsome new bridge
with 9 arches. On the summits of the heights to the left are towers
belonging to the old fortifications of Genoa. The last stat. (IOII/4M.)
S. Pier d" Arena is a suburb of Genoa (p. 90), where travellers pro-
vided with through-tickets to or from Nice change carriages. On
the right are the lighthouse and citadel, below which the train
enters the town by a tunnel. On the right, before the station is
entered, is the Palazzo del Principe Doria.

103 M. Genoa, see p. 78.

b. Vi& Brk and Savona.

From Turin to Savona, 97 M., in 5V4-7 hrs. (fares 16 fr. 70, 11 fr. 70
8fr. 45c.); thence to Genoa, 27V.2 M., in V/2-2 hrs. (fares 5 fr., 3 fr. 50
2 fr. 50 c). Finest views to the right.

From Turin to Trofarello, 8 M., see p. 72. — 121/2 M. Villastellone.

to Genoa. MONDOVI. 12. Route. 75

A road crossing the Po leads hence to the W. to (472 M.) Carignano, a
town with 7800inhab., and several handsome churches, situated on the
high road from Turin to Nice. <S. Oiovanni Baiiista was erected by Count
Alfieri ; S. Maria delle Grazie contains a monument to Bianca Palaeolo-
gus, daughter of Guglielmo IV., Marquis of Montferrat, and wife of Duke
Charles I., at whose court the 'Chevalier Bayard' was brought up. —
Carignano, with the title of a principality, was given as an appanage to
Thomas Francis (d. 1656), fourth son of Charles Emmanuel I., from whom
the present royal family is descended.

18 M. Carmagnola, with 13,200 inhab.

Carmagnola was the birthplace (1390) of the celebrated Condottiere
Francesco Bassone, son of a swine-herd, usually called Count of Carmag-
nola, who reconquered a considerable part of Lombardy for Duke Filippo
Maria Visconti, and afterwards, as Generalissimo of the Republic of Venice
conquered Brescia and Bergamo , and won the battle of Macalo (1427).
At length his fidelity was suspected by the Council of Ten, and he was be-
headed between the two columns in the Piazzetta (p. 225) on 5th May,
1432. Bussone's fate is the subject of a tragedy by Manzoni.

A direct line hence to Brk is projected, with a view to cut off
the circuit by Cavallermaggiore. — 231/2 M. Racconigi, with a royal
chateau and park, laid out in 1755 by Le Notre, the favourite resi-
dence of Carlo Alberto (d. 1849).

28 M. Cavallermaggiore (Italia; Buoi Rossi), with 5000 inhab.,
is the junction of the lines to Saluzzo and Cuneo (p. 108).

31 M. Madonna del Pilone. — 36 M. Brh, the largest place on
the line, with 14,300 inhab., is the junction for Alessandria.

From Cavalleemaggioke to Alessandria, 61 M., in 21/4 hrs. (fares 11 fr.
15, 7 fr. 80, 5 fr. 60c.). — 8 M. Bra, see above. — I2V2 M. Vittoria, whence
a pleasant excursion may be made to the royal palace of PoUenzo, with
the remains of the Roman town of Pollentia. — lO'/z M. Alba, with
10,600 inhabitants. The cathedral of S. Lorenzo dates from the 15th cen-
tury. — Next stations Neive, Castagnole (p. 73), Costigliole, S. Stefano Belbo,
on the Belbo , the valley of which the train traverses for some distance ;
Canelli, Calamandrana, and Mzza di Monferrato, whence a good road leads
to Acqui (p. 73). Stat. Incisa , situated on the Belbo , a considerable dis-
tance from the railway. Then Castelnuovo, Bruno, Bergamasco , Oviglio,
Cantalupo , and (61 M.) Alessandria, see p. 73.

41 M. Cherasco , not visible from the line , lies at the confluence
of the Tanaro and the Stura. The train ascends the course of the
former. Stations Narzole, Monchierro, Farigliano. — 89 M. Carrii.

Branch -Line to Mondovi, 9 M., in 40 min. (fares 1 fr. 65, 1 fr. 15,
85c.). — Uondovi ( Croce di Malta; Tre Limoni d'Oro), a town with 18,0(X)
inhab., on the EUero, with a cathedral of the 15th cent., and a loftily
situated old tower, is the best starting point for a visit to the imposing
* Cavern of Bossia , in the Valle di Corsaglia. A carriage may be hired
at one of the inns at Mondovi for Frabosa , 9V2 M. to the S. of Mondovi,
whence a lighter 'calessa' conveys travellers to the cavern (each member
of a party 7-8 fr. for the whole drive). The cavern is shown from the
beginning of June to the end of October (admission 2'/4 fr. ; no gratuities).

62 m. Niella. — 68 M. Ceva, on the Tanaro, an industrial place
with an old castle under which the train passes by a tunnel.

The train now begins to cross the Maritime Alps, and reaches the
most imposing part of the line. Between this point and Savona are
numerous viaducts and no fewer than 28 tunnels. The train quits
the valley of the Tanaro and ascends. Beyond (72 M.) Sale it
passes through the Oalleria del Belbo, a tunnel upwards of 3 M. in

76 Route 12. CENGIO.

length, and the longest on the line. — 79 M. Cengio, in the valley
of the Bormida di Millesimo.

841/2 M. S. Giuseppe di Cairo , on the Bormida di Spigno,
through the valley of which the train descends to Acqui (p. 73).

Tunnels and viaducts now follow each other in rapid succession,
the loftiest of the latter being 137 ft. high. — 93 M. Santuario di
Savona, a pilgrimage church with a large hospice for poor devotees,
founded in 1537.

97 M. Savona, see p. 93.

III. Liguria.

The Maritime Alps and the immediately contiguous Apennines (the
boundary between which is near Savona, about 20 51. to the W. of Genoa)
slope gently northwards to the Po in the form of an extensive rolling
country, and descend abruptly towards the sea to the S. The narrow
RiviEKA, or coast-district, expands at a few points only into small plains.
The cultivated land climbs up the hill-sides in terraces, sheltered from the
N. wind, and enjoying a fine sunny aspect. While the mean temperature
at Turin is 53V3° Fahr., it is no less than 61° at Genoa; and again, while
the temperature of January averages 31° at the former, and occasionally
falls below zero, it averages 46° at the latter, and is rarely lower than
23°. — The climate of tbe Riviera is therefore milder than that of Rome,
and is even favourable to the growth of the palm.

As the country differs in many respects from Piedmont, so also do its
Inhabitants, while their Genoese dialect, which is difficult for foreigners
to understand, occupies a middle place between the Gallic patois of Upper
Italy and that of Sardinia. The historical development of the two countries
has also been widely different. The natural resource of the Ligurians, or
the inhabitants of the Riviera, was the sea, and they were accordingly known
to the Greeks at a very early period as pirates and freebooters. To what
race the Ligurians belong has not yet been ascertained. As _ the Greek
Massalia formed the centre of trade in S. France, with Kice as its extreme
outpost towards the E., so Genoa constituted the natural outlet for the
traffic of the Riviera. During the 3rd cent. B.C. Genoa became subject
to the Romans, who in subsequent centuries had to wage long and obstinate
wars with the Ligurians, in order to secure the possession of the military
coast-road to Spain. As late as the reign of Augustus the Roman culture
had made little progress here. At that period the inhabitants exported
timber, cattle, hides, wool, and honey, receiving wine and oil in exchange.
In the 7th cent, the Lombards gained a footing here, and thenceforth the
political state of the country was gradually altered. The W. part with
Nice belonged to the Provence, but in 1388 came into the possession of
the Counts of Savoy , forming their only access to the sea down to the
period when they acquired Genoa (1815).

The Var^ which the Emp. Augustus had declared to be the boun-
dary between Italy and Gaul, continued to be so down to 1860, when, as
a reward for services rendered by Napoleon III., Italy ceded to Franco
the districts of Savoy (4316 sq. M.) and Nice (1436 sq. M.). While the loss
of Savoy, though the cradle of the dynasty , was not severely felt owing
to the notorious French sympathies and clerical propensities of the in-
habitants, the cession of Nice was regarded by the Italians as a national
injury. The E. part of the Riviera now forms the Province of Porto
Mawizio, 488 sq. M. in area, with 131,000 inhab. , adjoining which is the
Province of Genoa , 1669 sq. M. in area , with 750,100 inhabitants. These
provinces once constituted the Republic op Genoa, which in the 13th cent,
became the mistress of the W. part of the Mediterranean, and afterwards
fought against Venice for the supremacy in the Levant. Genoa's greatness
was founded on the ruin of Pisa. The Tuscan hatred of the Genoese was
embodied in the saying — 'Mare senza pesce , montagne senza alberi,
uomini senza fede, e donne senza vergogna', and Dante (Inf. xxxiii. 151-53)
addresses them with the words -^

78 Route 13. GENOA. Hotels.

'AhJ, Genovesi, uomini diversi
D'ogni costume, e pien d'ogni magagna;
Perche non siete voi del mondo spersi?'
Modern historians describe the character of the Genoese in the middle-
ages in a similar strain. The whole energy of the Genoese seems indeed
to have been concentrated on commerce and the pursuit of gain. Notwith-
standing their proud naval supremacy , they participated little in the
intellectual development of Italy, and neither possessed a school of art,
nor produced any scholars of eminence. When at length the effete re-
public was incorporated with Piedmont, it became the representative of
radical principles as contrasted with the conservatism of the royalist terri-
tory. G-iwseppe Mazzini, the chief leader of the national revolutionary
party, was born at Genoa in 1808, and Garibaldi, though born at Nice
(1807), was the son of a Genoese of Chiavari. The rivalry of the once
far-famed republic with the upstart Turin , and of the restless harbour
population with the stolid Piedmontese, have of recent years been pro-
ductive of very notable results. Modern Genoa has, moreover, regained its
ancient mercantile importance, and it is in the possession of the Ligurian
coast that the maritime power of Italy chiefly lies.

13. Genoa, Italian Genova^ French Genes.

Arrival. There are two stations at Genoa. The Stazione Piazza Principe
(Restaurant) , or principal station (for Alessandria , Turin, Spezia, Pisa,
and for Savona and Nice) , is in the Piazza Acquaverde (PI. D, i, 2 ; the
goods-station only is in the Piazza del Principe). The arrangements are
admirable. A long row of omnibuses in the covered hall awaits the arri-
val of the trains. — The second station, called Stazione Piazza Brignole
(PI. H, 4) , at the end of the Via Serra, and connected with the first by
means of a tunnel below the higher parts of the town, is the first place
where the Spezia and Pisa trains stop. — Travellers arriving at Genoa by
sea, and wishing to continue their journey by rail without delay, may
immediately after the custom-house examination , which takes place on
the quay, book their luggage there for their destination (taking care to
entrust it to a facchino of the dogana , fee 20 c., and not to an un-
authorised bystander) , and thus save much troable.

Hotels. 'Gkand Hotel Isotta, Via Roma 7 (PI. F, 4), pleasantly
situated, with an elevator, D. incl. wine 5 fr. ; '-'Hotei, Trombetta (PI. a;
1", 3), once the Palace of the Admiralty, entrance Via Bogina 9, D. excl.
v/iiie 5fr. ; "Hotel de la Ville (PI. c ; E, 3) ; "Hotel d'Italie «fe Croix de
MAf.TE (PI. b; E, 3); 'Hotel des Quatre Nations (PI. d; E, 3). Average
charges at these: R. from 3, B. IV2, L- and A. 2, omnibus l-l'A fr. —
AiiiERGo Di Genova (PI. h; F, 4), near the Teatro Carlo Felice, R. 3,
B. 11/2, A. 1, D. 5, L. 1/2, omnibus 1 fr. ; Hotel de France (PI. g; E, 3),
R. from 3-4, D. incl. wine 41/2, B. I1/2, omnibus 1 fr., A. 60, L. 60 c.; 'Ho-
tel de Londres, near the principal station, R. 2V2, D. with wine 4V2,
A. and L. iV2, B. IV2 fr. ; Albekgo di Milano, Via Balbi 34, near the
Palazzo Reale; Vittoria (PI. k ; E, 2), Piazza dell' Annunziata 16; Rebec-
ciiiNo, Via Nuovissima, well spoken of, with trattoria; Albeugo & Trat-
toria della Nuova CJonfidenza , Via S. Sebastiano 13; *H6tel Smith
(English landlord), near the exchange. Via Ponte Reale, unpretending, R.
13/4-2'/2, L. ','2, A. 1/2, B. 1 fr.

Cafes. 'Cafi Roma , by the Teatro Carlo Felice, at the corner of the
new Via Roma; "Stabilimenlo delle Nazioni, Via Roma and Galleria Mazzini;
Concordia, Via Nuova, opposite the Palazzo Rosso (PI. 25; p. 8G), hand-
somely fitted up and cool, music frequently in the evening ; 'Cafi d'Jtalie,
with a brilliantly illuminated garden, open in summer only, at Acqua Sola
(p. 90); Cafi de France, Via Carlo Felice; Cafi Rossini, Piazza Fontane
Morose, and others. — The larger cafes are also restaurants, and some of
them give dinners at a fixed charge (Stabilimento delle Nazione from 3'/2,
Roma, Concordia, Italie 5, France 2V2 fr.).

p.*

" : A^^=z

1. JeeadaniadiBellfArti

SihUatecn civiea. ■
2 • JrMvin davernativo

Via al Arewv.scoradc Pt . F.l-.
3 . ArcUv'o di S. diorgio i- Day ana

Tia dfl Camm^do ■>> . . E.3.

1'. Areiresraradc EJ".*.

6 . Banca J^azionale

Via Slormzo 12 . . . E !■

6. JBiblioteea FranzoiUana

Via Oiusti.Tdcmi' II . . . E.i".

7. Siirsa o Zoijgia E.3.

8 . Camera di. Commpi^ri^

Ptazzn kmarufd 1 1! 3

CKiese ■

B. S LoTPnzo mdi opol
ao S,1.Aiut4mzra/n

11 SSteduio

12 SAmbroyu)

1 3 iS Marui tli Cai H/nmin
1 * SMaUto
15 SJi'ihppo Jferi

Via lonf/iuii
IG SJtlavia di CnstrUo

1 7. SJHaria dfUe. Vign., ^
Tiaxza delle Vign {^
IS.S.Siro, Piazzas. Sir
Palazz^,

\9.Balbi

2 0, Vurazzo, MarcW/o o

2i.ReaI»

22.2>umi& y

23.delMimeipio . . -j^
2 i. Andrea Doria . .
2 5. Brignoie o Sosso .
t^.Pallttricmi. '^

2 8 Durazzo lircoaVo

Pm77a lienoZei b

j G-

\ 1

"iaxza CfOifpftto 8. .

Sahbi S. Barfolamme
Mo dpgli ^-irnKmi
acr(, Piatza Fonfrme
to Morose :i
sta

E.F.3.*.

3 . H.3.

-. . F.3.

. F.3.

Vi.Gaaeria Mazzini
^^.^fgioiFidcmiiYxu Balhi 10
ihyignelilarionetle)

rim del Teatro delU Tiyiie / .

. .E.2.1
. . E.3.

°°/«^V^a S

i7 jUomimeniodi Crtsfot'CoJamio. .
1/ S.Mitsira . Jstrtitto di .

Tin Marcher on a .9.

I' 9 Posta dpllf Mtfre

. .Dl.

. E.4-.5.

Vi,

P"^a caiAc<fua.soJa
torTeatri :

. F.G.*,
F3'

m,ria

far

. . 0.5.
. . P.5

5 0. R.Prefpmira ^.FaTaz. Ihwale, (22)

5 l.Siarri-zza Pubblica r. Palm.Ducalef22)

Vm SBiniardo E*
1 ) 7(rcu Piazza dtt Torni o E »■ 2 3

du
am

(itppucant /V
ha Cafrai o /O

IrJ

K2 J

Theatres. GENOA. 13. Route. 79

Restaurants: Uniane, Piazza Campetto 9; Borsa, Via S. Luca, inexpen-
sive. — Beer: Monsch, Via S. Sebastiano, Munich beer; Klainguti, opposite
the Teatro Carlo Felice, Vienna beer; Birreria Viennese, Via Roma.

Cabs (a tariff in each) in the town : By day At night.

Per drive 1 — 2 —

Per hour 1-50 2.50

Each additional half-hour — 75 1.50

Small articles of luggage are free ; trunk 20 c. — The night-fares are reck-
oned from midnight.

Tramway Cars (comp. the Plan) run from the Piazza dell' Annunziata
by the Via Balbi, Piazza Acquaverde, and Via Milano (halting-places at
the Palazzo Doria and at the tunnel under the Caserma di S. Benigno) to
S. Pier d' Arena , and thence in the one direction to Sestri Ponente and in
the other to Rivarolo. Fare to station Doria 10, the tunnel 20, S. Pier
d'Arena 25, Sestri 40 c. — Omnibus from the Piazza Carlo Felice to the
two stations, 20 c, etc.

Steamboats: to Leghorn every week-day; to Civitd, Vecchia, to Naples,
to Marseilles, to Nice, and to Sardinia by Leghorn several times weekly.
Embarkation in each case 1 fr. for each person, including luggage.

Baths. At fWe Palazzo Spinola, Salita S. Caterina, adjoining Bossola's
music shop , handsomely fitted up ; others at Via delle Grazie 11 , and
Piazza Sarzano 51. — Sea Baths by the Molo Vecchio (PI. D,E, 4); by
the Cava and the Strega (PI. F, G, 6), farther S.; also by the lighthouse
(Lanterna; PI. A, 4), but in July and August only, poorly fitted up. Swim-
mers are recommended to bathe from a boat. Sea-bathing places on the
Eiviera, see pp. 92 and 110.

Post Office (PI. 49; F, 4), in the Galleria Mazzini, open 8 a.m. to 8 p.m.
— Telegraph Office in the Palazzo Ducale (PI. 22).

Theatres. Carlo Felice (PI. 36) , built in 1827, one of the largest^ in
Italy, holding nearly 3000 persons; parterre 3, fauteuil 5 fr.; open during
the carnival only; operas performed here. — Paganini (PI. 42), Strada
Cafi'aro 10. — PoUteama (PI.' 41), by the Villa Negro.

Military Music in the park of Acqua Sola (p. 90), daily in summer,
7-8 p.m., and on Sundays at 2 p.m. also, except during the great heat. In
winter, during three months, the band plays occasionally in the Piazza
Deferrari (p. 84).

Photographs. Alfred Noack, Vico del Filo 1, upstairs, not far from
the cathedral of S. Lorenzo, good selection of views of N. Italy; Arnulf,
Via Nuovissima 12; Mangiagalli, Via Nuovissima 7.

Consulates. English, Salita di S. Caterina; American, Salita de' Cap-
puccini, near the Acqua Sola.

Physicians : Dr. Breiting, corner of the Salita Sta. Maria della Sanifa
(PI. G, 3, 2) ; Dr. Kerez, Viale Mojon 2 (diverging from the Via Serro to
the N., PI. G, 4). — Dentist: Mr. Charles S. Bright, Via Assarotti 14,
2nd floor.

Bookseller : Hermann Steneberg, Via Roma 4. — Goods-Agents: C. Jung-
hans , Salita S. Matteo 19; C. Ruepprecht , at the back of the church of
S. Luca.

Crystallised Fruits at Pietro Romanengo's, Strada Soziglia.

English Church Service in the church in the Via Goito (Rev. E. Bay-
ley). Presbyterian Church, Via Peschiera, ofl" the Via Assarotti.

Principal Attractions. Walk in the morning on the Gran Terrazzo
(p. 82); walk through the Via S. Lorenzo past the Cathedral (p. 82) to
the Piazza Nuova ; ascend to the Madonna di Garignano (p. 84) and return
to the Piazza Fontane Morose. Then through the Via Nuova (p. 85), and
visit the Palazzi Rosso (p. 86) , Durazzo (p. 88) , and Balbi (p. 88 ; the
mansions of the Genoese noblesse are generally shown between 11 and 4
o'clock, and probably earlier in summer), the Monument of Columbus (p. 89),
and the Palazzo Doria (p. 90), and devote the afternoon to a drive to the
Campo Santo (p. 91) , after which the evening may be spent in the park
of Acqua Sola (p. 90). "Villa Pallavicini, see p. 93.

The situation of Genoa, rising above the sea in a wide semi-

Theatres.

GENOA. 13. Route. 79

Kestaurants: Unione, Piazza Campetto 9; Borsa, Via S. Lnca, inexpen-
sive. — Beer: Monsch, Via S. Sebastiano, Munich beer; Klainguti^ opposite
the Teatro Carlo Felice, Vienna beer ; Birreria Viennese, Via Roma.

Cabs (a tariff in each) in the town : By day At night.

Per drive 1 — 2 —

Perhonr 1.50 2.50

Each additional half-hour — 75 1.50

Small articles of luggage are free ; trunk 20 c. — The night-fares are reck-
oned from midnight.

Steamboats: to Leghorn every week-day; to Oivitk Vecchia, to Naples,
to Marseilles, to Mce, and to Sardinia by Leghorn several times weekly.
Embarkation in each case 1 fr. for each person, including luggage.

Baths. At the Palazzo Spinola, Salita S. Caterina, adjoining Bossola's
music shop, handsomely fitted up; others at Via delle Grazie 11, and
Piazza Sarzano 51. — Sea Baths by the Molo Vecchio (PI. D, E, 4); by
the Cava and the Strega (PI. F, G, 6), farther S.; also by the lighthouse
(Lanterna; PI. A, 4), but in July and August only, poorly fitted up. Swim-
mers are recommended to bathe from a boat. Sea-bathing places on the
Riviera, see pp. 92 and 110.

Post Office (PI. 49 ; F, 4), in the Galleria Slazzini, open 8 a.m. to 8 p.m.
— Telegraph Office in the Palazzo Ducale (PI. 22).

Theatres. Carlo Felice (PI. 36), built in 1827, one of the largest in
Italy, holding nearly 3000 persons; parterre 3, fauteuil 5 fr.; open during
the carnival only ; operas performed here. — Paganini (PI. 42) , Strada
Caffaro 10. — Politeama (PI. 41), by the Villa Negro.

Photographs. Alfred Noaclc, Vico del Filo 1, upstairs, not far from
the cathedral of S. Lorenzo, good selection of views of N. Italy; Arnulf,
Via Nuovissima 12; Mangiagalli, Via Nuovissima 7.

Consulates. English, Salita di S. Caterina; American, Salita de' Cap-
puccini, near the Acqua Sola.

Physicians : Dr. Breiting, corner of the Salita Sta. Maria delta Sanita
(PI. G, 3, 2) ; Dr. Kerez, Viale Mojon 2 (diverging from the Via Serro to
the N., PI. G, 4). — Dentist: Mr. Charles S. Bright, Via Assarottl 14,
2nd floor.

Bookseller : Hermann Steneberg, Via Roma 4. — Goods-Agents: C. Jung-
hans , Salita S. Matteo 19; C. Ruepprecht , at the back of the church of
S. Luca.

Crystallised Fruits at Pietro Romauengo's, Strada Soziglia.

English Church Service in the church in the Via Goito (Rev. E. Bay-
ley). Presbyterian Church, Via Peschiera, off the Via Assarotti.

Principal Attractions. Walk in the morning on the Gran Terrazzo
(p. 82); walk through the Via S. Lorenzo past the Cathedral (p. 82) to
the Piazza Nuova; ascend to the Madonna di Carignano (p. 84) and return
to the Piazza Fontane Morose. Then through the Via Nuova (p. 85), and
visit the Palazzi Rosso (p. 86), Durazzo (p. 88), and Balbi (p. 88; the
mansions of the Genoese noblesse are generally shown between 11 and 4
o'clock, and probably earlier in summer), the Monument of Columbus (p. 89),
and the Palazzo Doria (p. 90), and devote the afternoon to a drive to the
Campo Santo (p. 91) , after which the evening may be spent in the park
of Acqua Sola (p. 90). -Villa Pallavicini, see p. 93.

The situation of Genoa, rising above the sea in a wide semi-

80 Route 13. GENOA. History.

circle, and its numerous palaces, justly entitle it to the epithet of
'La Superha'. The city is surrounded by extensive fortifications,
dating from the beginning of the 17th cent., which have recently
been strengthened. From the lighthouse on the W. side, where the
large barrack of S. Benigno affords quarters for 10,000 men, a
broad rampart extends at some distance from the town up the hill,
past the Forte Begato (1618 ft.) to the Forte dello Sperone (1693 ft.),
the highest point, and then descends past the f'orte Castellaccio
(1253 ft.) to the mouth of the Bisagno which falls into the sea to
the E. of Genoa, a circuit of about 91/2 M. in all. The heights
around the town are crowned with ten detached forts.

Genoa is the chief commercial town in Italy , and contains
130,000 inhab., or with the neighbouring suburbs 163,200. The
annual imports are valued at 330 million francs, the exports at
70 million. Of the imports about one-third is from England, and
the rest chiefly from France and North America.

From a very early period Genoa has been famous as a sea-port, and
even in the time of the Romans it formed an outlet for the products of
the extensive Ligurian coast-district. The town is believed to derive its
name from the fact that the sea penetrates into the land here somewhat
in the shape of a knee (genu). The most flourishing period of Genoa
began in the middle ages, when the citizens successfully defended them-
selves against the Saracens. In 1119 they waged a victorious war against
Pisa, which was then the mistress of the Tyrrhenian Sea. From that
date the rival cities were almost permanently at war down to 1284, when
a terrible naval battle took place between them at Meloria, on which
occasion the Genoese captured 29 Pisan galleys, and sank 7 others. From
that disaster Pisa never recovered, and Genoa now obtained the supre-
macy over the W. islands, Corsica, and nominally over Sardinia also.
At a still earlier period she had participated in the Crusades, and secured
to herself a busy trade with the Levant. She also possessed settlements
at Constantinople and in the Crimea, in Syria and Cyprus, at Tunis and
Majorca. The rivalry of the Genoese and Venetians was a fruitful source
of wars and feuds during the 12-14th centuries , which at length were
terminated by a decisive victory gained by the latter in 1380.

The internal history of the city was no less chequered than the ex-
ternal. The party conflicts between the great families of the Doria and
Spinola (Ghibellines) on one side, and the Grimaldi and FiescM (Guelplis)
on the other , led to some extraordinary results. The defeated party
used, at the expense of their own independence, to invoke the aid of
some foreign prince, and accordingly we find that after the 14th cent,
the kings of Naples and France , the counts of Monferrat , and the dukes
of Milan, were alternately masters of Genoa. Nor was this state of
matters materially altered by the revolution of 1339, by which the e.v-
clusive sway of the nobility was overthrown, and a Doge invested with
the supreme power. In the midst of all this confusion the only stable
element was the mercantile Banco di S. Giorgio, which had acquired ex-
tensive possessions , chiefly in Corsica , and would have eventually ab-
sorbed the whole of the republic and converted it into a commercial
aristocracy, had not Genoa lost its power of independent development by
becoming involved in the wars of the great powers. Andrea Doria (p. 90),
the admiral of Emperor Charles V., at length restored peace by the estab-
lishment of a new oligarchic constitution , and the unsuccessful conspir-
acy of Fieschi in 1547 was one of the last instances of an attempt to
make the supreme power dependent on unbridled personal ambition. The
power of Genoa was, however, already on the wane. The Turks con-
quered it? Oriental possessions one after another, and the city was sub-

Harbour. GENOA. 13. Route. 81

jected to severe humiliations by its powerful Italian rivals, as well as by
the French, who took Genoa" in 1684, and by the Imperial troops by
whom Genoa was occupied for a few days in 1746. In 1736 the ambition
of Theodore de Neuhof^ a Westphalian nobleman , occasioned great dis-
quietude to the republic. He was created king by the inhabitants ot
Corsica, who had been subjects of Genoa, but now threw off their yoke
(comp. p. 428). The Genoese pronounced the newly elected king guilty
of treason, in consequence of which the usurper fled, and, with the aid of
the French , they succeeded in re-establishing their supremacy over Cor-
sica, but were soon afterwards (1768) obliged to cede the island to their
new ally. After the battle of Marengo (1800) Genoa was taken posses-
sion of by the French. In 1805 it was formally annexed to the Empire
of France , and in 1815 to the Kingdom of Sardinia.

The beauty of its situation , and the interesting reminiscences
of its ancient magnificence, render a visit to Genoa very attractive,
especially to the traveller who is visiting Italy for the first time.
To the historian of art the Renaissance palaces of the Genoese
nobility are objects of extreme interest, surpassing in number and
magnificence those of any other city in Italy.

Many of these buildings were erected by Oaleazzo Alessi (a pupil of
Michael Angelo , born at Perugia 1500 , d. 1672) , whose example was
generally followed by subsequent architects. In spite of occasional de-
fects, the architecture of the city is of an imposing and uniform char-
acter, and great ingenuity has been displayed in employing an unfavour-
able and limited site to the best advantage. The palaces moreover con-
tain a considerable number of works of art, while Rubens^ who resided at
Genoa in 1606-8, and Van Dyck at a later period, have contributed lo
preserve the memory of many members of the noblesse. The native
school of art, however, never rose to importance, and was far from being
benefited by the zeal of its artists in painting facades. The chief painters
were Luca Cambiaso (1527-85), Bernardo Strozzi ^ surnairied II Cappuccino
or Prete Genovese (1581-1644), Giov. Batt. Paggi^ and Benedetto Castiglione.

The *Harbour (Porto) consists of a semicircular bay, about 2 M.
in diameter, which is protected from the open sea by two long and
substantial piers. That on the E. is the Molo Vecchio , with the
small old lighthouse and the Porta del Molo , erected by Galeazzo
Alessi in 1550; that on the W. the Molo Nuovo , adjoining which
rises the new lighthouse , or Lanterna , with its dazzling reflectors
410 ft. above the sea-level. The summit, reached by 375 steps,
commands a fine view, especially by evening light (fee 1 fr.), and
the arrangements of the interior may also be inspected.

The Duke of Galliera (d. 1876) having presented 20 million
francs for the improvement of the harbour, on condition that the
government and the city would advance the remainder of the re-
quired sum, extensive alterations have begun to take place here.
On the Cava, below Carignano (PL F, 5, 6), a large new Molo is to
be constructed, while the present Molo Nuovo is to be so lengthened
that it will continue to be the outer pier. Extensive quays con-
nected by rails with the main line are also projected , with a view
to enable the largest vessels to unload without lighters.

On the E. side of the present harbour, near the Piazza Cavour
and the Via Vittorio Emanuele (PI. E, 4), lies the enclosed Porto
Franco with its extensive bonded -warehouses (visitors admitted).

Baedeker. Italy I. 5th Edit. 6

82 Route 13. GENOA. «. Lorenzo.

Tlie Dogana (PI. 3 ; E, 3) occupies the building of the former Banco
di S. Giorgio (p. 80). The large hall is embellished with statues of
men who have deserved well of the town, some of them of the 15th
century. On the upper floor are the Archives.

The central part of the harbour is bordered by a lofty wall with
arcades , the marble platform of which , called the *Terrazzo di
Afarmo, 20 paces in width, affords an excellent promenade, especially
early in the morning. There are two approaches to the terrace,
one opposite the Hotel de la Ville (PI. c ; E, 3 ; known as the 'Scala
dellaRotonda'), and another to the N., opposite the Hotel des Quatre
Nations (PL d; E, 2, 3), both of which are closed at dusk. — A
row in the harbour, for which numerous boatmen offer their ser-
vices, is also recommended (2 fr. per hour for 1-4 persons, but a
bargain should be made).

Near the S. end of the Via Vittorio Emanuele, on the E. side, is the
small Piazza Cattaneo, with the palace of that name, a room in which
contains eight pictures by Ka/j Diick. — Not far from this point is the
church of Sta. Maria di Castello (PI. 16; E, 4), occupying the site of an
ancient Roman castle , and mentioned in history as far back as 10i2. It
contains several pictures by Genoese painters ; in the transept is a Ma-
donna by Justus (.VAUamaijna, 1451 (under glass).

Instead of walkiiig through the noisy and bustling streets near
the Terra/zo di Marmo, the traveller is recommended to take the
following route. Leaving the piazza of the station, we descend by
a lane opposite the corner of the Hotel de Londres to the Via di Pre
(PL D, E, 2), which we follow. We then cross the Piazza della
Darsena, from which the Via della Fontana leads, to the left, to the
Annunziata (p. 87), and follow the Via del Campo (PL E, 2, 3).
An inscription at the back of the fountain in the small Piazza
Vacchero, obliquely opposite the Hotel d'ltalie (Pl.b; E,3), records
that Giulio Cesare Vacchero , who had conspired along with the
Duke of Savoy against the Republic, was executed here. From
the Piazza Fossatello (PL E, 3) the Via LomcUini leads to the left
to the Annunziata (p. 87). — Following the Via di Fossatello and
the Via S. Luca , — in a side street to the left of which is the
church of ;S. Siro (PL 18; E, 3), erected in 1570, modernised in
1820 , containing statues by Taddeo , and frescoes by Giov. Batt.
Carlone, — we next reach the Piazza Banchi, in which is
situated the Exchange (Loggia de' Banchi, Borsa, PL 7; E, 3),
erected at the end of the 16th cent, from plans by Alessi, and
adorned with a sitting figure of Cavour in marble by Vine. Vela.
— The narrow but handsome *Via degli Orefici (PL E, F, 3 ; at the
beginning of which , on the right , is a door with an interesting
Adoration of the Magi in relief, of the middle of the 15th cent.),
and then the Via Luccoli, lead to the Piazza delle Fontane Morose
(p. 85). To the S. of the Exchange we traverse the Via S. Pictro
della Porta to the Via S. Lorenzo, and the Piazza S. Loufnzo, in
which rise the new Banca Nazionale(l'\. 5), and the cathedral of —

*S. Lorenzo (PL 'J ; K, F, 4), erected in 1100 on the site of an

S. Ambrogio. GENOA. 13. Route. 83

earlier edifice, and subsequently so much altered, that it now
presents three distinct styles, the Romanesque, the French Gothic,
and the Renaissance. The lower part of the facade, which consists
of alternate courses of black and white marble , was constructed in
the 13th cent, in the style peculiar to the French churches; the
two lower of the recumbent lions with which it is adorned on the
right and left of the steps, are modern. The sides of the principal
portal are decorated with good reliefs representing the early
history of Christ (end of 13th cent.); the sculptures in the lunette,
Christ and the emblems of the four evangelists , with the mar-
tyrdom of St. Lawrence below them , are inferior works of the
same period. The sculptures at the entrances to the aisles are of
the r2th century.

The Intekior, constructed in 1307 , is borne by ttie columns of the
earlier church. Beyond the massive substructure of the towers , which
forms a kind of atrium, lies the nave with its aisles, covered with cylindrical
vaulting <ind a dome (which last was constructed by Alessi in 1567J, and
borne by sixteen Corinthian columns of coloured marble and four buttresses,
above which is another series of columns alteruiating with pillars. On the
right, over the second side-portal, is the monument of a bishop of 1336 with
reliefs and statues, the sarcophagus being supported by four lions. In the
chapel to the right of the choir a Crucifixion by Fed. Baroccio, and statues
by P. Francavilla. In the choir, handsome stalls with inlaid-work by
Franc. Zabello. In the chapel to the left of the choir a statue and six
pictures by L. Camhiaso. In the left transept, seven statues by Gugl. della
Porta. — The second chapel to the left of the entrance , that of *S. Gio-
vanni Battista, erected in 1451-96, contains in a stone area of the 13th
cent, (below the altar) relics of John the Baptist, brought from Palestine
during the Crusades. The six statues at the sides and the reliefs above
them are by Matleo CivUali (d. 1501); the Madonna and John the Baptist by
Andrea Sansoviiio (1503) ; the canopy and the other sculptures by Giacomo
and Guglielmo della Porta (d. 1532). The external decoration of the chapel
is in the Gothic style, with admirable reliefs above (not easily seen ; best
light in the afternoon). — In the sacristy is preserved the Vaso Catino,
the vessel out of which the Saviour and his disciples are said to have
partaken of the paschal lamb, and in which Joseph of Arimathea is said
to have caught some drops of the blood of the Crucified (a fine glass vessel,
captured by the Genoese at Cesarea during the Crusades, shown by per-
mission of the municipio only), and other precious relics.

Farther on in the Piazza Nuova is S. Ambrogio (PI. 12 ; F. 4),
a church of the Jesxiits founded by Genoese nobles , and overladen
with showy decorations of the close of the 16th century.

3rd Altar on the right : Assumption by Guido Rent. High-altar-piece,
the Circumcision, by Jiubens. The four black monolith columns are from
Porto Venere (p. 112). First chapel on the left, Martyrdom of St. Andrew,
by Semiiio, the Elder. 2nd Altar on the left; Rubens, St. Ignatius healing
a man possessed of an evil spirit.

In the same piazza is situated the Palazzo Ducale (PI. 22 ; F,4),
now Palazzo della Prefettura ; on the upper part of the facade are
six statues of captives, above which are trophies. This edifice, the
ancient residence of the doges, was founded at the close of the
13th cent., but was entirely remodelled in the 16th, and modern-
ised in 1777 after a great fire. The handsome flight of steps is
by Rocca Pennone (1550).

84 13. Route. GENOA. 5. Maria.

This is the best starting point for a visit to the church of S.
Maria in Carignano, situated on one of the highest points at the S.E.
end of the city, and affording the hest general survey of Genoa.
Opposite the Palazzo Diicale we follow the Salita Pollajuoli, ascend
the Stradone Agostino to the right, cross the Piazza Sarzano to the
left, and proceed to the right through the Via al Ponte Carignano to
the Ponte Carignano, a bridge across a street nearly 100 ft. below,
leading direct to the church.

*S. Maria in Carignano (PI. 13; F, 5; 174 ft. above the sea-
level), begun in accordance with designs by Oaleazzo Alessi in
1555, but not completed till 1603 (principal portal of the 18th
cent.), is an imitation of Bramante's original plan of St. Peter's at
Rome, and is remarkable for its harmonious proportions. The baroque
statues below the dome are by Puget , Parodi , and David ; the
paintings by Piola, Maratta, Guercino, Procaccini, and Cambiaso.
The *ViKW from the highest gallery of the dome (368 ft. above the
sea ; 119 steps to the first gallery, thence to the top 130, ascended
by an easy and well-lighted staircase), embraces the city, harbour,
and fortifications , and the well peopled coast (W. the Riviera di
Ponente , E. the Riviera di Lev ante) , bounded on the S. by the
vast blue expanse of the Mediterranean. (Sacristan 25 c. ; his
attendance for the ascent is unnecessary; best light in the
morning.)

From the Piazza Nuova we proceed to the left through the Via
Sellai (PI. F, 4) to the Piazza Dkferrae,! (with a palace of that
name, of the 18th cent., on the left), formerly Piazza S. Domenico
(79 ft. above the sea).

From this piazza the Salita di S. Watteo , the second side-street to
the left, leads to the small church of S. Matteo (PI. 14), originally
Gothic (1278), which contains numerous reminiscences of the Doria fa-
mily, the facade being covered with inscriptions to their memory. The
interior was altered in 1530 by the Florentine Gianantonio Montorsoli, who
was invited to Genoa by Andrea Doria, and who, with his assistants,
executed the whole of the fine sculptures with which the church is embel-
lished. Above the high-altar is Doria's sword. To the left of the church
are handsome cloisters with double columns, dating from 1308-10, with 17
ancient inscriptions relating to the Dorias, and remains of two statues
of Andrea Doria (by Montorsoli, 1548) and one of Gianetto Doria (1577),
which were mutilated during the Revolution in 1797. — A palazzo oppos-
ite, the lower half of which is covered with black and yellow marble,
bears the inscription, ^Senat. Cons. Andreae de Oria, patriae liberatori
munus publicum\

To the right in the Piazza Deferrari is situated the Teatro Carlo
Felice (PI. 36), built in 1826-28 (see p. 79). Adjacent is the —

Accademia delle Belle Arti (PI. 1 ; F,4). The vestibule below
contains mediaeval sculptures from the suppressed church of S.
Domenico. On the first floor is the BibUoteca Civica, well stocked
with modern works (about 40,000 vols. ; open daily), and on the
second floor a Picture Gallery (shown by the custodian).

Via Nuova. GENOA. 13. Route. 85

The copying-room leads to a large saloon with ancient pictures, still
unarranged, some of them only being numbered, chiefly by German and
early Netherlands masters. The finest are: 69. Last Supper; 19. St. An-
thony; *20. Two saints; 68, 97, 99. Miracles of St. Philip. Then 28 (9).
Manfredino da Pistoja (1292), Annunciation, Christ in the house of Martha;
"21. Umbrian School, Crucifixion; A7it. Scarini, Entombment; L. Cambiaso,
Holy Family. In the centre modern statues. Next a circular room and
a saloon with large pictures by Genoese painters (Piola, Deferrari, Ferrari,
Fiasella , etc.), and lastly two rooms with sculptures, chiefly modern
(MusEO Pkincipe Odone), and several others containing casts.

The Via Giulia leads from the academy towards the E. to the
Porta degli Archi. On a terrace to the left of the gate stands
S. Stefano (PI. 11 ; G,4}, a Gothic church the oldest parts of which
date from the end of the 12th century. Above the high altar the
*Stoning of Stephen by Giulio Romano, one of his best works, taken
(1530) to Paris by Napoleon in 1811, but restored in 1815. From
the back of the church we may proceed to the left to the Acqua-
sola (p. 90), or to Carignano to the right (p. 84).

Two broad streets lead towards the N.E. from the Piazza Defer-
rari : to the right the new Via Roma, and to the left the Via Carlo
Felice. The Via Roma (PI. F, 4) soon reaches a new piazza, con-
taining the principal entrance to the Galleria Mazzini (PI. 43), and
about to be embellished with a statue of the great agitator of that
name. The Salita S. Caterina ascends hence to the right to the
Acquasola Promenade (see p. 90), while the Via Roma is carried
through the promenade, unfortunately cutting off an angle of the
interesting old Palazzo Spinola (Via Caterina, No. 14), and is
continued by the Via Assarotti, which leads to the loftily-situated
Piazza Manin (p. 91).

On the left side of the Via Carlo Felice, No. 12, is the Palazzo
Pallavicini (PI. 26 ; F, 3), now the property of the Durazzo family
(p. 88). — We next come to the Piazza uelle Fontane Morose
(PI. F, 3). No. 17 in the piazza is the Pai. delta Casa, originally
Spinola, adorned with five honorary statues in niches, of the 15th
cent. ; No. 27 is Pal. Lud. Stef. Pallavicini, sumptuously fitted up.

Near the Piazza Fontane Morose begins a broad line of streets
built in the 16th cent., extending to the Piazza dell' Acquaverde
near the railway- station, under the names of Via Nuova, Via Nuo-
vissima, and Via Balbi , and forming one of the chief arteries of
modern traffic. In these streets are situated the most important
palaces and several churches; some of the former should be visited
for the sake of their magnificent staircases , which are among the
most remarkable objects in Genoa. — On each side of these loftily
situated streets a complete labyrinth of narrow lanes , occupied by
the lower classes, descend to the left to the harbour , and ascend
the hill on the right ; here, too, the traveller will observe many
interesting buildings.

The first of these main streets is the *Via Nuova (PL F, 3),
which is flanked by a succession of palaces on both sides. On the

8b Route 13. GENOA. Pal. Rosso.

riglit, No. 1, is the Palazzo Ces. Cambiaso, with a few pictures of
the 16th and 17th cent, of the Italian and Netherlands schools. On
the left, No. 2, Palazzo Gambaro, formerly Camhiaso. Right, No. 3,
Palazzo Parodi, erected in 1567-81 by Gal. Alessi for Franco Ler-
caro, containing frescoes by LucaCambiasn,-and others. Left, No. 4,
*Palazzo Cataldi, formerly Carega, erected about 1560 for Tobia
Pallavicini. Right, No. 5, Palazzo Spinola, by Gal. Alessi, possess-
ing an imposing vestibule, staircase, and colonnaded court, and a
few pictures , chiefly of the Genoese (Luca Oambiosa) and Bologna
schools, an equestrian portrait, and a Madonna by Van Dyck. Left,
No. 6, Palazzo Giorgio Doria, containing several frescoes by Luca
Cambiaso and other pictures (Castiglione, Shepherd and shepher-
dess ; Van Dyck, Portrait of a lady).

Left, No. 10, Palazzo Adorno, also by Gal. Alessi (?), contains
several good pictures by Rubeiis, Palma Vecchio, Bassano, Bordone,
Seb. del Piombo, Mantegna(".0, and others, but is not always shown
to visitors.

Left, No. 12, Palazzo Serra, by Alessi, remodelled in the interior
by De Wailly (d. 1798) and Tagliafico, contains a fine hall.

Right, No. 9, Palazzo del Municipio (PI. 23), formerly Doria
Tursi, erected by Rocco Lurago (16th cent.), has a handsome
staircase and court, ingeniously adapted to the rising ground on
which it stands.

The Vestibule is adorned with five frescoes from the life of the Doge
Grimaldi, and a statue of Mazzini in marble. — In the large ConNciL
Chamber on the upper floor are portraits of Columbus and Marco Polo in
mosaic. In the adjacent room a Madonna between two saints , by Gerard
David of Bruges (not Van Ej-ck), and a Crucifixion with SS. Mary and
.Tohn, by a good early Netherlands master (not Diirer); two other pictures
inferior. Two letters of Columbus; large bronze tablet of A.D. 117, record-
ing the judgment of Roman arbiters in a dispute between Genoa and a
neighbouring ca,stle. A cabinet to the left contains the violin of Paganini.

Left, No. 18, *Palazzo Rosso (PI. 25), so named from its red
colour, of the 17th cent., formerly the property of the Brignole-
Sale family, with its valuable contents, a library, ai\d ^Picture
Gallery (open 10-3, Mon. and Thurs. free , other days 1 fr.), was
presented to the city of Genoa in 1874 by the Marchesa Maria
Brignole-Sale , wife of the Marchese Deferrari , Duke of Galliera
(p. 81), and by their son Filippo.

Ascending the handsome staircase, wc pass through an Aniisala, or
ante-chamber, into the Camera delle Arti Liberam, which, like the
following rooms, derives its name from the subject of the ceiling paint-
ings (by Carlone, Parodi, De Ferrari, and others), and contains thi-ee
portraits of Doges of the Brignole family, of the 17th and 18th centuries.
— Traversing a small room {Alcova), we enter the principal saloons.
I. Stanza pella GiovENTii: "Guercino, Cleopatra; Andrea del Sarto, Holy
Family, a replica of the picture in the Palazzo Pitti at Florence (No. 8t ;
p. 409). — II. Salone, the ceiling adorned with family armorial bearings;
pictures by Genoese masters. — III. Stanza della Pkimavkra : Paris Bor-
done, Portrait of a Venetian lady; Titian, Portrait of an old man; Diirer,
Portrait of a young (5erman, painted at Venice in 15UG, but unfortun-
ately much damaged; "Moretlo, Portrait of a botanist (1533), an effective
work, recalling Sebastian del Piombo by the dark-gveen shading of the

Pal. Bianco. GENOA. 13. Route. 87

flesh-tints and its breadth of execution; -Van Dyck, Marchese Giulio
Brignole-Sale on horseback ; TiiiloreUo, Doge ; Van Dt/ck, Prince of Orange ;
Titian, Philip II. of Spain; "Fa?( i)ycA, Marchesa Paola Brignole-Sale; Jac.
Bassano, Father and son ; Van Di/ck, Bearing of the Cross ; ~ Paris Bor done.
Portrait of a man. — IV. Stanza d'Estate : Luca Giordano, Chlorinda
liberating Olyntho and Sophronia; Paolo Veronese, Adoration of the shep-
herds (a sketch); Lticas of Ley den (?) , 'Portrait, and St. Jerome; Cara-
vaggio. Raising of Lazarus ; "Guido Reni, St. Sebastian ; Lanfranco, Bearing
of the Cross. — V. Stanza d'Autunno: Leandro Bassano , Portrait; Boni-
facio, Adoration of the Magi; Guido Reni, Madonna; Guercino , Madonna
enthroned ; Giov. Bellini (more probably Bernardino Licinio da Pordenone,
brother of the more celebrated master), Portrait of Franciscus Philetus. —
VI. Stanza dell'' Inverno : "Paolo Veronese, Judith ; Jac. Bassano, Penitent
thief on the cross; Paris Bordone, Portrait of a lady; -Van Bi/ck, The
tribute-money, recalling Titian's picture at Dresden; Rubens, Portrait of
an old man ; School of Leonardo da Vinci, John the Baptist ; Procaeeini,
'Santa Conversazione'; Murillo (?), Holy Family; Paris Bordone, Holy
Family; Pellegro Piola, Holy Family. — VII. Stanza della Vita dell'
UoMo : ■■- Van Dyck, Portrait ; * Van Dijch, The Marchesa Geronima Brignole-
Sale with her daughter; Paolo Veronese, Portrait of a lady. Annunciation;
Garofalo, Madonna and saints. — Catalogues for the use of visitors.

No. 13, opposite the Palazzo Rosso, is the Palazzo Bianco,
erected in 1565-69 , which was also for a long period the property
of the Brignole-Sale family, but was afterwards inherited by the
Marchese De Ferrari. The name has been given to it by way of
contrast to the 'red palace' opposite.

In the CoREiDOK on the ground-floor, Janus and Jupiter, statues by
P. Prancavilla, a follower of Giov. da Bologna, both failures (1585). —
On the First Floor is the Marchese C. Donghi's valuable collection of
smaller works of art, chiefly cameos, and several pictures. — Here,
also, is a Pictore Gallery, formed by the zealous collector Dr. Giacomo
Peirano, and containing about 200 works, many of them dating from the
17th cent., several of which are interesting, although the celebrated names
attached to some of the works may be questionable. The gem of tlie
collection is a variation of "RaphaeVs Madonna of the Alva family (now
in St. Petersburg), and named 'Madonna della Rovere', from the oak
under the shade of which the holy family is reposing; the probability that
the work is genuine is thought to be strengthened by the fact that it
was originally at Savona, the birthplace of Pope Julius II. (Rovere); Dii-
rer''s Adam and Eve is painted from the famous engraving executed by that
master in 1504. A Madonna by Giov. Bellini, a Lucrczia by Marco d" Oggionno,
and several works by Francia , Murillo , Zurharan , Rembrandt , and the
pictures of Cambiaso, Strozzi, and other Genoese masters also deserve no-
tice. The gallery is open daily, 11-4, except on Sundays and festivals.

Crossing the small piazza In front of these palaces, we enter the
Via Nuovissima (PI. E, 3). At the end of this street to the left.
No. 13, is the *Palazzo Balbi, by Gregorio Petondi (18th cent.),
through which a fine view is obtained of the lower lying Via Lo-
mellini. — In the Piazza dei Forni , obliquely opposite, are the
old Zecca or mint, an old Palazzo Lomellini, now the Istituto
Tecnico , and the Palazzo Centurioni , richly embellished with
marble, and containing several pictures.

In the Piazza dell' Aununziata (PI. E, 2) is the Capuchin
church of *S. Annunziata (PI. 10), erected in 1587, with a portal
borne by marble columns, the brick facade being otherwise un-
finished. It is a cruciform structure with a dome , the vaulting
being supported by twelve fluted and inlaid columns of white marble,

88 Route 13. GENOA. Palazzo Balbi.

richly gilded and paiuted. This is the most sumptuous church at
Genoa.

In the broad and handsome Via Balbi (PI. E, 3), on the right,
No. 1, is the *Palazzo Marcello Durazzo (PL 20), formerly FUippo
Durazzo, or detla Scala, erected in the 17th cent, by Bartolommeo
Bianco of Como for the Balbi family. This edifice is remarkable
for its handsome facade with an imposing gateway and balcony, its
fine vestibule, and the superb staircase (on the left), added by
Andrea Tagliafico at the close of the 18th century. On the first floor
is the *GaUeria Durazzo- PaUavicini, formed by uniting a collection
formerly here with another from the Palazzo Pallavicini (p. 85),
and shown daily, 11-4.

Crossing the Aniisala, which contains modern busts of the Durazzo-
Pallavicini family, we first enter the Salone, a hall with Bolognese works
of the 18th cent, representing scenes from the life of Achilles. The
gallery also possesses numerous paintings of the 17th cent, by the Carracci,
Guido Reni, Domenichino, and other masters of the Bologna school, of which
we enumerate the most interesting only. We proceed to the right, W.
wing. I. Room: Vw' Dyck, Two portraits of children; 'Rubens^ Philip IV.
of Spain; Titian, Ceres and Bacchus; Caravaggio, Cupid and Psyche. — -
II. Room: Genoese works of inferior value. — III. Room: Bern. Strozzi,
surnamed II Cappuccino, Mater Dolorosa; Lucas of Leyden, Entombment,
and Virgin with saints and the donor and his wife , a winged picture ;
A. Diirer, Repose on the Flight to Egypt; Juc. Ruysdael, Landscape, with
figures by Wouwermnn. — IV. Room: Andrea del Sarto , The Magi;
Perino del Vaga, Caritas; Rubens, Portrait of Ambrogio Spinola. We next
visit the rooms in the E. wing. V. Room : School of Andrea del Sarto,
Madonna and Child; Paolo Veronese, Betrothal of St. Catharine; Perino
del Vaga, Holy Family; Van Dyck, Portrait; Tintoretto, Portrait of the
Marchese Agostino Durazzo; Rubens, Portrait of himself. — VI. Room:
Genoese masters, such as: II Cappuccino, VoHr&H of a prelate; also, Titian,
Mary Magdalene, a genuine replica of an oft-recurring subject, the landscape
only free from retouching. — VII. Room: Guercino, Mucins Scaevola; Lucas
of Leyden, Descent from the Cross; Diirer (?), Holy Family; Van Dyck,
James I. of England with his family. — VIII. Room: Schidone, Madonna;
After Raphael, Madonna (original in Kaples). — The other rooms , which
also contain several pictures , are generally closed. Two silver vases by
Benvenuto Cellini are likewise worthy of inspection. — The library con-
tains 7000 vols., including many specimens of early printing.

To the right, in the corner of the colonnaded court, is the approach
to the office, where permessi for the Villa Pallavicini at Pegli were form-
erly issued, and where enquiries may be made (see p. 92).

On the left side, No. 4, is the*Palazzo Balbi-Senarega(Pl. 19),
begun early in the 17th cent, by Bart. Bianco, and afterwards en-
larged by Pier Ant. Corradi. It still belongs to the family who
built it, and after whom the street is named. The superb court,
surrounded by Doric colonnades, affords a beautiful glimpse of the
orangery. The Picture Gallery on the first floor is worthy of a
visit; admission daily, 2-4.

I. Room, adorned like the others with ceiling paintings by Genoese
artists. Van Dyck, Francesco Maria Balbi on horseback; Bern. Strozzi,
Joseph explaining the dream. — II. Room. Titian, St. Jerome; Rubens,
Christ and SI. John as children. "Titian, Madonna with St. Catharine, St.
Doininicus, :in(l llic donors.

'This charming picture of the time of the bacchanals (about 1520) is
thrown out of focus by abrasion, washing, and repainting; but is still

Pal. ReuLe. GENOA. 13. Route. 89

pleasing on account of the grace of the attitudes and the beauty of the land-
scape'. — Crowe and Cavcdcaselle.

Gaud. Ferrari, Holy Family; Van Di/ck, Madonna with the pomegranate
(della Melagrana); Michael Angela (?), Gethsemane. — III. Room. Three
"Portraits of the Balbi family by Van Dyck (the head of Philip IV. in the
equestrian piece is said to have been substituted by Velazquez for that of
the Balbi, who had meanwhile been banished). — IV. Room. Caravaggio,
Conversion of St. Paul; portraits by Tintoretto ., Allori, Van Dyck, and
Holbein (?); then, Lucas of Leyden f?;. Madonna and Nativity. — V. Room.
Four children, sketches by Perino del Vaga; small pictures by Schiavone ;
market-place, by one of the Bassanos. — VI. Gallery. Perino del Vaga,
Holy Family; ~ Van Dyck, Holy Family; Meniling (?), Christ on the Cross;
Fra Filippo Lippi (?), Communion of St. Jerome ; Titian (?), Portrait of
himself.

On the right side of the street, No. 5, is the *Palaz20 dell'
University (PL 54), begun as a Jesuit college hy Bart. Bianco in
1623, and erected into a university in 1812. The rich court and
staircase are prohahly the finest structures of the kind at Genoa.
The building contains a library, a natural history museum, a small
botanical garden, and several bronzes by Giovanni da Bologna.

Next, on the left, No. 6, Pal. Durazzo, with a simple colonnade.

Left, No. 10, Palazzo Reale (PL 21 ; E,2), erected in the 17th
cent, by the Lombard architects Franc. Cantone and Giov. Ang.
Falcone for the Durazzo family, and extended by Carlo Fontana of
Rome at the beginning of the 18th cent., was purchased in 1815
by the royal family, and restored by Carlo Alberto in 1842. It con-
tains handsome staircases and balconies and sumptuously furnished
apartments (shown daily , except when the royal family is in resi-
dence). The pictures and antiquities are of no great value.

Ante-Chamber: Battle-pieces by Burrasca. Room on the right: Van
Dyck, Portrait of a lady ; good portrait of the Lombard school, attributed
to Leon, da Vinci; Perino del Vaga, Holy Family. To the right a hand-
some gallery with rococo-painting and a few ancient and modern statues :
OB the right, Apollo and ApoUino, on the left, Mercury ; at the end, Rape
of Proserpine by Schiaffino. On the left are three small rooms; the second
contains a Crucifixion by Van Dyck ; the third , 'Adulteress by Moretto.
The throne-room is adorned with two large pictures by Ltica Giordano.

The terrace commands a fine view of the city and harbour.

In the Piazza Acquavekdk (PL 47 ; D, 1) rises the Statue of
Columbus, who is said to have been born at Cogoleto (p. 1)3) in
1459. It was erected in 1862, and stands on a pedestal adorned
with ships' prows. At the feet of the statue, which rests on an
anchor, kneels the figure of America. The monument, which con-
sists entirely of white marble, is surrounded by allegorical figures
in a sitting posture, representing Religion, Geography, Strength,
and Wisdom.

Between these are reliefs of scenes from the history of Columbus , with
the inscription of dedication : ^A Cristoforo Colombo la Patria\ and 'dm-
nato mi mondo lo avvinse di perenni benifizi ulV antico^. — [On the house
No. 9, Via Carlo Alberto, near the Piazza della Darsena (p. 82; PI. K, 2),
a niche contains a small Statue of Colmnbtis, with the inscription, '■Dissi,
volli, credi, ecco nn secondo sorger nuovo dalV onde ignote mondo\]

Around the monument are grounds containing date-palms,
dwarf-palms, and other specimens of tropical vegetation. Opposite

90 Rmite 13. GENOA. Acqua Sola.

is the Palazzo Faraggiana, with a marble frieze represoTiting scenes
from the life of Columbus, and an inscription.

In the Piazza del Principe (PI. C, D, 1, 2), to the W. of the
station, No. 4, is situated the long *Pala2zo Doria (PI. 24), pre-
sented in 1522 to Andrea Doria, the 'padre della patria' (d. 1560,
at the age of 95). It was remodelled in 1529 from designs by Giov.
Ang. Montorsoli, and adorned with frescoes by Perino del Vaga, a
pupil of Raphael.

The long Latin inscription on the side next the street records that
Andrea dWria, admiral of the Papal, Imperial, French, and native fleets,
in order to close his eventful career in honourable repose , caused the
palace to be rebuilt for the use of himself and his successors. His
praises were thus sung by Ariosto — 'qucsto e quel Doria, che fa dai
pirati sicnro il vostro mar per tutti i lati\ — The finest of the Frescoes
by Perino del Vaga (restored in 1845)), which in many respects recall the
paintings of Raphael, are those on the ceiling, vaulting, and lunettes of
the great entrance-hall , representing scenes from Roman history ; a cor-
ridor hung with portraits of the Doria family, a saloon with a large ceil-
ing-painting representing Jupiter overthrowing the Titans, and a room
with the love adventures of Jupiter. The Titan saloon also contains a
portrait of the aged prince with his favourite cat, and a superb chimney-
piece. The elder branch of the Doria family, to whom the palace now
belongs, generally resides at Rome.

The garden of the palace , extending towards the harbour,
contains an extensive Loggia with arcades. The gardens on the
hill opposite, with a statue of Hercules ("// Gigante) in a niche,
also belong to the estate.

Farther on, in the direction of the Molo Nuovo, stretches the
new and shadeless Passo Nuovo promenade, which, together with
the Via Milano (PI. C, B, 2) , runs above the extensive railway
magazines (Maggazzini Generali), and commands a line *View. —
In this road, beyond the railway, lies the Palazzo dello Scoglietto,
the property of Sign. Vitale Rosazza, the charming gardens of which
also command a line view (gardener, 1 fr.).

The Molo Nuovo and the Lighthouse, see p. 81.

On the coast, farther to the W., lies the suburb of Sampierdarena, or
S. Pier d' Arena (cab with one horse 2, with two horses 2V2 fr.), with
17,000 inhab. and numerous palaces and gardens , including the Palazzo
Siiiiiola, and the Palazzo Scassi, formerly Imperial!, with a pleasant
garden , both probably erected by Gal. Alessi. The church of S. Maria
della Cella contains frescoes of the Genoese school. There is a large sugar
refinery here. — Railway station , see p. 74 ; tramway, see p. 7'J.

The most favourite promenade is the small park of *Acqua
Sola (PI. G, 3, 4; 137 ft. above the sea), adorned with a fountain,
situated on an eminence at the N.E. end of the town (approached
most CDUveuiently from the Piazza delle Fontane Morose by the
Salita S. Caterina). The grounds were laid out in their present
form on part of the old ramparts of the town in 1837. During the
military concerts (p. 79) on Sunday afternoons the grouiuls are
crowded. Pleasant views to th(! E. and S., ttiu^st towards the sea.

To the N. of Acqua Sola is the *Villa Negro (PI. 46 ; reached
from the Piazza Mazzini , or from theViaNuova, by the Salita

Cninpo Santo. GENOA. 13. Route. 91

delle Battistiiie), the property of the city, and open to the pnblic,
with a well-kept garden , a small museum of Natural History
(open on Sundays), and the beginnings of a Zoological Garden.
Winding promenades ascend hence to a bastion at the back of the
villa, about 150 ft. above Acqua Sola, commanding a fine survey of
the city, the harbour, and environs. — The walk may be pleasantly
extended thus : from Acqua Sola proceed to the S. by Mura S.
Stefnno, then by Mura Sta. C'hiara (turn to the left and follow the
town walls), Mura del Prato (to the left, below, is the Manicomio,
or lunatic asylum), and then by Mura delle Cappuccine, and Mura
delta Strega, to the Piazza delta Cava (PI. F, 6). From this point
we may proceed either to S. Maria in Carignano (p. 84), or to the
Molo Vecchio (p. 81).

The Via di Circonvallazione , a magnificent route on the hills
at the back of the (own, which will vie in beauty with the Corso
Vittorio Emanuele at Naples, is now approaching completion. It
begins on the E. at the Piazza Manin (PI. H, 3 ; 328ft. above the
sea-level), and leads thence along the slope, across a viaduct and
in long windings , under various names (Corso Sol ferino , Corso
Magenta, Corso Paganini), to the Albergo dei Poveri (PI. E, F, 1,
2; 318 ft. above the sea), a hospital founded in the 17th cent., and
last extended in 1835, accommodating 1300 persons. Thence it
descends to the Piazza Annunziata (PI. E, 2 ; p. 87). It is to be
continued to the Piazza Acquaverde. — Another fine street in
course of construction is the Via di Circonvallazione al Mare, lead-
ing from the harbour to the mouth (foce) of the Bisagno.

The ''•'Campo Santo (^Cimitero di Staglieno, opened at 10 a.m.),
situated on the slope of the valley of the Bisagno, I1/2 M. from
the town, is reached from the Piazza Deferrari (p. 84) by the Via
Giulia, Via S. Vincenzo, and Porta Romana (PL H, 4; cab there
and back 5 fr. ; omnibus 30 c). It was laid out with considerable
taste in 1867, and contains several good *Moniiments. One of the
finest is that of March. Tagliacarne in the lower row on the right,
above No. 359. The whole arrangement of the cemetery is in-
teresting, as also the rotunda in the upper row, the internal gallery
of which is borne by monolithic columns of black marble. At the
upper end of the cemetery, on the left, is the tomb of Giuseppe
Mazzini (d. 1872). — The large pipes which are seen crossing the
valley to the side belong to the water-works of the city.

Excursions. To the W. to Pegli C'Villa Pallavicini), a station on the
railway, see p. 92, or reached in ii/4 hr. by carriage (with two horses
7 fr.). To the E. to /S. Margherita (by railway), and thence to Portofino,
see p. 110.

14. From Genoa to Nice. Riviera di Ponente.

116 M. Railway in 6V2-8 hrs. ; fares 21 fr. 55, 15 fr. 26, 10 fr. 90 c. in gold.
A slight saving is eflected by booking to the frontier-station Ventimiglia
only (fares 17 fr. 20, 12 fr. 5, 8 fr. 60 c. in paper), where there is ample time
to procure a new ticket. — Steamboat several times weekly.

The -Cakiuage Road along the charming Riviera di Ponente, the famous
Route de la Corniche, will however still be preferred by many travellers,
if not for the whole distance, at least for the most beautiful parts of the
route, especially where the view is lost in passing through the numerous
railway-tunnels , as between Savona and Loano , and between San Remo
and Nice. This journey is very attractive. The road affords a delightful
succession of varied landscapes , traversing bold and lofty promontories,
wooded hills, and richly cultivated plains near the coast. At some places
it passes precipitous and frowning cliffs , the bases of which are washed
by the surf of the Mediterranean, while the summits are crowned with
the venerable ruins of towers, erected in bygone ages for protection against
pirates. At other places extensive plantations of olives, with their gro-
tesque and gnarled stems, bright green pine-forests, and luxuriant growths
of figs , vines , citrons , oranges , oleanders , myrtles , and aloes meet the
view, and even palms are occasionally seen (at S. Remo and Bordighera).
Many of the towns are picturesquely situated on gently sloping heights
(Porto Maurizio, S. Remo, Bordighera, Ventimiglia); others, commanded
by ancient strongholds and castles , are perched like nests among the
rocks (Roccabruna, Eza). Small churches and chapels peering from the
sombre foliage of cypresses , and gigantic grey pinnacles of rock rising
proudly above the smiling plains , frequently enhance the charms of the
scenery. Finally, the vast expanse of the sea, with its ever varying hues,
forms one of the chief attractions. At one time it is bathed in a flood
of sunshine, at another its beautiful blue colour arrests the eye; or while
the shore immediately below the spectator is lashed with wild breakers,
the snowy crests of the waves are gradually softened to view in the purple
distance.

The railway skirts the coast, and runs parallel with the high
road as far as Savona. The numerous promontories are penetrated
by tunnels. 21/2 M. S. Pier d' Arena, see pp. 90, 74 ; Sl/iM. Comi-
(/ii(mo (*Grand Hotel Villa Rachel ; Albergo della Confidenza, on
the road from Cornigliano to Sestri), with numerous villas , well
adapted for a prolonged stay in the months of April and May.

5 M. Sestri Ponente (10,500 inhab.) also possesses a number of
villas , a church adorned with frescoes , and busy wharves (tram-
way, see p. 79). The Villa Rossi has a beautiful garden. The
'■Urotta of Sestri has been known for two centuries. The hotel is
recommended for a visit of some duration (pension 8 fr.).

6 M. Fegli {^Orand Hotel de Pegli, formerly Palazzo Lomellini,
with garden , pension 9-11 fr. ; Hotel Garyini; these two on the
coast ; *H6tel d'Anyleterre, near the station; Cafe- Restaurant Bor-
rlni, pension 6-7 fr.), a small sea-bathing place, with 7300 inhab.,
which attracts numerous visitors from Genoa, is adapted, like Corni-
gliano and Sestri, for a resting-place on the way to the favourite
wintering places on the Riviera. A number of pleasant villas are
also situated here , such as the Villa Rostan , with grounds in the
English style, Villa Elena Doria , and particularly the beautiful
* Villa Pallavicini, which forms a favourite object for an excursion

SAVONA. 14. Rovte. 93

from Genoa (comp. p. 91 ; visitors are admitted on entering their
names in the visitors' book ; no admittance after 2 or 3 p.m.).

The villa is immediately to the left on leaving the station. One of
the gardeners (fee 1-2 fr. for 1 person, more for a party) of the Marchesa
conducts visitors through the grounds and park, which extend to a con-
siderable height on the slopes rising from the coast, and display a
rich profusion of oleanders, azaleas, camellias, etc. Several points of
view afford delightful prospects of Genoa, the sea, coast, and mountains.
On the highest of these points stands a castle in the mediaeval style
with a tower, which affords an extensive and magnificent panorama.
Around it are indications of a simulated siege , the mausoleum of the
fallen commandant, and the ruin-strewn burial-place of his heroes. Far-
ther on is a stalactite grotto with a subterranean piece of wafer, over
which visitors are ferried , and a striking glimpse under the bridge
of the lighthouse of Genoa and the sea; kiosques in the Pompeian, Tur-
kish, and Chinese style, obelisk, fountains, etc. may also be inspected.
The gardens also contain examples of the coffee, vanilla, cinnamon,
pepper, sugar-cane, camphor, and other tropical plants, some of them
remarkably fine.

8 M. Prh, another small ship-building place ; 9 M. Voltri (Al-
bergo Svizzero), with 13,900 inhab., which carries on a consider-
able traffic in 'confitures', situated at the mouth of the Ceruso in
a fertile plain sprinkled with villas.

Beyond Voltri numerous tunnels and bridges. 13V2 M. Aren-
eano; beautiful retrospect of the coast as far as Genoa. 16 M.
Cogoleto, the supposed birthplace of Columbus (p. 89). The house
in which he is said to have been born, now a poor tavern, bears
the inscription : —

Bospes, siste gradum. FuU hie lux prima Colmnbo ;

Orbe viro majori Tieu nimis arcta domus!
Unus erat mundus. '■Duo sunt', ait ille. Fuere.

20^2 M. Varazze, or Voragine, a town with 8000 inhab., is a
considerable ship-building place. The coast on both sides of it is
rocky, and there are numerous cuttings and tunnels.

23 M. Celle ; 25 M. Albissola, at the mouth of the Sansobbia,
and —

271/2 M. Savona (Rail. Restaurant; Albergo Svizzero; Roma;
Italia), a town with 26,300 inhab., the capital of the Montenotte
department under Napoleon I., is charmingly situated amidst lemon
and orange gardens. The harbour, commanded by a fort, presents
a busy scene. The Cathedral of 1604 contains several good pic-
tures. The handsome theatre, erected in 1853, is dedicated to the
poet Chiabrera (1552-1637), a native of the place. The church of
Madonna degli Angeli affords a fine view of the town. Savona was
the birthplace of the popes Sixtus IV. and Julius II. (della Rovere).
Santuario di Savona, see p. 76.

From Savona to Turin, see pp. 74-76; to Alessandria, see p. 73.

31 M. Vado. On this side of the extensive Capo Bergeggi a fine
*Retrospect of the Riviera as far as Genoa is enjoyed. Then a
tunnel and galleries, through the arches of which the sea and the
small island of Bergeggi are seen. The construction of the line
was attended with much difficulty here, and several long tunnels

94 Route 14. ONEGLIA. From Genoa

are traversed. 35 M. Spotomo ; 37 M. Noli, a small town shaded
by dense olive-groves, with the ruins of a castle.

42 M. Finalmarina is the seaport and principal part of the town
of Finale , which consists of three different villages. To the right
lies Boryo , the oldest j)art, with a castle and a cathedral with
double columns of white marble , a dome , and rich gilding; and
farther to the K. is Finalpia. — 45'/2 M. Pietraligure , with the
ruins of a castle in the middle of the village. 48 M. Loano ; to the
right of the line are two suppressed monasteries, of which Monte
Camielo , the higher , erected by the Dorias in 1609 , commands a
line view. The large twelve-sided church of the village was also
erected by the Dorias. Beyond (50 M.) Ceriale , with its ancient
fortifications , the mountains recede. The line now quits the coast
and traverses olive groves, vineyards, and orchards.

53 M. Albenga (Alberyo Reale) , the Albiyaunum of the Ro-
mans, an ancient town and episcopal residence. About 1/4 M.
to the E. of the town are extensive remains of the Ponte Lungo,
a Roman bridge. Several chateaux of the old noblesse with lofty
towers; cathedral with towers and elegant facade, all of brick.
— To the left, from the sea, rises the rocky island of Gallinara,
crowned with a tower.

The train crosses the Centa and skirts the promontory of S.
Croce. Several tunnels. 57 M. Alassio (Grand Hotel cVAlassio ,•
Hotel de Rome), a seaport and summer bathing-place, with 4800
inhab. and orangeries containing palm-trees. 59'/2 M. Laiyueylia ;
beautiful retrospect of the wild Capo della Croce. The train
penetrates the prominent Capo delle Mele by means of a long tunnel,
and enters a valley thickly planted with olives. 62 M. Piyna-An-
dora ; the village of Andora lies on the hill to the right ; then
several tunnels. 641/2 M. Cervo , picturesquely situated on the
slope; then (66 M.) Diano Marina, in a fertile plain; to the right,
inland , Diano Castello. — ■ The train enters a more extensive
coast district, in which Oneglia and Porto Maurizio are situated.

6!}'/2 M. Oneglia (Rail. Restaurant; Alberyo del Vapore) , a
beautifully situated town, with 8000 inhab. and a shallow harbour.
The prison near the station somewhat resembles a church.

The train crosses the broad stony bed of the Impero, which the
road crosses to the left by a neat suspension-bridge. — 71 M. Forto
Maurizio (Hotel de France) , a town with 7900 inhab. and a good
harbour, most picturesquely situated in the midst of dense olive-
groves, and frequented of late as a winter residence. This town
is the seat of the authorities of the district.

74 M. S. Lorenzo. The low, massive towers which now rise at
intervals along the coast to the right of the line , some of which
have been converted into dwelling-houses, were erected for the
defence of the (;ountry against Saracen marauders in the Oth and
10th centuries. 78'/'2 M. Uivaliyure. To the right on the hill stands

to Nice. SAN REMO. 14. Route. 95

the fortified S. Stefano , beyond wMcli the broad Val Taggia is en-
tered. The train crosses the Taggia and stops at (79'/2M.)the station
of that name (the village lies 3 M. up the valley). Beyond the next
short tunnel a valley opens on the right commanding a charming
vievy oiBussana, romantically perched on a rock. The village oppos-
ite to it is Poggio, which first becomes visible. The train now pass-
es through the Capo Verde by means of a tunnel and reaches —

85 M. San Kemo. — Hotels and Pensions. On the W. Side of the
Town: *Grand Hotel delaPaix, near the station, in a fine open situ-
ation (pension SV2-I2 fr.) ; *Gkand Hotel be Londkes ; '-'Hotel di San Remo,
near the station, D. excl. wine 4, L. ^/i, A. 1/2 fr.; ''Hotel Bellevue,
expensive; Hotel de Eice; Gkand Hotel Royal, a handsome new build-
ing, finely situated; Hotel 1'aradis, ''West End Hotel, formerly Pen-
sion Rose, with garden , both in well-sheltered situations; behind the
last. Hotel des Anglais, with garden; Grand Hotel Palmieri , facing
the S., still unfinished; Hotel de France, formerly Pension .Joly , some-
what exposed, but well spoken of. — In the principal street of the lower
town {Via Vittorio Emanuele): Hotel Grande Bretagne (Italian style);
Pension Suisse, from 7fr., well spoken of; Hotel Beadsejour, Via Gio-
berti ; Pension Tatlock.— • On the E. Side of the Town: Hotel Mediter-
ran^e, well spoken of, pension 9-13 fr.; '•''Hotel Victoria, farthest from
the station, but with S. aspect; both these have gardens extending down
to the sea. Nearer the town: -Hotel d''Angleterre ; 'Hotel de Nice;
Hotel d'Allemagne, less pretending, well spoken of; Pension Bottcher
(formerly Molinari), 7-11 fr.; Villa Lindenhof, well spoken of, open in
summer also. — The charges at San Remo are now generally as high as
at Mentone. Payment cannot be legally exacted in gold unless previously
stipulated for (comp. Introd., p. xviii), but in engaging rooms the prices
are generally understood to be in gold.

Apartments. The choice of small suites of pi-ivate apartments is an-
nually increasing. They are to be found in the Via Gioberti, Vittorio
Emanuele (Casa Escoffier , Casa del Cireolo Internazionale, and in the
former Hotel Royal), in the Via Feraldi, in the Oorso Garibaldi (Villa
Corradi, Villa Luigi), and in the new street near the station. Others may
be hired in the interior of the town, but these are less desirable, owing
to the coldness of the street. Villas abound; rent for the winter 1000-
7000 fr. (list at Mr. "W. Congreve''s , the English vice-consul. Via Privata),
including furniture and the other requisites for housekeeping (with regard
to which, however, a distinct bargain is necessary). A more moderate
vent than that advertised is generally taken. Situation shovild be care-
fully considered where invalids are concerned, and a S. aspect is essential.

Restaurant. Briatizi, Rigollet, Maison Doree, all in the Via Vitt. Ema-
nuele , where regular diners may subscribe. — Cafes. "Europien., Via
Vitt. Emanuele, cup of coffee 20c., Vienna beer 30c., Nuremberg beer
35c.; International., also in the Via "Vitt. Emanuele; Garibaldi.

Beading Room at the Cireolo Internazionale., where balls and concerts
are also given ; subscription for the winter 50, per quarter 30, per month 12 fr.

Physicians. English, Drs. Dauheny ., Freeman, and Hassall; German,
Drs. V. Brunn, Goltz, and Biermann; Italian, Drs. Ajcardi, Ameglio, Onclti,
and Panizzi. — English Chemist., Via Vittorio Emanuele, Casa Rubino ;
Pharmaeie Internationale , at the corner of the Via Vitt. Emanuele and Via
Feraldi ; Italian, Panizzi (a good botanist). Via Palazzo. — Baths., at Dr.
C/ian"eto7j'« Etablissement llydrotherapique, 10 min. to the E. of the Hotel
Victoria.

Post Office in the Via Vitt. Emanuele 9, in the Pension Suisse.
Telegraph Office , Corso Garibaldi 7, at the E. end of the town.

Bankers. Asquasciati, Rubino., both in the Via Vitt. Emanuele.

Shops. Gandolfo, bookseller. Via Feraldi. In the Via Palazzo, the
old main street of the town, the shops are often better and less expensive,

96 Route 14. SAN REMO. From Oenoa

although less showy, than those in the Via Vitt. Emanuele, the new main
street. Among the specialties of the place are inlaid wood (depot oi Mile.
Nicolas) and the perfumes manufactured by Ajcardi.

English Vice-Consul. Mr. Walter Congreve, Via Privata.

Music : alternately in the Giardino Pubblico and the Giardino dell'
Imperatrice, 3 times weekly. — Teatro Amedeo. Operas are performed
from 1st Jan. to Easter.

Carriages. Per drive in the town , with one horse 1 fr. , with two
horses 1 fr. 50 c. ; per hour 2 or 3 fr. ; if luggage over 40 lbs. , each bo.x
50c.; one-horse carriage to Mentone 30fr. — Donkey per day 5, half-day
3fr. , and gratuity. — Boat per hour for 1 person Ifr. , for several 2fr.
and gratuity.

English Church Service during the season.

Snn Remo , although apparently a small place, contains 11,000
inhab. , densely crowded in the older parts of the town, which
consist of a labyrinth of quaint and narrow laTies , flights of steps,
archways, lofty and sombre houses, and mouldering walls. The
arches by which the houses are connected high above the streets
are intended to give them stability in case of earthquakes. The
town, which was formerly fortified , stands on a hill between two
short valleys , and the houses rising one above another receive
their modicum of light and air from the back only. Castigliuoli,
a smaller quarter on the W. side, is similarly situated.

The E. part of the town terminates in an eminence approached
by broad roads shaded by cypresses , commanding charming views
of the bay and mountains , and crowned with the white dome-
covered church of the Madonna delta Costa , in front of which
there is a large hospital for lepers. On a more prominent point
stands the Villa Carbone , with a low octagonal tower (fee 1/.2 fr.),
the panorama from which conveys a good idea of the peculiarities
of the situatioi\. The island of Corsica is visible in the distance
to the S.

Another walk may be taken to the W. pier of the small har-
bour , which is defended by the fort of St. Tecla , erected by
the Genoese, and now used as a prison. A survey from the npper
platform of the Molo will convey aii idea of the sheltered position
of the town, which renders the climate as genial as that of Mentone
and has brought the place into notice as a winter residence for
invalids. In front of the spectator rises a hill in an almost regular
semicircle around the town, sloping upwards from the Capo Nero
by La Colla to its culminating point in the Piano Carparo and
Monte Bignone , which attain a height of nearly 4000 ft. , ajid
descending thence to the Capo Verde , the summit of this barrier
being nowhere more than 4 M. distant in a straight liiie. The
N. winds are therefore entirely excluded from this favoured spot,
especially as a double range of Alps rises behind the town a little
farther back, while at the same time the violence of the E. and W.
winds is much broken. In the rich vegetation of this nook the
olive predominates, aTid the hills above are chiefly clothed with
pines. Country-houses and churches peep from amidst the olive

to Nice. BORDIGHERA. Id. Route. 97

groves in every direction , the highest being at San Romolo at the
footof theBignone, to which the few visitors who remain thronghout
the summer resort in order to escape from the heat. Several fine
palms rise in the principal street of the lower and modern part of
the town , and others in the 'palm-quarter' of the old town , and
other places (comp. below).

Walks numerous and pleasant , but occasionally rough. Near the
station are the Giardino Piibblico , containing palms, eucalyptus, etc., and
a small fountain, and the Corso Mezzogioriio, which terminates towards the
W. in the Giardino deW Imperatrice, a garden recently laid out under the
auspices of the Empress of Russia. The most sheltered walk higher up
in the basin is the Berigo Road. — A beautiful point of view easily reached
is the "Madonna della Ovardin on the Capo Verde, returning by Poggio.

— To S. Romolo 3 hrs., an excursion for which a donkey may be hired.
About 2 hrs. higher rises the Monte Bignone (4235 ft.), which commands
a beautiful panorama of the sea to the S. and the Maritime Alps to the
N., on the way back from which the Piano del Re, a celebrated point of
view, may also be visited. — Good roads lead to Ceriana and to Taggia.

— To La Colla. by Ospedaletti (see below) 2 hrs.; or direct, by a very
ancient road, 3 M.

The train passes through a tunnel \inder the Cafo Nero., while
the road winds over the promontory at a considerable height. —
881/2 M. Ospedaletti is also the station for the loftily situated
(1 hr.) La Colla, the town-hall of which contains a valuable pic-
ture-gallery. A view is now soon obtained of the palm-groves of —

92 M. Bordighera. — Hotels. -Hotel Bordighera, with a garden
of palms, pens, from 8 fr. ; -Hotel d'Angleterre, good cuisine, pens. 10 fr. ;
Hot. Bellevue, Windsor, Beaurivage, pens. 7-9 fr. ; Pens. Anglaise; Pens.
Belvedere.

Physicians: Ilr. Goodchild and Dr. Ckristeller.

English Church, Eev. P. C. Wodefiouse.

Bordighera is situated on a hill projecting into the sea, and
consists of an upper and a lower quarter. Beautiful *View from the
top of the hill (from the terrace of the small Cafe Cadama, pension
5-6 fr., to the left as the picturesque upper part of the town is
entered), embracing the bay of Ventiniiglia, Mentone, and Monaco
as far as the Esterels , with groves of palms in the foreground
(Phoenix dactylifera, the fruit of which seldom ripens sufficiently
here to be edible). A considerable trade is carried on here in palm
branches and young palm-trees. The palm-garden of Sign. Moreno
is worthy of a visit. The climate is almost as mild as that of Men-
tone and San Remo, but is more bracing and equable, and invalids
frequently come here for change of air, and even to spend the
whole winter. Excursion to the neighbouring Dolceacqua with the
ancestral chateau of the Dorias of Genoa, and to Pigna.

Farther on , to the right of the line , is the Protestant school
of Vallecrosia , immediately beyond which a brook is crossed, and
a glimpse of the Maritime Alps obtained. 94V2 M. Ventimiglia
(*Rail. Restaurant ; Hotel de I'Europe), where passengers' luggage is
examined at the French custom-house. The town, which is an Ita-
lian frontier-fortress, with 8000 inhab., lies very picturesquely on
a hiU beyond the Roja , a stream whose broad stony channel the

Baedeker. Italy I. 5th Edit. 7

98 Route 14. . MENTONE. From Genoa

line crosses farther on. The train passes through a tunnel and
approaches the sea. View limited. — [On this part of the route
the scenery is much finer on the road than on the railway. The
road ascends gradually and is guarded hy forts at the highest point.
In descending it commands an extensive view of the French coast,
and passes through several villages , affording several fine retro-
spects. On a hill to the right are the ruins of a Roman fort. Mor-
tola, with its church , farther on, stands picturesquely on a rocky
eminence. The road then skirts a gorge and ascends to the last
height, where a view of Mentone is disclosed. Immediately beyond
this point is the Italian dogana. On the hill to the right lies Gri-
maldi. Charming country-houses with lemon and orange-gardens
and luxuriant vegetation are now passed. The deep gorge crossed
hy the Pont St. Louis forms the boundary of France.] —

1011/.2 M. Meutone, French Menton. — Hotels and Pensions.
On the W. Bay. (1.) At some distance from the soa. Quartier St. Benoit et
Urbana: *H6tel des Iles Bkitanniques, well fitted up; adjacent, 'Hotel
National, new and also admirably fitted up, with a lift ; *Hotel du Louvke,
pension on the 1st floor 15, 2nd floor 13, 3rd floor 11 fr. ; Hotel de Ve-
NiSE; Pension Centkale ; -Hotel d'Orient, finely situated; Hotel des
Etrangeks; Pension des Princes; Hotel des Ambassadedrs. Quartier
St. Eoche: Hotel M6diterran6e; Hotel d'Angleterre (Villa Burnabat).
Central District; Hotel Royal, adjoining the Cercle ; *Hotbl de Turin;
Hotel Bristol; Hotel de France, commercial. On the Turin road:
Hotel du Parc, convenient for a short stay; Pension dd Nord, frequented
by Scandinavians; 'Pension Scisse ; Pension Comfortable; Pension des
Grangers, with a large garden. — (.2) On the Promenade du Midi, near
the sea: 'Hotel du Pavillon , patronised by English and Americans;
Hotel Splendide; Pension de Londees; Hotel de Russie et d'Alle-
magne ; 'Pension Camous; Pension Am£ricaine ; Pension Condamine;
Pension Franco -Belge ; 'Pension Anglo- AMiiRiCAiNE; Hotel West-
minster; 'Hotel Victoria, recommended for a prolonged stay, not so
suitable for passing travellers ; 'Grand Hotel de Menton ; 'Hotel du Midi.

On the E. Bay: Hotel de la Grande Bretagne ; 'Hotel d'lTALiE,
with pleasant garden , patronised by the English , and 'Hotel Bellevde,
both situated above the high-road; 'Hotel de la Paix; 'Hotel des
Anglais, frequented chiefly by English; 'Grand Hotel, with large gar-
den; 'Pension Beau-Site ; 'Hotel Beaurivage; 'Hotel Mirabeau; 'Pen-
sion Gaberel, in the Villa Manna; 'Pension St. Maria. — Pension 8-15 fr.
per day, exclusive of fires and lights.

All the hotels and pensions are closed during summer, with the ex-
ception of the Hotel du Pare and those in the Quartier St. Roche and
the Central District.

In both bays there are also numerous (150) charmingly situated and
sometimes handsomely furnished villas, a list of which may be obtained
of the agent T. Amarante, who draw.s up contracts for a lease, takes inven-
tories of furnishings, and compare.s them again when the visitor leaves.
The rents vary from 1000 to 7000 fr. and upwards for the season. Private
apartments for the season, from 400 fr. upwards, are also to be had, where
the visitor may have his own 'menage', and live less expensively than at
a pension. Choice of situation, comp. p. 95.

The Cercle PhWiarmon ique coniains a reading-room, and frequently
gives balls and concerts ; subscription 60 fr. for the seascm, ladies 48 fr. ;
per month 15 fr., ladies 12 fr.

Restaurants. Cafe de la Paix; Cafi de Paris; Restaurant du Cercle. —
Confectioner : Humpelmeier, in the .Tardin Public.

Physicians. I)rs. Bennet, Marriott, and Siordel, English ; I)rs. Boltini
and Farina., Italian; Drs. Stiege, Jessen and v. Cube, German; Dr. Taver-

to Nice. MENTONE. 14. Route. 99

ree!/, French Swiss. — Chemists : AlbertoUi, Qras, and Farraud, who make
up English and German prescriptions during the winter.

Post Office, Rue Gavini. — Telegraph Office: Avenue Victor Emanuell9.

Bankers: Martini (Biov'es & Co.); Franc, /"oimaro (Engl, vice-consul);
Adamin Boltini. — Bookseller: Giocdaw, with reading-room and circulating
library. — Photographers : Ostroga , Rue Partonneaux ; An/ossi , Avenue
Victor Emanuel.

Husic thrice weekly in winter from 2 to 3 p.m., on Sunday at the
Cercle, on Tuesday and Thursday in the Jardin Public.

Omnibuses through the town during the season from the Quartier
Garavent to the Quartier Madonna, every hour, 50c.

Carriages. Drive in the town, with one horse, P/t fr., with two
horses 13/4 fr.; per hour 2'/2 or 3'/2 fr. ; for half-a-day one-horse 8-10, per
day 12-15 fr., two-horse 25 fr.; to Monaco with one horse, 6fr. — Don-
keys 5 fr. per day, 21/2 fr. for half-a-day, and gratuity.

English Church Service during the season.

Mentone, a small town with 5600 iiihab., formerly belonging
to the principality of Monaco, and afterwards under the Sardinian
supremacy , was annexed to France in 1860. It is charmingly
situated on the Bay of Mentone, which is divided into the Bale de
I'Est and the Bate del' Quest by a rocky promontory, and being
protected by a girdle of rocky mountains from the N. winds , is
considered one of the most favourable spots for a winter-residence
on the Riviera di Ponente (mean temperature about 3° Fahr.
higher than at Nice ; a cold wind , however , generally prevails
towards noon, especially at the point where the valley opens to-
wards the W. bay). The vegetation is luxuriant, consisting chiefly
of orange and lemon groves interspersed with gnarled carob-trees
(ceratoria siliqua), figs, olives, etc. The Promenade du Midi and
the Jardin Public are favourite walks in the afternoon. The ruin-
ed castle on the above mentioned rocky promontory , which has
been converted into a burial-ground, affords a fine view, embracing
S. Agnese on a lofty hill, erected for defence against the Saracens.
Another picturesque point is the monastery of S. Annunziata, to
which a tolerable path ascends (in l/o ^r.) from the Turin road (to
the left immediately beyond the railway). Pleasant and sheltered
walks may also be taken to the Vallee Gorbio (also practicable for
driving), Vallee Cabrole, and Vallee de Menton, and to the Cap
Martin, which bounds the Bay of Mentone on the W. ; another to
Grimaldi (p. 98), to the E., immediately beyond the frontier
bridge, where a tower in Dr. Bennet's garden commands a fine view ;
another to Mortola (p. 98), where admission is granted to Mr.
Hanbury's beautiful garden.

Attractive excursions from Mentone to Monti and the Cascades, and
thence to Castiglione and Sospello (p. 107). — Also by (4 M.) Castellar to
the summit of the Berceau (3-4 hrs.) ; magnificent prospect, embracing the
mountains of the coast, the blue expanse of the Mediterranean, and Corsica
in the distance (guide advisable; Louis Jouan of Mentone, donkey-hirer,
recommended; the last ^/thr. must be accomplished on foot).. — To
S. Agnese, situated on a serrated ridge of rock (Locanda , bad), 2 hrs.,
returning by (2 hrs.) Gorbio and Roccdbruna to Mentone (in 4-5 hrs. more).
From S. Agnese the '■Aiguille'' may be ascended in 2-272 hrs., a higher
point than the Berceau, also commanding a fine view. — To Camporosso

100 Route 14. MONACO.

situated S'/z M., and Dolce Acqua, 7 M. inland from Ventimiglia (p. 97). —
Comp. also p. 106.

The Road from Mentone to Nice, 19 M. (by carr. in 3 hrs. ; 25-30 fr.,
2-3 fr. gratuity), the .lo-called ^Roiite de la Corniche'^ traver.tes the most
beautiful part of the Riviera, and is far preferable to the railway. It ascends
through the most luxuriant vegetation , and commands a charming retro-
spect of Mentone and the coast as far as Bordighera. Then, as the top of
the first liill is gained, a view of Monaco (see below), to which a road de-
scends to the left. To the right of the road, higher up, Jioccabnina (see below)
is visible. Then Turbia with its huge Roman tower, now a mere shell, the
remains of the Tropaea Avgnsti (whence the name 'Turbia'), erected to com-
memorate the subjugation of the Ligurian tribes (A.D. 13). Another very
beautiful view is enjoyed here. To the E. the wild mountains and the
entire coast from Ventimiglia to Bordighera ; W. (view in this direction
from a point a few steps above the tower) the Mediterranean, the French
coast near Antibes , the island of St. Marguerite , the Montagues de TEs-
terel, and other distant coast-hills. The road now enters a bleak moun-
tain-district. On the left is £za (p. 101), a group of grey and venerable
houses with a white campanile, perched on an isolated rock rising abrupt-
ly from the valley. The culminating point of the road is now reached,
and the wooded promontory of SI. Jean (p. 107), Beaulieu (p. 106), and Villa-
franca (p. 106) become visible. Beyond these a view is obtained of the
beautiful valley of Nice (p. 101), with its villas, monasteries, villages, and
green hills.

The Kailway from Mentone to Nice skirts the coast the whole
way , and affords very inferior views to the magnificent and lofty
carriage -road. It crosses the Borigli, penetrates Capo Martino
(see above) by means of a tunnel , and stops at stat. Cabbe-
Roquebrune. The village (Ital. Roccabruna) lies on the hill to
the right, in the midst of orange and lemon groves, commanded by
a ruined castle. 105 1/2 M. Monte Carlo, station for the Casino of
Monaco (see below).

107 M. Monaco. — Hotels. *H6tel de Paris , on a grand scale,
adjoining the Casino; adjacent. Hotels Beau-Rivage and de Russie;
Hotels des Bains and Condamine, in the quarter La Condamine, near
the station and the sea; Angleterre, Avenue du Monte Carlo:

Carriage from the station to the town IV2, per hr. 3fr. ; two-horse
carr. to Kiee 30 fr.

Monaco , picturesquely situated on a bold and prominent rock,
is the capital (1500 inhab.) of the diminutive principality of that
name, to which Mentone and Roccabruna also belonged down to
1848. The princes, who were anciently renowned for their naval
exploits, exercise sovereign rights, but the customs and post-ofttce
are in the hands of France. The palace (shown on Tuesd., 2-4
p. m.), which is adorned with frescoes, contains a suite of sumptu-
ously furnished apartments, and possesses a fine garden. Pleasant
promenades extend round the rocky point , which commands a
beautiful view of the sea-coast to the E., particularly striking by
evening light. Visitors are attracted to Monaco by the mildness
of the climate in winter, and by the sea-bathing in summer, but
the chief inducement to many is the 'tapis vert' at the Casino,
which stands on a promontory to the E. of the town, surrounded by
beautiful grounds (caf^, music twice daily; classical concerts on
Thursdays) , and commanding a fine view (Casino station , see

Hotels. NICE. 75. Route. 101

above). The garden of the Villa Walewska, open in winter on
Thursdays from 1 to 5, is worthy of a visit.

Beyond Monaco the train passes through three long and several
shorter tunnels. Ill M. Stat. Eza; the village, situated on an
isolated rock on the right , high above the line , was once a
stronghold of Saracen freebooters, who levied contributions on the
surrounding district.

1121/2 M. Beaulieu (p. 106). — 1 131/2 M. Villafranca (p. 106).
The train now enters the valley of the Paglione by means of a
tunnel nearly 1 M. in length , crosses the stream , passes through
another tunnel , and reaches the station of (116 M.) Nice on the
right bank of the river.

15. Nice and its Environs.

Comp. Mcq), p. 104.

Hotels. In the Promenade des Anglais : *Hotel des Anglais , "Dn

Luxembourg, de la MfeDiTERRANtE , de Rome , all first class. — By the

Jardin Public : *Grande Bretagne, ''Angleterre. — On the Quai Massena

(Quai des Palmiers) : ''Hotel de France, R. 6, A. and L. 2, omnibus lV2fr.

— Quai St. Jean Baptiste : '-'Cosmopolitan Hotel (Chauvain), R. 5, L. & A.
2, D. 6, omnibus 2fr. ; Hotel de la Paix; '^Grand Hotel. — In the Boule-
vard Carabacel : Hotel de Paris ; Europe et AMfiRiQUE ; Perino ; ''Hotel
Bristol ; '-Hotel de Nice, well situated ; Hotel Carabacel. — In the Boule-
vard Bouchage : Hotel Windsor; Hotel Julien-, Hotel d'Albion, pens.
10 fp. — In the Avenue Beaulieu : *Hotel et Pension Raissan. — Avenue
de la Gare : 'Iles Britanniques; Hotel des Empereurs ; Hotel HelvS-
TiQDE ; Hotel des Deux Mondes ; "Hotel de l'Univers ; Hotel des Alpes ;
Maison DoRfeE. — In the Boulevard Longchamp : '='Hotel Pauadis. — Rue
St. Etienne : Hotel du Louvre. — Avenue Delphine: '''Hotel et Restau-
rant Du Midi, near the station; Beau-Site ; '^de Russie. — Place Massena :
Hotel MeublS;. — Rue des Ponchettes : Hotel et Pension Suisse, on the
sea, R. & A. 3, B. 11/2 fr. — On the Quai du M»idi : '*H6tel Victoria, with
a beautiful view. — In the old town: '^' Hotel des Princes, Rue des Pon-
chettes ; Hotel d'York, Place St. Dominique ; '^'Hotel des Etrangeks, Rue
du Pontneuf, frequented by passing travellers. — In the Rue de France :
Hotel et Pension Tarelli, Hotel du Parc, and Hotel Croix de Marbre.

— Most of the hotels are closed from the beginning of summer till the
end of September. The Grand Hotel and Hotels Chauvain, de l'Univers,
Suisse , des Etrangers , and Tarelli remain open throughout the whole
year. — In resisting the exorbitant demands sometimes made by the inn-
keepers on the death of one of their guests , the traveller will receive
efficient aid from the local authorities.

Pensions. In the Promenade des Anglais : "Pension Rivoir, Pension
Anglaise. In the Rue de France : P. de la Metropole^ -P. Marret, "P. Roghi.
Rue Longchamp: "P. St. Etienne. Rue St. Etienne: ''Pension Millet, 10-12 fr.
Petite Rue St. Etienne : " Pension Internationale. Avenue Delphine : "P. Royale.
Boulevard Carabacel : Pension Geneve. At Cimies: P. Anglaise (Villa Garin),
"P. Cimies. — The usual charge at these houses is 7-12 fr. per day.

Kestaurants. In the Avenue de la Gare : 'Restaurant Frangais ; Res-
taurant des Deux Mondes ; -'Maison Doree ; "Restaurant Suisse, "Atniricain.
Rue Croix de Marbre : London House. Rue Macarani : Trois Suisses. In
the Corso : Restaurant du Cours , du Commerce. Place Massena: Restaurant
National, well spoken of. — Cafes. De la Victoire, Place Massena|; Orand
Cafi, in the Grand Hotel; "Cafi Amiricain , in the Corso. Ices: the best
at Rumpelmeier^s ; also at the Maison Doric and Cafi Amiricain (see above).

— Preserved Fruits: Miiller , Place St. Dominique; Fea, Avenue de la
Gare; Escoffier, Place Massena. — The Beer is seldom good; best at the

102 Route 15.

NICE.

Physicians.

One-horse.
with2seats.

One- horse,
with 4 seats.

Two-horse.
with 4 seats.

day

night

day

night

day

night

1—

1.50

1.25

1.75

2.25

1.50

1.75

2.25

-25
1.75

-25
2.25

-25
2.75

-25
3.25

G—

Brassserie Cenirale , and in the Brasserie de Slrasbourg , both in the Rue
du Temple. Also in most of the restaurants and cafes; glass 30-40 c.

Bakers. Renz, Rue Paradis, German. Diedrich., Place Grimaldi.

Cabs are stationed in the
Place Charles Albert, Place Mas-
sena. Boulevard du Pont Vienx,
and other places.

Vcr Drive in the town (exclusive

of some villas)

From the station to the town

the following charges are

for 1 pers. in the smallest

cabs, and for 2 pers. in the

others, without luggage . .
Each additional pers., as also

each larger article of lug-
gage , or drive from one

hotel to another

Per hour

loVilla/ranca, Orotte St. Andr^,

there and back with a stay

of V2 hr

Tramway from the Place Massena to the railway station and Magnan
Bridge every 20 min., to St. Maurice every 40 min.

Omnibuses cross the town in several directions (25 c); from the station
to the town 30 c. ; trunk 25, hat-box 10 c. ; to Villafranca and Beaulieu
every 2 hrs., 30 c, starting from the Pont Vieux, left bank of the Paillon.

Horses may be hired of Mgio, Boulevard Charles-Albert 2, and Rue
St. Francois de Paule; Mouton, Rue Pastorelli, etc.-, 6-10 fr. for a ride of
3-4 hrs. In winter a horse may be hired by the month for 250-350 fr., in
summer for less. — Donkeys generally 4 fr. (but in the height of the season
sometimes 5fr.) per day, and 1 fr. for the attendant; half-day 2fr.

Markets in the Cours (8-11 a.m., sale of flowers); by the cathedral;
in tin; I'luoL' St. Francois. — Fish-market at the back of the Cours.

Booksellers. Librairie Oalig7ifmi,Ql\i^i Massena 15 (branch-establishment
of tlu- WLll-kuiiwn Paris firm; English and French books), with circulating
library and reading-room; Librairie Etrangere oi Barbh'y Frires, with cir-
culating library, Jardin Public 7. VisconlVs reading-room, Rue du Cours,
with garden ; Fleurdeli/s, Avenue de la Gare 5 ; Joiigla, Rue Masse'na 18.

Post Office, Rue St. Francois de Paule (PI. D, 4), 7 a.m. to 6, in
summer to 7 p.m. ; Sund. 7-12, 4-6 only. — Telegraph Office, Rue du Pont
Neuf, adjoining the Prefecture; another office in the Place Grimaldi.

Physicians. Drs. Gurney , Marcet, Crosb;/, and West, English. Drs.
Ziirc/ier, Lippert^ Cammerer, 3.nA. Mayrhofer ; I)rs. Jatilzon, a.ndProll, homwo-
pathists, all German. — Dentists: Hall (American), Preterre, both in the
I'lacc Massena; Pieux., Quai Masse'na; Mnck, Rue Massena 30. — Chemists:
Pharmacie Anglaise, Quai Massena; Draghi, Rue de France; Fonqite, Bou-
levard ilu Pont Vieux; Leonctni, Place St. Etienne ; Vigon^ Rue Gioffredo ;
I'iKtnnarie Alxarienne, Rue Gioffredo 1 : Sue, Avenue dc la Garc. — Mineral
Waters : Claud. Rue Massena 26.

American Consul : Mr. W. H. Vesey.

Bankers. Lacroix, Rue du Cours; Caisse de Credit, Rue Gubornatis.
Baths. Warm Baths: Bains des Quatre Saisons, Place du Jardin
Public; Hai/is de Macarani., Place Grimaldi ; Bains Mass&na, Rue Ma.ssena.
Turkish Baths: Ilammam de Nice, Place Grimaldi and Rue de la BufVa.
Sea-baUis opposite the Promenade des Anglais, 1 fr.

Shops. The best are on the Quai St. Je.an Baptiste and the Quai Mas-
sena. 'Marqucterie' (inlaid wood -work): Oimellc Fils , tt Co., Quai St.
.lean Baptiste 9; Rueger, Rue du Pont Neuf3, and others. Photographers:
Blanc, Promenade des Anglais; Ferret, Rue Gioffredo.

Casinos. Cercle Massena, Place Massena; Cercle Mfditerranfc, formerly

Climate. NICE. 15. Route. 103

the Casino, Promenade des Anglais, embellished with the armorial bear-
ings of different states; Cercle Philharinonique., Rue Pont Nenf.

Theatres. Thidtre National., Eue St. Francois de Paiile, Italian opera;
TMdtre Fran^ais, Rue du Temple, operas, comedies, etc.

Military Music daily in the Jardin Public, 2-4 o'clock.

Steamboats (companies : Fraissinet , Place Bellevue 6 , on the quay ;
Florio ; Valery Freres el Fils, Quai Lunel 14) to Genoa, Marseilles^, and
Corsica (Bastia, see p. 427).

House Agents , Samaritani , LaMs , Dalgoulte , and Jougla , to whom
a percentage is paid by the proprietors. A more advantageous bargain
may therefore be made without their intervention. Houses and apartments
to let are indicated by tickets. A single visitor may procure 1-2 furnished
rooms for the winter in the town for 300-700 fr. ; suites of apartments
are let for 1000-5000 fr. , villas for 3000-8000 fr. and upwards.

The hirer should not take possession until a contract on stamped paper
has been signed by both parties, containing stipulations with regard to
damage done to furniture and linen , compensation for breakages , etc.
This is the only way to avoid the disputes which are apt to arise on the
termination of the contract. Nice has the reputation of being an expensive
place, but it is at the same time possible to live here, as in other large
towns, more economically than in places like Cannes or Mentone. At the
pensions situated at a distance from the sea, but in well-sheltered spots,
the charges are comparatively moderate.

English Churches in the Rue de France , and in the Rue St. Michel ;
service also at Carabacel. Scotch Church , corner of Boul. de Longchamp
and Rue St. Etienne.

Climate. The bay of Nice is sheltered from the N., N.E., and N.W.
winds by the lower terraces of the Maritime Alps (culminating in Mont
Chaiive, Italian Monte Calvo, 2672 ft.), a natural barrier to which it owes
its European reputation for mildness of climate. The mean winter tem-
perature is 10-15" Fahr. higher than that of Paris , summer temperature
5-10° lower. Frost is rare. The Mistral, or N.W. wind, the scourge of
Provence, is seldom felt, being intercepted by the Montagues du Var and
de rEsterel. The E. wind, however, which generally prevails in spring,
is trying to delicate persons. The most sheltered situations are the Bou-
levard Carabacel and the Quartiers Brancolar and Cimies , in the last of
which the air is generally pure and free from dust. Three different
climatic zones are distinguished and recommended to different classes of
patients, viz. the neighbourhood of the sea, the plain, and the hills. Sunset
is a critical period. As the sun disappears, a sensation is often felt as
if a damp mantle were being placed on the shoulders , but this moisture
lasts 1-2 hours only. The rainy season usually begins early in October and
lasts about a month. — The result of the observations made at the
Meteorological Station, which was established in 1877, are posted up on
the band-kiosk in the Jardin Public.

Nice, Ital. Nizza, the capital (52,300 inhab.) of the French De-
partement des Alpes Maritimes , was founded hy the Phocian in-
hahitants of Marseilles in the 5th cent. B.C., and named Nicaea.
Down to 1388 it belonged to the County of Provence, and afterwards
to the Dukes of Savoy ; in 1792 it was occupied hy the French, in
1814 restored to Sardinia, and in 1860 Anally antiexed to France
together with Savoy. Nice was the birthplace of the French general
Masse'na (in 1758) and of Giuseppe Garibaldi (in 1807). The dia-
lect of the natives is a mixture of Proven(;al and Italian.

In winter Nice is the rendezvous of invalids as well as persons
in robust health from all parts of Europe, especially from England,
Russia, and Germany, who assemble here to escape from the rigours
of a northern winter. In summer the town is deserted.

104 Route 15. NICE. Jardin Public.

Nice is beautifully situated on the broad Bale des Anges, which
opens towards the S., at the mouth of the Paglione , or Paillon
(& small stream , frequently dried up). The broad and stony bed
of the river, with handsome quays on each bank, bisects the town.
On the left bank is the Old Town , with its narrow , dirty lanes,
which however have been superseded by better streets near
the shore (Boulevard du Midi and Promenade du Cours). On
the riglit bank is the Strangers' Quarter, which already surpasses
the old town in extent , and is intended to occupy the entire space
bounded on the W. by the brook Maynan , and on the N. by the
railway (the Quartier de la Croix de Marbre stretches along the
coast to the W., the Boiilevard Carabacel and the Quartiers Bran-
colar and Ciuiies to the N.E. along the bank of the Paillon).

Near the station is a beautiful alley of Eucalyptus trees (Euca-
lyptus Globulus). In the Avenue de la Gare , leading from the
station to the town, rises the still unflnished church of Notre Dame,
erected by Lenormant of Paris in the Gothic style. — A Marble Cross
in the Rue de France , commemorating the meeting of Charles V.
and Francis I. in 1538, which was effected through the intervention
of Pope Paul III., has given its name (Croix de Marbre) to this
quarter of the town. — The Square, a broad space formed by
covering in the Paillon between the Pont Vieux ami Pont Neuf , is
embellished by a Statue of Massena (p. 103) in bronze, erected in
1867; in front Clio is represented on the pedestal writing his name
on the page of history ; at the sides are reliefs. — The Town Library
(40,000 vols., open daily 10-3, on Sundays 10-12 o'clock). Rue St.
Francois de Paule 2, contains a few Roman antiquities (milestones,
etc.), and a natural history cabinet.

The Jardin Public (PI. D, 4 ; military music, see p. 103) at the
embouchure of the Paillon , and the *Promenade des Anglais ad-
joining it on the W., which was laid out by i^nglish residents in
1822-24, and greatly exteiided in 1862, are the principal resorts of
visitors. These grounds stretch along the coast for I'/o M., as far
as the brook Maynan, and are bordered with handsome hotels and
villas (at the beginning of the promenades is the Cercle Medi-
terrane'e, mentioned p. 103). On the left bank of the Paillon, which
is crossed here by the Pont Napole'nn , they are continued by the
Boulevard du Midi, which is planted with palms.

To theE. of the town rises the Castle Hill, 320 ft. in height (PI.
F, 4; ascent from the N. or E. side, 20 min.), crowi\cd by the ruins
of a castle destroyed by the Duke of Berwick under Louis XIV. in
1706, now converted into beautiful grounds, where palms, oranges,
cypresses, and aloes flourish in profusion. The platform on the
summit, erected in honour of Napoleon III., commands an admirable
view in every direction : S. the Mediterranean; W. the coast, the
promontory of Antibes , the two lies de Lerins , the jiiouth of the
"Var (which down to 1860 formed the boundary between France and

iV . r^ f ir . ) , u, /

..Tometto yj/„/^,_^ '^'y^'-' f"-'Mn^

' I tt Cm-l

\ , , ,i^ ^1 U'OMJ.rrirna

^ ''-' \ \ X

I -ill ion 1 ^ .

^ \

t ' %untu ^ /

,^ ' i^pnX\ ^i

V /

>"^»,*:\f '"^^

„l^

rfm^-'v^v

.>ii^'

M "E. "^ -p'-frAw y_/i

yPtVdi6aF.uoT

Ciatioliauo ^

'r(rr utile iM/a7urim- , ^ 7 .. X

■J \ M""A.gel '

_^f-^

'//.'

i: 220.000 d.K^.

utLifflia. diPiemontp di -iSper araSo
^ ffeoip'apJtiscAe Jfcile^ /S" i ffrad-\

Geograph. _Anstalt Tran. "V^giter A Debea Xeip?,!^

Environs of Nice. NICE. 15. Route. 105

Sardinia), below the spectator Nice itself; N. the valley of the
Paglione, the monasteries of Cimies and St. Pons, in the distance
the castle of S. Andre, Mont Chauve, the Aspremont, and the Alps ;
E., the mountains, Fort Montalban , and the promontory of Mont-
boron (p. 106). The S. slope of the castle-hill, which descends
precipitously towards the sea, is called the Rauba Capeu ('hat-
robber', owing to the prevalence of sudden gusts). — The Ceme-
teries, with the exception of the English , are on the N. side of the
castle-hill.

At the base of the castle-hill on the E., where a house opposite
the dogana was destroyed by a landslip in the winter of 1871, lies
the small Harbour (PI. F, 4), called Limpia from an excellent spring
(limpida) which rises near the E. pier. It is accessible to small
vessels only ; those of large tonnage cast anchor in the bay of Villa-
franca (p. 106). The Place Bellevue, adjoining the harbour, is
embellished with a Statue of Charles Felix, King of Sardinia, in
marble, erected in 1830.

To the N. of the town are the villas Chateau Neuf and Orangini,
both in the Quartler Brancolar.

The Environs of Nice , with their attractive villas and luxur-
iant vegetation, afford a variety of beautiful excursions.

The Franciscan monastery of Cimies, Ital. Cimella, is situated
3 M. to the N. of Nice. The best, although not the shortest route
to it is by the new road ascending to the E. from the Boulevard
Carabacel (PI. E, 2), which on the top of the hill intersects the site
of a Roman Amphitheatre (210 ft. long, 175 ft. wide). About 1/4 M.
to the right from the cross-road, immediately beyond the amphi-
theatre, we reach the monastery (two pictures by Brea in the cha-
pel), re-erected in 1543 after its destruction by the Turks. It
stands on the site of the Roman town of Cemenelium , to which the
above-mentioned amphitheatre and a quadrangular structure , com-
monly called a ^Temple of Apollo', belonged. Traces of baths and
other buildings have also been discovered.

The Villa Clary, to which the public are admitted, below Ci-
mies, on the road to St. Andre', possesses the finest orange and
lemon-trees at Nice and many rare plants.

A good carriage-road ascends on the right bank of the Paglione
to the (40 min.) monastery of St. Pons, founded in 775 on the spot
where St. Pontius, a Roman senator, suffered martyrdom in 261.
It was destroyed by the Saracens in 890, and the present edifice
erected in 999. The treaty by which the County of Nice was an-
nexed to the Duchy of Savoy was concluded here in 1388. The
chateau of St. Andre (restaurant, closed in summer), which is reach-
ed in '/o lir. more, built in the 17th cent., is now unoccupied. About
1/4 hr. farther up the valley is the insignificant grotto Les Cluses
de St. Andre, or rather a natural bridge over a brook , crossed by

106 Route 15. TORRETTA. Environs of Nice.

the road. An avenue of cypresses leads from the chateau to the
grotto.

The excursion may be extended still farther in this direction.
From the Grotto of St. Andre' we follow the Torretta road in the de-
solate rocky ravine a little farther , and then ascend to the left by
the new road in several windings to the village of Falicon , the
highest point of which affords an admirable view. — From Falicon
we may either return by the road to the S. to Nice (or by the less
beautiful and very steep, but shorter path via Cimies) , or proceed
farther towards the N. to *Aspremont, O'/a'^- f''*^™ Nice. The road
is good the whole way, and commands a fine view. NearAspremont
we obtain an excellent *Survey of the valley of the Var and of
the Alps.

Farther up the valley of St. Andre, 7 M. from Nice, lies the
antiquated village of Torretta , with the picturesque ruin of that
name (Fr. La Tourette^. The tower of the castle commands a very
singular survey of the sterile mountain scene , especially of Mont
Chauve, the Aspremont, and the deserted village of Chateau Neuf,
perched on a barren ridge of rock ; to the S. Montalban and the sea.

About 11/2 M. farther is the dilapidated village of Ch&teau
Neuf, founded on the ruins of old fortificatious, and probably used
in the 15th and 16th cent, by the inhabitants of Nice as a refuge
from Turkish invaders. It has recently been abandoned by most
of its inhabitants on account of the want of water. It is 5 M. distant
from Torretta, and affords another line view.

To the E. of the harbour La Limpia rises the Kontboron , a
promontory 890 ft. in height, which separates Nice from Villafranca.
The summit, which is reached in l'/.2 hr., commands an extensive
prospect. The mountains of Corsica are visible towards the S. in
clear weather.

The Road to Villafranca (2 M.; comp. PI. G, 4), constructed
by the French government , leads round the promontory of Mont-
boron and passes a number of villas, the most conspicuous of which
is the Villa Smith , a red building in the Oriental style. Near this
village the new '■'"Route Forestiore de Montboron' ascends to the
left, commanding a superb view of Nice and the numerous villas
of the environs ; it traverses the whole of the hill of Montboron,
leads round the Fort Montalban , and at length unites with the old
road to Villafranca. — *ViUafranca, Fr. Villefranche (carr. from
Nice, see p. 102; rowing-boat 10 fr.), very beautifully situated on
the Bay of Villa frnnca , which is enclosed by olive-clad heights,
founded in 1295 by Charles II. of Anjou , king of Sicily, is now
a station of the Mediterranean squadron of the French fleet. Railway
station at Villafranca (sec p. 101) close to the sea.

If we follow the road for i^j-i M. farther, a road to the right,
crossing the railway by a stone bridge, will lead us to (^/4 M.)
Beaulieu (rail. stat. to the left of the bridge, see p. 101), an in-

SOSPELLO. 16. Route. 107

significant village situated in the midst of rich plantations of olives,
figs, carob-trees (p. 99), lemons, and oranges. Many of the olive-
trees are remarkably large, one of them measuring 22 ft. in circum-
ference. Beaulieu lies in a wide bay, bounded on the S. by the
long peninsula of St. Jean. At the foot of the latter lies the village
of S. Oiovanni , or St. Jean (dear inn) , i^/^ M. from Beaulieu , a
favourite resort of excursionists from Nice. Tunny fishing is suc-
cessfully carried on here in February, March, and April. At the
extremity of the peninsula are the ruins of an old Saracenic castle,
destroyed in 1706 in the reign of Louis XIV. (see p. 104), and the
ruined chapel of St. Hospice. Instead of proceeding to St. Jean by
the above route , the traveller may be ferried across the bay to the
creek of Passable (60 c), and thence cross the peninsula on foot to
St. Jean.

On the W. Siue of Nice pleasant walks may be taken in the
valley of the Magnan (p. 104), in which a road ascends to (2 M.)
the church of La Madeleine. The beautiful , sheltered banks of
the Var, which falls into the Bale des Anges, 3^/4 M. to the W. of
Nice, are also worthy of a visit (one day; carr. with two horses,
20-25 fr.; also a railway station, comp. p. 21).

16. From Nice to Turin by the Col di Tenda.

I4OV2 M. — Mkssageries to Cuneo (861/2 M.) in 18-22 brs. (fares 25
and 22 fr.). Railway from |Cuneo to Turin (54 M.) in 3hrs. (fares 9fr.
95c., 7fr., 5fr.). — Ofjice at Nice in the Hotel de TUnivers (p. 101), not
far from the French theatre ; at Turin, in the Via Cavour.

This is a very attractive route, especially for those coming from Turin.
The views during the descent from the Col di Tenda to the Mediterranean
are strikingly beautiful. In winter the road is often impassable for a
considerable time.

The road leads from Nice, on the bank of the Paglione, through
the villages of La Trinitci- Vittoria and Drappo , beyond which it
crosses and quits the river.

12 M. (from Nice) Scarena, Fr. Escarhie. The road hence to
Sospello traverses a sterile and unattractive district. The barren
rocks which enclose the bleak valley are curiously stratified at
places. The road ascends to the Col di Braus (4232 ft.). To
the S., on a lofty rock to the right, is seen the castle of Chdtillon,
or Castiglione. At the foot of the pass on the E. lies —

251/2 M. Sospello, French Sospel (1174 ft.; Hotel Carenco), sit-
uated in the valley of the Bevera (affluent of the Roja, see below),
in the midst of olive-plantations, and surrounded by lofty moun-
tains. A new road leads from Sospello to Mentone. The road
now ascends to the Col di Brouis (2871 ft.). Near the summit of
the pass a final view is obtained of the Mediterranean. Scenery
unattractive, mountains bleak and barren. Then a descent to —

38 M. Giandoia (1250 ft. ; Hotel des Etrangers ; Poste), in a

108 Route 16. CUNEO.

grand situation at the base of lofty rocks. Breglio, a town with 2500
inh. and the ruined castle oiTrivella, lies lower down on the right.

The road now ascends the narrow valley of the Roja, which
falls into the sea near Ventimiglia (p. 97). Saorgio, rising in ter-
races on a lofty rock on the right, with the ruins of a castle in the
Oriental style, destroyed by the French in 1792, commands the
road. On the opposite side is a monastery of considerable extent.
The valley contracts , so as barely to leave roonv for the river and
the road between the perpendicular rocks. Several small villages
are situated at the points where the valley expands. Beyond
(43 M. 3 Fontana the road crosses the Italian frontier. The southern
character of the vegetation now disappears. 48 M. S. Dalmazzo,
where an old abbey is fitted up as a hydropathic establishment,
frequented in summer by some of the winter residents of Nice.

5OV2M. Ten(/(f (Hotel Royal; Hotel Impe'rial) lies at the S.base
of the Col di Tenda. A few fragments of the castle of the unfor-
tunate Beatrice di Tenda (comp. Binasco, p. 162) are picturesquely
situated on a rock here.

The road traverses a dreary valley by the side of the Roja and
ascends by 69 zigzags on the barren mountain, passing several re-
fuges, to the summit of the Col di Tenda, or di Cornio (6145 ft.),
where the Maritime Alps (W.) terminate and the Apennines (E.)
begin. The view embraces the chain of the Alps from Mont Iseran
to Monte Rosa ; Monte Vise is not visible from the pass itself, but
is seen a little beyond it, near the 4th Refuge. The descent is very
steep. The road follows the course of the Vertiianagna to —

75'/2 M. Limone (3668 ft.; Hotel de la Poste), an Italian excise-
station, and then becomes more level. The valley of the Ver-
managna, which is now traversed, is at some places enclosed by
wooded heights , at others by precipitous limestone cliffs. To the
the left rises the magnilicent pyramid of the Monte Viso (12,670 ft.).

Stations Robillante, Roccavione, Borgo S. Dalmazzo, and —

867.2 M. Cuneo, or Coni (1499 ft.; Alhergo delta Barra di Ferro,
good cuisine; Alhergo di Superga), a town with 21,800 inhab., at
the confluence of the Stura and the Gesso , once strongly fortified.
After the battle of Marengo the works were dismantled in accor-
dance with a decree of the three consuls and were converted into
pleasure-grounds. The Franciscan Church, like most churches of
tills order beyond the Alps , is in the Gothic style (12th cent.).
Pleasant walk to the Madonna deyli Angeli, at the confluence of
tlie Gesso and the Stura.

About 7 M. S.E. of Cuneo, in the Val Plisio, is the romantically sitvi-
atcd Certosa di Val Fesio, now used as a hydropathic establishment, also
l'r<'(iuented as quarters for the summer by persons in search of retire-
ment. — In the Val di Gesso, about 15 M. S.W. of Cuneo, are the Baths
of Valdieri.

The Railway to Turin intersects the fertile plain, bounded on
thi! W. by the Maritime Alps , and, farther distant, the Cottian

SAVIGLIANO. 17. Route. 109

Alps, and on the E. by the Apennines. Centallo, the first station,
with 4900 inhab. , possesses remains of mediaeval walls and
towers. "Ne-s-t station La Maddalena; then (101 M.) Fossano, an
episcopal residence, with 17,000 inhab., on the left bank of the
Stura , beautifully situated on an eminence, with ramparts and a
mediajval castle.

1081/2 M. Savigliano (Corona) is a pleasant town on the
Macra , enclosed by old fortifications. The principal church
contains pictures by Mtilmari (1721 -93), a native of Savigliano,
surnamed Carraccino, as an imitator of the Carracci.

Bkanch-Line to Saluzzo, 10 M. (halfway station Lagnasco), in 1/2 lir.
(fares 1 fr. 85, 1 fr. 30, 95 c). Saluzzo is the capital of the province
(formerly a marquisate) of that name, with 15,800 inhabitants. The higher
part of the town, with its precipitous streets, affords a line prospect over
the Piedmontese plain. A monument was erected here in 1863 to Silvio
Pellico, the poet (d. 1854), who was born here in 1788.

At (114 M.) CavaUermaggiore the line unites with the Turin
and Savona railway, see p. 75. — WO'/o M. Turin, see p. 54.

17. From Genoa to Pisa. Riviera di Levante.

1041/2 M. Railway in 4'/2-7V4 hrs. (fares 19fr., 13fr. 30, 9fr. 50c.).
— Some of the trains start from the Stazione Piazza Principe at Genoa,
stopping, with the exception of the express, at the Stazione Piazza Brignole,
while others start from the latter station. — The finest views are from
the side of the train opposite that on which passengers enter at Stazione
Piazza Principe. Beyond Nervi, however, the view is greatly circum-
scribed by the numerous tunnels, which iilso make it dangerous to stretch
the head out of the carriage window.

Genoa , see p. 78. The train backs out of the Stazione Piazza
Principe, and then starts in the opposite (E.) direction, passing-
through a long tunnel under the higher parts of the town (transit
of 4-5 min.).

2 M. Stazione Piazza Brignole , where there is generally a
prolonged stoppage. — To the left we obtain a view of the fortress-
crowned heights around Genoa (comp. p. 80).

The train , which at places runs parallel with the road, now
follows the *RiviERA ui Levante , which is less remarkable for
luxuriant vegetation than the Riviera di Ponente (p. 92) , but
presents almost more striking scenery. The line is carried through
the numerous promontories by means of cuttings and tunnels, of
which last there are no fewer than eighty, some of them of consid-
erable length. The villages generally present a town-like appear-
ance , with their narrow streets and lofty and substantial houses,
closely built on the narrow plain of the coast , or in short and
confined valleys, and mostly painted externally as at Genoa.

The train crosses the Bisagno, generally an insignificant brook,
and passes through the hill on which S. Francesco d'Albaro is
situated by means of a tunnel. — 4 M. Sturla. To the right
stretches the beautiful expanse of the Mediterranean ; to the left we
enjoy a view of the olive-clad slopes of the Apennines , sprinkled

110 Route n. NERVI. From Genoa

with country houses. A tunnel. — 5 M. Quarto. A tunnel. —
^M. Quinto, with numerous villas , and dense lemon plantations,
among which rise several line palm-trees. Three tunnels.

7Y2 ^- Nervi. — Hotels. 'Hotel et Pension Anglaise, pens, in
winter 10-12fr. ; *H6tel Victoria, near the station and the sea; Albebgo
RiSTORANTE Di Neuvi, unpretending. — Pensions Faijaux^ Ceruti, Roeder,
and others. — Furnished Villas 200-600 fr. monthly. Information from
Signor Ccruti and the hotel-keepers. The physician should be consulted
in taking a dwelling for an invalid.

Physicians. Zij-. Thomas, Castello Ponzone; Dr. Schelelig, Pension
Anglaise. — Chemist: Gallo, in the main street.

Post Office, at Gallons drug-store in the chief street. Telegraph Office
opposite.

Nervi, a small town with 5400 inhab., surrounded by lemon-
groves , has of late come into notice as a winter residence, owing
to its sheltered situation and mild climate. Nervi, Quinto, and
Sturla, are frequented by Italians in summer for the sake of the
sea-bathing, in spite of the rocky nature of the coast. Among the
handsome villas the finest are Villa Gropallo (the beautiful park
of which is open to visitors at the Pension Anglaise), Villa Serra,
Villa Croce, and the pagoda-like Villa Ponzone, all surrounded with
well-kept grounds containing orange-trees, aloes, palms, and other
varieties of luxuriant vegetation. A stroll should be taken along
the rock-bound and picturesque sea-beach. Another pleasant walk
is along the road to the church of >S. Ilario, halfway up the Monte
Oiugo, which commands an admirable view of the Riviera di Le-
vante as far as the picturesque headland of Portoflno and of the
Riviera di Ponente with the Maritime Alps in the background.

Many of the beauties of the scenery are lost to railway travellers
owing to the numerous tunnels through which the train now passes.
9 M. Bogliasco ; 10 M. Pieve di Sort; 11 M. Sor), where we obtain
a noble survey of the sea and the valley from the viaduct (in three
stories) which passes high above the town and the rivulet. — 21 M.
Recco ; I41/2 M. Camogli , on the coast to the right. [The village
of Rata, situated on the height, and commanding an admirable
view towards Genoa, is about 2 M. from Camogli by the road; from
it we easily attain the summit of the promontory of Portofino
(11)30 ft. ; see below), which alTords a magnificent survey of the
whole Gulf of Genoa.] The train passes through the long Tunnel
of Rata , which penetrates the promontory of S. Margherita, and
reaches the fertile plain with its numerous villas , and the bay of
Rapallo.

17'/.} M. S. Margherita (Bellevue, with garden) lies on the coast
below.

A beautiful Excursion may be made hence by boat (4fr.), or by walking
along the coast, to (3 JI.) Portofino., a small seaport concealed behind the
Monlefino, with two old castles, now the property of Mr. Urown, the Eng-
lish consul , one of which , situated at the extreme point of the promon-
tory ('/-J !»■• fniin PortoDno) commands a splendid prospect. Halfway to
PortoiiDO is the suppressed monastery of Cervara, where, after the battle

to Pisa.

RAPALLO. 17. Route. Ill

of Pavia, Francis I. of France, when detained here by contrary winds on
the iourney from Genoa to Madrid, was once imprisoned.

191/2 M. Rapallo (Hotel de VEurope, well spoken of, R. 21/2 fr.,
L. 60, A. 60c., pension 7-10 fr.; Albergo della Posta), a small
seaport with 10,800 inhab., who carry on a brisk trade in olive-oil.
Near it is the pilgrimage church of the Madonna di Montallegro.
— 21 M. Zoagli, prettily situated.

2472 M. Chiavari {Fenice, mediocre, R. 3, B. 1, L. 1/2 1 A..
1/2 fr.; Trattoria delNegrino, with garden), a town with 12,100 in-
hab. , is situated at the mouth of the EnteUa, where the mountains
recede in a wide semicircle. Chiavari manufactures lace and light
chairs (sedie di Chiavari) , and possesses silk factories and ship-
building yards.

251/2 M. Lavagna, a ship-building place , is the ancestral seat
of the Counts Fieschi. Sinibaldo de' Fieschi, professor of law at
Bologna , and afterwards elevated to the papal throne as Pope
Innocent IV. (1243-54), the powerful opponent of Enip. Frederick
II., was born here. Count Giovanni Luigi de' Fieschi, well known
in history as the conspirator against the power of the Doria family
(1547) at Genoa, was also a native of Lavagna. The train passes
through a long tunnel and reaches —

28'/2 M. Sestri Levante (Jiwropa,- Italia, unpretentious), pic-
turesquely situated on a bay which is terminated by a promontory.

The High Road from Sestri to Spezia, which is far superior to the rail-
way in point of scenery (carriage and pair, 45 fr.), turns inland and ascends
the scantily wooded mountains in long windings, affording fine retrospects
of the peninsula and valley (the village in the latter is Casarza). Farther
on, the village of Bracco becomes visible on the left; then to the right
a view is again disclosed of the sea, near which the road leads. The
village on the coast below is MonegUa (see below). Then a gradual
ascent through a somewhat bleak district to the Osteria Baracca (2236 ft.),
whence the road descends into a pleasant valley in which lies the village
of Baracca. After a slight ascent it next traverses a well cultivated
district to Pogliasca (Europa), in the valley of the impetuous Vara, an
affluent of the Magra , which falls into the sea near Sarzana. The road
skirts the broad , gravelly channel of the river for some distance , then
diverges to the left and enters a wooded tract, in which beautiful chestnuts
predominate. Beyond Baracca the sea does not again come into view,
until the last height before Spezia is attained, whence a magnificent
prospect is enjoyed of the bay and the precipitous mountains of Carrara,
or Alpi Apiiane, as the whole range is called.

Beyond Sestri the mountains recede from the sea, which the
train also leaves for a short time. A great number of tunnels are
now passed through in rapid succession ; several fine views of the
sea and the coast to the right. 3572 M. MonegUa lies close to the
sea; 3772 M. Deiva, a village at the entrance to a side-valley;
40 M. Framura; Ai^/o M. Bonassola; 43 M. Levanto (Albergo Na-
zionale, pens. 5-6 fr.), a small town of 5000 inhab., with partially
preserved fortifications , a small Giardino Pubblico , and well-
equipped marine baths. Again a succession of tunnels. 46 M.
Monterosso; 48 M. Vernazza; 50 M. Corniglia; 51 M. Manarola;
5172 M. Biomaggiore. Before reaching Spezia the train passes

112 Route 19. LA SPEZIA. From Genoa

through four more tunnels , the last of which is very long (transit
of 7 min.l-

57 '/.J M. La Spezia. — Hotels. ''Ckoce di Malta, E. 31/2, D. incl.
wine 4V2, A. 1, L. ' -j, omnibus 1, pens. 10-12 fr. ; 'Italia, with a large
garden, R. 2-5, B. l'/4, dej. 21/2, I>. 4, L. '/2, A. ^/t, omnibus '/4, pension
in winter 7-9 fr. ; 'Gkand Hotel Spezia, near the railway station. These
three all command a view of the sea. — Albergo Nazionale , in the
Giardino Pubblico, with restaurant , Italian, good cuisine; Locanda della
Gran Bretagna, commercial; Posta, Corso Cavour.

Cafes. ~Cafi del Corso, near the Giardino Pubblico; ~Elvetico, near
the Teatro Civico.

Chemist. Fossali, Via del Prione.

Baths. Warm baths at the two first named hotels, and adjoining the
Hotel Italia. — Sea-batJis in summer on the beach to the K., 50 c.

Post Office in the Corso Cavour (8-12 a. m. and 2-6 p. m.). — Telegraph
Office: Piazza Vittorio Emanuele, and Via Fossi 7 (open till midnight).

Boat with one rower, 1 fr. per hour.

La Spezia, a town with 26,100 inhah. , is charmingly situated
at the N.W. angle of the Golfo della Spezia, between two rocks
crowned with forts, and possesses one of the largest, safest, and
most convenient harbours in Europe , the Lunai Partus of the Ro-
mans. Since 1861 La Spezia has been the chief war harbour of
Italy, and extensive improvements are now being carried out. The
Royal Dockyard on the S.W. side of the town, constructed by Gen-
eral Chiodo, to whom a statue has been erected at the entrance,
is a large establishment, 150 acres in extent (admission on written
application to the Comando Generale della Darsena). The marine
artillery magazines in the bay of /S. Vito cover an area of 100 acres.
Spezia is also a trading place of some importance. In summer the
sea-baths, and in winter the mildness of the climate attract numer-
ous visitors. The air is genial and humid, and the vegetation of a
southern character. The olive-oil of the environs is esteemed. Plea-
sant walks on the coast.

A delightful Excursion may be made to Porto Venere on the W.
side of the bay (two-horse carriage in 1' 2 hr., 10 fr. ; boat in 2-2'/2 hrs.,
8-10 fr. ; the former preferable), on the site of the ancient Porliis Veneris.
A most charming prospect is enjoyed from the ruins of the church of S.
Pietro, rising above the sea, and supposed to occupy the site of the
old temple of Venus. Opposite lies the fortified island of Palmaria. Beau-
tiful excursions may also be taken on the E. side of the bay, to S.
Terenzo and Lerici, to which a screw-steamer runs thrice daily (Ifr.),
starting from the Molo of the bay.

Four tunnels. — Qi^jo'^. Areola, with a conspicuotis campanile.
The train passes through another long tunnel, and crosses the broad
Magra, which in ancient times formed the boundary between Italy
and Liguria.

67 '/2 M. Sarzana, Rom. Sergiana , or Luna Nova, from its
having superseded the ancient Luna, with the picturesque forti-
flcation of Sarzanella, constructed by Castrticcio (\istracani , and a
handsome Cathedral in tlie Italian Gothic style , begun in 1355.
Pop. 10,000.

In 1467 the place foil into the hands of the Florentines under Lorenzo

to Pisa. SARZANA. 17. Route. 113

de' Medici, from whom it was again wrested by Charles VIII. of France ;
it subsequently belonged to the Genoese, and then to the Sardinians.
Sarzana was the birthplace of Pope Nicholas V. (Tommaso Parentucelli,
1447-55), a great patron of learning, and the founder of the library of the
Vatican. The Buonaparte family is also said to have been settled in the
Lunigiana, near Sarzana, before they transferred their residence to Corsica.

The environs are very fertile. Among the mountains to the
left the white rocks and gorges of the neighbouring marble-quarries
are visible. To the right a fine retrospect of the Bay of La Spezia.

Between Sarzana and the next stat. Avenza are the ruins of
Luna, situated on the coast. This old Etruscan town fell to decay
under the Roman emperors , and was destroyed by the Arabs in
1016 ; its episcopal see was transferred to Sarzana in 1465. The
site of the ancient t^wn is still marked by the ruins of an amphi-
theatre and circus. From the town of Luna the district derives
its name of La Lunigiana.

741/2 M. Avenza is a small town on the brook of that name,
above which rises an old castle of Castruccio Castracani , of 1322,
with bold round towers and pinnacles. On the coast to the right
is a small harbour for the shipment of the Carrara marble.

Branch Railway from Avenza, 12 min. (3 M. ; fares 60, 40, 30 c.) to —

Carrara (Locanda Nazionale, with the Trattoria del Giardinetto, in the
principal .street on the right; travellers are cautioned against spending the
night here, as the mosquitoes are insufferable). A visit to the celebrated
and interesting quarries requires 3 hrs. at least. Guides demand 5fr.,
but will generally reduce their charge to 2-3 fr.; for a mere superficial
survey their services may be dispensed with. Leaving the station , we
turn to the right and follow the street in a straight direction , past the
theatre, to the Piazza, which is adorned with a statue of the grand-
duchess Maria Beatrice, over life-size, erected in 1861. The bridge to
the left at the end of the piazza should then be crossed , and the road
with deep ruts, ascending on the right bank of the Torano, followed.
At (1/4 M.) a group of houses a path diverges to the right to extensive
quarries of an inferior kind of marble, but we continue to follow the
road , passing numerous marble cutting and polishing works. Beyond
the village of Torano , round which the road leads, the first mines,
recognisable by broad heaps of rubbish, are situated on both sides of the
valley. The blocks are detached , drawn out by oxen, and rolled down
the hill. The finer description is called marmo stattiario. About 400
mines with 6000 workmen are at present in operation. The working
hours are from 5 a. m. to 2 or 3 p. m.; the forenoon is therefore the
best time for a visit (a supply of copper coins is desirable). A horn is
blown as a signal when the rock is about to be blasted. The mines of
Monte Crestola and M. Sagro yield the best and largest blocks. The mines
of Fantiscritti, 3 M. from Carrara , were worked by the ancient Romans.

The town of Carrara contains the studios of numerous sculptors (Lazze-
rini, Franchi, Pellicia, Bonanni, etc.), some of which should be visited. Most
of the inhabitants obtain their livelihood by working the marble. The
following churches should also be inspected : S. Andrea, in a half Ger-
manic style of the 13th cent., like the cathedral of Monza, with inter-
esting facade and good sculptures ; Madonna delle Grazie, with sumptuous
decorations in marble. The Accademia delle Belle Arti contains many
copies trom antiques, as well as works by sculptors of Carrara and
several Roman antiquities found in the mines of Fantiscritti , e.g. a
*Basrelief of Jupiter with Bacchus. The piazza in front of the Academy
is embellished with a statue of Pellegrino Rossi of Carrara, the papal
minister, murdered at Rome in 1848.

78Y2 M. Massa (Quattro Nazioni) , formerly the capital of

Baedekek. Italy I. 5th Edit. 8

114 Route 17. PIETRASANTA.

the Duchy of Massa-Carrara, which was united with Modeua in
1829, with 18,800 inhab., is pleasantly situated amidst mountains,
and enjoys a mild climate. The Palace was once occupied hy Na-
poleon's sister Elisa Bacciocchi when duchess. The marhle-
quarries here are very valuable, rivalling those of Carrara.

Country fertile and well cultivated. The picturesque ruins
of the castle of Montignoso become visible on an abrupt height
to the left. — 83 M Querceta ; 3 M. to the left is the village of
Serravezza, frequented as a summer-resort, with marble-quarries.

85 M. Pietrasanta (Vnione; Europa), a small town with ancient
walls, beautifully situated among gentle slopes, was besieged and
taken by Lorenzo de' Medici in 1482. The church of S. Martina (II
Duomo), begun in the 13th cent. , with additions extending down
to the 16th cent., contains a pulpit and sculptures by Staggio Stagi.
Ancient font and bronzes by Donatella in the Battisterio. Cam-
panile of 1380. S. Agostino, an unfinished Gothic church of the
14th cent., contains a painting by Taddeo Zacchia, of 1519. The
pinnacled Toion Hall is situated in the Piazza, between these two
churches. Quicksilver mines in the vicinity of Pietrasanta.

Near (91 M.) Viareggio [Hotel Anglo- Americain, well spoken
of, pens. 5, in summer 7fr.; Albergo del Commercio, good cuisine ;
*H6tel de Russie ; Alb. d' Italia ; Corona d' Italia), a small town on
the coast, and a favourite sea-bathing place, the line enters the
marshy plain of the Serchia, crosses the river beyond (94 M.) Torre
di Lago, and reaches —

1041/2 M. Pisa (p. 320). To the left at the entrance are seen the
cathedral, the baptistery, and the campanile. The station is on the
left bank of the Arno.

IV. Lombardy.

The name of the Germanic tribe which invaded Italy in 568, is now
applied to the country between the Alps and the Po, which is separated
from Piedmont by the Ticino , and from Venetia by the Mincio. It is
divided into the eight provinces of Como, Milano, Pavia, Sondrio^ Ber-
gamo^ Cremona, Brescicu and Mantova, covering an area of about 9000 sq.
M., and containing 3,623,000 inhabitants. The name was once applied to a
much larger tract. Lombardy has not inaptly been likened to an
artichoke, the leaves of which were eaten off in succession by the lords
of Piedmont; thus in 1427 they appropriated Vercelli, in 1531 Asti, in
1703 Val Sesia, in 1736 Alessandria, Tortona , and Novara, and in 1743
Domo d'Ossola. The heart of the country, if we continue to use the
simile, would then be the Distkict of Milan, or the tract lying between
the Ticino, Po , and Adda. The three zones of cultivation are the same
as in Piedmont, viz. the region of pastures among the mountains, that
of the vine , fruit-trees , and the silk-culture on the lower undulating
country and the slopes adjoining the lakes, and that of wheat, maize,
and meadows in the plains, the yield of these last being, however, far
more abundant than in Piedmont. The summers are hot and dry, rain
being rare beyond the lower Alps , and falling more frequently when
the wind is from the E. than from the W., as the moisture of the latter
is absorbed by the Maritime Alps and the Apennines. The land, however,
is more thoroughly irrigated than that of any other district in Europe,
and the servitude of aquae ductvs, or right to conduct water across the
property of others, has been very prevalent here for centuries. A failure
of the crops indeed is hardly possible , except when the summer is
unusually cold. Meadows yield as many as twelve crops in the year,
their growth being unretarded by the winter. The so-called Parmesan
cheese is one of the well-known products of Lombardy. In the middle
ages the importance of Milan was due to its woollen industries, but sheep-
breeding has in modern times been superseded by the silk-culture, an
industry which has so materially increased the wealth of the country,
that it used to be said during the Austrian regime, that the army and the
officers lived on mulberry leaves , as their produce alone sufficed to pay
the land taxes. Under these circumstances the population is unusually
dense, being about 330 persons to the sq. mile, exclusive of the capital.
The central situation, and the wealth of the country, have ever ren-
dered it an apple of discord to the different European nations. In the
earliest period known to us, it was occupied by the Etruscans, an Italian
race, which about the 6th cent. B.C. was subjugated or expelled by
Celts from the W. These immigrants founded Mediolanum (Milan), and
traces of their language still survive in the modern dialect of the coun-
try. It was but slowly that the Italians subdued or assimilated these
foreigners, and it was not till B.C. 220 that the Romans extended their
supremacy to the banks of the Po. In the following century they consti-
tuted Gallia Cisalpina a province , on which Cfcsar conferred the rights
of citizenship in B.C. 46. Throughout the whole of the imperial epoch
these regions of Northern Italy formed the chief buttress of the power of
Rome. Since the 4th cent. Milan has surpassed Rome in extent, and,
in many respects, in importance also. It became an imperial residence,
and the church founded here by St. Ambrosius (who became bishop in
374), long maintained its independence of the popes. The Goths, and
afterwards the Lombards, made Pavia their capital, but their domination,
after lasting for two centuries, was overthrown by Charlemagne in 774. The
Lombard dialect also contains a good many words derived from the German

116 LOMBARDY.

(thus, bron, gasi, grU, pib, smessor, stord, and stosa, from the German Brun-
nen , Gast, Greis, Ptlug, Messer, storen, and stossen). The crown of
Lnmbardy was worn successively by the Franconian and by the German
Kings, the latter of whom, particularly the Othos , did much to promote
the prosperity of the towns. When the rupture between the emperor
and the pope converted the whole of Italy into a Guelph and Ghibelline
camp , Milan formed the headquarters of the former , and Cremona those
of the latter party , and the power of the Hohenstaufen proved to be no
match for the Lombard walls. The internal dissensions between the
nobles and the townspeople, however, led to the creation of several new
principalities. In 1287 Matteo degli Visconti of Milan (whose family
was so called from their former office of 'vicecomites'' , or archiepiscopal
judges) was nominated 'Capitano del Popolo", and in 1294 appointed gov-
ernor of Lombardy by the German King. Although banished for a time
by the Guelph family Delia Torre, both he and his sons and their poster-
rity contrived to assert their right to the Signoria. The greatest of this
family was Giovanni Galeazzo, who wrested the reins of government from
his uncle in 1385, and extended his duchy to Pisa and Bologna, and even
as far as Perugia and Spoleto. Just, however, as he was preparing at
Florence to be crowned king of Italy , he died of the plague in 1402,
in the 55th year of his age. On the e.xtinction of the Visconti family in
1447, the condottiere Francesco Sforza ascended the throne, and under his
descendants was developed to the utmost that despotism which Leo de-
scribes as 'a state in which the noblest institutions prosper when the
prince is a good man; in which the greatest horrors are possible when
the prince cannot govern himself; a state which has everywhere thriven
in Mohammedan countries, but rarely in the middle ages in other Christian
countries besides this'. In 1494 when Lodovico il Mora induced Charles
VIII. of France to undertake a campaign against Naples, he inaugurated
a new period in the history of Italy. Since that time Italy has at once
been the battlefield and the prey of the great powers of Europe. Lodo-
vico himself, after having revolted against France and been defeated at
Novara in 1500, terminated his career in a French dungeon. In 1.525 the
battle of Pavia constituted Charles V. arbiter of the fortunes of Italy. In
1.535, after the death of the last Sforza, he invested his son, Philip "ll. of
Spain , with the duchy of Milan. In 1713 the Spanish supremacy was
followed by the Austrian in consequence of the War of Succession. On
four occasions (1733, 1745, 1796, and 1800) the French took possession of
Milan, and the Napoleonic period at length swept away the last relics of
its mediEEval institutions. Although Napoleon annexed the whole of
Piedmont, Genoa, Parma, Tuscany, and Rome (about 36,000 sq. M. of
Italian territory) to France, the erection of a kingdom of Italy contrib-
uted materially to arouse a national spirit of patriotism. This kingdom
embraced Lombardy, Venice, S. Tyrol, Istria, the greater part of the
Emilia, and the Marches (about 32,0(X) sq. M.). Milan was the capital,
and Napoleon was king , Ijut was represented by his stepson Ettgkne
Beaiiliarnais. The Austrian Supremacy , which was restored in 1815, proved
irreconcilable with the national aspirations of the people. By the Peace
of Zurich (10th Nov. 1859), Lombardy, with the exception of the district
of Mantua, was ceded to Napoleon III., and by him to Sardinia.

18. Milan, Ital. Milam.

Arrival. The RaiUcay Station , a handsome and well arranged struc-
ture, is decorated with frescoes by Pagliano , Induno and Casnedi, and
with sculptures by Vela, Strazza, Magni, and Tabacchi. Omnibuses from
most of the hotels are in waiting (fare l-l'/zfr.). Fiacre from the station
to any part of the town I'/ifr. (also at night), each article of luggage
25 c. — Omnibus to the cathedral 25c. — Porterage to the town for lug-
gage under 100 lbs. 50 c., according to tarilV.

Hotels. -GitAND HoTKL PB i,A ViLLE (PI. a; F, 6), Corso Vittorio Ema-
nucle, opposite the church of S. Carlo; 'TIotel Cavouk, in the Piazza

■^.

5 i!-?^>""^^^^*tFlt^

/fi

MILAN. 18. Route. 117

Cavour (PI. E, F, 4), near the station, expensive; *Grand Hotel de Milan
(PI. h; E, 5), Via Alessandro Manzoni 29; *Gean Bketagna & Reichmann
(PI. d; D, 6), Via Torino; Hotel Royal (PI. b ; E, 6), Via Tre Re, well
spoken of. All these are of the first class; average charges: R. 3fr. and
upwards, B. IV2, D- 5, L. and A. 2, omnibus iVzfr. — The following are
good second-class hotels : " Eukopa (PI. e ; E, 5, 6), CorsoVittorio Emanuele
9; '■'Hotel Manin, Via Manin , near the Giardini Pubblici; *Roma, Corso
Vittorio Emanuele 7 (with restaurant, no table d'hote), R. 2V2, A. 2/4,
L. 3/4, omnibus Ifr. ; '^Pozzo, Via Torino (PI. D, 7,6), R. 21/2, D. at 6 p.m.
4V2fr., L. 60c., B. l'/2, omnibus ifr.; Francia, Corso Vittorio Emanuele
19, D. 4, B. I'Afr., L. 60, A. 60 c., well spoken of; -Centkal (PI. f;
E, 6), Via del Pesce; "Bella Venezia (PI. g; E, 5), Piazza S. Fedele ;
*Ancora, Via Agnello and Corso Vitt. Emanuele; 'Leone, Corso Vittorio
Emanuele, at the corner of the Via Durini. Italian hotels, with restaurants:
Trois Suisses, Via Larga 16, R. 21/2, B. IV2, omnibus ifr., A. 70, L. 60c.;
Hotel Pension Suisse, commercial; Falcone, well spoken of; *Rebecchino,
Via S. llargherita; Fieenze , Via Principe Umberto , near the station;
IsoLA Bella, outside the Porta Nuova, well spoken of; 'Aqdila, Via S.
Margherita, unpretending ; Passerella, Corona d'Italia, *Biscione, Piazza
Fontana, to the S.E. of the cathedral, R. from lV2fr.

Restaurants ( Traltorie). "Biffi, Gnocchi, in the Galleria Vittorio Ema-
nuele (see below); Cova (see below); "Rebecchino, Via S. Margherita, near
the Piazza del Duomo , an old established house, founded in 1699. The
above-mentioned second-class hotels are also restaurants. Jsola Botta, out-
side the town, by the Triumphal Arch (p. 133), a favourite resort on Sun-
days and holidays. Fiaschetteria Toscana, near the W. branch of the
Galleria Vittorio Emanuele; good Tuscan wine.

Cafes. "Cova, with a garden. Via S. Giuseppe, near the Scala, con-
certs in the evening (10 c. added to the charge on each refreshment, ex-
cept on Sundays when the charge of admission is 50 c.); "Bi/fi and
"Gnocchi, both in the Galleria Vitt. Emanuele, concerts in the evening;
Martini, Piazza della Scala; 'Europa, Corso Vitt. Emanuele, near the Ho-
tel de la Ville (concerts every evening); several cafes in the Giardini
Pubblici (p. 132) ; clelle Coloiine, Corso Venezia 1. Dejeuner a la fourchette
may be procured at most of the cafe's; also good beer in glasses (tazza,
30c.; tazza-grande, 50c.). — Ices (^sorbelto, and '■pezzi duri'' or ices frozen
hard) are not to be had before 4 p.m. ; at an earlier hour, ^granita\ or half-
frozen, is in vogue. — Panelone is a favourite kind of cake, especially at
the time of the Carnival.

Beer. Birreria Nazionale , a large establishment in the Via Carlo
Alberto, on the W. side of the Piazza del Duomo (Vienna beer) ; --Stocker,
Galeria Vitt. Emanuele ; Birreria Mazzola , Corso Vittorio Emanuele (Ba-
varian and Vienna beer); ''Trenk, Galleria de' Cristoforis (p. 132).

Baths. Corso Vittorio Emanuele 17 , clean and not expensive ; Via
Pasquirolo 11, etc. — Swimming-Baths : " Bagno di Diana (Pi. 60), outside
the Porta Venezia (skating-rink in winter) ; Bagno Nazionale , outside the
Porta Ticinese ; Bagno di Castelfidardo, with a separate basin for ladies.
Via Castelfldardo, near the Porta Nuova.

Cabs C Broughams"; a tariff in each vehicle). Per drive by day or
night Ifr. ; from the station to the town, lV4fr. ; half-hour Ifr., per hour
lV2fr. ; each article of luggage 25 c.

Omnibuses from the Piazza del Duomo every 5 min. to the different gates,
the names of which are painted on the omnibus, 10 c, to the railway-
station 25c.; the most frequented are the '■Porta Ticinese' and the '■Porta
Garibaldi'' lines. A saving of time is often efl'ected by using these vehicles.

Tramways. To Monza, see p. 134. From the Piazza Castello, at the
end of the Via Cusana (PI. D, 5), to Saronno. From the Strada di Circon-
vallazione, between the Porta Principe Umberto and Porta Venezia, to
Gorgonzola and Vaprio. On the last two lines the cars are drawn by
road-engines.

Post Office (PI. 68), Via Rastrelli 20, near the cathedral, at the back
of the Palazzo Reale , open from 8 a.m. to 9 p.m. — Telegraph Office
(PI. 69), near the Borsa, Piazza dei Mercanti 19, first floor.

118 Route 18. MILAN. Theatres.

Theatres. The Teatro della Scala (PI. 62), the largest in Italy after
the S. Carlo theatre at Naples, was built in 1T78, and holds 3600 spectators.
The opera and ballet are excellent, but performances take place during
the Carnival only; the interior is worthy of inspection (Ifr.). Teatro
alia Canobhiana (during the Carnival only; PI. 63), with ballet; Teatro
Manzoni (PI. 64; E, 5), near the Piazza S. Fedele, elegantly fitted up, per-
formances sometimes in French. Teatro dal Verme (PI. 65), operas and
ballets in summer and autumn, dramas, comedies, and ballets during the
Carnival. — The Teatro Castelli, Via Palermo (PI. E,2), is now used as a
skating-rink.

Bankers. Finck & Sckerbivs , Via Andegari; Mack., Wiegel., & Keutzer,
Via Orso 16; Mylius & Co., Via Clerici 4; Ulrich & Co., Via Bigli 21;
Weill, Schott Figli, & Co., Via Pietro Verri 7. — Money-Changer: A. Grisi,
Piazza Mercanti.

Booksellers. F. Sacchi & Figli (formerly Artaria), Via S. Margherita;
Iloepli , Galleria de' Cristoforis ; G. Brigola, Corso Vittorio Emanuele 26;
A. Vallardi, Via S. Margherita; Dumolard, Corso Vitt. Emanuele 21.

Shops. The best are in the Corso and the Galleria Vittorio Emanuele.
The Aux Villes d'ltalie. Via Carlo Alberti , near the Piazza del Duomo,
is an establishment in the style of the large Magasins at Paris. The Silk
Industry of Milan, in which upwards of 200 considerable firms are en-
gaged, is very important. The following are noted retail dealers: Ver-
nazzi, Corso Vittorio Emanuele, adjoining the Hotel de la Ville; Ostiago,
Via S. Radegonda, a little to the N. of the Cathedral. — Marbles: Bianchi,
Galleria Vitt. Emanuele. — Antiquities : Berlini, Via S. Damiano 40. —
Optician : Fries, Via S. Margherita 7.

Physician, English : Dr. Francis Cozzi, Via Monforte 6. — Chemist :
Zambelletti, Piazza S. Carlo, Corso Vitt. Emanuele.

Cigars. The Spaccio Normale, or government shop, is in the Corso
Vitt. Emanuele, at the corner of Via Pasquirolo, by the Hotel de la Ville,
where genuine havanas are also sold.

Permanent Art Exhibition : Via S. Primo, open daily.

English Church Service, Vicolo San Giovanni della Conea 12.

Principal Attractions; Cathedral, ascend to the roof ; Galleria Vittorio
Emanuele; Brera (picture-gallery); Arco della Pace ; S. Maria delle Grazie
and Leonardo da Vinci's Last Supper; S. Ambrogio , the oldest of the
churches; Auibrosiana (pictures); Piazza de' Mercanti ; the new cemetery;
between 6 and 7 p.m. walk through Corso Vittorio Emanuele to and
beyond the Porta Venczia.

Milan (390 ft.), surnamed '■la grande\ the Mediolanum of the
Romans, which was rebuilt after its total destruction in 1162 hy
the Emp. Frederick Barbarossa, is the capital of Lombardy, the seat
of an archbishop and one of the wealthiest manufacturing towns in
Italy, silk and woollen goods being the staple commodities. It is
situated on the small river Olona, which however is navigable and
is connected by means of the Naviylio Grande (p. 71) with the
Ticino and Logo Maggiore, by the Naviglio di Pavia with the Ticino
and the Po, and by the Naviglio della Martesana with the Adda, the
Lake of Como, and the Po. The town is 7 M. in circumference,
and contains 200,000 inhab. , or , including the suburbs , about
202,000.

The favourable situation of Milan in the centre of Lombardy has al-
ways secured for it a high degree of prosperity. Under the Romans it
was one of the largest cities in Italy (p. 115), but owing to its repeated de-
struction hardly a trace of that period has been left. Its heroic struggles
against the German emperors are well known. With the e.xception of S.
Ambrogio and a few other churches , the city was totally destroyed in
1162 by the emperor Frederick Barbarossa, but in 1167 it was rebuilt
by the allied cities of Brescia, Bergamo, Mantua, and Verona. It waa

Cathedral. MILAN. 18. Route. 119

afterwards ruled by the Visconli (1312-1447), then by the Sforza family
(1447-1535). Under the supremacy of the latter it attained the zenith of its
reputation as a patron of art , having been the residence of Bramante
from 1476 to 15(X), and of Leonardo da Vinci from 1494 to 1516. The most
eminent of Leonardo's pupils who flourished here were Bernardino Luini,
Cesare da Sesto, Giov. Ant. Boltraffio , Marco da Oggionno, Andrea Salaino,
and Oaudenzio Ferrari. — Milan with the rest of Lombardy afterwards fell
into the hands of the Spaniards , and in 1714 fell to Austria. In 1796
it became the capital of the ^Cisalpine Republic", and then (down to 1815)
that of the Kingdom of Italy. The bloody insurrection of 17th May, 1848,
compelled the Anstrians to evacuate the city, and the patriotic agitations
which ensued were happily ended by the desired union with the new
kingdom of Italy in 1859.

No town in Italy has undergone such marked improvement as Milan
since the events of 1859. — In the province of Art it has raised itself to
the highest rank in the kingdom. Sculpture is here carried on to such
an extent as to have become almost a special industry. The Milanese
Sculptors take great pride in their technical skill, and in effective
imitations of nature. Among the best known sculptors are Magni, Peduzzi,
Tandardini, Barzagfii, Argenti, Calvi, and Baccaglia. — Painting is
represented by Fr. Hayez , Induno , Bianchi, Mussini, Passini, and others,
but most of these artists seem to cultivate the modern Parisian style, and
to be entirely oblivious of their gloriovis old national traditions.

The old part of the town, a portion of which consists of narrow
and irregular streets, is enclosed hy canals, beyond which suhurhs
(borghi), named after the different gates (Porta Venezia, Comasina
or Garibaldi, Sempione, etc.), have sprung up.

The focus of the commercial and public life of Milan is the
*Piazza del Duomo (PI. D, E, 6) , which was formerly cooped up
between insignificant lanes, but has recently been much extended,
and is now enclosed by imposing edifices designed by Giuseppe
Mengoni (p. l'2i), and still partly unfinished, forming with the
cathedral a striking architectural whole.

The celebrated **Cathedral (PI. 5), dedicated ' Mariae NascentV,
as the inscription on the facade announces, and as the gilded statue
on the tower over the dome also indicates, erected in the Gothic
style , is regarded by the Milanese as the eighth wonder of the
world , and is, next to St. Peter's at Rome and the cathedral at Se-
ville , the largest church in Europe. The interior is 159 yds. in
length, 61 yds. in breadth; nave 155 ft. in height, 17 yds. in
breadth. The dome is 220 ft. in height , the tower 360 ft. above
the pavement. The roof is adorned with 98 Gothic turrets , and
the exterior with upwards of 2000 statues in marble. The structure,
which was founded by the splendour-loving Gian Galeazzo Visconti
in 1386, perhaps after the model of the Cologne cathedral, pro-
gressed but slowly owing to the dissensions and jealousies of the
Italian and Northern architects, whereby it was impossible to attain
uniformity in the execution. Enrico di Gamodia (Heinrich von
Gmiind), one of the numerous competing architects from France and
Germany, has erroneously been called the builder of the cathedral.
The whole was finished in its principal parts at the close of the
15th century in accordance with the designs ot Francesco di Giorgio
(dome) , and Giov Ant. Omodeo , excepting the ornamentation of

120 Route 18. MILAN. Cathedral.

the facade (doors and windows), which was executed in the Renais-
sance style hy Pellegrino Tibaldi in the middle of the I6th century.
In 1805 Napoleon caused the works to be resumed, and the tower
over the dome to be added , and at the present day additions and
repairs are constantly in progress.

The church is cruciform in shape , with double aisles , and a
transept also flanked with aisles. The Interior is supported by
52 pillars, each 12 ft. in diameter, the sximmits of which are ad-
orned with canopied niches with statues instead of capitals. The
pavement consists entirely of mosaic in marble of different col-
ours. The vaulting is skilfully painted in imitation of perforated
stone-work.

Interior. By the principal inner portal are two huge monolith col-
umns of granite from the quarries of Baveno (see p. 27). The band of
brass in the pavement close to the entrance indicates the line of the
meridian. South Aisle : Sarcophagus of Bishop Heribertus Antimianus
(d. 1045), with crucifi.v. Gothic monument of Marcus de Carellis (d. 1394).
South Transept (W. wall): Monument of the brothers Giacomo and Ga-
l)riele de' Medici, erected by their brother Pope Pius IV. (1564), the three
bronze statues by Leone Leoni (Aretius). Tickets for the roof (25 c, see
below) are obtained near this monument; the staircase leading to the dome
is in the corner of the side-wall. The altar of the Oftering of Mary (E. wall
of S. transept) is adorned with fine Reliefs by Agostino Busii (Bambaja;
p. 120); adjacent is the Statue of St. Bartholomew by Marcus Agrate (end
of 16th cent.), anatomically remarkable, as the saint is represented flayed,
with his skin on his shoulder, and bearing the modest inscription 'non
me Praxiteles sed Marcus fin.xit Agratus".

The door of the S. Sacristy (to the right, in the choir) is remarkable
for its richly sculptured Gothic decorations. (The "Treasury here maybe
inspected , fee 1 fr. ; among other valuables it contains life-size statues
in silver of S. Ambrogio and S. Carlo Borromeo, and the ring and staff
of the latter.) — A little farther on is the marble Monument of Cardinal
Marino Carraccioli (d. 1538), by whom Emp. Charles V. was crowned at
Aix-la-Chapelle in 1520. The fourth of the handsome new Gothic con-
fessionals is for the German, French, and English languages. The stained
glass in the three vast choir windows , comprising 350 representations of
scriptural subjects, were executed by Alois and Giov. Bertini of Guastalla
during the present century; most of them are copies from old pictures.
Before the N. Sacristy is reached, the Statue of Pius IV. is seen above,
in a sitting posture, by Angela Siciliano. The door of this sacristy is also
adorned with fine sculptures in marble.

By the E. wall of the N. Transept is an altar with the Crucifixion
in high relief, by Ant. Prestinari. In the centre of this transept, in front
of the altar, is a valuable bronze "Candelabrum, in the form of a tree,
executed in the 13th cent., and decorated with jewels, presented by Giov.
Ball. Trivulzio, in 1562.

North Aisle : Altar-piece , painted in 1600 by Fed. Baroccio, repre-
senting S. Ambrogio releasing Emp. Theodosius from ecclesiastical penal-
tics. Upon the adjoining altar of St. Joseph, the Nuptials of Mary, by F.
Ziicdiero. The following chapel contains the old wooden Crucijix vfhich
S. Carlo Borromeo bore in 1576, when engaged, barefooted , in his mis-
.sions of mercy during the plague. Under the next window is a Monument^
with a relief of the Virgin in the centre, by Marchesi; on the right and
left the two SS. John by Monli. Not far from the N. side door is the
Font, consisting of a sarcophagus of S. Dionysius, but appropriated to
its present use by S. Carlo Borromeo. The canopy is by Pellegrini.

In front of the choir , below the dome , is the subterranean Cappella
S. Carlo Borromeo (p. 157), with the tomb of the saint; entrance opposite
the doora to the sacristy, to the N. and S. of the choir (open in summer

Galleria Vitt. Eman. MILAN. 18. Route. 121

5-10, in winter 7-10 a.m.; at other times Ifr.; for showing the relics of
the saint 5 fr.).

The traveller should not omit to ascend to the *Rooi' and
Tower of the Cathedral. The staircase ascends from the corner of
the right transept (ticket 25 c. ; map of town and environs 1 1/2 fr- ;
open till an hour before sunset, in summer from 5 a.m.). As single
visitors are not now admitted, except when other visitors are already
at the top, a party of two or more must be made up (comp. p. 324).
The visitor should mount at once to the highest gallery of the tower
(by 194 steps inside and 300 outside the edilice). A watchman,
generally stationed at the top, possesses a good telescope. The finest
views of the Alps are obtained early.

View. To the extreme left (S.W.), Monte Vise, then Mont Cenis
(p. 23); between these two, the less lofty Superga (p. 66) near Turin;
Mont Blanc, Great St. Bernard; Monte Rosa, the most conspicuous of all;
to the left of the last the prominent Matterhorn ; then the Cima di Jazi,
Strahlhorn, and Mischabel ; N.W. the Monte Leone near the Simplon ;
the Bernese Alps; N. the summits of the St. Gotthard and Spliigen,
and E. in the distance the peak of the Ortler. S. the Certosa of Pavia
(p. 162) is visible, farther E. the towers and domes of Pavia itself, in
the background the Apennines.

To the S., opposite the cathedral, stands the Palazzo Reale (PI.
48) , built on the site of a palace of the Visconti in 1772, adorned
with frescoes by A. Appiani, B. Luini, and Hayez, and containing
a handsome ballroom (Sala delle Cariatide), etc. — Adjoining it, on
the E., is the large Archiepiscopal Palace (^Arcivescovado ; PI. 49),
by Pellegrini (1565), containing a handsome court with a double
colonnade and marble statues (Moses and Aaron) by Tandardini.

The W. side of the Piazza del Duomo is skirted by the Via
Carlo Alberto (see p. 131), beyond which, to the N.W., lies the
Piazza de' Mercanti (see p. 127).

On the N. side is the imposing new palatial facade which forms
the entrance to the *Galleria Vittorio Emanuele (PI. 40 ; E, 5, 6),
connecting the Piazza del Duomo with the Piazza della Scala. This
is the most spacious and attractive structure of the kind in Europe.
It was built in 1865-67 by the architect Gius. Mengoni, one of
the most gifted of modern Italian architects, who unfortunately
lost his life by falling from the portal (finished in 1878) in 1877.
The gallery, which is said to have cost 8 million fr. (320,000i.),
is 320 yds. in length, 16 yds. in breadth, and 94 ft. in height.
The form is that of a Latin cross, with an octagon in the centre,
over which rises a cupola 180 ft. in height. The decorations are
well-executed and bear testimony to the good taste of the Milanese.
The octagon is adorned with frescoes, representing Europe, Asia,
Africa , and America , while the frescoes on the entrance-arches
are emblematic of Science, Industry, Art, and Agriculture. The
gallery contains handsome shops, and is lighted in the evening by
2000 gas-jets. The circle of gas-jets in the dome is lighted by a
small engine set in motion by clockwork, which does its work in
11/2 min., and attracts numerous spectators.

122 Route 18. MILAN. Piazza della Scala.

The gallery is adorned with 24 statues of celebrated Italians : at the
entrance from the Piazza del Duomo, Arnold of Brescia and G. B. Vico ;
in the octagon, on the right, Cavour, Emmanuel Philibert (p. 61), Vittore
Pisano, Gian Galeazzo Visconti (p. 116) ; Romagnosi (p. 127), Pier Capponi,
JIacchiavelli, Marco Polo ; Raphael, Galileo, Dante, Michael Angelo ■■, Volta,
Lanzone, Giov. da Procida, Beccaria; at the right lateral outlet Ben o
de' Gozzadini and Columbus, at the left lateral outlet Ferruccio and
Monti: at the entrance from the Scala, Savonarola and Ugo Foscolo.

The Piazza, della Scala (PI. E, 5) is einbellistied with the
^Monument of Leonardo da Vinci (1452-1519) hy Magni, erected
in 1872. The statue of the master in Carrara marble, over life-size,
stands on a lofty pedestal, surrounded hy Marco da Oggionno, Cesare
da Sesto , Salaino , and Boltraftio , four of his pupils , and adorned
with copies of his principal works in relief. — In the piazza, to the
W. of the statue, is the Teatro della Scala (p. 118); to theE. is the
large Palazzo del Marino, in which the Municipio (Pi. 52} has been
established since 1861 , erected in 1555 from designs by Galeazzo
Alessi, with a massive facade (S.E. side) and interesting court.

Beyond it is the Jesuit church of S. Fedele (PI. 15) in the
Piazza of that name, erected by S. Carlo Borromeo in 1569 from
designs by Pellegrini, containing a sumptuous high altar. The ad-
joining Palazzo del Censo ed Archivio, formerly the Jesuit college,
contains part of the government archives, chiefly documents relat-
ing to the history of Milan.

We next proceed from the Piazza della Scala to the N. by the
Via S. Giuseppe (Pi. E, D, 5) and Via di Brera to the Brera. In the
Via del Monte di Piet^ , the second side-street on the left , is the
handsome new Cassa di Risparmio , or savings-bank , an imitation
of the Palazzo Strozzi at Florence.

The *Brera (P1.50;D,4; Via di Brera 28), or Palazzo delle
Scienze ed Arti , formerly a Jesuits' College , contains the Picture
Gallery, the Library of the Academy founded in 1170 (200,000 vols.;
open daily), a Collection of Coins (50,000) , the Observatory, a col-
lection of Casts from the antique, and an Archaeological Museum.

The handsome Court by Ricchini contains statues in marble of
the political economist Count Pietro Verri, the architect Marchese
Luigi Cagnola (d. 1833), Tommaso Grossi, the mathematicians
Gnbrio Piola and Fra Bonaventura Cavalieri (d. 1047), and Carlo
OltaiHO Castiglione. In the centre of the court is a bronze statue
of Napoleon J., as a Roman emperor, by Canova, considered one of
his finest works. By the staircase, to the left, the statue of the
celebrated jurist Beccaria (d. 1794), who was the tirst to call in
question the justice of capital punishment; to the right, that of the
satirist Gius. Parini (d. 1799), professor of rhetoric at the college
of the Brera.

The ^Picture Gallery (Pinacoteca), which contains about 600
works, is open daily from 9 a.m. to 4 p.m. (on holidays from 12,
in winter and on Sundays till 3); admission 1 fr., Sundays and
Thursdays gratis.

Brera. MILAN. 18. Route. 123

The gem of the collection is Raphael's Sposalizio (No. 305),
the chief work of his first or Umhrian period. The numerous
pictures of the Lomhard school, and particularly the frescoes sawn
out of churches, are also very valuable. The drawing of the head
of Christ for the last Supper (No. 308) shows with what beauty
Leonardo could Invest his figures. Among the oil-paintings,
No. 89 by Bernardino Luini is a very meritorious work, and among
the frescoes, Nos. 46 and 51, by the same master. The most in-
teresting works of the early Italian school are No. 155 by Gentile
da Fabriano, and No. 187 by Mantegna. The collection also affords
an instructive survey of the progress of Carlo Crivelli (who flourish-
ed in 1468-93 ; 3rd and 8th rooms) , a master who connects the
Paduan school with that of Venice. The most notable works of
the latter school are No. 164 by Gentile Bellini, Nos. 278 and 291
by Giovanni Bellini, and No. 294 by Cima da Conegliano ; and of
a later period No. 205 by Bonifacio, No. 244 by Titian, and Nos.
249, 250, 251 by Lorenzo Lotto. No. 453 by Domenichino, and
No. 328 by Guercino , represent the Italian masters of the 17th
century. The most important works of foreign schools are No. 444
by Rubens, Nos. 439 and 443 by Van Dyck, and No. 446 by Rem-
brandt. Each picture bears the name of the painter. Catalogue
1 fr. 25 c.

I. and II. Ante-Chambers : 1-70. Frescoes by Ferrari, Bra-
mantino, Foppa, Marco da Oggionno, and particularly by Bernar-
dino Luini, some of them approaching the genre style (Nos. 1, 10,
12), scenes from the life of Mary (4, 18, 42, 50, 52, 66), *Ma-
donna with St. Anthony and St. Barbara (46), Angels (13, 25, 44,
48, 53, 65), and St. Catharine borne by angels (51); Gaudenzio
Ferrari, Adoration of the Magi (24).

Room I. : 72. Borgognone, Coronation of the Virgin ; 84. Zenale,
Madonna, with the four great church fathers , SS. Jerome, Gre-
gory , Augustine , and Ambrose, and the donors, Lodovico Mero,
his wife Beatrice, and his two children; S5. Salaino, Madonna
with saints ; *89. B. Luini, Madonna; 93. Marco da Oggionno, Fall
of Lucifer; 95. B. Luini, Madonna with saints; iOS. Andrea
Solario, surnamed da Milano , Madonna and saints; 104. Gau-
denzio Ferrari, Martyrdom of St. Catharine; 113. Ben. Crespi, Cir-
cumcision of Christ; 136. Nuvoloni, The artist's family.

Room II. : 155. Gentile da Fabriano, Madonna enthroned ; 158.
Antonio and Giovanni da Murano , Madonna, with the Child and
saints; *161. Carlo Crivelli, SS. Jerome and Augustine; *163.
Bart. Montagna, Madonna enthroned, with angels playing on in-
struments and saints, one of the artist's masterpieces.

*165. Gentile Bellini, Preaching of St. Mark at Alexandria.

In this piece we 'perceive tliat tlie art of Gentile (brother of Giovanni)
on the eve of his death was better than it had ever been before. . . . The
composition is fine, the figures have the individuality which he imparted,

124 Route 18. MILAN. Brera.

and the whole scene is full of stern and solid power. — '■History of Paint-
inij ill Xofth ltaly\ by Crowe and Cavalcaselle.

168. Palma Vecchio, Adoration of the Magi; 169. Giovanni da
Vdine, St. Ursula and her virgin attendants; 171, 177. Giacomo
liaibolini, Madonna with saints ; 178. Mazzola, Portrait of a man ,
182. Garofalo, Descent from the Cross ; 184. Giov. -Sunti (RaphaeVs
father), Annunciation; 185. C. Crivelli, Crucifixion. *187. An-
drea Mantegna , Large altar-piece in twelve sections, at the top
Madonna and St. John weeping over the dead body of Christ,
helow St. Luke and four other saints, painted in 1454, and a proof
of the early maturity of the artist, then 23 years old. 188. Ci7na
da Conegliano, SS. Peter Martyr, Augustine, and Nicholas of Bari;
*189. C. Crivelli, Madonna and Child; 191. Timoteo Viti, Annun-
ciation, with John the Baptist and St. Sebastian.

Room III. : *'202. Moretto, Madonna on clouds, SS. Jerome,
Anthony Abbas , and Francis of Assisi , a work of lively and in-
tellectual expression and vigorous colouring; 204. Paolo Veronese,
Baptism of Christ; *205. Bonifacio (The Elder? ; d. 1540), Find-
ing of Moses in the ark of bulrushes, in the style of Giorgione ;
208. Paris Bordone, Baptism of Christ; 209. Paolo Veronese,
Christ in the house of the rich Pharisee; 211. Bonifacio, Christ
atEmmaus; 213. Tintoretto, Pieta ; P. Veronese, 215. SS. Gregory
and Jerome, 216. Adoration of the Magi, 217. SS. Ambrose and Au-
gustine ; 221. Calisto Piazza, Madonna and saints; *223. Paolo
Veronese, SS. Anthony Abbas, Cornelius, and Cyprian, a monk,
and a page, the finest 'conversazione' piece (see p. 232) by this
master; 225. P. Veronese, Last Supper; 237, 238. Paris Bordone,
Madonnas; 226. Tintoretto, SS. Helena, Macarius, Andrew, and
Barbara; 230. Girol. Savoldo, Madonna' and saints.

Room IV. : 233. Vine. Catena, St.' Stephen ; 235. Moretto,
Assumption of the Virgin.

Lorenzo Lotto (p. 170), *249. Portrait of a woman, *250, 251.
Portraits of men.

'The fine-chiselled features (of No. 249), extremely pure in drawing,
charm liy their mild expression. A delicate but healthy complexion is
displayed in warm sweet tones of extraordinary transparence ; and masterly
transitions lead the eye from opal lights into rich and coloured shadows.
A half length in the same collecticm represents a man of lean and buny
make with a swallow-tailed beard, a grey eye, close set features, and a
grave aspect. ... A third half length, companion to these, oflers another
variety of type and execution. A man stands at a table in a pelisse with
a fox skin collar; he is bareheaded and bearded. His right hand rests
on the table and grips a handkerchief. The ruddy skin of the face is
broken with touches now warm now cold by which the play of light and
rellections is rendered with deceptive truth'. — C. d- C.

257. Giov. Batt. Moroni, Madonna and saints; *244. Titian,
St. Jerome, a characteristic example of his later style, painted
about 1560; 243, 245. Titian, Heads of old men.

Room V. : 257. Montayna, Madonna and saints ; Vitt. Carpaccio,
258. Presentation in the Temple, 260. Betrothal of the Virgin ; 265.

Brera. MILAN. 18. Route. 125

Liberate da Verona, St. Sebastian ; 269. Francesco Verla, Madonna
and saints ; Franc, da Ponte, surnamed Bassano, 270. Descent
from the Cross, 271. Winter, 273. Autumn.

Room VI. : 277. C. CrivelU, Madonna and saints ; Giov. Bellini,
299. Madonna, *278. Pietk, an early and genuinely impassioned
work; 282. Vitt. Carpaccio, St. Stephen and the scribes; 284.
Palma Vecchio (?), St. Helena and Constantino, St. Rochus and
St. Sebastian; 288, 289. C. Crivelli, Saints; *29i. Giov. Bellini,
Madonna ; *294. Cima, St. Peter, St. Paul, and John the Baptist.

Room VII. : 300. Andrea Solario , Portrait ; 303. Cesare da
Sesto, Madonna.

301. Mantegna, Pietk, painted about 1474.

'It is a picture in which JIantegna's grandest style is impressed,
foreshortened with disagreeable boldness, but with surprising truth,
studied from nature, and imitating light, shade, and reflection with a
carefulness and perseverance only equalled by Leonardo and Diirer; dis-
playing at the same time an excess of tragic realism, and a painful un-
attractiveness in the faces of the Marys.' — C. <£• C.

**305. Raphaels far-famed Sposalizio, or the Nuptials of the
Virgin, painted in 1504 for the church of S. Francesco in Citta di
Castello, where it remained till 1798.

The composition closely resembles that of the Sposalizio of Perugino
(now at Caen), in whose studio Raphael then worked. 'In both paintings
the top is rounded, and in both a small polygonal temple, a charming
forecast of Bramante's buildings, rises in the background. The central
part of the foreground is occupied by the long-bearded high priest, who
joins the hands of the bridal pair; Mary is attended by a group of graceful
virgins, while near Joseph stand the rejected suitors, the most passionate
of whom breaks his shrivelled wand. A closer examination of Raphael's
work, however, divulges so many points of divergence, as to make the
observer almost oblivious to its Peruginesque character. The transposition
of the bride and bridegroom with their attendant groups to opposite
sides of the canvas is a purely external difference and one of little signi-
ficance, but the conception and drawing of the individual figures and the
more delicate disposition of the grouping reveal the original and peculiar
genius of the younger artist'. — '■Raffael und Michelangelo', by Pvof. An-
ton Springer.

Luca Signorelli , 304. Madonna, 306. Scourging of Christ;
Gentile da Fabriano , 309. St. Jerome, 307. St. Dominic ; **308.
Leonardo da Vinci, Study for the head of Christ in the Last
Supper; *310. Giotto, Madonna, the central part of an altar-piece
of which the wings are at Bologna (p. 299) ; 319. 'II Bersaglio
degli Dei' (shooting-match of the gods), a sketch attributed to
Raphael, but apparently marked as a work of Michael Angelo by
Raphael's own hand.

Room VIII: 321. Guido Reni, SS. Paul and Peter ; 323. Albani,
Dance of Cupids ; 326. Garofalo, Madonna and Child; *328. Guer-
cino, Abraham andHagar; *331. Fr. Franeia, Annunciation ; 332.
Guido Reni, An Apostle.

Room IX : 343. Eobbema, Mountain landscape ; 349, 350. Bern.
Bellotto (Canaletto), Landscapes; 369. Sal. Ruysdael, Landscape;
374. W. van Mieris, Esther; 359. Tom. Wyck, Alchemist; 364.
Jan Brueghel, Setting out for market ; 381. Snyders, Stag hunt.

126 Route 18. MILAN. Brera.

RoomX: *387. Velazquez, Dead monk; 388. Salvator Rosa,
St. Paul the Hermit ; 398. Oaspar Poussin, John the Baptist as a
child; 399. Pietro da Cortona, Madonna, the Child, and saints;
Suhleyrds, 403. St. Jerome , 404. Crucifixion ; 412. Sassoferrato,
Madonna ; 429. Raphael Mengs, Portrait ; 438. Jansens van Ceulen,
Portrait; *439. A. van Dyck , Madonna and Child, with St. An-
thony of Padua ; 440. Jacob Jordaens , Ahraham's sacrifice ; 443.
Van Dyck , Portrait;' *444. Rubens , Last Supper, a late work of
admirable colouring, hnt 'somewhat coarse; 445. A. van Dyck,
Portrait; *446. Rembrandt, VoTtTait, painted in 1632; 450. Mostert,
St. Catharine.

Room XI : 476. Longhi, Madonna and saints ; *453. Domen-
ichino, Madonna and saints.

Room XII : By the window. Bust of Manzoni by Strazza and
Girl reading by Magni.

To the left , farther on, are several rooms containing modern
pictures, sketches of academicans, casts from the antique, Renais-
sance and modern sculptures. (An annual exhibition of art takes
place in these rooms, generally in September.) — Room XIII. :
570. Ascribed to Paolo Veronese, Last Supper. — Room XX : Ca-
nova, Vestal Virgin ; *Thorvaldsen, Monument of Andrea Appiani,
Three Graces , and Cupid. — Room XXIV. (the last) contains
two copies of Leonardo da Vinci's Last Supper, that 'ai fresco' by
Marco d'Oggionno being the best. — Returning hence to the ante-
chamber , the visitor enters the Galleria Oggioni to the right :
813. Luini, Holy Family ; 762. Crivelli, Coronation of Mary (1493) ;
797. Ouido Reni (?), St. Jerome.

The Museo Archeologico on the ground-floor (admission daily
10-3, 50 c. ; Sundays 2-4, free ; entrance in the small Piazza di
Brera, or through a passage to the right on the ground-floor) con-
tains a small collection, imperfectly arranged, of antique, mediae-
val, and Renaissance sculptures and ancient frescoes, chiefly found
at Milan, or collected from churches now destroyed. The finest
works are those of Agostino Busti, with the enigmatical surname
of II Bambaja (born about 1470). Nothing is known about this
master, except that he was one of the best Italian sculptors of the
16th cent. , and his skill seems to have been inherited by the
Milanese statuaries of the present day (p. 119).

I. Room. Wall of the door (right) : I. Tomb-relief (Greek work-
manship); adjoining it a Renaissance 'putto' between inscriptions and
sculptures. Window-wall : Mediseval sculpture from the tympanum of
a church ; Gothic bell of 1352. Next wall : Roman and mediteval archi-
tectural fragments. Fourth wall: Portions of the monument of Gaston
de Foix (who fell at the battle of Ravenna in 1512, see p. 312), from
the monastery of S. Marta, the most important being ^E.) a recumbent
figure of the hero by Ba?»6rtj?rt. P. Monument of Lancino Curzio (d. 1513),
by tlie same master. F. Marble framework of a door from the Casa
Medici , attributed to Michelozzo. In the corner, C. Monument of Bishop
Bagareto by Bambaja. — By the pillars to the right, and between them:
Ancient Eoman sarcophagus; T. Roman cippus. Last pillar: 'Fragment

Bibl. Ambrosiana. MILAN. 18. Route. 127

of a cippus , a youth leaning on a stafif (Greek). By the pillars, and
between them: to the right, Head of Zeus (nose modern); to the left, An-
cient head in terracotta. H. Torso of Venus with the dolphin. B. Monument
of Regina della Scala, wife of Bernabo Visconti. In the centre: A. Large
monument of Bernabo Visconti (d. 1385) , from S. Giovanni in Conca,
erected during his lifetime (1354), resting on twelve columns, and richly
gilded; on the sarcophagus are reliefs, in front the four evangelists, at
the back the coronation of Mary ; at the sides the Cruciti.xion and a Pieta ;
above , the equestrian statue of the deceased. — II. Room. On the right,
suits of armour and bronze implements from the graves of Gauls discovered
near Sestri Calende in 1867; in the cabinets, relics from tombs excavated
in the Nuovo Giardino Pubblico, terracottas , crystal , objects in ivory,
etc. ; also vases and Egyptian antiquities. On the walls are nine ancient
frescoes, one of them in the style of Giotto.

A little to the W., in the Piazza del Carmine, is the Gothic
church of S. Maria del Carmine (PL 20; D, 5) of the 15th cent.,
now modernised, containing a Madonna in fresco by Luini.

To the W. of the Piazza del Duomo , beyond the Via Carlo Al-
berto (p. 131), lies the *Piazza de' Mercanti (PI. 69; D. 6}, the
central point of the medlcEval city, and formerly provided with
live gates. In the centre of the Piazza is the building which
was formerly the Palazzo della Ragione , a large hall erected in
1228-33 by the podestk (or mayor) Tresseno , to whom an eques-
trian statue was erected on the S. side with the inscription, 'qui
solium struxit, Catharos ut debuit ussit' (the Cathari were a heret-
ical sect). The ground-floor is now the corn-exchange, above which
is the Archivio Notarile. On the N. side of the piazza is the ancient
Palazzo della Citth with a tower, erected in the 16th century, with
the exchange on the ground-floor; on the S. side is the Loggia degli
Osii, erected in 1315, adjoining which is the telegraph office.

We proceed hence to the S.W. (by the Via degli Orefici to the
left) to the Via and Piazza della Rosa.

The celebrated *Biblioteca Ambrosiana (PI. 3 ; D , 6), open
on week-days 10-3 o'clock (fee 1 fr. ; picture-gallery, or Pinacoteca,
open to the public on Wed., IO-21/2; entrance from the reading-
room to the right in the court), contains 160,000 vols, of printed
books, and 8,000 MSS. and palimpsests, or codices rescripti, some
of them very valuable. Director: Cav. Sacerdote Ceriani, the
Orientalist. The library was founded in 1609 by the archbishop
Cardinal Federigo Borromeo, to whom a statue was erected in front
of the building in 1865.

The CoDKT contains ancient inscriptions and a statue of G. D. Romag-
nosi (d. 1835), the teacher of constitutional law, and author of the criminal
code for the Napoleonic Kingdom of Italy (1806). Adjoining the porter's
lodge: Mocking of Christ, a fresco by Luini.

The Siblioteca contains among other treasures the Codice Atlantico,
being a collection of original drawings and MSS. of Leonardo da Vinci;
yirgil with marginal notes by Petrarch; fragments of a MS. of Homer
illuminated, of the end of the 4th cent.; a number of miniatures;
letters of S. Carlo Borromeo , Tasso, Galileo, Liguori , etc. Then, Christ
crowned with thorns, al fresco, Bernardino Luini; Cupid in marble , R.
Schadow ; several reliefs and bust of Byron by Thorvaldsen ; mosaics, coins,

128 Route 18. MILAN. 5. Maurizio.

old woodcuts, and drawings by celebrated masters. — First Floor. First
door on the left —

Cabinet of Bronzes, containing busts of Canova 'and Thorvaldsen, the
latter by the master himself, and pictures of no great value: 46. Raphael
Meiigs, Pope Clement XIII.; 41. Giorgione (?), St. Sebastian; 24. Lorenzo
Lotto, Madonna; Adoration of the Magi, attributed to Luca d'Olanda (Lucas
of Lei/dcn); models of Trajan's column and the obelisks at Rome. — Second
tloor to the left : entrance to the —

Pinacoteca. I. and II. Room, Engravings. — III. Room: without a num-
l)er, Aniiibale Carracci, A colossal Mary from the Assunta of Correggio; 80.
Ambrogio Borgognone, Madonna enthroned and saints; without a number, a
small picture groundlessly attributed to Raphael; 82. Oirol. Mazzuola,
Annunciation; without a number, Botticelli., Madonna with angels; Rubens,
Lofs Daughters ; Bosso Dossi , Washing of the feet ; 96. Lower Rhenish
Master , Madonna and Child. — The space to the right contains four
landscapes , carefully painted by ' Velvet-Brueghel' by order of Cardinal
Federigo Borromeo. — The first door to the left leads to the — IV. Room
of the Drawings : immediately to the left, *Pen-and-ink sketches by A.
Diirer (Samson and the Philistines , 1510 ; Coronation of Mary). In the
5th frame , sketches by Leonardo da Vinci , the tinest the "Female Head
at the top to the left : Maria Sforza , second wife of Maximilian. By
the window : A. Mantegna, Triumph of Caesar. Opposite wall : drawings
by and after Michael Angela (a frame with drawings for the Sistine Chapel).
4th wall , above : part of Raphael's cartoon of the Battle of Constantine,
unfortunately half obliterated. — V. Room : entrance wall , Copy of Leo-
nardo da Vinci's Last Supper hy Andrea Banchi; to the left, 137. Bernar-
dino Luini^'PoTiTait-hea.d; Salaino, John the Baptist; Leonardo da Vinci (?),
Portrait of a man, said to be Gian Galeazzo Sforza ; Luini, Heads of the
Saviour and St. John, Holy Family; '-Leonardo da FiMci, Portrait of Bianca
Maria Sforza, one of the few authenticated works by this great master;
on the window wall, drawings by Leonardo da Vinci; Romanino (attributed
to Giorgione), Holy Family; 4th wall, drawings by Leonardo and Luini,
and "Raphael's Cartoon of the 'School of Athens', which should be care-
fully studied. The dilapidated condition of the fresco in the Vatican
makes this cartoon of great interest and v.ilue , since here only do we
gain the full key to the artistic motives of the painter. The deviations
of the fresco from the cartoon , with the exception of the sitting figure
added at the foot of the staircase, are unimportant. — The Adoration of
the Shepherds ascribed to Titian is an early copy of the original at Ma-
drid, nor are any of the other 'Titians' genuine.

At the back of the library is the venerable church of iS. Sepolero
( in. 32 ; D, 6), dating from the 11th century. The Via del BoUo leads
hence to the W. to the Piazza S. Borromeo, in which are situated
the Palazzo Borromeo, the small church of iS. Maria Podone, and a
statue of S. Carlo Borromeo. — The Via S. Borromeo and the Via
S. Maria alia Porta next lead to tlie Corso Magenta, on the left
side of which rises the small church of S. Maurizio (PI. 27 ; C, 5, 6),
or Monastero Maggioro, erected in 1503-1519 by Giov. Dolcebuono,
a pupil of Bramante , containing *Frescoes by Luini , the best of
which are near the high altar. — Opposite , to the right , is the
Palace of the DucaLitta (PI. 55), whose picture gallery was sold in
1866, with a handsome court.

Farther on in the Corso Magenta, not far from the Porta Magenta
(formerly Vercellina), on the right, is situated the church of —

*S. Maria deUe Grazie (PI. 22 ; ]^, 5, 6), an abbey-church of
the 15th cent. , the Gothic nave of which alone belongs to the

8. Ambrogio. MILAN. 18. Route. 129

original structure. The choir , transept , and dome are attributed
to Bramante, who, as is well known, first carried out his principle
of centralising the building, an idea which formed the highest ar-
chitectural aim of the Renaissance , in Upper Italy, and partic-
ularly at Milan. The dome, resting on quadrangular substruc-
tions, is externally a handsome edifice , displaying originality
of design , and is embellished with ornamentation in terracotta,
while internally its proportions are strikingly effective (Burck-
hardt).

The 4th chapel on the right contains frescoes by Oaudenzio Ferrari
(on the right the Crucitixion , on the left Christ crowned with thorns,
Christ scourged), executed in 1542, his last works, and an altar-piece
(Descent from the Cross) by Caravaggio. In the 6th chapel frescoes by
Fiamingo. To the right, on the organ above , a Madonna by Luini. In
the N. aisle John the Baptist by Bugiardini; the sacristy contains two
frescoes by Lvini, and good wood paintings on the cabinets.

In the N.E. angle of the small piazza to the W. of this church
is the entrance to the refectory of the suppressed monastery of
Sta. Maria delle Grazie (now a cavalry-barrack) , containing the
celebrated **Last Supper of Lbonarbo ua Vinci, painted before
1499 (shown daily 9-4 , admission 1 fr. ; on Sundays, 1*2-3, and
Thursdays gratis ; visitors knock at the door to the right ; the
'custode del cenacolo' is generally to be found in the refectory). The
picture is unfortunately in bad preservation, chiefly from having
been painted on the wall in oils. A fresco by Donato Montorfano
(Crucifixion) of 1495, opposite the Last Supper, is in much better
condition.

Deplorable as is the condition of the Last Sapper, the chief work
executed by Leonardo during his stay at Milan, the original alone ex-
hibits to its full extent the emotions which the master intended to exr
press, and which even the best copies fail to reproduce. The motive of
the work has been well explained by Qoethe: 'The shock by which the
artist represents the company at the sacred repast as deeply agitated has
been produced by the Master's words, One of you shall betray me. They
have been pronounced ; the whole party is in dismay, while he himself
bows his head with downcast eyes. His whole attitude, the motion of
his arms and hands , all seem to repeat with heavenly resignation, and
his silence to confirm, the mournful words — It cannot be otherwise.
One of you shall betray mel' Comp. also p. 1.

The Via delle Oche and the Via S. Vittore lead hence to the
S.E. to the Piazza S. Ambrogio, with the church of —

*S. Ambrogio (PI. 7; B, C, 6), founded by St. Ambrose in the 4th
cent, on the ruins of a temple of Bacchus, and dating in its present
Romanesque form, with its peculiar galleries, from the 12th century.
In front of the church is a fine atrium of the 9th cent. , surrounded
by arcades with ancient tombstones, inscriptions , and half-obliter-
ated frescoes of the 12th century and earlier. The gates of this church
are said to be those which St. Ambrose closed against the Emp.
Thcodosius after the cruel massacre of Thessalonica (389). There is
a portrait of the saint on the left side of the principal entrance.
The Lombard kings and German emperors formerly caused them-

Baedekek. Italy I. 5th Edit. 9

130 Route 18. MILAN. S. Lorenzo.

selves to be crowned here with the iron crown , which since the
time of Frederick Barbarossa has been preserved at Monza (p. 134).

Interiok. On the right and left of the side entrance on the right :
frescoes t)y Oaiidenzio Ferrari., representing the Bearing of the Cross, the
three Maries, and the Descent from the Cross. 2nd Chapel on the righ.
(Cappella delleUame): a kneeling '"Statue of St. Marcellina, by Pacetli.
5th Chapel on the right : -Legend of St. George , frescoes by Bernardino
Lanini. In the entrance to the sacristy is the Cappella S. Satire with
mosaics of the 5th century. 6th Chapel : Madonna with St. John and
Jerome, by Luini. Below the pulpit is an early Christian sarcophagus
of the 6th cent., said to be that of Stilicho. The canopy over the high
altar, which is adorned with reliefs of the 8th cent., recently gilded, is borne
by four columns of porphyry. The high altar still retains its original deco-
ration intact, consisting of reliefs on silver and gold ground (in front),
enriched with enamel and gems, executed in the Carlovingian period by
Volfoinus, a German (covered, shown only on payment of 3 fr.). In front
of the high altar is the tombstone of Emp. Lewis II. (d. 875). The choir
contains an ancient episcopal throne. By the high altar is an *Ecce
Homo, al fresco, by Luini., under glass. In the Tribuna "Mosaics of the
9th cent., earlier than those of St. Mark's at Venice: Christ in the centre,
at the sides the history of St. Ambrose. — At the entrance to the Crtpt,
Christ among the scribes, a fresco by Borgognone. The modernised crypt
contains the tombs of SS. Ambrose, Protasius, and Gervasius. The brazen
serpent on a column in the nave is said to be the one which was raised
by Moses in the wilderness.

A little to the S.E. is situated the spacious Macello Piibblico or
slaughter-house (PI. A, B, 7).

The Via Lanzone (with the Palazzo Visconti on the left) leads
hence to the Corso ni Porta Ticinese, in which we proceed to the
right in the direction of the gate. On the left we soon perceive a
large ancient *Colonnai)E (PI. 57; C, 7) of sixteen Corinthian col-
umns , standing detached from other buildings, the most important
relic of the Roman Mediolantim, near which is the entrance to —

*S. Lorenzo ( PI. IS), the most ancient church in Milan. Whether
the handsome interior once formed the principal hall of the thermae,
or of a palace of Maximian (4th cent.), to which the above mentioned
colonnade belonged, or a very ancient Christian place of worship,
like S. Vitale at Ravenna, is uncertain. It was subsequently altered
at least three times, the last time by Martino Bassi in the 16th
century. It is octagonal in form, and covered with a dome. On
the four principal sides are large semicircular apses in two stories,
each borne by four columns alternately octagonal and round, and
the whole structure is simple and dignitied. At the back of the
high altar is the Cappella S. Ippolito, contaitiing the tomb of Maria
Visconti. To the right of the church is the Chapel of St. Aqui-
linus, containing mosaics of the 6th and 7th cent. (Christ and
the apostles), and an ancient Christian sarcophagus supposed to be
that of the founder, the Gothic king Ataulph (411-16). The
entrance to the chapel is adorned with an antique marble coping.

I'.y the Porta Ticinese , farther H., rises the ancient church of
S. Eustorgio (PI. 14; C, 8), founded in the 4th cent., re-erected
in the tfotliic style by Tosano Lomhardo in 1'278, and restored in
the bad taste of the 17th cent, by Richini. The 'bones of the Magi',

S. Alessandro. MILAN. 18. Route. 131

to whom the church was dedicated , were formerly deposited here,
but were presented to the city of Cologne by Frederick Barbarossa
after the conquest of Milan in 1162. At the back of the choir is a
chapel in the best Renaissance style by Michelozzo (after 1462),
containing the tomb of St. Peter the Martyr by G. Balduccio of
Siena ; the frescoes on the high altar, representing scenes from the
life of the Magi (1347), and from the Passion , and also the monu-
ment of Stefano Visconti, are by the same master.

S. Maria presso S. Celso (PI. 21; D, 8), near the Porta Lo-
dovica , possesses a liandsome atrium attributed to Bramante, and
a facade of which the upper part was constructed by Oaleazzo
Alessi. On the right and left of the portal are Adam and Eve by
Sloldo Lorenzi.

In the Interior is a picture by Paris Bordone, St. Jerome adoring the
Child (2nd altar on the right); Gaiideiizio Ferrari, Baptism of Christ (be-
hind the high altar); Borgognone, Madonna adoring the Child, surrounded
by John the Baptist, St. Rochus, and the donors of the picture (1st cha-
pel on the left); above it, Sassoferrato, Madonna. The 2nd chapel on the
left contains a sarcophagus with the relics of St. Celsus.

Adjacent to this church is S. Celso, a Romanesque edifice, par-
tially removed in 1826.

The CoESO S. Celso (PI. D, 7, 8) leads back from this point
to the interior of the city. To the right in the Piazza S. Eufemia
is the church of that name (PI. 13 ; D, 7), dating from the 5th
cent. , but entirely modernised in the 17th , with an Ionic colon-
nade. Farther towards the N. is situated —

S. Alessandro (PI. 6 ; D, 6 ; in the Via Amedei, to the right)
erected in 1602, the most sumptuously decorated church in Milan,
but destitute of works of art. High altar adorned with precious
stones.

We return by the Via Lupetta and the Via di Torino to the
Piazza del Duomo. To the right in the Via Caklo Alberto is
the small church of S. Satiro (PI. 31; D, 6), founded in 829, and
re-erected by Bramante and his pupil Suardi in the 15th cent. ;
the octagonal *Sacristy contains a handsome frieze halfway up the
wall , with a gallery above it, and niches by Bramante below.

To the S. in the Piazza del Duomo, opposite the cathedral, are
the Palazzo Reale and the Archiepiscopal Palace, both already men-
tioned (p. 121). Adjacent is the Piazza Fontana (PI. E, 6),
with a fountain in red granite. Beyond it , in front of the Palazzo
di Giustizia (PI. 67; E, 6) is the statue of Beccaria (d. 1794 ; comp.
p. 122) by Grandi, erected in 1871.

The Via Brolo leads hence to the S. to the Piazza S. Stefano,
with the simple Renaissance church of that name (PI. 34; E, F, 6).
The Via dell' Ospedale leads S.W. to the Corso di Porta Romana.

The *Ospedale Maggiore (PI. 46; E, 7), a vast and remarkably
fine Gothic brick structure, begun in 1457 by Antonio Filarete
of Florence, is one of the largest hospitals in existence, and con-

132 Route 18. MILAN. Giardini Pubblici.

tains no fewer than nine courts. The extensive principal court,
surrounded by arcades, is by Richini (17th cent.); the court to the
right of it is ascribed to Bramante. The edifice is entirely covered
externally with terracotta, in a style frequently observed in other
Milanese buildings, but its facade, with its rich window-mouldings,
is superior to any other structure of the kind at Milan. In the chapel
are two paintings by Francesco da Vico , containing portraits of
Francesco and Bianca Maria Sforza, the founders of the hospital.

Farther on, to the S. (entrance in the Corso Porta Romana), is
the church of S. Nazaro (PI. 29; E, 7), with pictures by Bern.
Lanini (*Martyrdom of St. Catharine), and a handsome carved altar.

On the N.E. side of the cathedral begins the broad and bustling
*Corso Vittorio Emanuele (PI. E, F, 6, 5), which, with its pro-
longation the Corso Porta Venezia, leads to the Giardini Pubblici
and the station. This is the principal business street in Milan,
containing the best shops. On the left side is the church of —

S. Carlo Borromeo (PI. 12 ; F, 6), a rotunda in the style of the
Pantheon at Rome, 156 ft. in height, consecrated in 1847. It con-
tains two groups in marble hy Pompeo Marchesi, and modern stained
glass by Jose Bertini (the finest on the right of the entrance: S.
Carlo Borromeo visiting persons sick of the plague).

The adjacent Oalleria de Crista f oris , now occupied with shops,
was erected by Pizzala in 1830-32.

To the right, farther on, at the corner of the Via Monforte , is
the small church of .S. Babila (PI. 10; F, 5), which is supposed to
occupy the site of an ancient temple of the sun. In the Via Monforte
is situated the Palazzo di Prefettura (PI. 53 ; F, G, 5), with a modern
facade. — To the S. of this point, in the Via del Conservatorio, is
the church of S. Maria della Passione (PI. 24 ; G, 6), of the 15th
cent., with a spacious dome by Crist. Solari, surnamed II Gobbo
(1530), and paintings by B. Luini, Gaud. Ferrari, etc. The
Conservatoire of Music occupies the old monastery buildings.

The Corso Vittorio Emanuele is prolonged to the Porta Venezia
by the Corso di Porta Vknezia (PI. F, G, 5, 4). On the left, on
this side of the canal, is the Archiepiscopal Seminary (PI. 61) with
a fine court by Gius. Meda (16th cent.), with double colonnades,
the lower Doric, the upper Ionic. Then, more to the left, Nos.
59-61, the Pal. Ciani (PI. 54), completed in 1861, with rich
ornamentation in terracotta. Opposite, on the right, is the Pal.
Saporiti (PI. 56), another modern building, with Ionic columns,
reliefs by Marchesi, etc.

The *Giardini Pubblici (PL F, 4), between the Porta Venezia
and the Porta Nuova, much extended in 1861, and containing fine
avenues and several sheets of water, are the favourite promenade
of the Milanese, especially on Sunday afternoons. The broad chest-
nut avenue on the N. side, extending between these two gates, and

Museo Civico. MILAN. 18. Route. 133

planted on the old ramparts (BastioneJ, is a fashionable drive to-
wards sunset. A broad flight of steps ascends to the older part of
the gardens, opened in 1785, in the centre of which is the Salone
(PI. F, G, 4), a square building containing the new municipal Mu-
seo Artistico (open daily 1-4, adm. 1 fr., Sundays 20c.).

Gallery and Room I. : Drawings by early and modern masters. —
Room II. : Works of the Milan school of the ITth cent. ; the large town
banner of St. Ambrose; coins, chiefly Milanese from the Roman period
onwards ; fine medals. — Rooms III. and IV. : Modern paintings ; bust of
Manzoni by Slrazza. — Room V.: Ceramic collection, old and modern
Fayence , porcelain , glass , wood-carvings , woven fabrics. — Room VI. :
Old paintings, attributed to Antonello da Messina, Covreggio, Guido Rent,
Bassano, Lotto, etc.; modern sculptures. — Room VII.: Models by Pom-
peo Marchesi. Canova (Hebe), and others.

The New Giardino Pubblico between the Via Palestro and
Via Manin, contains a small zoological garden, and is adorned with
a statue of the Milanese poet Carlo Porta and an Italia by Puttinati.
— In the Piazza Cavour, outside the S.W. entrance, rises a bronze
statue of Cavour by Tabacchi on a lofty pedestal of granite. Clio
is represented in front registering his name in her tablets , and
at the back is the date 1865. — The Villa Reale (PI. 70; F, 4), a
plain modern building in the Via Palestro, contains a few works
of art.

In the Via Manin, to the W., is the Museo Civico (PI. 43; F, 4 ;
admission on Tues., Wed., and Sat., 11-3 o'clock, V2fr.; on Thurs.
gratis), containing natural history collections : on the 1st floor
palaeontology and ethnography (also a phrenological collection) ; on
the 2nd floor zoology, comprising one of the finest collections of
reptiles in Europe, founded by Jan (d. 1866). At the entrance are
busts of Jan and Cristoforis, former directors.

At the N.W. angle of the city lies the spacious Piazza d'Armi
(PI. B, C, 4), or drilling-ground, 783 yds. long and 748 yds. wide,
with the Castello , once the seat of the Visconti and the Sforza,
and now a barrack. The corner-towers and part of the walls
connecting them on the S.W. side are the sole remains of the
original building. The adjoining Arena (PL 2; C, 3, 4), a kind of
circus for races, etc. , constructed under Napoleon I., can accom-
modate 30,000 spectators (fee 1/2 fr.).

Opposite the castle , on the N.W. side of the Piazza is the
*Arco del Sempione, or Arco della Pace (PI. 1 ; B, 3, 4), a triumphal
arch in the Roman style constructed entirely of white marble from
designs by L. Cagnola , begun in 1804 by Napoleon as a termi-
nation to the Simplon route (p. 25), and completed by the Emp.
Francis in 1833, when the dedication and decorations were altered.

For the Latin inscriptions formerly placed on the side next the town
in honour of the Emperor Francis, the following have been substituted.
On the town side: 'Alle speranze del regno italico auspice Napoleone I.
i Milanesi dedicarono Tanno 1807 e francati da servitii felicemente re-
stituirono Tanno 1859\ On the outer side: 'Entrando coir armi gloriose
Ilapoleone III. e Vittorio Emanuele II. liberatori, Milano esultante cancello

134 Route 19. MONZA. From Milan

da questi marini le impronte servili e vi scrisse Tindipendenza d'ltalia
1859\

On the platform is the goddess of Peace in a chariot with six horses,
lay Sangiovgio; at the corners Victories on horseback. Side towards the Town:
on the riglit and left of the inscription, the river-gods of the Po and Ticino.
On the left under the cornice, the entrance of Emp. Francis into Milan in
1825, above it the battle of Kulm, below it the surrender of Dresden.
On the right the foundation of the Lombard and Venetian kingdom, above
it the passage of the Rhine, below it the taking of Lyons, all by Pompeo
Marchesi. Below the great arch the conclusion of the 'Holy Alliance''
in two reliefs. On the W. side the battle of Arcis-sur-Aube , E. the vic-
tory of Lyons, by Marchesi. Side towards the Country: river-gods of the
Tagliamento and Adige , by Marchesi. Under the cornice on the left the
Congress of Vienna, Institution of the order of the Iron Crown, Taking of
Paris •, right, Peace of Paris, Entry of the Allies into Paris, Entry of General
Neipperg into Milan 1814.

To the N.W. of the city lies the new *Cemetery {^Cimitero
Monumentale ; PI. C, 1, 2), designed hy C. Macciachini , 500 acres
in area, enclosed by colonnades, and one of the finest 'campi santi'
in Italy. The nnmerous and handsome monuments, among which
tliose of the Sonzogno , Turttti , BramviUa, and Cicogna families
deserve special mention , form an admirable museum of modern
Milanese sculpture. In the last section is situated the 'Tempio di
Cremazione', for the burning of dead bodies, presented to the iown
in 1876. Fine view of the Alps.

19. From Milan to Lecco or Como.

The Brianza.

Railway fkom Milan to Como, 30 M., in 1^/4 hr. (fares 5 fr. 50, 3 fr. 85,
2 fr. 55 c). Through-tickets may be obtained at the railway station of
Milan for Como, Tremezzina, Cadenabbia, Bellagio, Menaggio, and Colico.
— From Milan to Lecco , 32 M. , railway in 1^4-2 hrs. (fares 5 fr. 85,
4 fr. 10, 2 fr. 95 c). — From Milan to Monza a tramway-car also runs in 1 hr.,
starting hourly from the church of S. Babila (PI. 10; F, 5), on the Corso
Venezia (chief halting-place, outside the Porta Venezia, PI. G, 4). Fare in-
side i fr., outside (50 c.

The lines to Como and Lecco follow the same direction as far as
Monza, traversing a fertile plain, luxuriantly clothed with vineyards,
mulberry- plantations , and fields of maize, and intersected by
innumerable canals and cuttings for purposes of irrigation.
4'/2 M. Sesto-S. Giovanni.

8 M. Monza (Falcone; Alb. del Castello, near the station) is a
town with '2(),000 inhabitants. Leaving the station and following
the Via Italia to the right, we reach the *CATHEr)RAL, the chief
object of interest. It was erected in the 14th cent, in the Lombard
Gothic style by Marco di Campione on the site of a church found-
ed in 595 by the Lombard queen Theodollnda, and contains dou-
ble aisles and transept, flanked with chapels on both sides.

Intkkiok. In the left transept is the plain sarcophagus of Queen Tlieo-
dolinda; in the E. transept reliefs of the 13th cent., supposed to represent the
coronation of Emp. Otho III., or that of llc^nry III. — In a casket forming
the centre of a richly decorated cross over the altar, to the right of the

to Lecco. SEREGNO. 19. Route. 135

choir, is preserved the celebrated Ikon Ckown , with which 34 Lombard
kings were crowned. This venerable relic was last used at the coronation
of the Emp. Charles V., of Napoleon in 1805, and of Emp. Ferdinand I. in
1838. It consists of a broad hoop of gold adorned with precious stones,
round the interior of which is a thin strip of iron , said to have been
made from a nail of the true Cross brought by the empress Helena from
Palestine. In 1859 it was carried off by the Austrians, but after the peace
of 1866 was restored to its former repository. (Fee for seeing the crown,
5 fr.) — The Tkeasukt contains several objects of historical interest : a hen
with seven chickens in gold, representing Lombardy and its seven pro-
vinces, executed by order of Queen Theodolinda; the queen's crown, fan,
and comb; two silver loaves, presented by Napoleon I. after his coronation;
the cross which was placed on the breast of the Lombard kings at the
moment of their coronation ; goblet of Berengarius ; diptychs (ivory tablets
with reliefs), etc.; then, in a cabinet outside the treasury, the mummy
of one of the Visconti , who died in 1413. The treasury is shown for a
fee of 1 fr. for 1-2 pers. ; it also contains a model of the iron crown.

The Broletto , or town-hall, of the 13th cent., with round
arched windows and tower, is believed to he part of a palace of
the Emp. Frederick I. and the Lombard kings. The royal Summer
Palace near Monza is a large building with an extensive and
beautiful park , traversed by the Lambro. The church of the
Madonna di Tirano contains frescoes by Luini , Gaudenzio Ferrari,
and Cesare da Sesto.

The lines to Como and Lecco divide at Monza. The latter line
skirts the S.E. slopes of the beautiful range of hills of the Brianza
(p. 137), studded with numerous villas of the wealthy Milanese. —
121/2 M. Arcore; 15>/2 M. Vsmate. From (19 M.) Cernusco-Merate
a pleasant excursion may be taken to the lofty Montevecchia, situated
towards the N.W. (IY2 ^^- '■> t^e church of Montevecchia commands
an excellent view of the Lombard plain, Milan, Gremona, Novara,
and part of the Brianza, etc.; good wine, but a poor inn; pleasant
return route byMissaglia, with a guide, I'^hr.; thence by carriage
to Merate ; fine views). The village of Merate (Albergo del Sole),
situated IM. from the station, was formerly fortified; pretty villas.
— 21 M. Olgiate-Molgora ; then a tunnel, beyond which a pleasing
view of the valley of the Adda is obtained to the right. The train
descends, crosses the stream by an iron bridge, joins the Lecco and
Bergamo line at (271/2 M.) station Calolzio, and reaches (32 M.)
Lecco in 10 min., see p. 145.

The railway from Monza to Como runs to the N.W., affording
pleasant views, to the right, of the fertile Brianza (p. 137),
with its numerous country-residences. The train passes through
several tunnels. 12^/2 M. Desio; I41/2 M. Seregno, a town with
7300 inhab., the starting point for a visit to the Brianza (p. 137).

Farther on , the long , indented Monte Resegone rises on the
right. — 18 M. Camnago, 241/2 M. Cucciago. Above (28M.) Camer-
lata rises the lofty old tower of the Castello Baradello, which was
occasionally occupied by Frederick Barbarossa. — 30 M. Como ;
omnibus from the station to the quay 30 c. , included in through
tickets. (Continuation of the railway to Lugano, see p. 147.)

136 Route 19. COMO. From Milan

Como. ■ — -Hotel Volta ; 'Italia, R. from 2, D. incl. wine 5, A. 3/4,
L. 3/4 fr., both at the harbour, with cafes and restaurant ; Alb. del Cai'-
PELLo, adjoining the Hut. Volta, good Italian cuisine. — Cafi Cavour, near
the quay; "Trattoria di frasconi Con/alonieri, at the end of the street lead-
ing straight from the harbour; Baths in the lake by the Giardino Pubblico,
to the left, outside the pier.

Como (705 ft.), the capital of a province, with 24,200 inhab.,
and considerable silii factories , the birthplace of the elder and
younger Pliny and of the electrician and philosopher Volta (d. 1826 ;
whose Statue by P. Marchesi is on the W. side of the town near
the quay), lies at the S. end of the S.W. arm of the Lake of Como,
and is enclosed by an amphitheatre of mountains.

The *Cathkdral, begun in the Lombard Gothic style in 1396,
and altered in the Renaissance style by Tommaso Rodari (choir,
transept, outside of nave ) in 1513-21, is built entirely of marble,
and is one of the best in N. Italy. The dome is modern. The
greater part of the beautiful plastic ornamentation is by Rodari
and other contemporary Lombard artists. Over the beautiful N.
portal are reliefs (adoration of the Magi) and statuettes (Mary
with S. Abbondio, St. Protus, etc.). At the sides of the principal
entrance are statues of the elder and the younger Pliny, erected in
1498.

Interior. The gaudy vaulting , restored in 1838 at a cost of
600,000 fr. , destroys the effect of the fine proportions , which resemble
those of the Certosa near Pavia (p. 16'2). The windows of the portal
contain good modern stained glass, representing the history of S. Abbon-
dio ; there are others to the right of the entrance and in the choir. — To
the right of the entrance is the monument of Cardinal Tolomeo Gallio . a
benefactor of the town, erected in 1861. Farther on, to the right, 3rd
'Altar, di S. Abbondio, with handsome wotid-earving, and scenes from the
life of the saint; adjoining the 'Adoration of the Magi, by Bern. Luini, and
the Flight into Egypt , by Gaud. Ferrari. Over the altar of St. Jerome
a Madonna by B. Luini. in the N. Tkanskpt the Altare del Crocefisso of
1498, with a fine statue of St. Sebastian. In the Choik the Apostles , by
Pompeo Marchesi. The Sacristy: contains pictures by Guido Reni, Paolo
Veronese, etc. In the Left Aisle, the altar of the Mater Dolorosa with an
Entombment by Tommaso Eodari (1498). At the Altare di S. Giuseppe :
G. Ferrari, Nuptials of the Virgin, in style resembling Raphael ; B. Luini,
Nativity; St. Joseph, a statue by P. Marchesi, and a basrelief below,
the last work of this master; at the entrance the busts of Pope Inno-
cent XI. (Odescalchi) and Carlo Kavelli, bishop of Como.

Adjoiiiitig the church is the Toivn Hall (Broletto), constructed
of alternate courses of different-coloured stones, and completed in
1215. Behind the cathedral is the Theatre, erected in 1813. The
church of -S. Fedele, of the 10th cent., is in a remote part of the
town. The Porta del Torre, a massive flve-storied structure, is
also worthy of note.

On the promenade outside the town is the church Del Cro-
cefisso, richly decorated with marble and gold, of the 17th cent.;
1/4 br. farther, to the left, on the slope of the mountain, is the fine
old Basilica S. Abbondio of the 11th century. — The Castello Ba-
radello (p. 145), reached by a tolerable footpath in 1/2 l»r-> is an
excellent point of view,

to Como.

BRIANZA. 19. Route. 137

Walk on the E. bank of ihe lake. Two roads lead from Como along
the slopes on the E. bank. The lower passes several hamlets and villas.
The upper (after 40 min.) affords a view of magnificent snow-mountains
towards the W., and leads by Capo-Vico, Sopra-Villa, and Cazzanore (all
in the parish of Blevio), leaving the Villa Pliniana (p. 140) far below, to
(3 M.) JRiva di Palanzo (oateria on the lake) , whence the traveller may
cross to the steamboat-station Carate on the opposite bank. Or the walk
may be shortened by descending to (2V-j hrs.) Torno (steamboat-station).

The Brianza.

Briama is the name of the undulating, grassy, partially wooded, and
extremely fertile tract, 12 M. in length, 6 M. in breadth, extending
between the Seveso and the Adda., and stretching to the >f. to the trian-
gular peninsula which divides the Como and Lecco lakes. The soil is
very fertile, and the whole district studded with villas peeping out from
vines, orchards, and mulberry plantations. In the centre are several
small lakes (Lago d\4.nnone ., Piisiano, Alserio , Segrino ., and Montorfano).
Two main roads traverse the Brianza; from S. to N. the road from
Seregno to Bellagio, from W. to E. another from Como to Lecco, both of
which meet at Inclno, not far from Erba.

From Seregno (p. 135) to Bellagio, about 25 M. It is advisable to
take a carriage as far as Canzo (12 M.; an omnibus runs from Seregno to
Canzo every evening; one-horse carriage 5-7 fr.), to pass the night there,
and to walk to Bellagio next morning. The road leads by Paina, and
Villa Romand, to the pretty village of Inverigo; on an eminence rises the
* Rototida, one of the prettiest villas in the Brianza, with a park and ad-
mirably kept garden , and commanding an extensive view. The Villa
Crivelli is famous for its cypresses. Farther on, the villages of Tregolo
with a new church, Tabiago, with the ruins of a castle, and Mvnguzzo,
with the Villa Mondolfo, once a fortified castle.

Where this road crosses that from Lecco to Como at Incino, near Erha
(p. 138), lie two of the lakes mentioned above, W. the Lago d" Alserio,
E. the Lago di Pusiano. The road now enters a more mountainous
district, and the scenery becomes more attractive. Caslino , possessing
considerable silk-factories (filatoje) , rises picturesquely on the slope of
the hill. The road follows the course of the small river Lamlro.

Canzo ('Croce di Malta, the first house on the left; a pleasant liqueur,
called Vespetro , is manufactured at Canzo) is almost contiguous to Asso,
l'/4 M. beyond , numbering together 3200 inhabitants. At the entrance of
Asso is a large silk-manufactory (Casa Versa).

The road now gradually ascends for a considerable distance in the
picturesque valley of the Lambro, the Vall' Assina , the slopes of which
are well wooded ; it passes through several villages , (2 M.) Lasnigo,
(2 M.) Barni, and Magreglio, where the ascent becomes more rapid ; first
view of both arms of the Lake of Como from the eminence near the
(11/4 M.) Chapel.

Delightful "Survey of the entire E. arm to Lecco and far beyond,
from the back of the first church of (IV4 M.) Civenna, with its graceful
tower. The road now runs for 21/4 M. along the shady brow of the moun-
tain, which extends into the lake at Bellagio ; beyond the chapel the
following striking views are obtained: the W. arm of the lake (of Como),
the Tremezzina with the Villa Carlotta and Cadenabbia, the E. arm
(Lake of Lecco) , a large portion of the road on the E. bank, the entire
lake from the promontory of Bellagio to Domaso (p. 144) , and the rising
ground with the Serbelloni park.

The road winds downwards for about 3 M., passing the Villa Giulia
(p. 143) on the right, and, ^/-z M. from Bellagio, the churchyard of that
place , containing the monument of the painter Carlo Bellosio, several of
whose pictures are to be seen at Bellagio. From Civenna to the hotels
at Bellagio on the lake (p. 141) 2 hrs. walk.

A longer route, whicli will reward the pedestrian, is by the Konte
S. Frimo (5586 ft.). Ascent from Canzo with a guide in 4-5 hrs., descent

138 Route '20. LAKE OF COMO.

to Bellagio 3 hrs. Magnificent panorama from the summit, comprising
the Brianza as far as Milan , and the Lake of Como to the N. as far as
the Alps from Monte Rosa to the Spliigen.

From Como to Erba and Lecco, diligence daily in 3 hrs. (steamer,
see below). The road quits Como bj' the Porta Milanese and ascends the
hills to the E. The view of the lake is concealed by the beautifully
wooded Monte S. Maurizio. The church of Camnago ., a village to the
N. of the road, contains the tomb of Volta (p. 136). Farther on , to the
S. of the road, is the sharp ridge of Monlorfano near a small lake. Near
Cassano is a curious leaning campanile. Beyond Albesio a view is disclosed
of the plain of Erba ( Pian d'Erba) and the lakes of Alserio , Pusiano,
and Annone, above which the Corni di Canzo (4512 ft.) and the Resegone
di Lecco (6161 ft.) rise on the E.

Near (IOV2 M.) Erba (1017 ft.; /n«), a small town in the luxuriantly
fertile 'Pian d'Erba', are several handsome villas ; the Villa Amalia on the
W. side commands a charming view of the Brianza. Near /yici/io, with
its lofty Lombard campanile, once stood the Forum Licini of the Romans,
mentioned by Pliny together with Como and Bergamo.

Before the road crosses the Lambro , which is here conducted by an
artificial channel to the Lago di Pusiano, the road from Seregno to Bellagio
diverges to the right. Penzano on the N. bank of the Lago di Pusiano is
next reached, and then Pusiano itself. To the K. a beautiful glimpse of
the ValV Assina (see below) and the Corni di Canzo, and, to the S., of
the Brianza. Near Civale is the double Lago d^Annone (E. rises the Rese-
gone di Lecco) , connected by the Ritorto , which the road follows , with
the Lake of Lecco. The latter is reached at Malgrale, on the W. bank,
a place with numerous silk-factories. Opposite to it lies Lecco (see p. 145).

20. Lake of Como.

Plan of Excursion. The most beautiful point on the Lake of Como is
Bellagio (p. 141), which is admirably situated for a stay of several days
and for short excursions. — The Lakes of Como and Lugano (p. 148) and
the Lago Maggiore (p. 152) may be visited from Milan most expeditiously
as follows : train in 2 hrs. to Como (Cathedral) ; proceed by steamboat in
the afternoon in IV2 hr. to Cadenabbia or Bellagio, and spend the night
there. In the evening and next morning visit Villa Carlotta, Serbelloni,
and Melzi; by steamboat in 1/4 hr., or by rowing-boat, to Menaggio;
thence by omnibus in 2 hrs. to Porlezia , in time for the steamboat
which starts for Lugano (p. 151), arriving early enough to leave time for
the ascent of Monte S. Salvatore. From Lugano diligence to Luino in
the morning in 2^/4 hrs.; steamboat from Luino in I'/a hr. to the Borromean
Islands , thence in 1 hr. to Arona. Railway from Arona to Milan , see
p. 158. Taken in a reverse direction this excursion is even more to be
recommended, as Bellagio, which is the great point of attraction, ter-
minates it. The Cjkculak Torn Tickets (see p. xvii) issued for this ex-
cursion are economical and convenient, but their holders must be prepar-
ed to lose a little time, as they are bound to use the steamer from Lu-
gano to Ponte Tresa (starting every afternoon).

Steamboat twice or thrice daily from Como to Colico in 372 hrs. (fares
4 fr. 50, 2 fr. 40 c.) ; once or twice daily from Como to Lecco in 3'/2 hrs. ;
twice or thrice daily from Lecco to Colico in 3-3V2 hrs. Stations between
Como and Colico : Cernobbio, MoUrasio, Torno, Caraie (pier), Palanzo e Pognana,
Torrigia. Nesso, Argegno (pier). Sola, Campo, Lezzeno, Lenno, Azzano, Tremetzo
(pier), Cadenabbia (pier), S. Giovanni, Bellagio (pier), HGtel Yiclorin (pier),
Menaggio (pier), Varenna, Gitlana, Bellano, Rezzonico, Dervio, Cremia, Dongo,
Musso, Gravedona, Domaso, Colico; tickets (gratis) for the ferry-boats at-
tached to the steamboat-tickets. Between Cadenabbia, or Menaggio, and
Bellagio, the steamboat is the cheapest conveyance, especially for single
travellers. Those who embark at intermediate stations between Como
and Colico mu.st procure a ticket at the pier; otherwise they arc liable to
be charged for the wliDle distance from Como or Colico.

4 . -4 ^ ti- fe^ f-t -^ \'' '"?i° * • <^ f ■^'

5 « -^

C^"i-:^^^'^t

I "i?;

\5- -0^

:i. .

I I 4

if j%o^ is f fi, >H r

>'?;

^ f r

3 H

1_ 'i!i.^_iii:

LAKE OF COMO. '20. Route. 139

Tickets are issued on board the steamers for the Come and Milan
railway and for the corresponding diligences, which give the passenger the
advantage, e.g. on arriving at Colico, of having the first claim to scats.
The mails are carried by handsome Saloon Steamers, with good restaurants.

Bo-wing-boats (barca). First hour IV2 fr. for each rower, 3 fr. for
two, and 41/2 fr. for three, each additional hour 1 fr. each rower. From
Bellagio to Cadenabbia and back (or vice-versa) 3, with 2 rowers 4 fr. ;
Bellagio-Menaggio and back 4 fr. ; Bellagio- Varenna and back 4 fr. ; Bel-
lagio-Villa Carlotta and back 2V2 fr. •, Bellagio, Villa Melzi, Villa Carlotfa,
and back 4 fr. — One rower suffices , unless the traveller is pressed for
time; a second may be dismissed with the words 'basta uno ! ' When
travellers are not numerous , the boatmen readily reduce their demands.
In addition to the fare, it is usual to give a '■huonamano'' of 1/2 fr. or 1 fr.
according to the length of the excursion.

The *Lake of Como (699 ft.), Italian Lago di Como or II Lario,
tlie Lacus Larius of the Romans , is extolled by Virgil (Georg. ii.
159), and is in the estimation of many the most beautiful lake in
N. Italy. Length from Como to the N. extremity 30 M., from the
Punta dl Bellagio (p. 143) to Lecco I22/3 M.; greatest width be-
tween Menaggio and Varenna nearly 21/0 M. ; greatest depth 1929 ft.

Numerous gay villas of the Milanese aristocracy, surrounded by luxuri-
ant gardens and vineyards, are scattered along the banks of the lake. In
the forests above, the brilliant green of the chestnut and walnut contrasts
strongly with the greyish tints of the olive, which to the unaccustomed
eye bears a strong resemblance to the willow. The mountains rise to a
height of 7000 ft. The scenery of the lake, as seen from the deck of the
steamboat, though on a far grander scale, faintly resembles that of the
Rhine , the banks on both sides being perfectly distinguishable by the
traveller. At Bellagio (p. 141) the lake divides into two branches,
called respectively the Lakes of Como (W.) and Lecco (E.). The Adda
enters at the upper extremity and makes its egress near Lecco. The W.
arm has no outlet. — The industrious inhabitants of the banks of the lake
are much occupied in the production and manufacture of silk. Many
young artisans (masons and carpenters chiefly) emigrate from this district
to Cuba and the Spanish- American islands , whence they return to their
native land as soon as they have accumulated enough to enable them to
purchase a small property. — The lake abounds in fish , and trout of
20 lbs. weight are occasionally captured. The 'Agoni' are small , but
palatable.

The prospect from the quay at Como is limited , but as soon as
the steamer has passed the first promontory on the E. the beauty
of the lake is disclosed to view.

Lake 0
W. Bank.

Borgo Vico , the N.W. suburb
of Como, with the Villas Sa-
poriti , Salazar, and Mondolfo.
At the N. end of the Borgo rises
the large VilUi Raimondi.

Villa Tavernola, beyond the
mouth of the Breggia. Villa
Cima, in a beautiful park.

Cernobbio (Alb. del Ceiitro,

f Como.

E. Bank.

Borgo S. Agostino , the N.E.
suburb of Como. On the hill
above is the village of Brunato,
commanding a fine view.

Beyond the promontory (with
the Villa Cornaggia^ we obtain a
view of Blevio, with its numerous
villas, including those of Mylius,
Ricordi , and Taglioni , with a

140 Route 2y.

TORNO.

Lake

W. Bank.
pens. 5V2"^V2f''0 ^^ * consid-
erable village , with the villas
Belinzaghi, Baroggi, etc.

The Villa d'Este was opened in
1876 as a * Hotel on a large
scale , connected with which is
the former Hotel de la Reine
d'Angleterre (pension 9-10 fr.).
A pleasant park extends up the
hill. — High ahove lies the
church of Rovenna. — Villa
Pizzo.

Villa Passalacqua , with its
numerous windows, resembles a
manufactory.

Near Moltrasio is a picturesque
waterfall.

Vrio ; then Carate (Alb. Lario),
with the Monte Bisbino (4390 ft.)
in the background. — Villa Vo-
lobiano, a green and red building.
The lofty pyramid was erected to
the memory of Dr. Frank, a pro-
fessor of Pavia (d. 1851), with
money left by him for the pur-
pose. — Laylio , with Villa An-
tongina, formerly Gaggi.

Villa Galbiati, gaily painted ;
then Torrigia.

Next, Britnno, embosomed in
laurels.

Argegno, at the mouth of the
Inlelvi Valley.

Sala, with the small island of
iS. Giovanni, or Comacina , fre-
quently mentioned in the annals
of mediaeval warfare, now occu-

E. Bank.

Swiss cottage, formerly the prop-
erty of the famous danseuse,
now belonging to her son-in-law
Prince Trubetzkoi. Villa Pasta
was the residence of the cele-
brated singer (d. 1865).

Villa Taverna, formerly Tanzi.

Torno is surrounded by villas.

Villa Pliniana at the end of
the bay , at the entrance of a
narrow gorge , a gloomy square
edifice, erected in 1570 by Count
Anguissola, one of the four con-
spirators who assassinated Duke
Farnese at Piacenza, is now the
property of the princess Belgio-
joso. It derives its name of
Pliniana from a neighbouring
spring which daily changes its
level , a peculiarity mentioned
by Pliny. Extracts from his
works (Epist. iv, 30; Hist. Nat.
ii. 206) are inscribed on the
walls of the court.

Quarsano and C arena.

Nesso, at the foot of the Piano
del Tivano (3742 ft.), Nesso So-
pra, and Nesso Sotto; near the
latter in a rocky gorge is a water-
fall of considerable height, fre-
quently dry in summer.

Near Lezzeno is one of the
deepest parts of the lake.

Villa Besenna.

S. Giovanni , with the Villa
Trotti.

Villa Poldi, bearing the family

of Como.

CADENABBIA.

20. Route. 141

W. Bank.
pied by a small church. Monte
Legnone, and Monte Legnoncino
(p. 144) are distinctly visible
towards the N.E.

Campo lies in a bay formed by
the promontory oi Lavedo, which
here projects far into the lake.
On its extremity glitters the Villa
BalManello, with its colonnade,
the property of Count Arcomati.

2Veme2so (*Albergo Bazzoni)is
situated in the beautiful district
called the Tremezzina.

Villa Carlotta, see below.

Cadenabbia {*Bellevue, with
restaurant ; *Belle-Ile ; *Britan-
nia , pens, from 7 fr. ; Pension
^ Restaurant Cadenabbia , 6-7 fr.
a day ; Cafe Lavezzari), halfway
between Como and Colico. In the
vicinity (S.W.), in a garden slop-
ing down to the lake, stands the
celebrated * Villa Carlotta, or
Sommariva , from the Count of
that name to whom it formerly
belonged. In 1843 it came into
the possession of Princess Albert
of Prussia, from whose daughter
Charlotte (d. 1855) it derives its
present appellation. The widower
of the latter, Duke George of
Saxe-Meiningen, is the present
proprietor. Visitors ring at the
entrance to the garden and
ascend the broad flight of steps,
where they are received by the
intendant (1 fr. , but more for
a party).

Interior. The Marble Hall con-
'ains a frieze decorated with cele-
brated -'Reliefs by T/wrvaldsen, re-
presenting the Triumph of Alexan-
der (for which a sum of nearly
375,000 fr. was once paid by Count
Sommariva) ; also several statues
by Canova (Cupid and Psyche, Magda-
lene, Palamedes, Venus); Paris by
Fontana; bust of Count Sommariva;
Mars and Venus, by Acqtiisti; Cupid

E. Bank.

name of the Gonzagas , contains
the mausoleum of the last of the
race, in the form of a round Ro-
manesque temple. Fine view.
Villa Melzi, see below.

Bellagio. — 'Grande Bretagne,
and 'Grand Hotel Bellagio , for-
merly Villa Frizzo7ii, both well fitted
up, and the property of companies;
*Genazzini; these three beautifully
situated on the lake ; R. 3 fr. and
upwards, B. I1/2, D. 5 (at Genazzini's
inch wine), A. 1, L. 1, omnibus 1 fr. ;
pension according to agreement,
even for a few days, 10-12 fr.. at
Genazzini's 7-11 fr.; 'Grand Hotel
& Pension Villa Serbelloni, on the
hill in the beautiful park mentioned
at p. 142, commanding a line view,
a dependanceof the Grande Bretagne,
with the same charges, but inferior
in comfort. — Of less pretension:
"Hotel Florence ; 'Hotel et Pension
Suisse; both on the lake. Albergo
DEL Vapore , moderate. — Rowing
Boats, see p. 139.

Bellagio (708 ft.), a small towa
with 3000 inhab. , at the W. base
of the promontory which sep-
arates the two arms of the lake,
is perhaps the most delightful
point among the lakes of Upper
Italy. About 1/2 M. to the S.
of the village is the *Villa Melzi,
erected by Albertolli in 1810-15,
for Count Melzi d'Erile, who was
vice-president of the Italian Re-
public in 1802, and was made
Duke of Lodi by Napoleon in
1807. It now belongs to his

42 Route -20.

BELLAGIO.

W. Bank.

giving water to pigeons, by Bien-
aime , etc. The Billiard Room
contains casts, and a small frieze
in marble on the chimney-piece
representing a Bacchanalian pro-
cession, said to be an early work
ol" Thorvaldsen. — In the Garden
Saloon several modern pictures {Ha-
ycz , Romeo and Juliet \ Lordon,
Ath'alie), and a marble relief of Na-
poleon when consul, by Lazzanni.

The 'Garden, which stretches to
the S. to Tremezzo, and to the N.
towards the Hotel de Bellevue, con-
tains the most luxuriant vegetation;
on the S. side of the Villa is a
splendid magnolia ; pleasant view
towards Bellagio (attendant 1/2 fr.").
Behind the 'Milan' hotel rises
II Sasso S. Mnrtino, a rock on
which stands the Madonna di S.
Martina, a small church, com-
manding a beautiful view; ascent
i 1/2 hr. , path destroyed by tor-
rents at places.

The Monte Colaiga or Crociotie, a
more lofty mountain to the W.,
commands a striking view of the
Monte Rosa chain, the Bernese Alps
and Mont Blanc, the lakes and the
plain of Lombardy (a fatiguing as-
cent of 6-7 hrs. ; guide 5 fr. ; in order
to avoid the heat the traveller should
start at 2 or 3 a.m.)-

E. Bank.
grandson the Duca di Melzi(open
on Thursdays and Sundays, cards
of admission 1 fr.).

Interior. In the vestibule co-
pies of ancient busts in marble by
Canova; bust of the present pro-
prietor by Vela; statue of the son
of the duca, by Pessina; David,
by FraccaroU; Innocence, by Pan-
diani, etc. The walls of the follow-
ing rooms are embellished with
appropriate frescoes. In the 2nd
Room a bust of Michael Angelo
by Canova. 3rd R. : Bust of Mi-
chael Angelo by himself (?) ; Ma-
donna by Bern. Luini. 4th R. : Co-
molli, Eugene Beauharnais, vice-
roy of Italy; "Appiani, Napoleon I.
as president of the Italian Republic.
5th R. : Ceiling frescoes by Bossi.
representing Parnassus ; statuettes
by Marchesi; chimney-piece \>y Thor-
valdsen with medallion-portraits of
celebrated Italians. 5th R. (Flower-
Room) : Canova, Bacchante.

The 'Garden (attendant '/^ fr.)
exhibits all the luxuriance and fra-
grance of southern vegetation (magni-
ficent magnolias, camellias, cedars,
Chinese pines, gigantic aloes, etc.).
The Chapel contains monuments
in marble to the two former pro-
prietors, and to the mother of the
present duke, by Neasi. In another
part of the garden, Dante and Bea-
trice, by Comolli; colossal busts of
Madame Lsetitia , mother of Napo-
leon 1., and the empress Josephine,
by Canova.

Higher up stands the *Villa
Serbelloni (now Hotel and Pen-
sion'), the park of which com-
mands an exquisite View, es-
pecially of the Lake of Leceo,
probably the tinest on the lake
(admission '/a f^.). Charming
glimpses of Varenna, Villa Bal-
bianello, Carlotta, etc. Beautiful
flowers and plants in the garden
of the hotel, and a grove of
palm trees. — The belvedere of
the ViUa Belmonte , the prop-
erty of an Englishman, com-
mands another fine view (ad-
mission Vi ff-)- — ^ ^'"^^ *°

of Cotno.

BELLANO.

20. Route. 143

W. Bank. E. Bank.

the. S., in the direction of the
Lake of Lecoo, is the Villa 6iu-
lia, the property of Count Blome
(visitors admitted). — Excursion
to the Monte S. Primo, an ascent
of 4 hrs., see p. 137.
Here, at the Punta di BellcKjio, the two arms of the lake, the
Lago di Como and the Lago di Lecco (p. 145), unite.

Menaggio (*Grand Hotel Vit-
toria , beautifully situated , 11.
3 fr., pleasant Italian hotel, with
a special steamboat station ; Co-
rona) possesses an extensive silk
manufactory, to which visitors
are admitted. On the lake, S.
of the village, is the handsome
Villa Mylius. A road leads hence
to Porlezza on the Lake of Luga-
no (9M.; omnibus daily, 11 a.m.,
see p. 151).

On an eminence (1/2 tr.),
near the church of Loveno (*Inn),
stands the Villa Vigoni, former-
ly Mylius, commanding a mag-
nificent *ViE-w of Bellagio, Me-
naggio, and of the three arms of
the lake.

The villa contains some admirable
works in marble by modern Italian
sculptors, reliefs by Thorvaldsen (Ne-
mesis) and Marchesi; in the garden-
saloon a 'Group by Argenti, the pro-
prietress with her children.

The steamer next passes a
wild , yellowish-brown cliff , II
Sasso Rancio ('the orange-rock'),
which is traversed by a danger-
ous footpath. This route was un-
dertaken in 1799 by the Rus-
sians under General Bellegarde,
on which occasion many lives
were lost.

S. Abbondio is the next village.

Rezzonico with Villa Litta, and
the picturesque ruins of a for-
tress of the 13th century.

Varenna (*AlbeTgo Reale ; Ho-
tel Marcioni), is charmingly sit-
uated on a promontory , sur-
rounded by gardens (Isimbardi ,
Lelia, Venini), at the mouth of
the Val d'Esino, commanded by
the lofty ruins of the Torre di
Vezio, with a small village and a
beautiful view. In the vicinity,
especially towarls the N., some
remarkable galleries have been
hewn in the rock for the passage
of the Stelvio road. Most of the
marble quarried in the neigh-
bourhood is cut and polished in
the town.

About 3/4 M. to the S. of Va-
renna the Flume Latte ('milk
brook', from its colour) is preci-
pitated in several leaps from a
height of 1000 ft. , forming an
imposing cascade in spring, but
generally dried up at other sea-
sons.

Oittana is the station for the
hydropathic establishment of
Regoledo, situated 500 ft. above
the lake.

Bellano (Roma) lies at the
base of Monte Grigna (7254 ft.),
at the mouth of the Val Sassina,
which is traversed by a bridle-
path to Taceno (thence road to

44 Route W.

COLICO.

W. Bank.

Cremia with the handsome
church of S. Michcle (altar-piece
*St. Michael, by Paolo Vero-
nese) ; then Pianello.

On rocks rising precipitously
above Musso are situated the
ruins of three castles, Rocca di
Musso , the residence of Giov.
Giac. de' Medici in 1525-31,
'the castellan of Musso', who from
this castle ruled over the entire
LakeofComo. Then Donpo, with
a monastery. Above it, on the
height to the right, lies Oarzeno,
whence a somewhat neglected
path crosses the Passo di S. Jorio
to [9 hrs.) Bellinzona.

Gravedona (Hotel del Sasso)
is picturesquely situated at the
mouth of a gorge (1600 inhab.).
The handsome Palazzo del Pero
with four towers, at the upper
end, was built by the Milanese
Cardinal Gallio. Adjoining the
venerable church of S. Vineenzo
rises the Baptisterium, an inter-
esting building of the 12th cent. ,
containing two Christian inscrip-
tions of the 5th century.

Domaso, charmingly situated,
possesses several handsome vil-
las, particularly the Villa Calde-
rara and Villa Velasquez.

From Colioo to Ciiiavenna Swiss diligence (also an omnibus, 2'/2 fr.)
twice daily in 3 hrs.; thence daily (twice in summer) over the Spliigcn
to CoiRE (R. 5) in 13V2 lira. — From Colico to Sonuuio in the Vallellina
diligence once daily in 5 hrs.

E. Bank.
Lecco via Inlrobbio). The Pio-
verna forms a waterfall (197 ft.)
before reaching the lake [Orrido
di Bellano ; bO c). A monument
to Tom. Grossi , the poet, who
was born at Bellano in 1790 (d.
1853), by Tandardinl, was un-
veiled here in 1876.

Dervio, at the mouth of the
Varrone, is situated at the base
of the abrupt Monte Legnone
(8566 ft.) and its spur Monte
Legnoncino (4951 ft.).

Corenno, Dorio, and Ogliasca
are the following villages.

Colico (Angelo; Isola Bella;
both in the Italian style ; Re-
staurant de la Paste , good),
comp. p. 36. The Monte Legnone,
mentioned above , may be as-
cended hence without difficulty
in 7-8 hrs.

LEGCO. 20. Route. 145

Lake of Lecco.

From Como to Lecco by Bellagio steamboat twice daily; From Colico
TO Lecco, twice daily, see p. 138.

The S.E. arm ot the Lake of Como is worthy of a visit, although
inferior in attraction to the other parts. Lecco is charmingly situated.
The precipitous and formerly almost inaccessible E. bank of the lake is
traversed by a road constructed in 1832 and carried along the rocks at
places with the aid of embankments, tunnels, and galleries. Three of the
latter near Olcio are together 1000 yds. in length. It affords admirable
views of the lake.

The steamboat rounds the Punta di Bellagio; on the height
above is situated the garden of the Villa Serbelloni, and adjoining
it are the Villa Giulia (p. 143) and the village of Visgnola. Then
Limonta, and opposite to it (left) Liema and Sornico, (right) Vassena
Onno, (left) Olcio, and Mandello on a flat promontory. On the op-
posite bank (right) lies the small town of Pare , separated from
Malgrate by the promontory of iS. Dionigio. Malgrate itself lies at
the entrance of the Val Madrera, through which a road to Como
leads by Erba (p. 138). The lake gradually contracts into the river
Adda, by which it is drained, and is crossed by the Ponte Grande,
a stone bridge often arches, constructed in 1335 byAzzone Visconti,
and furnished with fortified towers at the extremities.

(Albergo d' Italia; Croce di Malta, both in the Italian
style; *Due Torri; Leond'Oro; Corona), an industrial town with
7500inhab., at the S. end of the E. armof the Lake of Como, is admir-
ably described in Manzoni's 'I Promessi Sposi'. Pleasant walks to
the hill of Castello and the pilgrimage-church on the Monte Baro.

A little below Lecco the Adda again expands into the Lago di Garlate,
and further down, into the small Lago di Olginate. A navigable canal con-
nects Trezzo with Milan. — Railway from Lecco to Milan, see pp. 134, 135.

From Lecco to Bergamo, 20'/2 M., railway in IV4 br. (fares 3 fr. 75,
2fr. 65, ifr. 90 c.), see p. 171.

21. From the Lake of Como to the Lago Maggiore.
Varese. Lugano and the Lake of Lugano.

Comp. Maps, pp. 138, 152.
1. From Como to Laveno by Varese.
31 M. Diligence (not recommended) between Como and Varese (I8V2M.,
in about 4 hrs.) twice, between Varese and Laveno (I2V2 M., in 21/2 hrs.)
once daily. The road does not quit the Italian territory.

Railway from Milan to Varese, 3772 M., in 21/4 hrs. (fares 6fr. 80,
4fr. 80, 3fr. 45 c.). As far as Gallarate, see p. 158; the following stations
are Albizzate and Gazzada.

Como, see p. 136. The road ascends through the long S. suburb
of S. Bartolommeo, skirts the base of an eminence surmounted by
the ruins of the Castello Baradello, and leads to Camerlata (p. 135).
It then turns E. to Rebbio, Lucino, and Lurate Abbate, traversing
a luxuriantly fertile district with numerous villas of the aris-
tocracy of Milan. At Olgiate the road attains its culminating
point (900 ft. above the Lake of Como) , whence a view of Monte
Rosa, the Simplon chain, and other Alps is obtained. The road
Baedeker. Italy I. 5th Edit. 10

146 Route 21. VARESE. From Como

next passes the villages ot Solbiate &ni Binago, descends rapidly
by Malnate, and crosses the Lanza, near its influx into the Olona,
and farther on, the Olona itself.

Varese. — Hotels. *Grand Hotel Varese (Excelsior), a large new
establishment, formerly the Villa Recalcati, in an open situation outside
the town, with fine views, omnibus at the station. — In the town: Ec-
uopa; Axgelo; Stella; Leon d'Oro.

Cafes. Siberia, Pini.

Diligences to Como and Laveno. see p. 145; to Mendrisio (p. 147) from
the Iinpresa Varesina fan establishment where carriages may also be hir-
ed) ; by Tradate to Saronno (from the Angelo ; tramway thence to Milan,
see p. IIT), both once daily ; to Porlo-Ceresio (p. 151), twice daily in I'/s It.

Railway to Milan, see above.

Varese (1306 ft. above the sea-level) is a thriving place with
13,100 inhab. and silk, paper, furniture, and other manufactories.
In summer the pleasant environs attract a number of wealthy Mi-
lanese families, who possess villas here and in the neighbourhood.
The principal church of S. Vittore, which was rebuilt about 1600,
with a tower 246 ft. in height, contains a St. George by Crespi,
and a Magdalene by Morazzone. Among the villas may be men-
tioned : Palazzo Veratti, known as La Corte, on the Laveno road ;
Villa Ducale Litta, on the road to Biume Superiore ; Villa Ponti,
to the N.E., on the road to Biume Inferiore ; then, near the latter
village. Villa Litta Modignani, which still bears traces of a skirmish
fought here on 26th May, 1859 ; Villa Taccioli, Poggi, and others.

Walks. To the Colle Campiglio, I'/s M. to the S. , on the road to
Masnago and Laveno, commanding a fine view ; to S. Albino, i^t M. to
the S. of Varese, with a view of the lake; to the Lago cli Varese (Ostcria
della Schiranna), 2V2 M. ; then, skirting the lake, to Gropello, Ollrona,
VoUorre (where there is an old monastery of the Canonici Lateranensi
containing interesting Romanesque cloisters), and Gavirate, 1^/2 M. (see
p. 147).

The most interesting excursion, however, is by S. Ambrogio and Fo-
gliardi to the -Madonna del Konte, a celebrated resort of pilgrims, S'/a M.
to the N.W. (carriage-road to Fogliardi, then a bridle-path). Fourteen
chapels or stations of various forms, adorned with frescoes and groups in
stucco, have been erected along the broad path , by which the monastery
and church on the mountain (2841 ft.) are attained. The view hence is
not less celebrated than the peculiar sanctity of the spot. The small
lakes of Comabbio, Biandrone, and Monate, that of Varese, two arms of
the Lago Maggiore , part of the Lake of Como , and the expansive and
fruittul plain as far as Milan are visible. — A far more comprehensive
view, including the glacier-world also, is obtained (best by morning-light)
from the Tre Croci (396G ft.), 1 hr. N.W. of the Madonna. Several tav-
erns adjoin the monastery. Donkeys and guides (unnecessary) are to be
found at the foot of the mountain. Comp. map, p. 152.

About 61,2 M. to the S.E. of Varese, not far from the road to Bizzo-
zero and Tradate (Saronno and Slilan; diligence, see above), lies Castig-
lione d'Olona, with 15C0 inhab. (no tolerable inn). The Collegiate church
and the adjacent Baptistery contain frescoes by MafoUno (1428); those
in the former represent scenes from the lives of Mary and SS. Stephen
and Laurence; those in the latter, from the life of John the Baptist.
These frescoes are interesting in the history of art, as several frescoes in
the Cappella Brancacci at Florence (p. 403) were formerly ascribed to
Masolino.

The road to Laveno leads by Masnago and Casciago , and
ascends to Luinale, whence a beautiful view S.W. is obtained of

toLuino. MENDRISIO. 21. Route. 147

the Lake of Varese and the small adjacent Lake of Biandrone,
and also of the farther distant lakes of Monate and Comabiio. The
next villages are Barrasso and Comerio, the latter with a number
of pleasant villas , whence the road, passing near the N.W. ex-
tremity of the Lago di Varese , gradually descends to Gavirate. In
the vicinity of the latter are quarries of the 'marmo majolica', a
kind of marble used for decorative purposes. For a short distance
the road commands a view of Monte Rosa. Cocquio and Gemonio
are situated to the right of the road. Farther on, the Boesio, which
flows through the Val Cuvio, is crossed, and, beyond Cittiglio, its
right bank skirted. The road then leads past the S. base of the
Sasso del Ferro to —

Laveno (p. 154), a steamboat station. — Boat to the Borromean
Islands and Pallanza with 3 rowers 10-12 fr. ; to Isola Bella 1 1/2 hr.,
thence to Isola Madre in 20 min., to Pallanza in 20 min. more.

2. Fkom Como to Luino by Lugano.

From Como to Lugano, 2OV2 M., railway in IV4 hr. (fares 3fr. 30,
2fr. 35, Ifr. 65c.). — From Lugano by Ponte Tresa to Luino, about 15 M.,
Swiss diligence once daily in 2^/4 lirs. (fare 3fr. 15, coupe 3fr. 70 c.); or
steamboat to Ponte-Tresa in IV4 hr., and diligence thence to Luino in
2 hrs. (circular tour tickets available for the latter route only). Carriage
and pair from Lugano to Luino 20, with one horse 10-12 fr.; in the reverse
direction a return carriage (from Luino) may often be hired at a cheaper
rate. The Italian custom-houses are at Chiasso and Fornasette (p. 151).

The traveller should note that Italian Paper Money is not taken on
Svifiss territory.

Como, see p. 136. The railway runs behind the BorjfoFico (p. 139),
and through a long tunnel under the Monte Olimpino. At (41/2 M.)
Chiasso (^Angela or Posta), the first Swiss village, luggage is examin-
ed and carriages generally changed. 6'/2 M. Balerna. Tunnel.

91/2 M. Mendrisio (1191 ft.; *H6teL Mendrisio, R. 21/2 fr.), a
small town with 2400 inhab., 1/2 M. from the station. Comp. the
Map, p. 138.

The *Monte Generoso (5561 ft.; Monte Gionnero, or Monte Calvaggione).,
the Rigi of Italian Switzerland, is frequently ascended from Mendrisio; to
the hotel in 3 hrs., thence to the summit in IV2 hr. more. Mules (6fr.), light
mountain cars (for 1 pers. 10 fr., there and back 16 fr. with buonamano),
and guides (unnecessary) may be hired at Mendrisio. The bridle-path (for
the most part paved, and not recommended to pedestrians) ascends by the
wine-cellars of Salorino in zigzags (pedestrians may take the path to the
left, 20 min. beyond Mendrisio, pass the church on the terrace, and pro-
ceed to So7nmazzo, keeping the valley on the right) to a wooded dale, at
the entrance of which there is a spring by the wall on the left; at the
source of the brook at the upper end (2 hrs.) is a second spring. The path
then leads through a sparse wood to the (i-l'A hr.) 'HStel du Giniroso
(R. 272-31/2, L. and A. IV2, Lunch 21/2, D. 5 fr.) the property of Dr. Pasta
of Mendrisio, a comfortable house with post and telegraph offices, and well
adapted for a prolonged stay; V4 hr. farther, beyond the ridge, are the
chalets of Cassina., where a fine breed of cattle is reared. From the hotel
to the summit a steep ascent of IV2 hr., past several peaks of the Generoso.
The *ViEW embraces the lakes of Lugano, Como, Varese, and the Lago
Maggiore, the populous plains of Lombardy, and to the N. the entire Al-
pine chain from the Monte Viso to the Bernina. — The Monte Generoso

10*

148 Route 21. LUGANO. From Como

may also be ascended from Maroggia (see below); pleasant bridle-path by
Roiio (*H6tel Rovio, where horses and guides may be hired) to the top
in 4 hrs.; or from Balerna by Mttggio (to which there is a carriage-road)
and Scudelatte to the summit in 4-4V2 hrs.

At (12 M.) Capolago (Inn on the lake) the line reaches the *Lake
of Lugano, or Lago Ceresio (892 ft.), the scenery of which is little
inferior to that of its more celebrated neighhours Como and Mag-
giore. In the vicinity of Lugano the banks are picturesquely
studded with villas and chapels, and planted with the vine, fig,
olive, and walnut. The W. side of the S. arm also presents
several delightful points of view. The scenery of the E. arm of the
lake (p. 151) is wild and deserted.

The train now skirts the lake, at first on the E. bank, affording
charming views. Beyond (M'/.i M.) Maroggia two tunnels arc
traversed. Near Bissone the lake is crossed from E. to W. by
means of an unsightly stone dyke, 1/2 ^- i" length, 26 ft. in width,
completed in 1846, along which the line is constructed; at each
end is an arch for the passage of vessels. — 16 1/2 M. Melide is
situated on a promontory on the W. bank of the lake. The white
dolomite, of which the mountains chiefly consist here, changes near
Melide to dark porphyry, and as .^. Martina is approached, there is
a gradual transition to shell-limestone. The line penetrates the
N.E. spur of the Monte S. Salvatore by a short and a long tunnel,
and crosses the valley of the Tassino by a viaduct, 130 ft. high.
Fine view to the right of the town and lake of Lugano. — 20'/o M.
Lugano is at present the terminus, but the line is being continued
to Bellinzona (p. 32). The station is beautifully situated above the
town.

Lugano. — Hotels. "Hotel du Parc, in the suppressed monastery
of S. Maria degli Angioli, on the S. side of the town, with a pleasant
garden and several dependencies, R. 3-5, L. 1, B. IV2, D- 5, A. 1, omnibus
l'/2fr., pension in summer 9fr. and upwards, but less in winter; 'Hotel
Washington; "Hotel Suisse; "Hotel Lugano; "Bellevue, on the lake;
*Brocca, with garden, D. 4'/2-5V2fr. ; Hotel de la Couronne, cheaper; Ho-
tel i>u Panorama, ^/t M. to the S., with view, moderate.

Restaurants. '''Brocca, with garden (see above); Concordia and Ameri-
cana^ both on the lake.

Lake Baths of the Societa Salvatore adjoining the Hotel Bellevue, and
Bagiii Galleggianti by the Hotel du Pare (for swimmers, 1 fr. with towels).
Physician : Dr. 'Cornils.

Post and Telegraph Offices, behind the Hotel Bellevue.
Diligence to Luino once daily in 2'/2 hrs.; steamboat-tickets for Lago
Maggiore are also issued at the office; to Bellinzona (railway to Biasca,
and diligence thence to Lvcerne by the St. Gotthard) three times daily;
to Coire by the Bernardino once daily.

Railway Station, »/4 M. above the town (footpath shorter than the
road). Diliiionce tickets arc issued at the railway station, and passengers
are convoved gratis to the office of the diligence.

Steamboat to Porlezza twice daily, S'/a or Ifr. ; to Ponte Tresa (p. 151),
3 or I'i-fr. silver (Italian paper not taken). — Tickets are issued on board
the steamboat for the omnibuses from Porle/.za to Jlenaggio, Porto to
Varese, and Ponte Tresa to T.iiino.

Boats to Porle/.za (p. 151) with one rower 7fr., two 12fr., three
leVxfr. ; to Ostino 6, 10, or ISfr., incl. fee. At the hotels, one rower

to Luino. LUGANO. 21. Route. 149

2 fr. , two rowers 3 fr. for the first hour, each additional hour, IV2 and
2 fr. respectively.

Carriages. To Luino with one horse 12, two horses 20 fr., Bellinzona
16 or 30, Varese 16 or 30 fr. (driver's fee extra).

English Church Service at the Hotel du Pare.

Lugano (932 ft.), with 6024 inhat)., is charmingly situated on
the lake of the same name, and enjoys quite an Italian climate (the
agave blooming here in the open air). It is a very pleasant place
for a lengthened stay ; the environs possess all the charms of Italian
mountain scenery ; numerous villages and country-seats are scatter-
ed along the margin of the lake , and the lower hills are covered
with vineyards and gardens, contrasting beautifully with the dark
foliage of the chestnuts and walnuts in the background. To the
S., immediately above the town, rises the Monte S. Salvatore,
wooded to its summit; among the mountains towards the N. the
double peak of the Monte Camoghe (7303 ft. ; p. 32) is con-
spicuous.

The interior of the town with its arcades, workshops in the
open air , and granite-paved streets, is also thoroughly Italian in
character. On market-day (Tuesday) a variety of picturesque
Italian costumes and characteristic scenes may be observed here.

The once numerous monasteries of Lugano have been suppress-
ed with the exception of two. The most important was that of S.
Maria degli Angioli , now the Hotel du Pare. The adjacent church
contains beautiful *Frescoes by Bern. Luini.

The painting on the wall of the screen , one of the largest and finest
ever executed by Luini , represents the -Passimi of Christ , and contains
several hundred figures , arranged according to the antiquated style in
two rows. In the foreground, occupying the upper part of the wall,
stand three huge crosses , at the foot of which we perceive Roman war-
riors, the groups of the holy women, and St. John, and the executioners
casting lots for the garments. Above, on a diminished scale, from left to
right, are Christ on the Mount of Olives, Christ taken prisoner, the
Scourging, the Bearing of the Cross, the Entombment, and the Ascension,
all immediately adjacent. Although the style of the composition strikes
one as old-fashioned, especially after seeing Leonardo's works, the eye
cannot fail to be gratified by the numerous beautiful details. The St.
Sebastian and St. Rochus , below , between the arches , are particularly
fine. To the left, on the wall of the church, is the Last Supper, a picture
in three sections, formerly in the Lyceum, and in the 1st Chapel on the
right is a Madonna, both also by Luini.

S. Lorenzo, the principal church, on an eminence (fine view
from the terrace), probably erected by Tommaso Rodari at the
end of the 15th cent., has a tastefully adorned marble facade.

Adjoining the Theatre are the old government buildings (now
the Hotel Washington), with a cool and pleasant colonnaded court.
The hall contains a monument to the architect Canonico di Tes-
serete, and a marble bust of General Dufour.

A small temple at the Villa Tanzina , where suites of apart-
ments may be hired, 1/4 M. S. of the Hotel du Pare, contains a bust
of Washington, 'magnum saeculorum decus\ — The Villa Beause-
jouT, charmingly situated near the Hotel du Pare, of which it is

150 Route 2i. MONTE S. SALVATORE. From Como

now a d^pendance, has a beautiful and very extensive garden,
containing fine cedars , magnolias, camellias, etc. — Superb view
from tbe tower in tbe garden of the Villa Enderlin, to which access
is permitted by the proprietor.

The beautiful *Parfc of M. Ciani, extending along the N. bay of
the lake about 1/2 M. from the Hotel du Pare , is always open to
visitors (gardener 1 fr.).

On the broad quay opposite the Hotel du Pare is a Fountain
with a Statue of William Tell, 8 ft. in height, in white sandstone,
designed by Vine. Vela, and erected in 1856.

Delightful excursion to =" Monte S. Salvatore (2982 ft.), ascent 2 hrs.,
descent IV2 hr., guide (4fr.) superfluous (coiup. Map, p. 138); horse 9fr.,
mule 8fr. , incl. fee. About 10 min from the Hotel du Pare, between a
detached house and the wall of a garden, a good paved path diverges to the
right from the road to Slelide (see below); 2 min. farther, where the path
divides, we go not to the right, but straight on to the houses; be-
tween these the road ascends, past the handsome and conspicuous (25 min.)
Villa Marchino, to (5 min.) the village of Pazzallo, from which Monte
Rosa is visible through a mountain-gorge. Here the path diverges to the
left from the broad road , passes through the gateway of the fourth
house, and leads to the left by a stony but easy ascent in IV2 hr. to the
Pilgrimage Chapel on the summit (refreshments and a few beds at the
small house near the top). The "View embraces all the arms of the Lake
of Lugano, the mountains and their wooded slopes, especially tUcce above
Lugano, sprinkled with numerous villas. To the E. above Porlezza is
Monte Legnone (p. 144), to the left of which, in the extreme distance, are
the snow-peaks of the Bernina; N. above Lugano the double peak of
Monte Camoghe (p. 32), to the left of this tbe distant mountains of St.
Gotthard; W. the chain of Monte Rosa, with the Matterhorn and other
Alps of the Valais. This view is seen to best advantage in the morning,
when Monte Rosa gleams in the sunshine. The construction of a carriage-
road and of a hotel on the summit is projected. In descending, the route
through Carona and Melide (somewhat longer) may be chosen.

A Drive (or Steamboat Journey , p. 151) round the Moxte S. Salva-
tore (4V2 hrs.) is much recommended. We proceed by ('/s hr.) Pamhio,
where a monument by Vela has been erected near the church of S.
Pietro to Capt. Carloni , who fell at Somma Campagna in 1848, to (1 hr.)
Figino , where we approach the W. arm of the lake. The road then skirts
the lake and passes round the Monte Arbostora to (3/4 hr.) Jforcote, charm-
ingly situated and commanded by a ruined castle (view from the top),
and to (1 hr.) Melide. Thence to Lngano , by the high road. — The
churchyard of S. Abbondio , 1 M. to the W. of Pambio (see above) , con-
tains a fine monument of the Torriani family, a woman praving, by Vela.

The ascent of -Monte Bre (3100 ft.), to the N.E. of Lugano, is another
easy excursion, scarcely less interesting than that to Mte. S. Salvatore.
(It is advisable to take a guide from Bre.) A road runs inland towards
several mills at the foot of the mountain. Thence a broad and well-
constructed path winds upwards to the right to the small village of
Desago, passing a few groups of houses. Above Desago the path divides;
both routes are broad, and well-constructed, leading round the mountain
to the village of liri on its fartlicr side (Inn, bread and wine only).
The route to the right, above the lake, is very beautiful, while that
to the left commands a fine inland view. Near the church of Bre a
narrow forest-path ascends to the summit of the mountain. This path also
divides; the branch to the right traverses the highest crest of the hill,
that to the left leads to a spur of the mountain in the direction of Lu-
gano. The summit may be attained by either. The view of the several
arms of the Lake of Lugano, especially in the direction of Porlezza,
and the surrounding mountains, is remarkably fine. Lugano itself is not

to Luino. PORLEZZA. 21. Route. 151

visible from the summit, but from the above-mentioned spur a good view
of it may be obtained. From Lugano to Bre about IV2 hr. ; from Bre to
the summit about 1 hr.

Uonte Caprino, opposite Lugano, on the E. bank of the lake, is much
frequented on holidaj'S by the townspeople, who possess wine-cellars (can-
tine) in the numerous cool grottoes by which the side of the mountain is
honeycombed. These receptacles are guarded by numerous huts , which
from a distance present the appearance of a village. Good wine of icy
coolness may be obtained here ('Asti' recommended), and there is also
a brewery.

Excursion to the *GroUo of Osteno , see p. 152 ; — to Bellinzona, see
p. 32.

Beyond Lugano the road gradually winds upwards to the W.,
turns S. past the small Lafee of Muzzano, crosses the Agno , leads
through the (3 M.) village of that name (967 ft.) , and a short
distance farther reaches the W. arm of the Lake of Lugano. Near
Magliaso the lake is quitted, hut another of its hays is touched near
(3 M.) Ponte Tresa. This hay, which is so completely enclosed hy
mountains as apparently to form a distinct lake ; is connected with
the Lake of Lugano hy a narrow channel only. The Tresa, which
here emerges from the lake and forms the frontier hetween Switzer-
land and Italy, falls into the Lago Maggiore, ^/iM. S."W. of Luino.
It is crossed hy a hridge at Ponte Tresa.

Steamboat from Lugano to Ponte Tresa in l'/4hr., a pleasant trip
round the Monte S. Salvatore. The stations are Campione (1.), Bissone
(1.; p. 148), Melide (r. ; p. 148), Brusin-Arsizio Q.), Morcote (r-; P- 150),
Porto- Ceresio (1.; omnibus in IV2 hr. to Varese, p. 146), Brtisin- Piano (1.),
and lastly Po7iie Tresa.

The road follows the course of the Tresa as far as the Italian
frontier at Fornace and Fornasette , where luggage is examined ;
it then descends, and soon affords a view of the Lago Maggiore.

15 M. Luino, see p. 154.

3. From Menaggio by Poelezza to Lugano.

Omnibus from Menaggio to Porlezza in 2 hrs. (fare 3fr. 60c.); one-
horse carriage 6-8 fr.; two -horse 12 fr. From Porlezza to Lugano
Steamboat (twice daily there and back; Tuesdays three times) in one
hour (fare 21/2 or 1 fr. in silver) ; boat with one rower 7, with two 12,
with three I6V2 fr. ; bargaining necessary.

The journey from Menaggio to Porlezza (9 M.) is also recom-
mended to pedestrians , as the road leads through a succession of
imposing and attractive mountain-scenes. The Villa Vigoni(p. 143)
lies to the right of the road (N.). The retrospect from the height
near Croce, 2 M. from Menaggio, is delightful. Towards the W.,
on the left the Monte Crocione , and opposite to us the Monte Oal-
higa (5630 ft.) rise precipitously from the lake. The road then de-
scends to the small Lago del Piano and the village of Tavordo.
Thence to Porlezza l'/4 M. more.

Porlezza (^Inn on the lake), with 12,000 inhah., is situated at
the N. end of the Lake of Lugano. Attempts at extortion are
frequently made here hy the fraternity who prey upon travellers.

Soon after Porlezza is quitted, the Monte S. Salvatore (p. 150)

152 Route 22. LAGO MAGGIORE.

becomes conspicuous to the S.W. The steamer touches at Osteno
(^Inii on the lake), on the left.

The interesting ''Grotto of Osteno may easily be visited from Lugano
with the aid of the steamboat bound for Porlezza (disembarking at
Osteno, and returning by the next boat). The grotto is 7 min. from the
landing-place; the boatman is to be found in the village. The mouth
of the gorge , in which there are two small waterfalls , is near a pro-
jecting rock. Visitors embark in a small boat and enter the grotto,
the bottom of which is entirely occupied by the brook. The narrow
ravine, through which the boat now threads its way, is curiously
hollowed out by the action of the water. Far above, the roof is formed
by overhanging bushes, between which an occasional glimpse of blue sky
is obtained. The gorge, which is terminated by a waterfall, resembles
that of Pfalfers, and is equally imposing, although shorter.

Opposite, Oil the N. bank, are the villages of Chna. Cresogno,
and Albogasio; farther on, at the foot of Monte Bre (p. 150),
Gctndrid, beautifully situated, with hanging gardens, lofty arcades,
vine-terraces, etc. The S. arm of the lake now opens ; to the left
lies Monte Caprino with its wine-cellars ; the steamer rounds the
promontory of Castagnola and reaches Lugano (p. 148).

22. Lago Maggiore.

From Arena to Milan and to Genoa.

Steamboats ply on the lake 3 times daily during the summer: from
Locarno to Arona in 5 hrs., from Luino to Isola Bella in 2 hrs., from
Isola Bella to Arona in ii/4 hr. ; fares from Locarno to Arona 4fr. 80 and
2fr. G5'c., from Luino to Isola Bella 1 fr. 85 and Ifr. 15 c., from Isola
Bella to Arona Ifr. 50 and 90c., landing and embarking included. The
Steamboats are the best and cheapest conveyance to Isola Bella, especially
for a single traveller (4-6 times daily; from PallanzaGO, from Baveno 50,
from Stresa 40 c.). The hours of starting mentioned in the time-tables are
not always rijjidly adhered to, and in foggy weather the steamboats leave
Isola Bella and some other stations untouched. — Stations (those at which
the steamers do not touch regularly are printed in Italics): Magadino, Lo-
carno, Ascona (smsM boat station), Brissago, Cannobbio, Maccagno, Luino,
Cannero, Oggebbio, Ghiffa (small boat station), Porto Valtravaglia, Laveno
(touched at on every trip but one). Intra, Pallanza, Siina, Feriolo, Ba-
veno, Isola Bella (small boat station), Stresa, Belgirate, Lesa, Meina,
Angera, Arona. Restaurants on board the steamers tolerable and mod-
erate.

Boats. Travellers coming from the Simplon usually take a boat at
Baveno (pp. 27, 155) to visit the Borromean Islands. The charge for an
excursion not exceeding 2 hrs. is fixed for each rower at 2i/2fr. ; for 1-3
pers. 2 rowers, for 4-6 pers. 3, more than 6 pers. 4 rowers, so that the
half-hour's passage to Isola Bella is somewhat expensive. — Half-way be-
tween Stresa and Baveno, opposite the island, there is a ferry, where 1-2
fr. is exacted for a passage of scarcely 10 min., the boatmen at lirst demanding
5fr. The passage from Stresa costs 2fr. for each rower; the return-trip
must be paid for by time, 2fr. for each rower for the first hour and 50 c.
for each additional V'2 lir. (small gratuity also expected).

Railwat from Arona to Milan, see p. 158; to Novara and Oenoa, see
p. 158. — From Locakno to liellinzoiia and Biasca, see pp. 31, 32; in
correspondence with which a diligence crosses the St. Gotthard to Lucerne
in 16 hrs. (R. 4); from Bellinzona to Coire over the Bernardino, see II. 5.

Diligence from Arona twice daily in 6 hrs. to Donio d'Ossola (p. 20), in
correspondence with the diligence over the Simplon (R. 3). — From Luino
Swiss diligence daily in 2V4 hrs. to Lugano (R. 21). — Tickets issued
on board the steamers.

,^E^

1 52 Route 22. LAGO MAGGIORE.

? %r

sX.^ I A.

'"^^S>.'" "^ 'v^' '"^

.era. -^Pj^'i*?. B ' Q'^ r> ■, S j^ jfA f g. * i g »; So H

Lago Maggiore. LOCARNO. '22. Route. 153

The *Lago Maggiore (646 ft. , greatest depth 2800 ft.), the Lacus
Verbanus of the Romans, is 37 M. in length and averages 41/2 M.
in width. The canton of Ticino possesses only the N. hank for a
distance of 9 M. ; this portion of the lake is also called the Lake of
Locarno. The W. bank beyond the brook Valmara , and the E.
bank from Zenna belong to Italy. Its principal tributaries are on
the N. the Ticino (Tessin), on the W. the Tosa, on the E. the
Tresa , flowing from the Lake of Lugano. The river issuing from
the S. end of the lake retains the name of Ticino. The N. banks
are bounded by lofty mountains , for the most part wooded, whilst
the E. shore towards the lower end slopes gradually away to the
level of the plains of Lombardy. The W. bank affords a succession
of charming landscapes. The water is of a green colour in its N.
arm, and deep blue towards the S.

At the N.W. angle of the lake, at the influx of the Ticino,
lies Magadino (Bellevue, on the lake), consisting of Upper and
Lower Magadino, at which, since the opening of the railway to Lo-
carno (p. 32), the steamers only touch once daily. — Opposite to
it, on the W. bank, lies —

Locarno [682 ft.; *Grand Hotel Locarno, with garden and
view; *Corona, on the lake; *Albergo Svizzero, in the piazza,
moderate; Caffe del S. Gottardo , adjoining the Corona), with
2700 inhab., the terminus of the railway mentioned at p. 32,
situated at the mouth of the Maggia , the deposits of which have
formed a considerable delta. Politically Locarno is Swiss, but the
character of the scenery and population is thoroughly Italian. The
Collegiate Church contains a good picture (Descent from the Cross)
by Cerisi. The handsome (former) Government Buildings are situated
in a large 'piazza' and public garden. The pilgrimage-church of
*Madonna del Sasso (1168 ft.), on a wooded eminence above the
town, commands a remarkably line view. The busy market held at
Locarno every alternate Thursday affords the visitor an opportunity
of observing a variety of costumes of the peasantry of the neigh-
bourhood. Great national festival on 8th Sept., the Nativity of
the Virgin.

The W. bank of the lake, to the S. of Locarno, is studded
with country-houses, villages, and campanili. On the bank of
the lake runs the new carriage-road from Locarno to Pallanza ; in
the angle lies Ascona with its castle and seminary ; higher up , ^n
the slope , Roneo. Passing two small islands , we next reach Bris-
sago (*Albergo Antico; Alb. Brissago) , a delightful spot, with
picturesque white houses conspicuous from a great distance, and an
avenue of cypresses leading to the church. The slopes above the
village are covered with fig-trees, olives, and pomegranates, and
even the myrtle flourishes in the open air. — On the E. bank,
opposite, is situated Pino, on a grassy slope.

S. Agata and Canobbio (^Hotel Canobbio, R. 1V2-3, pens. 6fr. ;

154 Boute 22. LUINO. Logo Maggiore.

Albergo delle Alpi^ are on Italian territory. The latter is one of
the oldest and most prosperous villages (2600 inhah.) on the lake,
situated on a plateau at the entrance of the Val Canobbino , and
overshadowed by richly-wooded mountains. In the church Delia
Pieth, the dome of which is ascribed to Bramante, is a Crucifixion
by Gaud. Ferrari.

Pleasant walk of V2 hr. up <he beautiful Val Canobbino to the hydro-
pathic establishment of La Salute, and thence to the (20 min.) Orrido, a
wild rocky scene with a bridge and in spring a waterfall.

The boat now steers for the E. bank, and touches at Maccagno,
whence a walk of 2 hrs. may be taken to the loftily situated Lago
Delio (new inn; extensive view). — Farther on, Casneda, in a
■wooded ravine ; then —

Luino (Hotel du Simplon , pension 8fr.; Posta; Vittoria), with
the Palazzo Crivelli surrounded by pines , the station for Lugano
(p. 148), and a favourite summer resort on account of the beauty
of its environs. The Piazza Garibaldi is adorned with a statue
of that hero. — A.bout ^'2 M. to the S., at the mouth of the Mar-
gorabbia, lies Germignaga , with the large silk-spinning (filanda)
and silk-winding (fllatoja) factories of Cesare Bozotti and Co. of
Milan.

On the W. bank rise two grotesque-looking castles (Caslelli di
Cannero), half in ruins, the property of Count Borromeo. In the
15th cent, they harboured the five brothers Mazzarda, notorious
brigands, the terror of the district. — Cannero is beautifully situated
in the midst of vineyards and olive-groves , -which extend far up
the slopes of the mountain. The W. bank is clothed with the
richest vegetation, and studded with innumerable white houses
and a succession of picturesque villages.

The small villages of Oggehbio and Ghiffa on the W. bank, and
Porto Valtravaglia on the E., are only touched at by some of the
steamers. In a wooded bay l3eyond the last lies Calde, with the
ancient tower of the Castello di Calde on an eminence. Then , to
the E., —

Laveno (*Posta; Mora; Stella), a village of some importance,
beautifully situated in a bay at the mouth of the Boesio, formerly
a strongly fortified harbour for the Austrian gunboats (to Varese
seep. 146). Fort Garibaldi, i^/oM. from Laveno, commands a
charming view of the lake and the mountains beyond. — Behind
Laveno rises II Sasso del Ferro (5918 ft.), the most beautiful
mountain on the lake, commanding a magnificent view of the lake,
the plain as far as Milan , and the Monte Rosa chain. The five-
peaked summit of Monte Rosa is also visible from this part of
the lake.

As the boat approaches Intra , the Villa Prina becomes visible.
The valley, which here opens to the W., suddenly discloses a strik-
ingly picturesque view of the N. neighbours of Monte Rosa : first
the Strahlhorn , then the Mischabel and Simplon. They are lost

Lago Maggiore. BORROMEAN ISLANDS. 22. Route. 155

to view as the steamboat turns the point between Intra and Pal-
lanza , hut soon re-appear and remain visihle until Isola Bella is
reached. From the island itself they are hidden by the mountains
of the valley of the Tosa.

Intra. (Hotel- Pens. Intra; Vitello e Leon d'Oro; Agnello), a
flourishing town (5000 inh.) with manufactories, chiefly belonging
to Swiss proprietors, is situated on alluvial soil, between two moun-
tain-streams, the S. Giovanni and S. Bernardino. The *Villa Fran-
zosini, 11/2 M. to the N., possesses a beautiful garden, containing
a magnificent magnolia, 65 ft. in height. Attractive ascent of
11/2 lir. from Intra to Premeno, which commands a fine Alpine view.

On the promontory of S. Remigio , which may be ascended
from Pallanza or Intra in 1/2 hr., stands a church on the site of an
ancient Roman temple of Venus. Adjacent is the Villa S. Remigio,
the property of Mrs. Brown (visitors kindly admitted; splendid
view from the balcony, embracing the whole lake and extending
to the Monte Rosa). The little Isola S. Giovanni, one of the Borro-
raean group , with its chapel, house, and gardens, is the property
of Count Borromeo.

Pallanza. — Hotels. * Gkand Hotel Pallanza, a large house, beauti-
fully situated, R. 31/2 -5, B. I3/4, D. 5, L. and A. lV2fr. ; omnibus from
the quay; warm bath 2V2, lake bath l'/2fr. ; pension in April and May
8V2-I2, in summer 7V2-IOV2 , September and October 8-IIV2, winter 6V2-
972 fr. — Hot. Gakoni; 'Posta; Italia; S. Gottardo.

Boat with one rower to the Isola Madre IV2, with two 3fr., to Isola
Bella 21/2 or 4V2; to both islands 872 or 6, to Stresa 21/2 or 4, to Laveno
21/2 or 4'/2, to Luino 6 or 10 fr., etc.

Diligence to Domo d'Ossola in 5 hrs. , twice daily.

Pallanza, a thriving little town vnth 3200 inhab., delightfully
situated opposite the Borromean Islands, commands a beautiful
view of them, the lake , and the Alps to the N. The nursery
gardens of Rovelli, Cerutti, and others deserve a visit (fee ^/^-i fr.).
Pleasant walk by the new road round the Monte Rosso , ascend-
ing by the brook S. Bernardino as far as the old Roman bridge
o{ Santino (IY2 hr.).

The lake here forms an extensive bay, 41/0 M. long and 21/4 M.
wide, running in a N.W. direction, at the N. extremity of which
is the influx of the impetuous Tosa (Toce). On its N.E. bank
lies Suna, on the S.W. Feriolo, where the Simplon route (p. 27)
quits the lake ; the steamboat does not always touch at these two
stations. —Then Baveno (*Grand Hotel Bellevue ; *Beaurivage,
both with gardens; Sempione), a small town with 1900 inhabi-
tants. The handsome Villa Clara (proprietor Mr. Henfrey) was
occupied by Queen Victoria for some weeks in the spring of 1879.
This is the usual starting-point of travellers from the Simplon for
a visit to the —

*Borromean Islands. The steamers touch only at the most S.
of these, the Isola Bella, which with the Isola Madre is the property
of the Borromeo family. Between these lies (W.) the Isola del

156 Route 22. STRESA. Logo Maggiore.

Pescatori, or Superiore, the property of the fishermen who inhabit
it ; to the N. is the Jsola S. Giovanni mentioned above.

In the 17th cent. Count Vitalio Borromeo (d. 1690) erected a
chateau on *Isola Bella and converted the barren rock into beauti-
ful gardens , rising on ten terraces iOO ft. above the lake , and
stocked with lemon-trees , cedars , magnolias , cypresses , orange-
trees, laurels, magniticent oleanders, and other luxuriant products
of the south. The view is very beautiful (evening light most fa-
vourable). Shell-grottoes, fountains (dry j, mosaics, and statues meet
the eye in profusion, but in questionable taste. The Chateau, which
is quite disproportionate to the size of the island , is richly deco-
rated , and contains a collection of pictures more numerous than
valuable. The N. wing is in ruins. The view through the arches
of the long galleries under the chateau is very striking. A ser-
vant hurries visitors through the apartments (fee 1/2 " 1 f^- lor
each pers., a party in proportion), and consigns them to a gardener,
who shows the garden with equal dispatch for a similar fee. Ad-
joining the chateau is the *H6tel du Dauphin, or Delp.no (R. 2 fr.
and upwards, D. 4, pension, 8-9 fr.). Excursion of 2 hrs. by boat
to the other islands with one rower l^/i-, with two 5 fr.

The *Isola Madre on its S. side resembles the Isola Eella,
and is laid out in seven terraces with lemon and orange-trellises ;
on the upper terrace is an uninhabited 'Palazzo' (beautiful view).
On the N. side, there are charming walks in the English style, with
most luxuriant vegetation (fee 1 fr.). — The Isola del Pescatori
is entirely occupied by a small fishing-village , the single open
space being just sufficient for drying the nets.

The scenery around the Borromean Islands rivals that of the Lake of
Como in grandeur, and perhaps surpasses it in softness of character. Monte
Rosa is not visible ; the snow-mountains to the N.W. are the glaciers and
peaks of the Simplon; of the nearer mountains the most conspicuous are
the white granite-rocks near Baveno (p. 27). The traveller coming from
the N. cannot fail to be struck with the loveliness of these banks, studded
with innumerable habitations, and clothed with southern vegetation (chest-
nuts, mulberries, vines, figs, olives); the extensive lake with its deep blue
waters and beautiful girdle of snowy mountains combining the stern
grandeur of the High Alps with the charms of a southern clime. Rousseau
at one time intended to make the Borromean Islands the scene of his
'Nouvelle Heloise', but considered them too artificial for his romance, in
which human nature is pourtrayed with such a masterly hand.

The steamboat now steers S. to —

Stresa. — Hotels : *H6tel des Iles BoRROMftES, with beautiful garden
and diligence-office, 1/.2 M. from the landing-place, R. from 3, B. l'/2,
L. and A. 2, D. 5 fr. , pension (room 2-3fr. extra) in summer 9-10, in
winter 6-7 fr. ; -Hotel dk Milan, with garden, near the steamboat-pier,
R. 2'/'-', D. 41/2, L- and A. IV2, pension G-7fr. — Albergo Reale Bolon-
GAUo, Italian, R. and L. 2-3, B. 1, D. 4, pens. 6-7 fr.; Italia.

Boat (barca) with one rower 2fr. for the first hour, and 50 c. for each
additional '/2 hr. Comp. p. 152.

Carriage. To Domo d'Ossola with one horse 15-20 fr., with two horses
30-35f'r. ; to Arona with one horse 6fr. ; carriages for the Simplon route
to Bricg may also be procured.

Lago Maggiore. ARONA. 22. Route. 1 57

Stresa (1200 inhab.) is situated on the coast, opposite the Isola
Bella. The handsome Rosminian Monastery halfway up the moun-
tain is now a college. Beautiful cypresses in the Churchyard. Among
the finest villas in the environs are the Villa Bolongaro, the pro-
perty of the Duchess of Genoa, hy the church , and the Villas Ca-
sanova, Imperatori, Collegno , and Durazzo. — Ascent of Monte
Motterone, see p. 159.

As the boat steers its course along the W. bank , the con-
struction of the high-road, in many places supported by piers of
masonry, attracts attention owing to the difficulties which had to be
overcome. The banks gradually become flatter, and Monte Rosa makes
its appearance in the W. The next place on the W. bank is —

Belgirate (*H6tel and Pension Belgirate, formerly Borromeo, a
large new establishment), with 700 inhab., surrounded by the
villas Fontana, Principessa Matilda, Pallavicini , and others. —
Then follow Lesa and Meina (Albergo Zanetta), and, on the E. bank,
Angera, where the boat touches once a day only. The handsome
chateau above the village belongs to Count Borromeo. The steamer
finally stops at the station beyond Arona.

Arona {*Italia, diligence - office ; * Albergo Reale; Alb. San
Goltardo, all three on the quay, R. 2, A. 3/4 fr. ; Cafe adjoining the
Albergo Reale ; Cafe du Lac , near the quay) , an ancient town on
the W. bank, about 3 M. from its S. extremity, with 3200 inhab.,
extends upwards on the slope of the hill. In the principal church
of S. Maria , the chapel of the Borromean family , to the right of
the high altar, contains the *Holy Family as an altar-piece , by
Gaudenzio Vinci (1511), a master rarely met with (or Gaud. Fer-
rari ?) ; it is surrounded by five smaller pictures , the upper re-
presenting God the Father, at the sides eight saints and the do-
natrix.

On a height overlooking the entire district, 1/2 b'^- ^- of the
station and pier, is a colossal * Statue of S. Carlo, 70 ft. in
height, resting on a pedestal 42 ft. high, erected in 1697 in honour
of the celebrated Cardinal , Count Carlo Borromeo, Archbishop of
Milan (born here in 1538, died 1584, canonised 1610).

The head, hands, and feet of the statue are of bronze, the robe of
wrought copper. Kotwithstanding its enormous dimensions, the statue is
not devoid of artistic merit. The various parts are held together by iron
cramps attached to a pillar of masonry in the interior. By means of lad-
ders, kept in readiness in the neighbourhood (fee), the lower part of the
robe can be reached on the W. side , and the interior entered. The
enterprising visitor may now climb to the head of the statue, which will
hold three persons; but the suffocating heat and the number of bats
render the ascent far from pleasant.

The adjacent church contains a few relics of S. Carlo. The
extensive building in the vicinity is an Ecclesiastical Seminary.

158 Route 22. MORTARA.

From Arona to Milan.

42 31. Eailwat in 2V4-2'/2 hrs.; fares 7fr. 65, 5fr. 35, 3fr. 85 c.

The line follows tte S. bank of the lake, crosses the Ticino
(Tessln), the boundary between Piedmont and Lombardy, and, down
to 1859 , also the boundary between Sardinia and Austria. —
51/2 M. Sesto-Calende (Posta), at the S.E. extremity of the Lago
Maggiore, at the efflux of the Ticino; 10 M. Vergiate; 12 M.
Somma, where P. Corn. Scipio was defeated by Hannibal, B.C. 218.

17 M. Gallarate (the junction of the Varese line , p. 145) , a
town with 8000 inhab., at the S.E. base of a range of hills which
form the limit of the vast and fruitful Lombard plain, planted with
maize , mulberries , and vines. 21 M. Busto Arsizio , the church
of which, designed by Bramaute , contains frescoes by Gaudenzio
Ferrari. 24 M. Legnano, where Frederick Barbarossa was defeated
by the Milanese in 1176 ; the principal church contains a fine altar-
piece, one of the best works of Luini. — 271/2 M. Parahiago; 33 M.
Rhh (p. 71) , with the church of the Madonna dei Miracoli by
Pellegrini. — 38 M. Musocco.

42 M. Milan, see p. 116.

From Arona to Genoa.

Ill M. Railway in 5V2-7'/2 hrs.-, fares 20fr. 20, 14 fr. 15, 10 fr. 15 c.
At the Mortara station this line is joined by another coming from Milan,
on which the through trains from Milan to Genoa run: Fkom Milan to
Genoa, 104V2 M., in 5-7V2 hrs.; fares 17 fr. 30, 12 fr. 10, 8 fr. 70 c. (Rail-
way by Voghera, see R. 24.)

6 M. Borgo-Tieino; 8 M. Varallo-Pombia; 13 M. Oleggio (to
the right a fine glimpse of the Monte Rosa chain). The line tra-
verses a flat district. — 15'/2 M. BeUinzago.

23 M. Novara (p. 70), where the Arona-Genoa line intersects
that from Milan to Turin (R. 10); from Novara to Turin. 2V4-4 hrs.

31 M. Vespolate; 831/2^. Borgo-Lavezzaro. — 39 M. Mortara,
a town with 7800 inhabitants. The church of S. Lorenzo contains
several pictures by Ciespi, Lanini, Procaccini, and Gaud. Ferrari
(Madonna with SS. Rochus and Sebastian). — To the right and
left are numerous fields of rice , which are laid under water dur-
ing two months in the year , intercepted here and there by maize
fields and mulberry trees.

At Mortara a direct line to Milan diverges. From Milan to Mobtara,
32V2 M., in 1-13/4 hr. (fares 6fr., 4fr. 20, 3fr. 5c.). Stations Corsico,
Gagyiano , and Abbiategmsso. Crossing the Ticino , the train reaches
Vigevano (Albergo Reale), with 19,500 inhab., a town of some importance
in the silk-trade, and possessing a spacious market-place surrounded by
arcades. Then (32'/2 M.) Mortara, see above.

41 M. Olevano; 451/2 M. Valle; 47 M. Sartirana; 51 M.
Torre-Beretti (railway to Pavia, see p. 165).

To the left the long chain of the Apennines forms a blue line
in the distance. The line crosses the Po by means of a bridge of
twenty-one arches.

MONTE MOTTERONE. 23. Route. 159

531/2 M. Valenza, a town with 10,200 inhab., formerly fortified,
containing a catliedral of the 16th cent, (route to Pavia, see p. 165 ;
to Vercelli, see p. 70). — ■ The train next passes through a tunnel
11/3 M. in length. — 571/2 M. Val Madonna; several pictur-
esquely situated small towns lie on the chain of hills to the right.
The Tanaro is then crossed.

631/2 M. Alessandria; thence to Genoa, see pp. 73, 74.

23. From Stresa to Varallo.
Monte Motterone. Lake of Orta.

Three days suffice for a visit to this district , which , though seldom
visited, is one of the most beautiful of the S. Alps. Travellers from the
Simplon (R. 3) should , after visiting the Borromean Islands , begin this
excursion at Stkesa (p. 156) and terminate it at Arona. From Stresa or
Isola Bella by the Motterone to Orta 9, from Orta (or rather from Pella)
to Varallo 41/2 bra. walking; from Varallo to Arona 5, to Novara 6 hrs.
drive.

A Guide (to the summit of Monte Motterone 5-6, to Orta 8 fr.; donkey
and attendant to Orta 12 fr. and fee) can hardly be dispensed with. Mules
at Orta at high charges. — The ascent of the Motterone is fatiguing , as
the descent must be made the same day , hut presents no difficulty and
is very attractive.

The Lago Maggiore is separated from the Lake of Orta by a long
mountain ridge, which is crossed by a footpath from (Stresa (p. 156)
in 5-6 hrs. via Gignese, Cairo, and Armeno (where the high road is
reached) to Orta (see below). — Farther to the N. this mountain
culminates in the grassy Monte Mottekone. The path from Stresa
(guide desirable , see above) ascends opposite the Isola Bella , at
first through a chestnut grove ; then, above the village of Someraro,
over fern-clad and grassy slopes , passing several chalets shaded by
lofty trees, and leading to the W. to a small church, where it turns
to the right. Thence to the summit 1 hr. more.

The extensive prospect commanded by the summit of * Monte
Motterone (4891 ft.) , or Margozzolo, which may be called the Rigi
of the S. Alps, embraces the entire amphitheatre of mountains from
Monte Rosa to the Ortler in the Tyrol. A panorama may be bought
at Stresa or Orta for 31/2 fr-

To the right of Monte Rosa appear the snow-mountains of Monte Moro,
Pizzo di Bottarello, Simplon, Monte Leone, Gries, and St. Gotthard; farther
E. the conical Stella above Chiavenna, and the long, imposing ice-range
of the Bernina, which separates 1bc Val Bregaglia from the Valtellina.
At the spectator's feet lie seven diilcrent lakes, the Lake of Orta, Lago di
Mergozzo, Lago Maggiore, Lago di Munate, Lago di Comabbio, Lago di Bian-
drone , and Lago di Varese; farther to the right stretch the extensive
plains of Lombardy and Piedmont, in the centre of which rises the lofty
cathedral of Milan. The Ticino and the Sesia meander like silver threads
through the plains, and by a singular optical delusion frequently appear
to traverse a lofty tableland. The simultaneous view of the Isola Madre
in Lago Maggiore and the Isola S. Giulio in the Lake of Orta has a re-
markably picturesque efl'ect. — The mountain itself consists of a number
of barren summits, studded with occasional chalets, shaded by trees. At
its base it is encircled by chestnut-trees , and the foliage and luxuriant

1 60 Route 23. ORTA. From Stresa

vegetation of the landscape far and wide impart a peculiar charm to the
picture.

In descending from Monte Motterone to Orta we soon reach a
broad bridle-path, which (guide now unnecessary) leads in2i/2hrs.
to Armeno (Inn) , situated on the high road. We now follow the
road to (2M.) Mlasino, and (l^/oM.) to RonchetWs Pension (Posta),
near which a path ascends to the right in 10 min. to the Sacro Monte
(see below), and (3/4 M.) Orta.

Orta (1220 ft. ; *Hdtel S. Giulio, in the market-place and on the
lake, R. & A. 31/2, D- 4:7-2 fr- 5 Leon cCOro, also on the lake; Due
Spade , at the back of the piazza , on the road to the Sacro Monte ;
one-horse carr. to Gravellona 8fr.), a small town, with narrow
streets paved with marble slabs, and a handsome villa of the Mar-
quis Natta of Novara (at the S. entrance) , is most picturesquely-
situated on a promontory extending into the Lake of Orta at the
base of a precipitous cliif. On the lake (1^/4 M. in breadth, 71/2 M.
in length), which of late has been officially called Zayo Cusio, after
its ancient name, a steamer plies thrice daily, touching to the S. of
Orta , at the station of Buccione (whence an omnibus runs to the
Gozzano railway station, p. 71), and on the N. proceeding by Pella
(see below), Pettenasco, Konco, and Oira to Omegna at the N. end
of the lake. From Buccione to Omegna in II/2 tr., fare 1 fr. 20 c.

Above Orta rises the Sacro Monte (ascent from the principal piazza, or
through the garden of the Villa Natta, on which route a fee is expected for
the opening of the upper gate) , a beautifully wooded eminence , laid out
as a park, on which 20 chapels were erected in the 16th cent, in honour
of S. Francis of Assisi, each containing a scene from the life of the saint.
The life-size tigures are composed of terracotta, highly coloured, with a
background al fresco; as a whole, though destitute of artistic worth, the
representations are spirited and effective. The best groups are in the
i3th, 16th, and 20th chapels, the last representing the canonization of the
saint and the assembly of cardinals. The 'Tower on the summit of the
hill commands an admirable panorama; the snowy peak of Monte Rosa rises
to the W. above the lower intervening mountains. The '■Eremita del Monte''
expects a fee of 1 fr., for showing the above-mentioned three chapels.

Opposite Orta rises the rocky island of S. Giulio, covered with
trees and groups of houses (boat there and back 1 fr.; also steamboat
station). The Church , founded by St. Julius , who came from
Greece in 379 to convert the inhabitants of this district to Christian-
ity, has been frequently restored; it contains several good reliefs,
some ancient frescoes, a handsome pulpit in the Romanesque style,
and in the sacristy a Madonna by Gaudenzio Ferrari.

On the W. bank of the lake , opposite the island , the white
houses of the village of Pella (small Cafe) peep from the midst of
vineyards and groves of chestnut and walnut-trees. Boat from Orta
to Pella Ifr. with one rower; steamboat, see above).

A path towards the S. winds upwards from Pella, through a grove of
chestnut and fruit trees , in I'/'i hr. to the Madonna del Sasso, the pictur-
esque church of the village of Boletto. An open space by the church, on
the brink of a precipice several hundred feet above the lake , commands
a fine prospect.

to Varallo. VARALLO. 23. Route. 161

From Pella over the Colma to Varallo 5 hrs. (donkey 7, or, to
the Colma only, 81/2 fr.; guide unnecessary). A steep path ascends
the hill to the W., traversing luxuriant gardens (vines, figs, pump-
kins , and fruit-trees] ; after 12 min. we avoid the ascent to the
right. In 1 hr. (from Pella) we reach Arola, at a small chapel
beyond which we must again avoid the ascent to the right ; the path
pursues a straight direction and soon descends. The PeUino, a moun-
tain-torrent, descending from the Colma, forms (5 min.) a pictur-
esque waterfall. Beautiful retrospective views of the lake. The path
now ascends through a shady wood , between disintegrated blocks
of granite which crumble beneath the touch, to the Col di Colma
(21/2 hrs. from Pella), a ridge connecting Monte Pizzigone with
Monte Ginistrella. The prospect of the Alps is beautiful, embrac-
ing Monte Rosa , the lakes of Orta and Varese , and the plain of
Lombardy. The whole route is attractive. In descending on the
W. side (to the right) the traveller overlooks the fruitful Val Sesia,
with its numerous villages. The path, again traversing groves of
chestnut and walnut-trees, carpeted with turf and wild-flov/ers,
now leads through the ValDuggia to (Ihr.) Civiasco and (1 hr.) —

Varallo (1515 ft. ; *Jtalia ^- Posta; *Croce Bianca, moderate;
Falcone Nero) , the principal village (3100 inhab.) in the valley of
the Sesia, a stream rising on the Monte Rosa , and one of the chief
tributaries of the Po , into which it flows beyond Casale (p. 70),
but frequently dry in summer. A bridge with three arches crosses
the river. The old town and the Sacro Monte are very picturesque
when seen through the arches of the bridge. — The collegiate
church contains an altar-piece representing the Nuptials of St. Ca-
tharine by Gaudenzio Ferrari, who was born here in 1484 (d. 1549 ;
p. 59). The churches of *S. Maria delle Grazie (in the choir),
S. Maria di Loreto, and S. Marco also contain frescoes by this mas-
ter (those in the last being of his earlier period).

The *Sacro Monte, the object of numerous pilgrimages, rises in the
immediate vicinity of the town. It is attained in '/4 hr. by a path shaded
by beautiful trees, but the enjoyment is somewhat marred by the im-
portunities of beggars. The summit, surmounted by a chapel and crucifix,
commands a magnificent view of the surrounding mountains towering one
above another. Besides the church there are a great number of Chapels
or Oratories on the summit and slopes of the Sacro Monte, many of them
buried among the trees, containing scenes from the life of the Saviour, in
terracotta, with life-size figures arranged in groups. Each chapel is devoted
to a different subject; the 1st, for example, to the Fall, the 2nd to the
Annunciation, and so on to the 46th , containing the Entombment of the
Virgin. Some of the frescoes by Pellegrino Tibaldi and Gaudenzio Ferrari
are worthy of inspection. This '■Nuova Gerusalemme net Sacro Monte di
Varallo'' was founded by Bernardino Caloto , a Milanese nobleman , with
the sanction of Pope Innocent VIII. As a resort of pilgrims, it did not
come into vogue until after the visits of Cardinal Borromeo (p. 157) in 1578
and 1584, from which period most of the chapels date.

Varallo is admirably adapted as head-quarters for excursions
to the neighbouring valleys , which are very attractive and easily
accessible (comp. Baedekers Switzerland).

Baedekek. Italy I. 5th Edit. H

162 Route 24. CERTOSA DI PAVIA. From Milan

A carriage-road (^omnibus twice daily) descends the picturesque
valley of the Sesia to (G M.) Borgo Sesia, (7^/2 M.) Romagnano
(Posta); then, quitting the Val Sesia, by Sizzano, Fara, and Briona
to Novara (p. 70).

24. From Milan to Voghera (Genoa) by Pavia.
Certosa di Favia.

110 M. Railway in 6-8 hrs.; fares 20fr. 10, 14fr. 10, lOfr. 10c. (to
Pavia only, 22V2 M., in 1 hr. ; fares 4fr. 10, 2fr. 85, 2fr. 5 c.). No ex-
press-trains between Milan and Genoa, except on the Vigevano, Alessandria,
and Genoa line, see p. 158.

A visit to the Certosa and the town of Pavia may be conveniently com-
bined with the journey to Genoa by taking the early train to the Certosa,
visiting Pavia in the afternoon, and proceeding to Alessandria in the
evening. The striking scenery of the Apennines on the line between Novi
and Genoa should, if possible, be traversed by daylight.

Those who desire to visit both the Certosa and Pavia from Milan are
recommended to take a return-ticket to Pavia, alight at the station Certosa
di Pavia, walk to the (V4 hr.) Certosa, return to the Certosa station, pro-
ceed thence to Pavia (new ticket necessary, 90 or 60c.), inspect the town
(in about 3 hrs.), and return direct to Milan. — One-horse carriage from
Pavia to the Certosa 4-5 fr., there and back 6fr., a pleasant journey of
50 min., skirting a canal.

Milan , see p. 116. The train to Pavia at first follows the Pia-
cenza line, and then diverges to the S.W. before stat. Rogoredo is
reached. The country is flat; underwood and rice-llelds are tra-
versed alternately. — 91/2 M. Locate; I2V2 M. Villamaggiore.

On the road , to the W. of the line , lies Binasco , a small town with
an ancient castle, in which, on 13th Sept., 1418, the jealous and tyrannical
Duke Fil. Maria Visconti caused his noble and innocent wife Beatrice
di Tenda (p. 108) to be executed.

171/2 M. Gv.inzano, or Stazione delta Certosa (Osteria deila '
Stazione , tolerable) , whence we follow the path planted with
willows, and skirt the long garden-wall of the monastery towards
the right (walk of 1/4 hr.). A visit to the Certosa occupies l>/2 hr.
(fee of 1 fr. to the 'sagrestano').

The *Certosa di Pavia , or Carthusian monastery, the splendid
memorial of the Milan dynasties (p. 116), founded in 1396 by Gian
Galeazzo Visconti, and suppressed under Emperor Joseph II., was
restored to its original destination in 1844 and presented to the
Carthusians, a few of whom were left here after the recent sup-
pression of the Italian monasteries for the sake of control and the
guidance of visitors. A vestibule, embellished with sadly damaged
frescoes by Bern. Luini (SS. Sebastian and Christopher), leads to a
large inner court, at the farther end of which rises the celebrated
facade of the church.

The **Facade , begun in 1473 by Ambrogio Borgognone , is
perhaps the most masterly creation of its kind of the 15th century.
Its design, independent of the antique orders of architecture, is in
the graduated Lombard-llomanesque style of church-fronts, with

to Genoa. CERTOSA DI PA VIA. 24. Route. 163

projecting pillars and transverse arcades, -wMle within these well-
deflned structural features it embraces a wonderful and judiciously
distributed wealth of ornament (Burckhardt). Thirty of the most
distinguished Lombard masters from the 15th to the 17th cent,
have had a share in its embellishment, the most eminent of whom
are: Ant. Amadeo uni Andr. Fusina (15th cent.); Giacomo delta
Porta and Agostino Busti, surnamed II Bambaja (p. 126, to whom
the principal portal is ascribed), and Cristoforo Solari, surnamed
IL Gobbo. This is unquestionably the finest decorative work of the
kind in N. Italy, although inferior to the facades of the cathedrals
of Orvieto and Siena, especially as the upper part is wanting.

The body of the church, begun in 1396 by Marco di Campione
in the Gothic style, consists of a nave with aisles and 14 chapels,
and is surmounted by a dome, borne by ten slender columns. The
Interior (to which ladies are now admitted) is sumptuously and
tastefully fitted up. The handsome coloured enrichments were
probably designed by Borgognone , and the pavement of modern
mosaic is also worthy of notice.

The Chapels and altars are richly adorned with valuable columns
and precious stones. 2nd Chapel on the right: good altar-piece in six
sections by Macrino d'Alba (1496); 4th Chapel on the right, Crucifixion
by Ambrogio Borgognone; 5th Chapel on the right, St. Sirus with four
saints, by the same. The 2nd Chapel on the left (counting from the en-
trance) formerly contained a picture by Perugino in six sections, of which
the central part, above, representing *God the Father, is alone original,
the other parts being now in France and England. The other frescoes and
paintings by Borgognone, Procaccini, Ouercino , Bianchi, Crespi, father and
son, and others are of no great value.

The transept and choir are separated from the rest of the church by
a beautiful Screen of iron and bronze. Right Transept : magnificent '-'Monu-
ment of Giangaleazzo Visconti, designed in 1490 by Galeazzo Pellegrini, but
executed chiefly by Antonio da Amadeo and Giacomo della Porta , and not
completed till 1562. Left Transept : Monuments of Lodovico Moro and
his wife -Beatrice d'Este (d. 1497), by Crist. Solari. — The *Choir con-
tains a fine altar with carving of the 16th century. The *Choir-stalls are
adorned with figures of apostles and saints, from drawings by Borgognone.
The four handsome bronze candelabra in front of them are by Libera
Fontana. The old sacristy to the left of the choir contains a beautifully
carved ivory altar-piece in upwards of 60 sections by Leonardo degli Ubriachi
of Florence (16th cent.).

The door to the right of the choir, handsomely framed in marble,
leads to the Lavatorio, which contains a richly adorned fountain and
(on the left) the Madonna and child in fresco by Bern. Luini. To the right
of the lavatory is a small burial-place.

The Sagrestia Nuova , or Oratorio , is entered from the S. end of
the transept: *Altar-piece, an Assumption \>y Andrea Solario , but the
upper part is said to have been painted by GiuUo Campi of Cremona.
Over the door. Madonna enthroned, by Bart. Montagna; the side pictures
by Borgognone.

The front part of the -Cloisters (della Fontana) possesses slender
marble columns and charming decorations in terracotta. Fine view hence
of the side of the church and the right transept with its trilateral end. The
Refectory is also situated here. — Around the large Cloisters , farther
back , are situated the 24 small houses occupied by the few remaining
monks, each consisting of three rooms with a small garden.

The battle of Pavia, at which Francis I. of France was taken

11*

164 Route 24. PA VIA. From Milan

prisoner hy Lannoy, a general of Charles V., took place near the
Certosa on 24th Feb. 1525.

22'/2 M. Pavia, junction of different lines (see pp. 165, 166).

Pavia. — Ckoce Bianca, E. 2, omnibus V^fr. ; Lombahdia-, Pozzo,
near the bridge over the Ticino; Tke Re. — Ca/i Demetrio, Corso Vittorio
Emanuele.

Cab per drive 80 c., per hour I'/'ifr. — Omnibus to the town 25 c.
Pavia, with 28,100 inhab., capital of the province of the same
name, situated near the confluence of the Ticino and the Po, the
Ticinum of the ancients, subsequently Papla, was also known as
the Cittcl di Cento Torri from its numerous towers, of which only a
few still exist. In the middle ages it was the faithful ally of the
German emperors, until it was subjugated by the Milanese, and it
is still partly surrounded by the walls and fortifications of that
period. At the N. end of the town is situated the Castle, erected
by the Visconti in 1360-69, now used as a barrack.

Leaving the railway-station, we enter the Corso Cavour (PI.
A, 4) through the Porta Borgorato or Marengo (in a wall to the
right is the statue of a Roman magistrate), and following the Via
S. Giuseppe to the right reach the Piazza del Duomo.

The Cathedral (PI. 4; B, 4), rising on the site of an ancient
basilica, begun in accordance with a design by Bramante, and con-
tinued by Cristoforo Eocchi in 1486, but never completed, is a vast
circular structure with four arms.

In the Interior, on the right, is the sumptuous "Area di S. Agostino,
adorned with 290 figures (of saints, and allegorical), begun, it is supposed,
in 1362 by Bonino da Campiglione , by whom the figures on the tombs of
the Scaliger family at Verona (p. 189) were executed. To the right
of the entrance is a wooden model of the church as originally projected.
The gateway to the left of the church is in the late-Romanesque
style. Adjoining it rises a massive Campanile, begun in 1583.

"We may now proceed to the Corso Vittorio Emanuele, a street
intersecting the town in a straight direction from N. to S., from the
Porta di Milano to the Porta Ticinese , and leading to the covered
Bridge (14th cent. ; a pleasant promenade with picturesque view)
over the Ticino, which is here navigated by barges and steamboats.
A chapel stands on the bridge, halfway across.

S. MiCHELE (PI. 7; B, 5), to which the third side-street to the
right leads (coming from the bridge), a Romanesque church errone-
ously ascribed to the Lombard kings, belongs to the latter part of the
11th cent., and is now undergoing restoration. The facade is adorned
with numerous very ancient reliefs in sandstone, in ribbon-like
stripes, and a curious gabled gallery. The nave and aisles are
supported by eight pillars , from which rise double round arches.
The short choir , under which there is a crypt, terminates in an
apse. Over the centre of the transept rises a dome. The pillars
of the nave bear traces of ancient frescoes. The interior has lately
been restored.

■eograph, Anstalt t

GeofiTgLjilL Anat -r.'Wagii^r-u.I'efces.Xerpza^

to Genoa. PAVIA. 24. Route. 165

The traveller may now ascend the Corso Vitt. Emanuele to the
University (PL 31 ; B, 4), founded in 1361 on the site of a school
of law, which had existed here since the 10th century. The build-
ing is much handsomer than that of Padua ; the quadrangles of the
interior are surrounded hy handsome arcades and embellished with
numerous memorial-tablets, busts, and monuments of celebrated
prjfessors and students. In the first court is a marble statue of the
mathematician Antonio Bordoni (d. 1864), in the second a statue of
Volta and three memorial reliefs of professors attended by students.

The Corso next leads in a N. direction, past the Theatre, to the
Castle mentioned at p. 164 (PI. C, 3), containing a handsome court
of the 14th century.

At the back of the university lies the Ospedale Civico, and
farther E., in the Contrada Canepanova the church of S. Maria
Incoronata di Canepanova (PI. 15; C, 4), a small dome -covered
structure designed by Bramante (1492). — More to the N., at the
corner of the Contrada del Collegio Germanico , is the Romanesque
church of iS. Francesco (PI. 8; C, 4), dating from the 14th cent.,
with aisles and choir in the pointed style. In the vicinity stands
the Collegio Ghislieri (PI. 18; C, 4), founded in 1569 by Pius V.
(Ghislieri), a colossal bronze statue of whom has been erected in
the piazza in front. On the E. side of the Piazza Ghislieri is the
Instituto di Belle Arti, containing collections of natural history,
antiquities, etc.

In the Contrada del Gesu, to the W. of the university, to the
right, is t\ie Jesuits Church (PI. 11 ; B, 4). — In the Contrada Ma-
laspina is the Casa Malaspina, at the entrance to the court of which
are busts of Boethius and Petrarch. The interior contains a small
collection of engravings and paintings.

Boethius, when confined here by the Emperor Theodoric, composed his
work on the 'Consolation of Philosophy'', and Petrarch once spent an
autumn here with his daughter and son-in-law. His grandson, who died
at the Casa Malaspina, was interred in the neighbouring church of S. Zeno.
A short poem of Petrarch in allusion to this event, in six Latin distiches,
is one of the many inscriptions on the wall opposite the entrance.

The Contrada del Gesu terminates in the Piazza del Carmine,
in which is situated the church of S. Maria del Carmine (PI. 6),
a brick edifice of fine proportions, flanked with chapels, and dating
from 1375.

The most interesting building in the S.E. part of the town is
the Collegio Borromeo (PI. 16 ; C, 5, 6), with its beautiful court,
founded by St. Carlo Borromeo in 1563 ; the vestibule is decorated
with frescoes by Fed. Zuccari.

From Pavia to Alessandria via Valenza , 4OV2 M., by railway in
3 hrs. (fares 7fr. 40, 5fr. 20, 3fr. 75c.). The line crosses the Ticino and
intersects the LomelUna, or broad plain of the Po, in a S.W. direction.
Stations Cava-Cartonara, Zinasco, Pieve-Allignola , Sannazzaro , Ferrera,
Lomello, Mede, Castellaro, Torre-Beretti, Valenza; see p. 158. Hence to
Alessandria and Genoa, see p. 158, and pp. 70, 73, and 74.

166 Route 25. CREMA.

From Pavia to Brescia via Cremona, 771/2 M., railway in 5hrs. (fares
14 fr. 5, 9fr. 85, 7fr. 5 c.)- — None of the stations are worthy of note
except Cremona itself, but this line affords the most direct communication
between Genoa and Verona (on the Brenner Railway).

The line intersects the fertile plain watered by the Po and the Olona.
Stations Motta San Damiano^ Belgiojoso, with a handsome chateau; near
Corteolona the Olona is crossed. Then Miradolo ^ Chignolo on a small
tributary of the Po, Ospedaletto, and Casalpusterlengo , where the line
unites with that from Piacenza to Milan (R. 38). — 29'/2 M. Codogno pos-
sesses large cheese manufactories ; the line to Piacenza diverges here to the
S. (p. 266). Near Pizzig?ietlone, a fortified place, the Adda, which is here
navigable , is crossed. This district is considered unhealthy. Stations
Acquanegra and Cava Tigozzi.

47 M. Cremona (see below) is a terminus , from which the train
backs out. To Treviglio (Milan and Bergamo) and Mantua, see R. 25.

From Cremona to Brescia the line proceeds due N., following the
direction of the high road , through a flat district. Stations Olmeneta,
Robecco-Pontevico, where the Oglio, a considerable affluent of the Po, is
crossed. Verolanuova, Manerbio; then across the Mella to Bagnolo and
S. Zeno Folzano.

771/2 M. Brescia, see p. 172.

From Pavia to Piacenza via Codogno (p. 266), 37'/2 M., railway in
2 hrs., if no delay takes place in Codogno (fares 6 fr. 85, 4fr. 80, 3fr. 45 c.).
Piacenza, see p. 266.

From Patia to Voghera, 19 M., in 2/4 hr. (fares 3fr. 10, 2fr.
20, Ifr. 60 c.). The train crosses the Ticino, the Po, and a small
tributary of the latter. Stations Cava Manara , Bressana , Cal-
cahabhio.

Voghera^ and journey to Tortona, see p. 72 ; Novi, and jour-
ney to Genoa, see p. 74.

25. From Milan to Mantua via Cremona.

100 M. Railway in 5-6 hrs.; fares ISfr. 20, 12fr. 75, 9fr. 20c.

From Milan to (^20 M.) Treviglio, see p. 169. Our train diverges
here from the main line to the S.E. — 241/0 M. Caravaggio, birth-
place of the painter Michael Angelo Amerighi da Caravaggio (1569-
1609), with the pilgrimage-church of the Madonna di Caravaggio.
— 30 M. Casaletto- Vaprio.

341/2 M. Crema, an industrial town (7800 inhab.), and episcopal
residence , with an ancient castle. The Cathedral possesses a line
Romanesque facade, and contains a St. Sebastian by Vine. Civerchio
(at the second altar on the left). The church of S. Maria delle
Grazie is adorned with interesting frescoes. — About 3/^ M. from
the town stands the circular church of S. Maria della Croce, with
effective subsidiary buildings in brick, built about 1490 by Oiov.
Batt. Battagli of Lodl, a contemporary of Bramante. The interior,
which is octagonal in form, is adorned with paintings by Campi.

40 M. Castelleone; 45 M. Soresina; 50 1/2 M. Casalhultano ;
541/2 M. Olmeneta ,• 61 M. Cremona, the station of which is outside
the Porta Milanese.

Cremona. — Sole d'Oro (PI. a), *Italia (Pi. b), both mediocre;

CREMONA. 25. Route. 167

Cappello (PI. c). — Cab per drive Vzfr-i tor V2 hr. 1 fr., for each additional
V2 hr. 1/2 fr.

Cremona, the capital of a province and an episcopal see, with
26,500 inhab., lies in a fertile plain on the left bank of the Po. The
spacious streets and piazzas bear testimony to its ancient importance.

The original town was wrested by the Romans from the Gallic Ceno-
mani and colonised by them at various periods , the first of which was
at the beginning of the second Punic war (B.C. 218). It suffered seri-
ously during the civil wars, and was several times reduced to ruins, but
was restored by the Emp. Vespasian. The Goths and Lombards, especial-
ly King Agilulf, as well as the subsequent conflicts between Guelphs
and Ghibellines, occasioned great damage to the town. Cremona espoused
the cause of Frederick Barbarossa against Milan and Crema, and after-
wards came into the possession of the Visconti and of Francesco Sforza,
after which it belonged to Milan. On 1st Feb., 1702, Prince Eugene
surprised the French marshal Villeroi here and took him prisoner. In
1799 also theAustrians defeated the French here.

The manufacturers of the far-famed Violins and Violas of Cremona
were Andr. and Ant. Amati (1590-1620), the two Guarneri (1552-80 and
1717-40), and Stradivari (1670-1728).

Cremona was the birthplace of Sofonisbe Angtissola (1535-1626), who,
like her five sisters, practised the art of painting, and was highly esteemed
by her contemporaries. She afterwards retired to Genoa, and even in her
old age attracted the admiration of Van Dyck. In the 16th cent. Cremona
possessed a school of art, of its own, which appears to have been inQuenced
by Romanino especially, and also by Giulio Romano.

In the Piazza Grande (PI. F, 4) rises the Torrazzo, a tower
397 ft. in height, said to be the loftiest in Italy, erected in 1261-
84, connected with the cathedral by a series of loggie. The snm-
mit commands an extensive prospect. — Opposite the tower is
the Gothic *Palazzo Pubblico (PI. 12") of 1245 (restored), containing
a few pictures by masters of the Cremona school, and a richly
decorated chimney-piece in marble by G". C. Pedone (1502). Ad-
jacent is the *Palazzo de' GiureconsuUi, of 1292, now a school.

The *Cathedral (PL 3; F, 4), of 1107, in the German-Lombard
style, has a rich fa(;-ade embellished with columns.

The Interior with its aisles and transept, also flanked with aisles,
is covered with frescoes executed by various representatives of the school
of Cremona, such as Boccaccino (1500), father and son, and the later masters
Campi, AUobello, Bembo, and Gatti. On the left wall : above the first four
arches of the nave, Boccaccino the Elder, Life of the Virgin, depicted in
eight scenes ; 51h arch, Bonifazio Bembo, The Magi, and Presentation in
the Temple; beyond the organ, Altobello di Melone, Flight into Egypt, and
Massacre of the Innocents; above the last arch, Boccaccino, Christ teaching
in the Temple. The colossal figures in the apse are also by Boccaccino.
Right wall, above the arches : Altobello, Last Supper, Christ washing the
feet of the Disciples, Christ on the Mount of Olives, Christ taken by the
soldiers, Christ before Caiaphas ; above the 4th arch, Cristoforo Moretto
Cremonese, Christ led out to be crucified. Scourging of Christ; 5th arch,
Romanino, Crown of Thorns, Ecce Homo; above the last three arches,
towards the facade, 'Pordenone's three celebrated Passion Scenes , Christ
before Pilate, Christ and Veronica, Christ nailed to the Cross. On the
front wall are a colossal Crucifixion and Entombment by Pordenone. —
The two pulpits are embellished with important Lombardic reliefs, taken
from an old altar, and ascribed to Amadeo.

In the vicinity are the octa.gona\ Battistero (PL 1 ; F, 4) of 1167,
and the Cnmpo Santo (PL 2), with curious and very ancient

168 Boute 25. CREMONA.

mosaics ; among these are Hercules and Nessus ; Piety wounded by
Cruelty ; Faith tearing out the tongue of Discord, etc. (entrance
to the right of the cathedral , No. 10).

From the Palazzo Pubblico to the W. the Contrada Ariberti
leads to the Palazzo Reale (formerly 4Za di Ponzone), which contains
natural history and other collections, a cabinet of coins, and a few
pictures (open daily 9-3 , except Sundays). Farther up the Corso
Vittorio Emanuele, in the second cross-street to the left, is the
richly painted church of S. Pietro al Ph (PI. 10; D, E, 5), designed
by Ripari in 1549-70, and containing pictures by Ant. Campi, Bern.
Oattl, and others. — We then return by the Contrada Bassa to
S. Ayostino e Giacomo in Braida (PI. 6 ; D, 3) of the 14th cent.,
with paintings by Perugino (6th chapel on the right , *Madonna
and two saints, 1494) and Galeazzo Campi.

We next walk through the Contrada S. Margherita (passing on
the right the small church of that name, built and embellished
with paintings by Giulio Campi) to the Piazza Garibaldi (PI. C,
D, 2) with the church ofS. Ayata (PI. 5 ; choir adorned with earlier
and better frescoes by Giulio Campi'), whence the Corso di Porta
Milano leads in a N.W. direction to the gate of that name and to
the station.

Among the numerous handsome palaces of Cremona may be
mentioned the Pal. S. Secondo, the Palazzo Crotti (formerly Rai-
mondi) , containing sculptures by Pedone , the Pal. Stanga a S.
Vicenzo, and the Palazzo Dati (now part of the large hospital),
with its fine court and staircase.

About IV2 M. to the E. of the town, not far from the Mantua road,
is the church of S. Sigismondo, containing frescoes and pictures by Campi.,
Boccaccino, and other Cremona masters; "Altar-piece by Giulio Campi, re-
presenting the Madonna with saints, and below, Francesco Sforza and his
wife, the founders of the church. — Near the village of Le Torri lies the
beautiful Villa Sacerdoti.

From Cremona to Brescia or Pavia, see p. 166.

From Cremona to Piacenza (diligence daily in 5 hrs.). The road inter-
sects the plain on the right bank of the Po, after having crossed the river
with its numerous islands, and leads by Monticelli, S. Nazzaro, and Caorso,
where the river formed by the Chiavenna and Riglio is crossed. Near Rou-
carjlia we cross the Niire and soon reach Piacema (p. 266) to the W.

66 M. Villetta-Malagnino ; 70 M. Gazzo and Pieve S. Giacomo;
75 M. Torre de' Picenardi; 79 M. Piadena ; 81 M. Bozzolo , with
4400 inhab. and an old castle belonging to the Gonzaga family.
Before reaching (88 M.) Marcaria, a town with 8800 inhab., the
train crosses the Oglio. — 931/2 M. Casteliucchio.

About 2^/2 M. to the E. of Casteliucchio, and 5 M. from Mantua, is
situated the church of S. Maria delle Orazie, founded in 1399, a famous
resort of pilgrims, and containing a number of curious votive oITerings in
the form of life-si/.e figures in wa.v, bearing the names of 'Charles V\ 'Fer-
dinand I', 'Pope I'ius II', the 'Connetable de Bourbon', and others. Also
a few monuments.

The train now crosses the Mincio. — 100 M. Mantua, see
p. 194.

N in .Si * in M in in c^

i ri -if t>i pi N M N

! rJ P t/' ti S o .y

-s e ; s- P c N

1^- i '-^ 4 1 1

-J CM C -< ■'5 tc f-

169
26. From Milan to Bergamo.

32 M. Railway in IV4 lir. (fares 5fi-. 90, 4fr. 15, 2fr. 95 c.)- Finest
views to the left.

Milan, see p. 116. — 7 M. Limito ; 12 M. Melzo. At (16 M.)
Cassano, a considerable village, with a number of palatial looking
bouses, the train crosses the blue Adda. 20 M. Treviglio (branch-
line to Cremona, see II. 25 ; direct line to Verona, see p. 171).
26 M. Verdello; 321/2 M. Bergamo.

Bergamo. — Hotels. 'Albekgo d'Italia , B. from 2, B. li/->ir.;
Cappello d'Oko, unpretending. — Trattoria Giardineiio, by the Porta S.
Agostino, with garden and view. Caffi Centrale. — Cabs: 2V2fr. per hour.

Bergamo (1246 ft.), the ancient Bergomum, which belonged to
the republic of Venice from 1428 to 1797, is now a provincial
capital with 36,000 inhab., and one of the busiest of the smaller
trading and manufacturing towns in Italy. The once far-famed fair
(Fiera di S. Alessandro, lasting from the middle of August to the
middle of September) has now lost its importance. The town con-
sists of two distinct parts, the old and the new. The New Town
(Borgo S. Leonardo and Borgo S. TomasoJ, with its woollen, silk,
and other manufactories, the Corso, the interesting piazza where
the fair is held , the new Prefettura , and a recently completed
Protestant church, lies in the plain.

The Old Town (Citta) , beautifully situated on the hills and
containing many interesting houses of the early and late Renaissance,
is connected with the lower town by the Strada Vittorio Emanuele.
The Promenade affords a fine view of the richly cultivated plain
and the beautiful amphitheatre formed by the surrounding
mountains, particularly those to the N.E. The Castle (PI. A, 1),
rising on the hill to the N.W. above the town, commands a still
finer prospect.

In the market-place (I1/4 M. from the railway-station), now
the Piazza Garibaldi, is situated the Palazzo Nuovo (PL 8; C, 2),
the seat of the municipal authorities , erected in the Renaissance
style by Scamozzi, but unfinished. Opposite to it is the library in
the Gothic Palazzo Vecchio , or Broletto , the ground-floor of which
consists of an open hall supported by pillars and columns. Near it
are the Monument of Torquato Tasso (whose father Bernardo was
born at Bergamo in 1493), and a handsome fountain.

At the back of the'Broletto rises the church of S.Maria Maggiore
(PL 6; B, C, 2, 3), erected in 1173 in the Romanesque style, with
ancient portals supported by lions on the N. and S. sides. Adjoin-
ing the N. portal is the rich Renaissance facade of the chapel of
the Colleoni.

The Interior (entrance on the S. side) contains some ancient pictures,
fine *Carved work on the choir stalls by the Bergamasque Giov. Franc.
Capo Ferralo, and admirable inlaid wood (intarsia) by Fra Damiano. This
church also contains the monument of the celebrated composer Donizetti

1 70 Route 26. BERGAMO.

of Bergamo (d. 1S48) , by Vine Vela, and, opposite, that of his teacher
Giov. Simone Mayr (d. 1845). — The facade of the adjoining 'Cappella
CoUeoni (shown by the sagrestano of the church), in the early Renaissance
style, is lavishly adorned with coloured marbles and sculpturing. In the
interior, which has been much altered, is the monument of the founder
Bartolommeo Colleoni (d. 1475; p. 255), by G. Ant. Amadeo , which is
deservedly considered one of the best Renaissance sculptures in Lombardy.
The reliefs represent the Bearing of the Cross, Crucifixion, and Descent
from the Cross; below runs a frieze of Cupids, above which are the An-
nunciation, the "Nativity, and the Magi; and on the summit is the gilded
equestrian statue of Colleoni; adjacent, the much smaller, but beautifully
e.xecuted monument of his daughter Medea. Above the altar, to the right,
are some fine sculptures ; to the left, a Holy Family by Angelica Knnfmann.

The adjoining Cathedral (PI. C, 2, 3) was built from the designs
of C. Fontana in the second half of the 17th cent., on the site of
an earlier edifice. At the first altar to the left is a Madonna and
saints hy O. B. Moroni, a pupil of Moretto; the choir contains a
Madonna hy Savoldo. The adjacent Baptistery, a Renaissance
structure, is best viewed from the passage leading to the sacristy,
in which are three pictures by Lorenzo Lotto.

On the slope of the hill, in the street leading to the lower town,
is situated the Accademia Carrara (PI. 11 ; E, 2), a school of art
containing a picture-gallery (Pinacoteca Lochis ; open to the public
daily from 30th Aug. to 18th Sept. ; during the rest of the year on
the 1st Sun. and 3rd Thurs. of each month ; shown at other
times on application to the custodian).

I. Room: 4. Giov. Bellini, Pieta; 19. Cosimo Tuva, Madonna; 28. Ve-
lazquez, Portrait. — II. R. : 69. Vif(. Carpaccio, Birth of the Virgin ; 79.
Leandro Bassano, Monk praying; 95. Moretto, Holy Family; 97. Paolo
Veronese, St. Christina; 75. Civetta, St. Christopher. — III. R. : 200. Man-
tegna (?), Resurrection; 218. Bart. Vivarini, Madonna; 204. Basaiti, Por-
trait; 205. Caroto, Adoration of the Magi; 213. Boltraffio, Madonna; 212.
Buonconsiglio, St. Sebastian ; 194. Crivelli, Madonna ; 209. Barthol. Venetus,
Madonna; 210. Giot>. Bellini, Ma.iojinn; 192. Mantegna, Portrait, a late work;
='190. B. Luini, Madonna; 187. Giorgione (? probably of Romanino's school).
Portrait; 146. Girolamo da Santacroce, Madonna and saints; 166. Zenale,
St. Ambrose,- '154. Loi: Lotto, Adoration of the Infant Christ, painted
about 1531 (one of the most enticing and dainty pictures of the master,
almost unexcelled for its treatment of textures of all shades and sub-
stances. — C. <t-C.); 146. A. Previtali, Madonna; 156. -Palma Vecchio, Ma-
donna with the Jlagdalene and .lohn the Baptist; 161, 165. Cariatii, St.
Catharine and St. Stephen; 128. Cima (?), Six saints; '135 Raphael (?), St.
Sebastian (with clothes, contrary to the tradition); this interesting picture
is supposed to be an early work of Raphael , but is more probably by
Eiisebio di S. Giorgio, a pupil of Perugino; 104. Fr. Francia, Bearing of
the Cross; -"106. Diirer, Same subject in grisaille, with lights in white. —
(tAlleria Cakkara: I. R.: Inditferent pictures. — II. R.: 222. Lor. Lotto,
Marriage of St. Catharine; 201. Bonifacio, The Magi. — III. R., on the
right: 237. A. Palmezzano, Presentation in the Temple; 128. Previtali, Ma-
donna; '187. Mantegna, Madonna. In the last Room: Bronzino, Last Supper.

The eminent painter Lorenzo Lotto (b. after 1480 ; d. at Loreto
Iftni), whose style is closely analogous to that of the Venetian
school, was probably a native of Bergamo. Good examples of his
works are possessed by the churches of "Sf. Bernardino (high altar-
piece of 1521), -S. Bartolommeo (in the choir, 1506), ^<f. Michele
Arcanyelo or Pozzo Bianco (Visitation, fresco above the door of a

PESCHIERA. 27. Route. 171

chapel), and S. Spirito (Madonna enthroned with four saints, 1521).
— The principal church of Alzano, a little to the N.E. of Bergamo,
also contains a valuable painting by this master.

From Lecco to Brescia via Bergamo.

51 M. Railway in 3-3V2 hrs. ; fares 9fr. 30, 6fr. 50, 4fr. 65 c.

Lecco, see p. 145. — 4 M. Calolzio, see p. 135; 9 M. Cisano;
14 M. Mapello ; 16 M. Ponte S. Pietro, with a tasteful church and
an old castle. The train now crosses the Brembo, which issues
from the Valle Brembana. — 2O1/2 M. Bergamo. — Near (25 M.)
Seriate, the <SerJo is crossed. 28 M. Oorlago; 31^/2 M. Grumello,
beyond which the Oglio, descending from the Lago d'Iseo, is crossed.

— 34 M. Palazzolo, where a branch-line diverges to Paratico
(p. 177). Picturesque glimpse of the village in the valley to the
left with its slender towers. — 39 M. Coccaglio, with the monastery
of MonV Orfano on a height; 40 M. Rovato ; 44 M. Ospitnletto.

— 51 M. Brescia, see p. 172.

27. From Milan to Verona.

94 M. Railway in 41/2-51/2 hrs. ; fares 17 fr. 10, 12 fr. 5, 8fr. 60 c.

From Milan to (20 M.) Treviglio, junction for the lines to Cre-
mona (p. 166) and Bergamo (p. 169), see p. 169. — 23 M. Vida-
lengo. Beyond (251/2 M.) Morengo, the train crosses the Serio, a
tributary of the Adda. 28 M. Romano ; 32 M. Calcio. The Oglio,
which issues from the Lago d'Iseo, is now crossed. 861/2 M. Chiari,
an old and industrious town of 9500 inhab., with a library. 40 M.
Rovato, junction of the Bergamo and Brescia line described above.
44 M. Ospitaletto.

51 M. Brescia, see p. 172.

The slopes near Brescia are sprinkled with villas. — 561/2 M.
Rezzato, beyond which the Chiese is crossed ; 62 M. Ponte S. Marco.
Beyond (66 M.) Lonato a short tunnel and a long cutting.

A long viaduct now carries the line to (68 M.) Desenzano (p.
180). The train affords an admirable survey of the Lago di Garda
and the peninsula of Snrmione (p. 180).

In this district, extending from the banks of the lake to a point
considerably beyond Guidizzolo (on the road from Brescia to Mantua), tlie
fiercely contested Battle op Solfekino was fought on 24th June, 1859,
between the united French and Italian armies and the Austrians. The
defeat of the latter led shortly afterwards to the Peace of Villafranca
(p. 194). The village of Solferino (Inn , good red wine ; guides) lies on
the heights to the S., about 5 M. from the railway; carriage from stat.
Desenzano, there and back, 15 fr.

771/2 M. Peschiera (station 2/4 M. from the town, comp. p. 183),
with 2600 inhab., lies at the S.E. end of the Lago di Garda, at
the efflux of the Mincio, which the train crosses. On 30th May,
1848, the place was taken by the Piedmontese after a gallant
defence by the Austrian General Rath (d. 1852).

172 Route 28. BRESCIA.

8O1/2 M. Castelnuovo ; 85 M. Somma-Campagna ; then S. Lu-
cia (to the right a campanile covered with zinc) , a village which
was gallantly defended by the 10th Austrian rifle battalion in
1848. 92 M. Verona Porta Nuova. 94 M. Verona, see p. 186.

28. Brescia.

Hotels. *Albekgo d'Italia; Albebgo Reale, Fenice, in the Piazza
del Duomo; Tokre di Londra; "Gambero, Piazza del Teatro, unpretend-
ing, K. 2, I). 4, B. 1, omnibus Vzfr. ; Cappello.

Cafes. Several adjacent to the theatre and in the Piazza del Duomo. —
Beer at WiiltrerS, near the Porta Torlunga (PI. G,4).

Cabs (Cittadine): 85 c. per drive, I'/afr. per hour.

Railway from Brescia by Cremona to Pavia, see p. 166; to Bergamo
and Lecco, see p. 171; to Verona and to Milan, see p. 171.

Brescia (515 ft.), the ancient Brixia, which was conquered by
the Gauls and afterwards became a Roman colony, vied with Milan
at the beginning of the 16th cent, as one of the wealthiest cities
of Lombardy, but in 1512 was sacked and burned by the French
under Gaston de Foix, after an obstinate defence. Five years
later it was restored to the dominions of Venice, to which it
belonged till 1797, but it has never recovered its ancient impor-
tance. On 1st April, 1849, the town was bombarded and taken by
the Austrians under Haynau , and some of the buildings still bear
traces of damage done on that occasion.

Brescia is beautifully situated at the foot of the Alps, and its
numerous fountains of limpid water lend it an additional charm.
It is now a manufacturing place with 35,500 inhab., the capital of
a province, and the residence of a bishop. Iron wares, and partic-
ularly weapons (hence 'Brescia armata') form the staple com-
modities, and a considerable number of the firearms used by the
Italian army are made here. The woollen, linen, and silk manu-
factories are also worthy of mention.

Brescia occupies a place of no little importance in the history of art
from having given birth to Alessandro Buonvicino, surnamed II Moretto
(1498-1555), who appears to have studied exclusively at his native place,
and whose teacher is said to have been Floriano Ferramola of Brescia. It
has been asserted that he was influenced by Titian and the Roman scht)ol,
but for this there is no reason. Like the Veronese masters, he is distin-
guished from the Venetian school , with which he has generally been
classed , hy the comparative soberness of his colouring ('subdued silvery
tone'), notwithstanding which he vies with the Venetians in richness and
brilliancy, while he sometimes reveals the possession in full degree of the
ideality of the golden period of art. Buonvicino began his career as a
painter in his 18th year. He rarely extended the sphere of his labours
beyond his native place, and Brescia is therefore abundantly stored with
his works. The churches here (such as S. Clemente, p. 175) display his
fertility, both as a painter 'al fresco' and in oils, forming quite a museum
of his" pictures. S. Giovanni Evangelista (p. 174), S. Nazaro c Celso
(p. 176), and the Gallcria Tosio (p. 174) all contain admirable specimens
of his powers. Another eminent master of the school of Brescia , and a
contemporary of Buonvicino, was Oirol. Romanino (1485-1566). — Brescia
also contains Several interesting antiquities (p. 175).

From the station the town is entered at its S.W. corner by the

;SSS£S3S32

-Sat.paqSs S 2iS?K

■1^1 ^

ril I

Broletto. BRESCIA. 28. Route. 173

Porta S. Nazaro (PI. A, 6), whence the Corso Viitorio Emanuele leads
N.E. to the Piazza Vecchia and the Piazza del Duomo.

The *Duomo Nuovo (PI. 5 ; D, 4), or episcopal cathedral, begun
in 1604 by Lattanzio Gamhara (but the dome not finally completed
till 1825), is one of the best churches of its period.

Intekior. By the first pillar on the right is the large *Monument of
Bishop l?ava (d. 1831) , with groups in marble and a relief by Monti of
Ravenna; by the first pillar on the left the monument of Bishop Ferrari.
T he second altar on the right is adorned with modern statues in marble
o f Faith by SeUtroni , and Hope , by Emamieli , and a modern painting,
Christ healing the sick, by GregoleUi. Then (3rd altar on the right) a
sarcophagus with small *High-reliefs, date about 1500, containing '■Corpora
D. D. Apollonii et Philastri\ transferred hither in 1674 from the crypt of
the old cathedral. — High altar-piece an Assumption by ZoboU, designed
by Conca. In the dome the four Evangelists, high reliefs in marble.

Passing through a door between the 2nd and 3rd altar, we
descend by 25 steps to the Duomo Vecchio (PI. 6 ; D, 4), generally
called La Rotonda, situated on the low ground to the S. of the
Duomo Nuovo (shown by the sacristan of the new cathedral who
lives at the back of the choir of the latter). This massive structure
is circular, as its name imports, with a passage round it, surmount-
ed by a dome , and resting on eight short pillars in the interior.
The substructure is very ancient (9th cent.), while the dome and
cupola (Romanesque) date from the 12th century. The transept
and choir with lateral chapels at the back were added at a very
early period. On both sides of the pulpit are statues by Alessandro
Vittoria. At the second altar on the right is the monument of
Bishop Lambertino (d. 1349) with reliefs. Altar-piece, an *As-
sumption by Moretto (1526). — Below the dome is the crypt, or
Basilica di S. Filastro, supported by 42 columns.

Opposite the E. side of the Duomo Nuovo is the entrance to
the *Biblioteca Quiriniana {Bihlioteca Comunale, PI. 19; D,4; fee
1/2 fr-)> comprising 40,000 vols. , bequeathed to the town in 1750
by Cardinal Quirini. Several curiosities are preserved in a sep-
arate cabinet. (Admission daily, except "Wed. and Sund., 11-3, in
winter 10-3; vacation from 24th Dec. to 1st Jan. and from 1st
Oct. to 2nd Nov. ; closed on high festivals, and during the carnival.)

A Book of the Gospels of the 9th cent, with gold letters on purple
vellum; a Koran in 12 vols., adorned with miniatures and gilding; a
'Cross 4 ft. in height ( Croce Magna), of gold, decorated with gems of
different periods (Pegasus, Nymphs, Muses), and portraits of the Empress
Galla Placidia and her children Honoria and Valentinian III., resembling
modern miniatures, the whole a most valuable specimen of the work-
manship of the 8th century. The Lipsanoteca, carved in ivory, a cross
composed of the sides of an ancient reliquary, with scriptural scenes , of
the 4th or 5th century. The Dittico Quiriniana, carved in ivory, presented
by Pope Paul II., and other diptychs (ivory tablets with reliefs). An old
Book of the Gospels, and a Harmony of the Gospels by Eusebius (10th
cent.), with miniatures; a MS. of Dante on parchment, with miniatures;
a Petrarch of 1470 with various illustrations CPetrarca figurctto'') and
written annotations; a Dante with notes, printed at Brescia in 1487.

The Broletto (PL 2; D, 3), adjoining the cathedral on the N.,

174 Route 28. BRESCIA. Palazzo Comunale.

is a massive and spacious building of the 12tli cent. , but was
afterwards so much altered that its original form has been almost
entirely obliterated. It was anciently the seat of the municipal
authorities, and now contains the courts of justice. Part of it is
used as a prison. The campanile on the S. side, called La Torre
delPopolo, belongs to the original edifice. — A well preserved
fragment of Gothic architecture in the street ascending hence, with
circular windows and brick mouldings, is also interesting.

To the W. , not far from the Broletto , extends the interesting
Piazza Yecchia, in which rises the *Palazzo Comunale (PI. 16;
C, 3j, usually called La Loggia, the town-hall of Brescia, erected by
Formentone of Brescia in 1508 on the ruins of a temple of Vulcan,
with a 'putto' frieze by Jacopo Sansovino and window mouldings by
Palladio, of the latter half of the 16th century. The interior was
half destroyed by a tire in 1575. The exterior of this imposing
structure is almost overladen with enrichments. On the ground
floor is a deep hall resting on columns ; in front are pillars with
columns in the wall. In the angles of the arches is a series of
busts of Roman emperors as medallions. The upper floor recedes
considerably. The handsome adjacent building on the right , the
Archivio e Camera NotariLe, is probably also by Formentone. (The
traveller should walk round the whole building.)

On the opposite side of the Piazza, above the arcade, rises the
Torre dell' Orologio, or clock-tower, with a large dial marking the
hours according to the Italian computation (twice 1 to 12). The
bell is struck by two iron figures as at Venice (p. 225). — To the
left rises a Monument, erected by Victor Emmanuel in 1864 to
the natives of Brescia who fell during the gallant defence of their
town against the Austrians in the insurrection of 1849. — The third
side of the piazza is occupied by the Monte di Pieth (formerly the
Priyioni), a plain Renaissance building with a handsome loggia.

Not far from the Piazza Vecchia is the church of *S. Giovanni
Evangelista (PI. 11; C, 3), containing several admirable pictures.

We begin on the right. Srd Altar: "Moretio , Massacre of the Inno-
cents, a youthful work, conceived in the spirit of Raphael. Jligh-Altar:
'Morelto, John the Baptist, Zacharias, St. Augustine, and St. Agnes; in
the centre the Madonna; above, God the Father and a prophet, unfor-
tunately damaged by retouching. — At the next Altar: "Oiov. Bellini,
Pieta; the frescoes on the right are by Moretto (youthful works of 1521,
showing the influence of Raphael) : Collecting the manna, Elijah, the Last
Supper, Two Evangelists, and prophets above; those on the left are by
HomaniHO: Raising of Lazarus, Mary Magdalene before Christ, the Sacra-
ment, two Evangelists, and prophets above. At the next altar: liomanino,
Nuptials of Mary, freely treated. In the Battistero: "Francesco Francia,
The Trinity adored by saints.

Proceeding to the E. from the Piazza Vecchia, and straight
past the N. side of the Broletto, we come to a small piazza, to
the left in which is the entrance to tlie '"Museo Patrio (PI. 17;
E, 3 ; shown daily, 10-3, in summer 10-4, on payment of a fee of
50 c. ; open to the public free on the first (Sunday in each month and

Galleria Tosio. BKESCIA. 28. Route. 175

on each Sun. and Thurs. in August; visitors knock at tlie door),
established in a Corinthian temple of Hercules (?), which was ex-
cavated in 1822. The temple, which, according to inscriptions, was
erected by Vespasian in A.D. 72 (Tempio di Vespasiano), stands on
a lofty substructure with a projecting colonnade of ten columns and
four pillars to which the steps ascend. The substructions, portions
of the steps, and the bases and parts of the shafts of the columns,
in white marble , are still well preserved. The Cella consists of
three sections, each of which was dedicated to a different god (per-
haps Jupiter, Juno, and Minerva).

The pavement of the Pkincipal Hall has been restored with the aid
of the original remains. An ancient mosaic has also been placed here.
By the walls are altars and Roman inscriptions from the province. The
Room on the right contains mediaeval and other curiosities , ornaments,
the monument of Count Pitigliano , weapons , medals (those of tha Napo-
leonic period very numerous). In the Central Room and the Room on
the left are ancient sculptures , including some interesting marble busts
and a relief of a naval battle ; the most valuable of all, however, is a
fine statue of "'Victout, excavated in 1826, a bronze figure about 6 ft. in
height, with a silver-plated wreath of laurel round her head, a (restored)
shield, on which she is about to write, in her left hand, and a (restored)
helmet under her left foot. This is one of the most admirable specimens
of the ancient plastic art now in existence. Also a number of coins and
medals, ornaments, busts in gilded bronze, fragments of a colossal figure
from a temple, portions of sarcophagi, decorated breastplate of a horse, etc.

The Street opposite the museum descends to a small piazza,
from which a street to the left leads to S. Clemente. Remains of an
ancient edifice are built into the wall of the house No. 285 in the
small piazza.

S. Clemente (PI. 20 ; E, 4) is a small church containing the
tomb of Moretto (p. 172 ; immediately to the left) and five of his
works :

On the right, 2nd altar, SS. Cecilia, Barbara, Agnes, Agatha, and
Lucia: a charming composition, in which the repellant attributes of
martyrdom are handled with such marvellous naivete as almost to assume
an attractive air (C. & C). On the left, 1st altar, St. Ursula; 2nd altar,
St. Jerome praying : 3rd altar, Abraham and Melchisedech, both spoiled
by retouching. 'High altar-piece, Madonna with St. Clement and other
saints, peculiarly arranged.

The *GaUeria Tosio (or Pinacoteca Municipale, PL 21 ; E, 4),
situated a little to the S. of S. Clemente, in the Contrada Tosio,
Quartiere VIU., No. 596 (admission same as to the Museo Patrio,
see above), bequeathed with the palace to the town by Count Tosio,
contains a number of ancient and modern pictures , drawings , en-
gravings, modern sculptures, etc. in a series of a small apartments.
The most valuable of its contents are a number of paintings by
Moretto (p. 172).

In a room on the Ground-Floor, the Laocoon, a group in marble by Fer-
rari; bust of Galileo hy Monti; copies of Canova's colossal busts of himself
and Napoleon , by Gandolfi ; Moretto iBuonvidno) , Virgin enthroned and
Saints, from the church of St. Afra.

First Floor. In the ante-chamber a bust of Count Tosio by Monti,
drawings , and frescoes by Ronianino. Handsome inlaid reading-desk by
Fra Raffaele da Brescia (i6th cent.).

176 Route 28. BRESCIA. S. Afra.

I. Room (immediately to the left of the entrance): 2. Fra Bartolommeo
(more probably Sogliani), Holy Family; 3. Moretto, Annunciation; 6. Mo-
retto. Portrait; 13. Caravaggio, Flute player; 16. Portrait in the style of
Giorgione; miniatures and drawings.

II. Room; 1. Mombello, Presentation in the Temple; 4. Moroni (pupil
of Moretto), Portrait (1560); "10. Lor. LoUo, Nativity, "a scene, the pleasing
nature of which is dignifled by the nobleness of the angelic forms'; 13.
Fr. Francia, Madonna; 14. Moretto., Herodias. — *16. Moretto, The Dis-
ciples at Emmaus : — 'The picture is of a deep warm tone and rich sub-
stantial handling with types in which form is less striking for selection
than earnestness. A very decided realistic feeling prevails in the out-
spoken nature of the movements and expressions, which have the strong
and straightforward bluntness of middle or poor class life. . . . Moretto
strives to give the Saviour, whose face is really not above the common,
a calm and settled air. ... He comes exceptionally near Titian here by
vigorous realism and a happy introduction of varied incident and motive
thought'. — C. <i; C.

III. Room: 1. Andrea del Sarto , Holy Family (sadly damaged); 18.
Moretto, Descent of the Holy Ghost; *22. Raphael, Christ with the crown
of thorns and stigmata, teaching (1505); 21. Ann, Carracci, St. Francis;
Si. Cesare da Sesto (?), Youthful Christ. — The cabinets contain inter-
esting engravings, old woodcuts, and drawings {A. DUrer). — In the Passage
a bust of Eleonora d'Este, by Canova; drawings; in the adjacent cabinet,
a boy treading out grapes , by BartoUni. — Corridor with engravings. —
IV. Room : Modern pictures. — V. Room : Barmzi, Silvia, statue in marble,
from Tasso. — VI. Room : 11, 19. Mass. d'Azeglio, Landscapes. — In the
Chapel a statue of the youthful Saviour, by Marchesi. — VIII. Room:
■1. Day, '3. I^ight, by T/iorvaldsen. — IX. Room. Sculptures: 1. Frances-
c/ietli, Dante's Beatrice; 3. Baruzzi, Sappho; i. Franceschetti , Flora; 18.
Tandardini, Bather ; Gherardo of Ohstal, Sacrifice of Isaac ; Oandolfi (after
Thorvaldsen), Genius of music; *8. Thorvaldsen, Ganymede; 9. Pampaloni,
Boy praying. — The other rooms contain modern pictures.

S. Afra (PL 1; E, 5), situated in the street leading from
the Museo Patrio, was erected in 1580 on the site of a temple of
Saturn, but has been entirely modernised.

1st altar on the right, Bagnadore, Nativity of Mary ; 2nd altar, Franc.
Ba.'<saiiO , Baptism of S. Afra; 3rd, Passerotti, Assumption; above the S.
door: Brztsasorci, Martyrdom of several saints; 4th altar, Procaccini, Vir-
gin, S. Latinus, S. Carlo, and many other saints, a confused crowd of
figures, all of the same size. High altar-piece, by Tintoretto, Ascension, in
which the blue of the sky is the predominant colour. Over the N. door,
* Titian , Christ and the adulteress (generally covered). Over the N.
altars: Alessandro Magama, Christ in the house of Simon the Pharisee;
"P. Veronese, Martyrdom of St. Afra (in the foreground, among the be-
headed martyrs, is the head of the painter); Palma Giovine , Brescian
martyrs.

S. Nazaro e Celso (PI. 13; B, 5), near the gate leading to the
railway-station, erected in 1780, contains several good pictures.

lli'^h altar-piece by Titian, in five sections, the Resurrection being
tlie principal subject, on the right St. Sebastian, on the left St. Nazarus
and SI. Cclsus with the portrait of Averoldo , the donor of the picture;
above these the Annunciation (1522). This work was delivered in 1522,
and long remained an object of study to the artists of the Brescian school
(C. A- C). Over the 2nd altar on the left, "Coronation of the Virgin, with
SS. Jlichael, Joseph, Nicholas, and Francis below, by Moretto (1541): — 'In
elegance of proportion, in sympathising grace of attitude and pleasant
characteristic faces, this altar-piece is the very best of its kind, cold per-
haps in silver-grey surface but full of bright harmimy and colour' (C. & C).
Over the 3rd altar on the right, Ascension of Christ (1541), over the 4th
altar on the left, Nalivily, with S. Nazaro and S. Colso, also by Moretto,
sadly damaged.

LAGO D'ISEO. 29. Route. 177

Madonna dei Miracoli (PI. 22 ; B, 5), near S. Nazaro, a small
church with four domes and richly decorated fa(;ade in the early
Renaissance style, was erected at the end of the 15th cent.; 1st
altar on the right , a *Madonna and Child , with St. Nicholas , by
Moretto (1539), a work of a most pleasing and beautiful nature,
exhibiting the technical powers of the master at their highest.

S. Maria delle Grazie (PI. 23; A, 2), near the Porta S. Gio-
vanni, contains two good works by Moretto: over the 4th altar on
the right St. Antony of Padua and St. Antonius the Hermit, and
over the high altar a Nativity of Christ. — Another fine work by
Moretto (St. Margaret") is in the church of St. Francesco, which
also contains (on the high-altar) a *Madonna, with six Franciscan
monks, by Romanino. — The churches of S. Maria Calchera, S. Giu-
seppe, and Vescovado also possess pictures by Moretto.

About 1/2 M. from the Porta S. Giovanni (PI. A, 3) lies the
pretty Campo Santo, to which an avenue of cypresses leads from the
high road.

29. From Brescia to Tirano in the Valtellina.
Lago d'Iseo. Monte Aprica.

Distance about 81 M. From Brescia a post-omnibus daily at an early
hour, halting at Pisogne (1 hr.) and at Breno (1 hr.) , and arriving at. -
Edolo in the evening. Diligence from Edolo to Tirano also daily in 6 hrs.

This route is recommended to travellers who are already acquainted
with the Lake of Como, and who desire to reach the upper Val Tellina
and the Stelvio or Bernina (R. 5). The scenery from Iseo onwards is
beautiful the whole way.

A new Branch Railway, diverging at Palazzolo (p. 171} , connects the
Lago d'Lseo with the Milan and Venina line (6 M. in 25 min. ; fares Ifr.
15, 80, 60c.). Paratico, its terminus, lies on the left bank of the Oglio,
opposite Sarnico (see below). Intermediate station, Capriolo.

The Milan road is followed from Brescia to —

12 M. Iseo (Leone) , situated on the lake of that name , a
busy little town. Steamboat twice daily from Sarnico (Leone
d'Oro), at the S.W. end of the lake, to Iseo and Lovere (see below)
and back, in correspondence with the diligences between Grumello
(p. 171) and Sarnico, Brescia and Iseo, and Lovere and Edolo;
from Sarnico to Lovere, 2^/4 hrs. (fares 2fr., 1 fr. 40 c.).

The *Lago d'Iseo {Lacus Sebinus, 620 ft. above the sea-level),
about 15 M. in length from N. to S., about 1000 ft. deep in the
centre , and averaging I1/2 M. in breadth , somewhat resembles an
S in form. The Oglio enters the lake between Pisogne and Lovere
and emerges from it near Sarnico. The scenery vies in beauty
with that of the Lago di Garda , the soil is admirably cultivated,
and the vegetation of a luxuriant, southern character. The Mezz-
Isola, an island I1/2 M. in length, consisting of a lofty ridge
descending precipitously on the E. side (at the S. E. base of which

Baedeker. Italy I. 5th Edit. 12

178 Route 2'J. BRENO. From Brescia

lii'S Peschiera d'lseo, and at tlie N.W. base Siviano, two fishing-
villages), rises picturesquely and boldly in the middle of the lake.
Opposite Peschiera lies the islet of S. Paolo.

The new rock-hewn *Road on the E. bank, beginning at Sale
Marazzino and terminating at Pisogne, a distance of 6 M. , is little
inferior in boldness to that on the banks of the Lake of Como.
It is carried through a number of galleries and supported by solid
masonry. Immediately to the left lies the lake, while the rocks
rise precipitously on the right, overhanging the road at places. From
Iseo it winds through a succession of vineyards, which cover the
valley and its slopes, and reaches the bank of the lake at Sulzano,
opposite the island mentioned above. On the mountain, far above,
is seen the white church of S. Rocco ; then the ruins of the
monastery of S. Loretto on a rock in the lake. Sale Marazzino
(Albergo della Posta), consisting of a long row of houses, is the
largest village on the road. Next Marone, at the W. base of
Monte Guglielmo [6414 ft. ; ascent 4 hrs. , beautiful view), and —

24 M. Pisogne (Alhergo Grisoni), at the N. E. end of the lake.
Towards the end of this part of the route the scenery is strikingly
beautiful, especially where the lake terminates in a rounded bay,
and where Lovere (S. Antonio, or Posta; Leone d'Oro; Roma),
with its busy harbour, which before the construction of the road
afforded th.e sole outlet to the industry of the Val Camonica , lies
picturesquely on the N. bank. The church of the Madonna dell'
Assunta contains several pictures by Moroni, and a monument by
Canova. The long and handsome Palazzo Tadini , a conspicuous
point in the distance, contains a collection of antiquities, pictures,
and natural history specimens. — Omnibuses between Lovere and
Edolo, and Lovere and Bergamo (p. 169).

The road now quits the lake and traverses a fertile, alluvial
tract. To the left flows the Oglio, a considerable river, which is
crossed at Darfo. The road skirts the W. side of the valley,
which presents the usual characteristics of the valleys of the S.
Alps, yielding rich crops of maize, grapes, mulberries, etc.,
aud enclosed by lofty, wooded mountains. The dark rocks (ver-
rucano) here contrast peculiarly with the light triassic forma-
tions.

At Cividate the Oglio is crossed by two bridges. On the height
a very picturesque deserted monastery. Near Breno a broad hill,
planted in numerous terraces with vines and mulberries, and
surmounted by a ruined castle, rises from the valley.

38 M. Breno {Pellegrino; Italia, poor) is the capital of the Val
Vamunica, which is 36 M. in length , extends from Lovere and
Pisogne to the Monte 2'onuZe(see below), and produces a considerable
ijuantity of silk and iron.

The road now crosses a mountain-torrent descending from
Monte Pizzo, the indented crest of which peeps from an opening

to Tirano. EDOLO. 29. Route. 179

oil the right. A massive mountain of basalt here extends towards
the road, and columnar basalt is visible at places near the summit.
Beyond Capo di Ponte (1374 ft.) the character of the scenery
gradually changes. The valley contracts, maize and mulberries
become rarer, while numerous chestnut-trees flourish on the slopes
and in the valley itself. The road ascends slightly.

541/2 M. Edolo (2287 ft. ; Due Mori ; Gallo , uninviting) , a
mountain- village possessing iron - works , lies on the Oylio , here
descending from the rocks, and is overhung on the E. by the Monte
Aviolo. (Diligence to Tirano, 8 hrs. ; one-horse carriage in 6 hrs.,
10 fr.; to Lovere in 9 hrs., 15 fr.)

The ToNALE RoDTE, diverging here to the N. E. to the Monte Tonale
(6345 ft.), leads on the E. side of the Monte Tonale, which forms the
boundary between Lonibardy and the Tyrol, through the Val di Sole (Sulz-
berg) and Yal di Non (Nonsberg), wMch descend to S. Michele for Wiilsch-
Michael) , a station on the railway from Botzen to Verona (p. 41), in the
valley of the Adige.

The new road to Tirano, which crosses numerous bridges and
rests almost entirely on masonry, gradually ascends from Edolo on
the N. slope of the Val di Corteno, affording pleasant retrospects of
the ValCamonica, and the snow-peaks of theAdamello in the back-
ground. 41/2 M. Cortenedolo (the village opposite , on the right
bank of the Corteno, is Santicolo), then (2i/2 M.) Galleno, whence
a path to the N. leads over the Monte Padrio in 3 hrs. to Tirano.
The road next crosses to the right bank of the Corteno , and re-
crosses it again at the small village of S. Pietro , not far from the
summit of the (6 M.) Passo d'Aprica (4049 ft.). About 3/^ M.
beyond the pass, near the poor village of Aprica, stands the new
*Albergo dell' Aprica.

A view of the Val Tellina , with Sondrio in the background,
is now soon disclosed. The broad, gravelly bed of the Adda and
the devastations frequently caused by the stream are well sur-
veyed hence. Several of the snowy peaks of the Bernina come in
view to the N. ; lower down , above Tresenda , rises the square
watch-tower of Teglio. On the road is the Belvedere (Inn), 11/2 M.
from Aprica. Fine *View of the valley of the Adda.

The admirably constructed road now descends through plan-
tations of chestnuts , in a long curve , to La Motta ; it finally
reaches the bottom of the valley of the Adda by means of two
tunnels, and crosses the river near Tresenda. From Tresenda to Ti-
rano about 6 M. more. Tirano (1506 ft.; Posta or Angelo ; Due
Torri, with the post-offlce ; Stelvio^ is a small town with old man-
sions of the Visconti , Pallavicini , and Sails families, which has
often suffered from inundations of the Adda. Those whose desti-
nation is Sondrio (1139 it. ; *Posta ; Maddalcna), capital of the
Valtellina, need not proceed lirst to Tirano, but carriages are seldom
to be obtained at Tresenda. Comp. Baedeker s Eastern Alps.

12 =

180

30. The Lago di Garda.

steamboat. W. Bank, between Desenzano and Riva: dep. from
Dcsenzano daily at 1. 50 p.m., arr. at Riva at 6 p.m. ; dep. from Riva
at 5 a.m., arr. at Desenzano at 9.15 a.m. (fares 4fr. 35, 2fr. 40 c). Stations
Said, Madenio, Gargnaiio, Tignale, Tremosine, Limotie, Kiva. — E. Bank,
belvs-een Riva and Peschiera, every day except Tuesday : dep. from Riva
at 5.40 a.m. , arr. at Peschiera at 9.40 a.m. ; dep. from Peschiera at 1.20
p.m., arr. at Riva at 5.10 p.m. (fares 5 fr. 10, 2fr. 90 c.). Stations Torbole,
Malcesine, Assema, Castelletto , Toi-n, Garda, Bardolino, Lazise, Peschiera.
(On Tuesday the steamboat of the H. bank, starting from Riva at 4.35 a.m.,
plies from La/.ise to Desenzano instead of to Peschiera, and returns by
the same route, leaving Desenzano at 1.25 p.m.). — Restaurant on board
the steamers ; payment to be made in Italian money.

The Lago di Garda (226 ft.), the Lacus Benacus of the Homaiis,
the largest of the N. Italian lakes, is 37 M. in length, and I'/o-
10 M. broad; area 189 sq. M., depth in many plao.es upwards of
1000 ft. The whole lake belongs to Italy, except the N. extremity
with Kiva, which is Austrian.

The lake is rarely perfectly calm, and in stormy weather is almost as
rough as the sea, a circumstance recorded by Virgil (Georg. ii. 160). The
blue water, like that of all the Alpine lakes, is remarkably clear. The
carpione, or salmon-trout, which attains a weight of 25 lbs., the triitta, or
trout, I-IV2 lb., the lagone, and the sardene are excellent fish.

The banks , although inferior in attraction to those of the Lake of
Como, present a great variety of beautiful landscapes, enhanced by the
imposing expanse of the water. The shores of the S. half are flat and well
cultivated , but they become bolder between Capo S. Yigilio and a point
to the N. of Salt), where the lake contracts. The vegetation is luxuriant,
especially on the more sheltered W. bank. Even the sensitive lemon
arrives at maturity here, but the trees require to be carefully covered in
winter. This is accomplished with the aid of numerous white pillars of
brick, 8-20 ft. in height, erected at regular intervals, and united by trans-
verse beams at the top. The fruit is more bitter and aromatic than that
of Sicily, suffers less from carriage, and keeps longer. Price in plentiful
seasons 3-4 fr. per hundred, but frequently as high as 10 fr.

Desenzano (Mayer's Hotel, Posta Vecchia, both Italian and very
indifferent; *Alb. (S' Ristor. alle Due Colombe, moderate"), a small
town with 4300inhab., at the S.W. angle of the lake, is a railway
station (p. 171). Omnibus from the steamboat to the train 50 c,
luggage 25 c.

To the E., not quite half-way to Peschiera (p. 171), is the
narrow promontory of Sermione, projecting 3 M. into the lake,
which here attains its greatest breadth.

A pleasant excursion may be made thither by boat or by carriage
((J 31. from Desenzano), but the road is not recommended to walkers.
The fishing village (poor locanda) adjoins the handsome ruin of a castle
of the Scaligers (p. 186). We then cross the olive-clad height, past the
little church of S. Pietro , to (1 W.) the extremity of the peninsula,
where we obtain a charming view. On the hill are remains of baths,
and on the promontory are relics of a building extending out into the
lake, which are said to have belonged to the country house of Catullus,
who wrote his poems here ('Sirmio peninsularum insularumque ocellus'').

The SxKAMnoAT steers near the W. bank, but docs not touch at
tlie small villages of Monif/a and Manerba. Opposite the promon-
tory of S. Viyilio (p. 183) it next passes the small Isola di S. Bia-
yio and the beautiful cresciMit-shaped Isola di Garda, or dei Frati,

^ ^. c

\^J^Z-^

I* .ft- "^ J ^ ""Jf "r'-Cusjttc "^^ 7*2'«i*-i^

frentimaf'i

r-tio)]

-Xriirtpft.

i"i

TTar*

T3 " di 8 jv,

r ia '-/rudcnqlw

^(& ligjuiy

JtBe-lyVt f

Tvr^l^ ^\ p^

•>c4imf

J'^C.

■i j, bu-ss )l<'ii^i>

^■U '

,c^tmifg<^'^^

!^J^r^

;

I CONTORNI 01 RIVA.

SciQa di 1 MO 00

R1Y.V* '

Lago di Oarda. RIVA. 30. Route. 181

the property of the Marchese Scotti of Bergamo. The latter was
fortified by the Italians in 1859, but the works have since been
removed. The steamer now steers to the W. and enters the bay
of Salo (Gambero ; Sirenaj , a delightfully situated town with
3400 inhab., surrounded with terraces of fragrant lemon-groves.
The Monte S. Bartolommeo , at the foot of which the town lies,
affords a charming view, especially by evening light. (Diligence
to Brescia, see below.) Gardone is the next village ; then Ma-
derno, on a promontory extending far into the lake , with an old
basilica with Roman inscriptions on the walls. Beyond rises the
Monte Pizzocolo. Farther on are Toscolano, Cecina, and Bogliaco,
with a large country-residence of Count Bettuno. Most of the
lemon- gardens belong to members of the Italian noblesse. Then
Gargnano (*Cervo , unpretending) , an important looking place
(4100 inhab.) in the midst of lemon and olive plantations, and
one of the most attractive points on the lake (diligence twice daily
to Brescia by Salo, Gavardo, and Rezzata).

The mountains now become loftier. The small villages of
Muslone, Piovere, Tignale, and Oldese are almost adjacent. Then
Tremosme, on the hill, scarcely visible from the lake, to which
a steep path ascends on the precipitous and rocky bank. In a bay
farther on are seen the white houses of Limone, another lemon and
olive producing village. The Austrian frontier is passed a little
beyond La Nova , and a view is soon obtained of the Fall of the
Ponale and the new road (see below).

Siva. — *Albekgo Tkaffellini al Sole d'Oro , beautifully situated
on the lake, R. from 80 kr., D. IV2 fl., B. 50, L. and A. 50 kr., pension in
winter 2V2 fl. ; Hotel Kern, K. 1 fl., B. 40, L. and A. 30 kr. ; 'Hotel-Pen-
sion AU Lac, with pleasant garden; Hotel Bavieea, with beer saloon.

C'a/e Andreis, and Ca/e Tschurtsc/ieiUhaler, both under the arcades on
the quay. — Beer in the Hotel Baviera (see above) and in the gardens
outside the Porta S. Marco and the Porta S. Michele.

Bat/is in the lake to the W., beyond the barrack.

Omnibus to Mori, see below, starting from the Cafe Andreis.

Riva, a busy harbour with 5000 inhab., is charmingly situated
at the N. end of the lake , at the base of the precipitous Rocchetta.
The Church of the Minorites, outside the Porta S. Michele, erected
in the 16th cent, and adorned with gilding and stucco mouldings,
contains several altar-pieces by Guide Reni, Palma Vecchio, and
others. The Parish Church in the town possesses several modern
pictures and frescoes. The watch-tower of La Rocca on the lake,
fortified anew since 1850, at present a barrack, and the old Castello,
high on the mountain to the W., erected by the Scaligers, greatly
enhance the picturesqueness of the place. The situation of Riva is
sheltered and healthy , the heat of summer being tempered by the
lake. Private apartments may be procured on moderate terms. —
Luggage is examined at Riva on the arrival and departure of the
steamboats by Austrian and Italian officials respectively.

From Riva to Mori (p. 44; lO'/a M.), a station on the Trent and

1 S2 Route 30. VALLE DI LEDRO. Lago di Garda.

Verona line, omnibus thrice daily in 21/2 hrs. (fare 80, coupe 90 kr.),
two-horse carriage T'/z A-, one-horse 4 fl. The road, which is recommended
to pedestrians in cool weather, leads through yorftoZe C'Bertolini ; *01ivo),
a harbour on the N.E. bank of the lake, and then ascends to the left to
Nago, whence, before entering the fort, a magnificent "Retrospect of the
lake is obtained. The road next traverses a wild and stony mountain
ridge, skirts the picturesque little Luke of Loppio (666 ft.), and reaches the
village of Loppio. The village of Mori is at some distance from the station.

ExcuKsioNS. To the 'Fall of the Ponale (1 hr.), best accomplished by
boat (there and back 2 fl. and fee). The waterfall itself, which is formed
by the Ponale shortly before it flows from the Val di Ledro into the lake, is
insigniticant, but its surroundings are picturesque. We disembark at the
pdint where the disused bridle-path from the Ledro valley reaches the
lake, ascend a little, passing some ruined houses, and beyond the old
bridge, just below the fall, reach the best point of view. — The walk to
the fall by the new *Road is also interesting. It leads at a considerable
height along the rocky precipices of the W. bank , through a succession
of tunnels and cuttings, to the Val di Ledro. At the point where it turns
to the right into the valley , a path descending to the left , then ascend-
ing, and again descending, leads to the waterfall, and commands the most
beautiful views (shade in the afternoon).

The Monte Brione (1184 ft.), a hill 1 hr. to the E. of Eiva, affords
a fine survey of the valley and almost the entire lake. The easiest ascent
is from the N. side. The small village of La Grotia , at the foot of the
Monte Brione, V/2 M. from Riva (by S. Alessandro), is a favourite after-
noon resort.

A pleasant excursion may be made towards the N.W. to (I'/zM.) Var-
rone, where there is a wild and picturesque 'Gorge with a fine waterfall,
lately made easily accessible (attendant 20 kr. for each person; ring at the
mill). The excursion may be continued by Cologna to (2'/4 M.) Tenno,
from the old castle of which a charming view is enjoyed. The road then
traverses richly cultivated uplands, at a considerable height, and leads
by Varignano to (41/2 BI-) Arco (p. 43).

The Monte Baldo, a range 45 M. in length, which separates the Lake
of Garda from the valley of the Adige , is best ascended from Nago (see
above). The Allissimo di Nago (6970 ft.), the summit towards the N.
and the most beautiful point, is reached hence in 5-6 hrs. (with guide).
Extensive panorama, comprising a great portion of Upper Italy, the lake,
the valley of the Adige, and the snow-mountains of the Adamello, Presa-
nella, and the Ortler. — The ascent of the Monte Maggiore, or Telegra/o
(72S0 ft.), the central point, from Ton-i or Garda (p. 183), via Caprino, in
7 hrs., is fatiguing.

The Valle di Ledro alTords another [interesting excursion (carriage to
Pieve and Ijack 5 fl.; diligence daily at 3 p. m.). Beginning of the route
the same as to the Fall of the Ponale (sec above). The road then turns
to the W. into a green valley, and leads by Biacesa, Molina, the pretty
Lago di Ledro (2135 ft.), and Mezzolago on its N. bank, to (o'/i M- from
Riva) Pieve di Ledro (Albergo alia Torre). — At Bezzecca, V* M. beyond
Pieve, opens the Val Concei, with the villages of ('/< hr.) Engiiiso and
(V4 hr.) Lenzumo (thence back to Riva direct, by the Mte. Tratta and
C'ampi, in 31/2 hrs.). From Bezzecca the road leads by Tiariio, and through
the sequestered Val Ampola, to (9 M.) Storo (Cavallo Bianco) in the Val
Bona, or Chiese, in which, 3 M. higher, lies Condino (Torre), the capital
of S. Giudicaria.

Beyond Storo, and about I'/zBL below the bridge over the Chiese, the
road crosses the Caffaro near Lodrone (Austrian and Italian frontier), and
reaches (l'/2 M.) the Lago d'ldro, 6 M. long, V^ M. broad, the W. bank
of which it skirts. Opposite (3V4 M-) Anfo, with the mountain-castle
Roeca d^Anfo, lies the small village of Idro. At (3 M.) Lavenone, at the
S. end of the lake, begins the picturesque Val Sabbia, of which the capi-
tal is (3 M.) Ve.tt07>e (Tre Spade). At (3 M.) Barghe the road divides;
that to the E. leads by Sabbio, Vobarno, and Volciano to (12 M.) Salb on

Lago di Garcia. MALCESINE. 30. Route. 183

the Lago di Garda (p. 181); that to the W. to Preseglie and through the

Val Garza to (15 M.) Brescia (p. 172).

About 10 mill, after the steamboat (p. 180) has quitted Riva,
the fall of the Ponale, mentioned p. 182, comes into view. Torbole
(p. 18'2) lies to the left. The steamer now steers S. to Mal-
cesine (^2100 inhab.), a good harbour on the E. bank, with an
old castle of Charlemagne , which was afterwards a robbers'
stronghold. Goethe , while sketching this ruin , narrowly escaped
being arrested as a spy by the Venetian government. The castle
has since been restored. Beyond it is the rock of Isoletto , then
Cassone, and a little farther the small island of Trimelone. The
next places of importance are Castello , S. Giovanni, Castelletto,
all belonging to the parish of Brenzone , Montagna (somewhat in-
land), and Torri. The banks gradually become flatter. The pro-
montory o{ San Vigilio, sheltered from the N. wind by the Monte
Bnldo (p. 182), extends far into the lake, and is the most beauti-
ful point of view on the E. bank. The surrounding hills are
planted with vines, olives, and fig-trees. The village of Garda
(l500 inhab.), beautifully situated in a bay at the influx of the Te-
sino, which descends from the Monte Baldo , gives its name to the
lake. The chateau belongs to Count Albertini of Verona. To the
S. iiL tlie distance is the peninsula of Sermione (p. 180). The next
places are BardoUno (2500 inhab.) with a harbour, Cisano, and La-
zise (3100 inhab.), another harbour.

Peschiera (see p. 171), at the efflux of the Mincio from the lake,
is a station on the Milan and Verona railway. The station is on the
E. side of the town, not far from the landing place.

V. Venetia.

The N.E. part of Italy, named II Veneto after the ancient Veneli,
is divided into the nine provinces of Verona, Viceiiza, Padova, Rovigo,
Venezia, Treviso, BelUmo, and Udine. Its area, 9059 sq. M. , is slightly
larger than that of Lombardy, while its population of 2,790,300 souls is con-
siderably smaller. The vifestern and larger portion of the country, between
the Mincio and Piave, is indeed about as thickly peopled as the eastern
and less prosperous part of Lombardy between the Adda and the Mincio ;
but the FriiiU, or ancient county of Forum JuUi, the border-land to the
E. of the Piave, consists of very inferior soil, owing to the debris brought
down by the Alpine streams. The '■ Furlanians\ the poor inhabitants of
the Friuli, speak a patois of their own.

The Venetian Dialect no longer contains traces of the Gallic ele-
ment like that of the districts from Piedmont to the Romagna, which
were once conquered by the Celts. It boasts, however, of having been
frequently used by men of letters, as for example by Goldoni in his co-
medies, and is the softest of all the Italian dialects, the flattening and
elision of the consonants being very common. Thus nevode for nipote,
suar for svdare, /ago for fiioco, sior for signore; and another characteristic
is the conversion of g into 2, as zente for genie, zorno for giorno , mazore
for maggiore. The history of the country has always been influenced by
the proximity of the sea, and the peculiar formation of the coast. In the
lower part of its course the Po differs widely from all the other rivers
in Europe. Its fall is very gradual, being for a considerable distance 2^/3
inches only, and latterly little more than V4 inch per English mile. To-
wards the end of its course, moreover, it receives numerous tributaries.
The result is that the adjacent districts are much exposed to inundations,
a danger which has to be averted by the construction of huge dykes; and
these works frequently require to be raised, as the bed of the river is
constantly rising. The Po, together with the Adige, Bacchiglione, Brenta,
and other coast rivers, terminate in a vast delta which extends along the
whole coast of Venetia. The quantity of alluvial deposit is so great, that the
beds of these streams are continually undergoing change and subdivision.
Thus the ancient seaport of Hatria now lies IS'/'i M. from the coast, and
while the Po formerly flowed totvards the S., it has formed its present
embouchure since 1150. The extensive lagoons (lagune), separated from
the sea by narrow strips of land (lidi), and connected with it by outlets,
would render the whole coast uninhabitable, were it not for the slight
ebb and flow of the tide (mean diflerence l>/2 ft.J, which is perceptible
in the Adriatic, and prevents malarious exhalations. This extensive allu-
vial territory, which reminds one of Holland, called into activity the in-
genuity and enterprise of its inhabitants at an early period, and a temper-
ate and conservative character has thus been imparted to their
history.

The Veneti, with whose language and nationality we arc unacquaint-
ed , kept entirely aloof from the immigrating Celtic tribes. The seaports
of llatria and Spina, at the mouths of the Po, carried on a considerable
trade at an early period , and several canals on a large scale were con-
structed as early as B.C. 380. In the 3rd cent, the Veneti together with
the Cunomani, a Celtic tribe which occupied Brescia and Verona, entered
into an alliance with Rome. While the Eomanisation of Lombardy and
I'icilmoiit was attended with violent struggles, it was rapidly efTccted here
without opposition. The Eoman colony of Aquileia was founded as early
as 181 B. C., and the boundary of Italy was thus laid down at the point
to which it still extends. Owing to its industries, cattle breeding, and

VENETIA. 185

agriculture , Venetia prospered greatly under the emperors. Padua was
the wealthiest town in Italy next to Kome, and was rivalled in W. Eu-
rope by Cadiz alone, as it numbered during the reign of Augustus no
fewer than 500 citizens of knightly fortune (1. e. upwards of about 45000-
The city was afterwards destroyed by Attila, and then razed to tho ground
by the Lombards, and a similar fate befel Altinum, an important com-
mercial town in the Lagoons , and Aquileia , which in ancient times was
of a similar importance as the modern Trieste. The Romans sought re-
fuge from their Lombard conquerors in the islands of the Lagoons. Re-
moved from Teutonic influences, and under the protection of the Byzan-
tine Empire, the most famous of mediaeval states took its rise here from
apparently insignificant beginnings. Its earliest history is involved in
obscurity. The first Dux or Doge is said to have been Pmducius Anufeslvs
(d. 716). In 809 the islands warded off an attack of King Pepin , the son
of Charlemagne, and virtually threw oft' the yoke of the Eastern emper-
ors. At this period the inhabitants were crowded together in the is-
lands of Rivoalto, Malamocco, and Torcello, which were the most secure.
Rivoalto was selected as the seat of government, and here accordingly the
city of Venice was founded. Angelus Parlicipothis (819) is said to have
been the first doge whose residence occupied the site of the present P..-
lace of the Doges. Situated between the Byzantine and Franconian em-
pires, Venice became a connecting link between the trade of both, and
the great depot of the traffic between the East and the West. In 828 a
Venetian fleet brought the body of St. Mark to Venice, and thenceforth
the Venetians revered him as their tutelary saint, using his emblem, the
lion (Rev. iv. 7) as their cognizance , and his name as synonymous with
the republic, while their supreme official functionary was styled 'Procu-
rator of St. Mark\ In the interests of her commerce Venice was at length
induced to make foreign conquests. These were at lirst confined to the
Istrian and Dalmatian coasts for the purpose of procuring timber and
suppressing piracy. The rivalry that sprang up with Genoa during the
Crusade led the Venetians to obtain a footing in the Levant, and to
establish extensive colonies. At the same time the constitution of the
state developed into a rigorous oligarchy, which with terrible impartial-
ity contrived to keep both the nobility and people in check, and effectu-
ally to curb the national desire for liberty. In the neighbouring towns
the supreme power rested on a foundation altogether different. The re-
publics had been overthrown by the despots, who, supported by merce-
nary troops and the favour of the lower classes, had founded principali-
ties in the modern sense of the word. Such were the Visconti in Milan.,
the Scala in Verona., the Carrara in Padua, the Gonzaga in Mantua, and
the Este in Ferrara. The danger of collision with warlike princes , and
the support they afforded to every attempt to overthrow the Venetian
constitution, led to their own downfall. Venice, having made conquests
on the mainland (terra ferma) for the sake of her own safety , soon be-
came one of the chief Italian powers, and was thus involved in all the
interminable wars caused by the rivalry of the different states. She ob-
tained permanent possession of Treviso in 1339, Yicenza in 1404, Padua
and Verona in 1405, Udine in 1420, Brescia in 1426, Bergamo in 1428,
Crema in 1454, and Rovigo in 1484. In the market-places of these towns
the lion of St. JIark was erected as a token of their subjugation, and Ve-
netian nobles were appointed their governors. The district thus conquer-
ed extended to about 13,200 sq. M., besides the Dalmatian possessions
(4250 sq. M.) and the settlements in the Levant. Napoleon at length over-
threw the Republic, which had long been in a tottering condition. On
15th and 16th May, 1797, Venice was occupied by French troops under
Baraguay d''Hilliers, this being the first occasion on which it had ever
been captured by an enemy. In the Peace of Campoformio (1797) it was
adjudged to Austria, but by the Peace of Pressburg in 1805, the Austrians
were compelled to cede it to the Kingdom of Itali/. On the fall of Napo-
leon it was again awarded to Austria, to which it belonged down to 1866,
when in consequence of the events of that year it was finally incorporated
with the Kingdom of Italy.

186

31. Verona.

Arrival. There are two stations at Verona: (1) The Stazione Porta
Vescovo (or Porta Vescovile; P1.H,6,7), the central station for the trains of
all the lines, about U/2 M. to the E. of the Piazza Bra; (2) The Stazione
Porta If nova (PI. B, 6), where the ordinary trains only stop, 3/4 M. to the
S. of the Piazza Bra, convenient for travellers for Ala, Milan, and Man-
tua. — The traveller about to leave the country should provide himself
in good time with gold (comp. Introd. vii.. Railways), as the money
changers at the station exact an exorbitant premium

Hotels. Hotel Royal des Deux Touks (delle Due Tor ri; PI. 46, F 3)<
R. from 3, I). 5, B. IV2, L. 3/4 omn. 1 fr., with baths; Hotel de Londres
(Torre di Londru; PI. 47, E 3), both in the centre of the town; Hotel
Rainer al Gran Paeigi , on the Corso , near the Piazza delle Erbe , R.
IV2-2V2, D. 33/4, A. 3/4 fr- — Italian houses: "Albeego Cola (also called
8. Lorenzo ; PI. 49, D 3), with trattoria, prettily situated on the Adige, Riva
di S. Lorenzo, in the third narrow street W. of the Porta Borsari, R. 2-3,
L. 1/21 A. 1/2, omnibus 3/4 fr. ; *Colomba p'Oro (PI. 48; D, 4), in the street
of that name, close to the Piazza Bra, R. 2V2, L. ^/i , omn. 1 fr. ; Aquila
^Tera, R. IV2, B. l'/4 fr., A. 60 c. ; Regina d'Ungheria, near the Piazza
delle Erbe, unpretending, well spoken of; Alb. d'Italia , near the Porta
Vescovo (PI. H, 5).

Eestaurants. -Birrer'ta Saver al Giardino S. Liica (with baths), to
the S.W. of the Piazza Vittorio Emanuele, on the right, outside the gate ;
'Trattoria Cola, and the other Italian inns; Crespi, near the Ponte delle
Navi (p. 192). — Cafes (cup of coflee 20 c., 'pasta' to eat with it, 10 c).
Europa and * Vittorio Emanuele in the Piazza Bra, where a military band
plays every evening. "Caffi Dante, Piazza de' Signori.

Fiacres, called 'Broughams'. Per drive 75 c, per hour I72 fr., each
additional hr. 1 fr. 25 c. ; in the evening 30 c. per hr. more. From the
station to the town and vice-versa 1 fr. These fares are for 1-2 pers.; for
each additional pers. one-third more. — Omnibus from the station to the
town 30 c.

Bookseller. H. F. Miitister., in the Via Nuova (p. 187).

The Sights of Verona maybe seen in one day: begin with the Arena
and Piazza Bra, then cross the Adige to the Palazzo Pompei (on the way
to which is iS. Pernio Maggiore, p. 192), return by the Via Leoni to the
Piazza de" Signori, with the tombs of the Scaligers; see S. Anastasia, and
the Cathedral, and cross the Ponte di Ferro to S. Giorgio; drive along the
Corso, from the Porta Borsari to the Porta Stuppa and S. Zeno, and finally
to the Giardino Giusti.

Verona (157 ft.), an ancient town founded by the Ehaetians and
Etruscans , afterwards occupied by the Gauls , and then a Roman
colony, the Bern of old German traditions, was the residence of the
Lombard princes in the middle ages , and afterwards suffered
severely from the contests of the Giielphs and Ghibellines, until
a happier era dawned under the auspices of the <Scrti((7ers (_i260-
1389). Mastino I. della Scala, elected PodestJl in 1260 and Cap-
itano del Popolo in 1262, was the founder, and Can Grande
(1308-29) the most eminent member, of this illustrious family. In
1389 Giangnleazzo Visconti, Lord of Milan, made himself master of
Verona, and through his widow the city came in 1405 into the pos-
session of Venice, to which, with short interruptions, it remained
subject down to the end of the Kepublic. The town, with 66,000
inhab. and a garrison of 6000 men, situated at the base of the Alps,
on the rapid Adige, which is crossed by five bridges, is the most im-
portant fortress, and next to Venice the principal to«rn in Venetia.

25 InatU mm aqi icvtt D 5

26 ineiKtle > 5

ViOilo bptaniix) Y I

31 Ospi/ale iiiioeo inilit \ \
22 Ospttali rioile B 4

33 roita lUlU lel/ere \ 1
'UFaiax xo dti CofbstqhoY, 3

38 cfp/Ai Gran Oiiardia jf Y^

^Kila 1 xo Ibfnpn

lies
SGiOK

Oeo^aph.Analalt »

WagiusT Jt Dcbes .Xeipug

Arena. VERONA. 31. Route. 187

In the history of Architecture Verona is a place of considerable
importance, not only on account of its mediseval buildings, but as the
birthplace oi Michele Sammicheli (1484-1554), the most famous military
architect of Upper Italy, who imparted to the palaces some of the features
of fortified castles, and of Fra Giocondo (1435-1514), one of the most
typical masters of the Renaissance, whose works are to be found at Venice,
Paris, and Rome. In judging of the Verona palaces, we must bear in
mind that it was customary here , as at Genoa and other towns to adorn
the facades with paintings. The painted facades of houses near S. Fermo,
the Porta Borsari, Piazza delle Erbe (p. 188), the Palazzo Tedeschi (p. 191)
and others, recall the style of Paduan masters of the 15th cent. , and are
perhaps traceable to the influence of Mantegna. — The most distinguished
Veronese Painters of the 15th cent, were Vittore Pisano (Pisanello) , Lt-
berale da Verona , Fr. Morone, and particularly Girolamo dai Libri (1474-
1556). The artists of a later period , such as Paolo Cagliari , surnamed
Veronese (1532-88), belong more properly to the Venetian school.

The *Arena (_P1.24; D,4; entrance from the W. side by the
arcade No. V; fee 25 c.) bounds on the N.E. side the Piazza Brk
(Praedium) , or Vittorio Emanuele, the principal square of Verona.
This celebrated amphitheatre , probably erected under Diocletian
(A. D. 284), is 106 ft. in height, 168 yds. long, 134 yds. wide (the
arena itself 83 yds. long, 48 yds. wide), circumference 525 yds.
Around the amphitheatre rise 45 tiers of steps, 18 inches in height,
26 inches in width, of grey marble (modern), on which it is cal-
culated that 25,000 spectators could sit, and 70,000 stand. Of the
external wall a fragment only, which appears never to have been
completed, is still standing. It is an interesting fact that the pillars,
which were probahly left rough undesignedly, afterwards became a
model for the favourite 'rustica' pillars of the Renaissance. The ar-
cades, 72 in number, are let by the town at high rents to traders of
every description. In the interior of the Arena a small theatre is us-
ually established. — The Via Nuova, terminating near the Arena, and
paved with massive blocks of stone is one of the principal thorough-
fares of the town, leading N.E. to the Piazza delle Erbe (see p. 188).

The S. side of the Bra is bounded by the Gran Guardia Antica
(PL 35 ; D, 4 ; now a corn-magazine) , or old guard-house , and the
Gran Guardia Nuova (PI. 36; D, 4), now the Mtinicipio, erected
in 1840. To the W., in the arcades of the spacious Palazzo Guas-
taverza (by Sammicheli) are the cafes mentioned at p. 186. — By
the Portone, or principal gate , is an ancient tower of the Scaligers.
The W. corner is occupied by the Teatro Filarrnonico (PI. 41 ; C, 4).
In the court towards the Piazza Bra, under the arcades erected by
Pompei in 1745, is situated the valuable Museo Lapidario (PI. 29),
collected and described by Scipione Maffei , containing Roman,
Greek , and Arabic inscriptions , Roman and Greek basreliefs and
statues , ancient Christian sarcophagi , and a bust of Maffei. The
museum is shown by the custodian of the Teatro Filarmonico, who
lives in a side-street at the back of the theatre, No. 1.

Several streets lead from the Piazza Brk towards the N. to the
CoRso Cayour (PI. C, D, E, 3), the principal street of the town , in
which a number of handsome palaces are situated (see p. 190). In

188 Route 31. VERONA. Piazza dei 8 ignori.

the Corso, about midway, rises the Porta de' Borsari (PI. D, 3),
an ancient triumphal arch or town gate , occupying the whole
hreadth of the street, consisting of two entrance-archways, with
two galleries above them , and a fa^^ade towards the outside of the
town, erected under the Emperor Gallienus in A.D. 265.

The Corso leads to the N.E., straight to the once busy centre of
mediaeval life. On the right it tirst reaches the Piazza delle Erbe
(Pl.E, 3), the fruit and vegetable market, formerly the forum of
the KepubLic, and one of the most picturesque piazzas in Italy. At
the upper end of it rises a Marble Column , which bore the lion of
St. Mark down to 1797 to indicate the supremacy of the Republic
of Venice. Opposite is the Palazzo Maffei, now Trezza , with a
fayaile overladen with enrichment, and a curious spiral staircase in
the interior. The Fountain is adorned with a statue of 'Verona',
part of which is ancient. The Tribuna , with its canopy supported
by four columns , in the centre of the Piazza , was anciently used
as a seat of judgment. Many of the surrounding houses are adorned
with frescoes in the style which was so popular in N. Italy during
the 15th and 16th centuries. Some of them have been recently
restored, such as the Casa Mazzanti near the column, and the Casa
dei Merc.anti (1301), embellished with a statue of the Madonna. —
Witli regard to the Via Cappello or S. Sebastiano and Via Leoni,
leading ti the S.E. to the Ponte Nave, see pp. 191, 192.

Opposite the Casa Mazzanti rises the Tower of the Municipio,
about 320 ft. in height. A short street to the left of the latter
leads to the *Piazza dei Signori (Pl.E, 3), a small square paved
with flag-stoi\es, and surrounded by imposing editices. — Im-
mediately to the right is the Palazzo della Rayione (seat of the
assize-courts), with an interesting and very picturesque court,
founded in 1183, and lately restored and extended.

In the angle diagonally opposite is situated the Old Town Hall,
or *Palazzo del Consiglio (PI. 34), usually called La Loggia,
erected before 1500 by Fra Giocondo da Verona (p. 187), and
restored in 1873, with coloured and gilt ornaments ; above are live
statues of celebrated natives of ancient Verona : Cornelius Nepos,
Catullus ('Mantua Virgilio gaudet , Verona CatuUo' : Ovid. —
'Tantum magna suo debet Verona Catullo, quantum parva suo
Mantua Virgilio': Martial), Vitruvius, the younger Pliny, and
yEmilius Macer, the poet and friend of Virgil. In the interior of
the loggia are busts of celebrated Veronese of mediaeval and modern
times. On the upper lloor are several apartments which have been
tastefully restored (porter in the court).

In the middle of the piazza rises a marble Statue of Dante,
who, as recorded by the inscriptions on the monument and on the
palace adjoining the Loggia at a right angle, found an asylum here
with the Scaligers after his banishment from Florence in 1310,
by Zanoiii, erected in 1865. — Opposite is the Pal. de' Giure-

Cathedral. VERONA. 31. Route. 189

consulti, erected in 1263, but altered in tlie 16tli century. A small
adjacent side-street contains a picturesque fountain.

The passage opposite the entrance to the Piazza delle Erbe
leads direct to the modernised Romanesque church of S. Maria
Antica (PI. il"), and the imposing Gothic *Tombs of the Scaligers,
or delta Scala family , who for upwards of a century were presi-
dents of the republic of Verona. The ladder, which forms their
crest, recurs frequently on the elaborately executed railings.

The largest of the monuments, that at the corner of the street, was
executed by Bonino da Campiglione for Can Signorio (d. 1375) during his
life-time. It consists of a sarcophagus resting on a pedestal supported by
columns of moderate height, over which rises a canopy crowned with an
equestrian statue of the prince. On the square columns in the middle are
six Chi'istian heroes , in niches higher up are the Christian virtues. On
the other side, next to the Piazza dei Signori, is the monument of Mastino II.
(d. 1351), another sarcophagus with canopy and equestrian statue. Besides
these two principal monuments there are several other large sarcophagi of
different members of the family, among which is that of Can Grande II.,
who was assassinated in the public streets by his brother Can Signorio in
1359. Over the church-door the sarcophagus and equestrian statue of Can
Grande (Francesco delta Scala, d. 1329), the patron of Dante ; adjoining it,
also on the church wall, that of Giovanni della Scala (d. 1350); lastly that
of Mastino I. (d. 1277; the custodian lives in a house to the right of the
entrance to the church, fee 30c.).

In the vicinity, at the E. end of the Corso Cavour, rises *S.
Anastasia (PL 1 ; r,3), a line Gothic church begun about 1261,
with a brick facade , a portal subsequently covered with marble,
ancient sculptures in the lunette, and a fresco of the 14th century.

The Interior, borne by 12 circular columns, is remarkable for boldness
and symmetry of proportion; the vaulting is painted in the late Gothic
style. On the two first pillars, as supporters of the basin for consecrated
water, 'are two beggars f / Gobbi) in white and grey marble, that on the left
executed by Gabriels Caliari, father of Paolo Veronese, that on the right
by Aless. Eossi in 1591. The chapel of the Pellegrini, on the right by the
high altar, is adorned with reliefs of the 14th cent., representing the history
of Christ from the Nativity to the Resurrection, and contains two mon-
uments of the Pellegrini in red marble. In the choir, to the left, is the
monument of General Sarega (1432). The chapels on the right and left of
the choir contain good frescoes of the 14th and 15th centuries.

To the left of the church , over a gateway adjoining the small
church otS. Pietro Martire(Pl. 15), is the dark marble sarcophagus
of a Count Castelbarco, and in the gateway three others, the third
of which is adorned with a good relief of the Madonna.

The Cathedral (PI. 4; E, 2) is an imposing Gothic structure of
the 14th cent., with choir and Romanesque fa(^ade of the 12th cen-
tury. Behind the columns of the handsome portal are Roland and
Oliver, the two paladins of Charlemagne, in half-relief. The columns
in front rest upon griffins. The interior, which consists of nave and
aisles, with eight pillars, contains an elegantly wrought rood-loft
of marble, designed by Sammicheli. Over the 1st altar on the left
is an *Assumption by Titian, painted about 1543.

'Without the majestic grandeur of the Assunta of the Frari (p. 233),
this fine composition is striking for its masterly combination of light and
shade and harmonious colours with realistic form and action'. — C. <t C,

190 Route 31. VERONA. S. Zeno Mayyiore.

The arches of the handsome Cloisters rest on double columns of
rod marble in two stories, one above the other (entrance to the left
of the facade, then turn to the left again opposite the side-entrance).

To the N. of the choir rises S. Giovanni in Fonte, the ancient
Baptistery, of the 12th cent. The adjacent Vescovado (PI. 45) con-
tains the Biblioteca Capitolare with its precious MSS. (palimpsests),
among which Niebuhr discovered the Institutiones of Gains.

On the left bank of the Adige , to which the Ponte Garibaldi
leads (toll 2 c), is situated S. Giorgio in Braida (PI. 10 ; E, 1, 2),
completed in 1604 from designs attributed to Sammicheli, sur-
mounted by a dome, and containing some admirable pictures.

On the W. wall, over the door, Baptism of Christ, by Tintoretto;
1st altar on the left, St. Ursula and her companions, the Saviour above,
painted in 1545 by Franc. Caroto; 4th altar on the left, *Madonna with
two saints, God the Father above, three angels vi'ith musical instruments
below, by Girolamo dai Libri (1529); 5th altar on the left, St. Cecilia, by
Moretto. To the right in the choir the Miracle of the Five Thousand, by
Paolo Farinati; to the left, the Shower of manna, by Fel. Briisasorci, both
painted in 1603. High altar-piece. Martyrdom of St. George, by P. Vero-
nese, a masterpiece of the highest rank : — 'Paolo treats the scene as
much as possible as if it were one which actually happened, restrains the
pathos within the bounds of moderation, avoids any excess of realism,
and thus retains the power of exhibiting his gorgeous colouring in the
most triumphant abundance'. — ( BurckhardV s '■Cicerone').

Following the Corso Cavour (PL D, C, 3) from the Porta Bor-
sari (p. 188) in a S.W. direction, we observe on the loft. No. 19,
the *Palazzo Bevilacqua, by Sammicheli ; then on the right. No. 38,
the Palazzo Portalupi, and, on the same side, No. 44, the Palazzo
Canossa, also by Sammicheli, but with an attica added in. 1770.
On the right we then reach the Castello Vecchio (PI. C, 3), the
ancient palace of the Scaligers , now an arsenal , connected with
the opposite bank of the Adige by a handsome bridge (not
accessible) constructed in the 14th century. — The street called
lligasta S. Zeno diverges here to the right. (S. Zeno, see below.)

At the end of the W. continuation of the Corso is the *Porta
Stuppa (or Palio; PL A, 4), the finest of the gates of Verona
erected by Sammicheli.

The Via S. liernardino (PL B, 3) leads to the monastery and
church of S. Bernardino (PL 3 ; entrance from the E. corner,
through a pleasing monastery-court; if the church-door is closed,
ring in the corner to the left, adjoining the church). In the choir,
to the left, is a Madonna with saints, by BenayUo. To the right
of the high altar is the entrance to the *Cappella dei Pelleyrini, by
Sammicheli, one of the finest of the circular buildings of the Re-
naissance, witli the antique forms cleverly and beautifully executed.

*S. Zeno Maggiore(Pl. 23; B, 2) is a Romanesque church of
noble iiro|(orli(ins. The nave in its present form was begun in
113'J; the choir dates from the 13th cent. ; the projecting portal
rests on lions of red marble. The church was lately restored.

S. Zeno Maggiore. VERONA. 31. Route. 191

The Portal is embellished with marble reliefs of scriptural subjects
executed about 1178, from the creation of woman and the Fall to the
Betrayal by Judas and the Crucifixion. The hunting-scene to the right in
one of the lower sections is known as tRe 'Chase of Theodoric\ an allusion
to his having embraced the heretical Arian doctrines. The doors, of the
same or a still earlier period , consisting of a number of small brazen
plates with reliefs (the oldest very rudely executed) , are said to have
been presented by Dukes of Cleve (on the Rhine).

The Interior is borne by alternate pillars and columns. To the left
of the entrance is a large ancient vase of porphyry, 28 ft. in circumference.

— On the choir screen are statues of Christ and the 12 Apostles, in marble,
some of them painted, supposed to be coeval with the reliefs on the portal.

— The walls to the left of the choir are covered with frescoes of the 14th
cent., behind which are traces of others of the 12th; to the right are
frescoes of the 11th and 13th centuries. To the right of the steps to the
choir is an altar, on each side of which are four columns of brown
marble, resting on lions and bulls, each in one block. — To the right in
the Choir, above the crypt, is the very ancient painted marble figure of
St. Zeno, Bishop of Verona (about 9th cent.), holding his episcopal
staff and (as patron-saint of fishermen) a fishing-rod with a silver fish. — ■
Behind the high altar is a fine -Picture (covered) by Mantegna (1460),
in excellent preservation, but unfortunately hung too high. On a throne
of stone in the middle of a colonnade sits the Madonna with the Infant
Christ, with angels playing on instruments at her side and on the steps.
In the left wing are SS. Peter, Paul, John, and Augustine; in the right
wing are SS. John the Baptist, Gregory, Lawrence, and Benedict. The
striking effect of this great work is enhanced by remarkably rich accesso-
ries. (The three lower pictures are copies.)

The approach to the spacious Cktpt, in accordance with the ancient
plan which has been followed in the restoration of the building, occupies
the entire width of the church. It contains the tomb of St. Zeno and
ancient sculptures and frescoes ; the capitals of the 40 columns are mediaeval,
some of them bearing the name of the sculptor.

A door in the N. aisle leads to the admirably preserved ''Cloisters,
with elegant double columns and a projecting structure, restored (accord-
ing to an old inscription) as early as 1123. Immediately to the right two
tombstones are recognised as pertaining to the Scaliger family by the
ladder represented on them. — On the S. side of the church is a small
disused Churchyard, whence a general view of the church with its cam-
panile of 1045 (restored in 1120) is best obtained. At the entrance to a
disused Mausoleum, with a sarcophagus and two columns (descent by 12
steps), a stone bears the inscription, '■Pipini Italiae regis, Magni Caroli
imperatoris filii piissimi sepiilcruni\ Adjacent is a very large Roman sarco-
phagus.

We next visit the S. E. Quarters of the town. To the S. E.
of the Piazza delle Erbe (p. 188) runs the Via S. Sebastiano or
Cappello (PL E, 4), in which a hat over the gateway of a court
opposite the Palazzo Sambonifazi is said to indicate the house of
Juliet's parents (Capuletti ; p. 194). — Farther on, the Via Scala
diverges to the right, leading to the church of S. Maria della Scala
[PI. 20, E, 4), founded by Can Grande in 1324, and containing the
tomb of Scipione Maffei (d. 1755), the learned antiquarian. Ad-
joining the church is the Palazzo Tedeschi , with a painted facade.
— Close to the church of ^. Sebastiano (PI. 18; E, 4) is the Bi-
blioteca Comunale (open in winter 9-3 and 6-9 , summer 9-4),
founded in 1860, which contains numerous documents from the
suppressed monasteries.

192 Route 31. VERONA. Museo Civico.

The Via Lboni, the S. prolongation of the Via S. Sebastiano,
leads to the Ponte delle Navi. In this street, on the left, at the
corner of the C'orticella Leoni , and huilt into the side of a house
rises the *Arco de' Leoni , the half of a Roman double gateway,
coeval with the Porta de' Borsari , but more delicately executed,
and bearing an inscription partially preserved.

A little farther is the Gothic church of S. Fermo Maggiore
(PI. 6; E, 4), erected at the beginning of the 14th century. The
architecture of the exterior , with its facade of brick , enriched
with marble, is worthy of inspection.

The Interiok is modernised; beautiful old ceiling in walnut-wood,
and remains of good frescoes of the 14th cent, by Zevio, Fra Martina^
and Pisanello, the finest being a Crucifixion over the left side entrance.
To the left of the entrance is a Resurrection carved in wood; the chapel
adjoining the left transept contains the monument of the physician Giro-
lamo delta Torre by Riccio (the originals of the bronze reliefs were
carried off by the French, and are in the Louvre) ; in the chapel to the
left of the choir a Madonna with saints, by Franc. Btionsignori (1484).
The Cappella del Sagramento contains (left) an aUarpiece by Caroto,
painted in 1528; above are the Virgin and St. Anna, below are John
the Baptist, St. Sebastian, and other saints.

The Ponte delle Navi (PI. E, 4) in the vicinity, which commands
a good survey of S. Fermo , was erected to replace a bridge across
th(; Adige, which was destroyed by an inundation in 1757.

Immediately to the right beyond the Adige, at the beginning of
the promenade, is the *Palazzo Pompei alia Vittoria (PI. SGi/.j;
E, 5), an interesting edifice by Sammicheli, presented by the family
to the town, and now containing the Museo Civico (fee 1 fr.^.

On the Ground Floor are several rooms containing casts, antiquities,
chiefly from excavations in the old theatre near the Porta Pietra , and
fossils from the Monte Bolca.

The Finacoteca or picture-gallery, on the first floor, contains works
principally of the Veronese school. The first and second rooms contain
the Galleria Bernasconi, presented to the town by Dr. Bernasconi.

I. Room: (right) 70. Tiepolo, Saints; 52. Cesave VeceUio, Madonna; 50.
Tintoretto, A Doge; 34. Pervgino, Madonna; ^^33. Paolo Veronese, A Vene-
tian VFoman.

II. Room: (right) 148. Franc. BiionsignoH, Madonna; 138. (above the
door) Oirolamo dai Lihri, Madonna; 147. (above the door) Vine. Catena,
The Magi; 155. Fr. Fraticia, Madonna with two saints; 153. Parmeggianino,
Holy Family; 115. M. Basaiti, St. Stephen; 122. Ctma, Madonna ; 113. Tin-
toretto, The" plague at Venice; 120. Perugino, Madonna; 90. Vitt. Pisanello,
Madonna and Christ; 87. Mantegna, Madonna; 104. Amberger, Portrait of
the 'Scholar Falb' ; 86. Bellini, Presentation in the Temple; 95. Adoration
of the Shepherds, attributed to Raphael, a charming picture of the Umbrian
school; "94. Fra Bartolommeo, Head of Christ; 93. Correggio, Head of a
child; 79. B. Montagna, Two bishops.

III. Room: Four pictures by Andrea Schiavone; 202. Copy of the picture
by P. Veronese in S. Giorgio (p. 190); 200. Giovanni Bellini, Madonna; "'199.
Moretto, Madonna; 189. Oiolfino, Achilles at Scyros; 182. ifoco«e. Madonna.

IV. Room (to the left of the 1st): (right) 258. Drawing bv Mantegna;
252. Oiolfino, Madonna; 257. Paolo Veronese, Entombment; 259. School of
Raphael, Holy Family; 272. Franc. Caroto, Adoration of the Child; *240.
Paolo Veronese, Portrait of Gualtieri, 1556.

V. Room: "293. Girolamo dai Libri, Adoration of the Child; 296. Paolo
Moranda, surnamed Cavazzola, Christ and St. Thomas ; 307. Cima, Madonna
and saints : 274. Paolo Veronese, Music, a fresco transferred to canvas :

8. Maria in Organo. VERONA. 31. Route. 193

275. Cavazzola, Madonna with two saints (1522), 'the finest production of
the Veronese school in the first quarter of the 16th century'; 276. Girolamo
dai Libri, Sladonna and saints, 1530; 278. Same, Madonna and saints in a
landscape.

VI. Room: 334. C. Crivelli, Madonna and Christ; 331. Turone, Altar-
piece, of 1360; 339. Turone, Scenes from the Old Testament in thirty pictures
on a golden ground ; 344. Giacomo Bellini (father of Giovanni), Large Cru-
cifixion; 347. Beiiaglio, Altar-piece; -318-320. Cavazzola, Passion (1517),
the best being the Descent from the Cross, Bearing of the Cross, and Crown
of Thorns.

We return hence through the 5th and 6th rooms, and enter (to the
right) the — VII. Room: Is^thing noteworthy. — VIII. Corridok with
engravings, some of them by Agostino Carracci, Rembrandt, and Dilrer. —
IX., X., and XI. R. : Nothing of importance. — XII. Room (to the left of
the 11th) : Frescoes by Martino da Verona, Giolfino, and Paolo Veronese.
An adjacent room without a number contains two large pictures of scenes
from the history of Verona: 220. P. Farinati , Battle of the Veronese
against Fred. Barbarossa at Vigasi in 1164; 224. F. Brusasorci, Victory of
the Veronese over the inhabitants of the banks of the Lago di Garda in
849. — XIV., XV., XVI. R. : Nothing important.

Outside the Porta S. Vittcria (^Pl. F, 5, 6) is tlie Cimitero, with
a Doric colonnade and lofty dome-church. The summit of the ped-
iment is adorned with a marble group of Faith, Hope, and Charity,
by Spazzi.

S. Maria in Organo (PL 12 ; F, G, 3), situated near the island
in the Adige , was erected from designs by Sammicheli in 1481 ;
the fa(;.ade of 1592 is unfinished.

To the right of the entrance, above the fourth altar to the left : Ma-
donna with four saints, by >Savoldo. The chapel on the right of the choir
contains frescoes by Giolfino ; a wooden 'Candelabrum, by Fra Giovanni
da Verona, who belonged to the monastery of this church. The '-Choir-
stalls in the Choir with intarsia (views of the town above, arabesques
below), of 1499, and the reading-desk, are by the same master. The seats
in front of the high-altar contain landscapes by Cavazzola and Brusasoi-ci.
Similar works by the same masters are in the Sacristy on the right wall.
The left wall is adorned with paintings in a more elaborate style, by Fra
Giovanni, and with a Madonna and saints embowered in lemon and fig-trees,
by Giralomo dai Libri; the ceiling contains frescoes by Francesco Morone.

S. Nazzaro e Celso (Pi. 13 ; G, 4) is built in the Renaissance
style, with traces of the Gothic. The Cappella di S. Biagio contains
damaged frescoes by Falconetto (processions of Nereids in the dome)
and Bart. Montagna of Vicenia (history of St. Blaise). The two
pictures on the 1st altar to the left, representing SS. John the
Baptist andBenedictus, Nazarus andCelsus, are by the latter master.

A fine *ViEW of Verona and its environs, the Alps and the
distant Apennines , is obtained from the Giardino Giusti on the
left bank of the Adige (Pi. G, 4 ; always accessible ; ring at a gate
on the right; fee 50c.), containing a few Roman antiquities, but
chiefly noted for its numerous and venerable cypresses , some of
which are 400 - 500 years old and 120 ft. in height. The cam-
panili of S. Lucia and S. Massimo are conspicuous.

The view is still finer from the Castello S. Pietro (PL G, 2) ;
ascent near the Ponte delta Pietra, built by Fra Giocondo (p. 187 ;
permission obtained at the commandant's office at the entrance),
the ancient castle of Theodoric the Great , the 'Dietrich of Bern'

Baedeker. Italy I. 5th Edit. 13

194 Route 32. MANTUA.

of German lore. It was entirely remodelled by Oaleazzo Visconti
in 1393, destroyed by the Frencb in 1801, and refortified by the
Austrians in 1849. At its base, immediately below the bridge, are
the remains of a semicircular antique Theatre (^Pl. 37), excavated
in the court of a private house , and interesting to antiquarians.

Within a closed garden (visitors ring at the gate facing them, 2-3
soldi) in the Vicolo Franceschine , a side-street of the Via Cappuccini
(PI. D, 6), is situated the suppressed Franciscan Monastery, where a par-
tially restored chapel contains a rude sarcophagus in red Verona marble,
called without Ihe slightest authority the Tomba di GiiiUelta, or 'Tomb of
JulieV (fee 25 c.). The whole scene is prosaic and unattractive. Shake-
speare's play of 'Romeo and Juliet' is founded on events which actually
occurred at Verona. 'Escalus , Prince of Verona' was Bartolommeo della
Scala (d. 1303). The house of Juliet's parents, see p. 191.

At the village of S. Michele, IV4 M. from the Porta Vescovo, is the
circular church nf Madonna di Campagna, planned by Sammicheli but
constructed after his death.

32. From Verona to Mantua and Modena.

63 M. Railway in 21/3-33/4 hrs. (fares llfr. 85, 8fr., 5fr. 75c.); to
Mantua (25 M.) in I'/a hr. (fares 4fr. 60, 3fr. 20, 2fr. 30c.). — This is the
must direct line between Germany and Central Italy, and is the route
traversed by the express trains to Florence and Rome.

Verona, see p. 186. The line traverses a richly cultivated plain,
varied occasionally with wood. Fields of rice are passed near Man-
tua. — 6 M. Dossobuono.

At Dossobuono the Vekona and Rovigo Railway diverges (63 M. in
33/4-474 hrs. ; fares llfr. 50, 8tr. 5, 5fr. 80c.). Stations Vigasio, /sola della
Scala, Bovolone, Cerea. — 3372 M. Ltgnago, a town of 14,100 inhab., for-
tified by the Austrians after 1815 to defend the passage of the Adige, and
forming one member of the celebrated Quadrilateral, the other towns of
which were Verona, Peschiera, and Mantua. — Stations Villabartolomea,
Castagnaro, Badia, Lendinava, Fratta, Costa. 63 M. Jiovigo, see p. 280.

101/2 M. Villafranca, with an ancient castle , where the pre-
liminaries of a peace between France and Austria were concluded
on 11th July, 1859, after the battle of Solferino. About 5 M. to
the N.W. lies Custozza , where the Italians were defeated by the
Austrians in 1848 and 1866.

14 M. Mozzecane; 18 M. Roverbella; 221/2 M. Snnt. Antonio.
— The train now passes the Citadel of Mantua, where .Andreas
Ilofer , the Tyrolese patriot, was shot by order of Napoleon on
20th Feb., 1810. The citadel and the town are connected by the
Aryine Mulino (a. bridge constructed in 1257), which divides the
laki's, formed here by the Mincio, into the Layo Superiore (W.),
and the Layo di Mezzo (E.).

25 M. Mantua. The station lies near the Porta Pradella (PI.
A, 3, 4).

Mantua. — Hotels. A«uila d'Ono; Crock Vkkdk, or Fknice, R.
2-3, A. 1, L. 3 4, , minibus I'/gfr.; Agnkllo d'Oro, unpretending, all three
in the Contrada Croio Verde (PI. C, 4). — The traveller is not recom-
incndid to spend the night at Mantua, as the mosquitoes here are extremely
truulilcsome. — A stay of 4-6 hrs. is enough to give a satisfactory idea of

i^Jilanto-t'^ct

•9 l\<xn tita .

MANTUA. 32. Route. 195

the town. The traveller should engage a cab at the station for 1 hr.,
drive to the (12 min.) Palazzo del Te, which may be seen in V2 br., and
then drive to S. Andrea or the Cathedral.

Cafe Parlenope, opposite the Croce Verde (cup of coffee 15 c).

Cab per drive 75c., first hr. Ifr. 50c., each following 1/2 br. 50c.

Mantua , Ital. Mantova , a very ancient town founded by the
Etruscans, witli 25,350 inhab. (3000 Jews), is a provincial capital
and strongly fortified place, bounded on the N.W. by the Lago
Superiore, on the N.E. by the Lago di Mezzo, on the E. by the Lago
Inferiore, and on the S. and S.W. by marshy land, which in case
of a siege is capable of being laid under water.

Mantua is mentioned in ancient times as the home of Virgil , who is
said to have been born at the village oi Pieiole (the ancient Andes?), 3 M.
to the S.E., but it was not till the middle ages that it became a place
of importance. In the conflicts of the Hohenstaufen period the town em-
braced the cause of the Guelpbs. In 1328 the citizens elected Lnigi, Lord
of Gonzaga, as the 'Capitano del Popolo', and to him the town was in-
debted for its prosperity. The Gonzagas fought successfully against Milan
and Venice, and succeeded in extending their territory, while they were
the liberal patrons of art and science. In 1530 Federigo II. was raised to
the rank of duke by Charles V., and in 1536 was invested with the
county of Monteferrat"o (d. 1540) ; the chief monument of his reign is the
Palazzo del Te (p. 198). In 1627, when Charles de Nevers, a member of
a French collateral line , took possession of the throne , the Mantuan war
of succession broke out, and the Emperor Ferdinand II. declared the fief
forfeited. On 18th July, 1630, Mantua was taken by storm and sacked by
the Austrians. Although the emperor, being hard pressed by the Swedes,
was obliged to conclude a peace in 1631, the town never recovered from
this blow. Carlo IV., the last duke, having taken the French side in the
Spanish war of succession , was declared an outlaw in 1703 , and Monte-
ferrato was awarded to Piedmont, while Mantua was annexed to Austria,
and afterwards became the chief support of the Imperial domination in
Italy. After a long and obstinate defence by General Wurmser, the fortress
capitulated to the French on 2nd February 1797. In accordance with the
Peace of Villafranca the Austrians retained Mantua, although deprived of
the rest of Lombardy, but they were compelled to cede it to Italy in 1866.
Mantua was the scene of the labours of two great Renaissance Pain-
ters. One of these was Anueea Mantegna, who was born at Padua in
1431, and entered into the service of Lodovico Gonzaga in 1460. The
principal work of his earlier period is preserved in the church of the
Eremitani at Padua. In the life of his compositions, and in the fidelity
of his characters, he rivals the best of his contemporaries, while he sur-
passes them in accuracy of perspective, and in his refined taste for beauty
of landscape. He died at Mantua in 1506. When RaphaeFs pupils were
dispersed after his death, Giulio Romano (1492-1546), the most eminent of
them, established himself at Mantua, where he attained so high a reputa-
tion as an architect and painter, that Mantua has been called the 'town
of Giulio Romano'. In imitation of Raphael's work in the Farnesina, he
here composed mythological decorative paintings, which, though far in-
ferior to their prototype, are attractive from the richness of the motives
and the sensuous magnificence of the composition, and are important ow-
ing to the influence which they exercised on later art. Primaticcio, and
Niccolb delV Abbate , pupils of Giulio Romano who were educated here,
were afterwards summoned to Fontainebleau, and thus formed a connect-
ing link between the French and the Italian Renaissance. Giulio Romano's
works must also have exercised no slight influence on the style of Rubens,
who spent several years at Mantua.

The traffic of the town is chiefly confined to the arcades of the
Contrada Croce Verde (PI C, 4) and the Piazza delle Erbe (PI. D, 4),

13*

1 96 Route 32. MANTUA. from Verona

near S. Andrea. Beyond the latter, in a small piazza in front of
the Camera di Commercio (PI. 3), is a Statue of Dante, erected in
1870.

A little farther on is the Piazza S. Pietro (PI. D, 3), in the
centre of which rises a monument to the political martyrs of the
year 1851. Here are situated the Cathedral, the Palazzo Vescovile
(PI. 12), and, on the right, the former palace of the Gonzagas.

The Cathedral of S. Pietro (PL e), a church with double aisles,
and a transept covered with a dome, and flanked with two rows of
chapels, possesses an unplcasing modern facade and a huge un-
linished tower of much earlier origin. The interior was skilfully
remodelled from designs by Giulio Romano. The nave has a fine
fretted ceiling. On the left of the passage leading to the *Cappella
deir Incoronata is a bust of Ant. Capriano, 1574.

The N.E. angle of the piazza is occupied by the old ducal palace
of the Gonzagas, now called the *Corte Reale (PI. 5) , and partly
used as barracks. The building was begun in 1302 by Guido Buo-
nacolsl , and was afterwards altered and embellished with frescoes
by Giulio Romano by order of Federigo II.

The custodian's room (second large gate on the right) , the Uffizio
DELLA ScALCHERiA , is adomed with hunting-scenes by pupils of Giulio
Romano, but the Diana over the chimney-piece is by himself (d. 1546).
— On the Upper Floor is a large saloon containing portraits of the Gon-
zagas by Bibbiena. Then the Stanze dell' Imperatrice, a suite of apart-
ments in which Raphael's tapestry, now at Vienna, was formerly preserved.
The Dining -Room is adorned with allegorical figures of the rivers and
lakes around Mantua; the windows look into a garden on the same level.
The ''Sala dello Zodiaco, with allegorical and mythological representations
of the signs of the zodiac by Giulio Romano (Napoleon I. once slept in this
room) ; then three Stanze dell' Impeeatore, containing copies of the
tapestry formerly here, painted on the walls by Canepi. The Pictdre
Gallery contains nothing worthy of note; to the left, by the door, a good
bust of a Gonzaga by Bernini. The Ball Room (Sala degli Specchi) is
embellished with frescoes by the pupils of Giulio Romano. — In another
part of the palace is the charming Casierino f'i'aradi.to') of the celebrated
Isabella Gonzaga of Este; in an adjoining room her motto, '■nee spe nee
metti'. We next pass through a series of handsomely decorated rooms in
the most varied styles, the must remarkable of whicli are the Saletta dei
Makmi, Camera di Giove, the Appartamento and Sala di Troja, with
line ^Paintings by Giulio Romano, a dilapidated but handsome gallery (view
of the lake) , and lastly three small rooms with frescoes in the style of
Raphael.

On the N.E. side of the palace is the R. Teatro di Corte (PI. 13).
The vaulted passage between tlie two leads to the Piazza della Fiera,
in which rises the Castello di Corte (PL E, 3) , the old castle of
the Gonzagas. The church of <S. Barbara (PL c) to the S. also be-
longs to this imposing mass of buildings.

Part of the castle is now used as Archives (open during office hours
only), and part of it was a prison during the Austrian supremacy. Most
of the frescoes by Andrea Mantegna (1474), which once adorned the rooms,
are now obliterated. The only ones which have been preserved and
restored are those on two walls of the Camera degli Sposi (first floor),
representing the "^Family of the Gonzagas with their courtiers: on the
loft, Lodovico Gonzaga 'with his wife Barbara of Hohenzollern ; on the
right, Lodovico meeting his son Cardinal Francesco at Rome. On the

to Modena. MANTUA. 32. Route. 197

ceiling i3 an illusive painting, consisting of an apparent opening, at which
Cupids and girls are listening.

*S. Andrea (PI. a ; C, D, 3, 4), in the Piazza delle Erbe, a
church of very imposing proportions, the finest in Mantua , was
erected in 1472 from designs by the Florentine Leon Battista
Alberti, but the dome was not added till 1782. The white marble
facade, with its spacious portico, resembles that of an ancient
temple ; adjoining it is a square tower, built of red brick, and sur-
mounted by an elegant octagonal superstructure with a Gothic
spire. The summit affords a good survey.

The Interior, 110 yds. in length, is covered vs^ith massive barrel
vaulting, the panels of which are partly painted. 1st Chapel on the right :
Arrivabene, St. Antony admonishing the tyrant Ezzelino (painted in 1844).
At the sides are frescoes representing Hell , Purgatory , and Paradise
according to Dante. — 3rd, Cappella S. Longino: on the left, Sarcophagus
with the inscription : 'Longini ejus, qui latus Christi percussit, ossa'. To
the right is the sarcophagus of Gregorius of Nazianzus. The frescoes, designed
by Giulio Romano., represent the Crucifixion; below is Longinus; on the
opposite side the finding of the sacred blood. The saint is said to have
brought hither some drops of the blood of Christ. — The Right Transept
contains the monument of Bishop Andreasi (d. 1549), executed in 1551 by
Clementi, a pupil of Michael Angelo. The swan is the heraldic emblem in
the armorial bearings of Mantua. — Choir , Martyrdom of St. Andrew, a
fresco by Anselmi, a pupil of Paolo Veronese. In the corner to the left by
the high altar is the marble figure of Duke Guglielmo Gonzaga, founder
of the church, in a kneeling posture. The Burial Chapel, beneath the
high altar, where the drops of the sacred blood were preserved , contains
a marble crucifix and an interesting statue of the Jladonna and Child,
carved in wood. — Left Transept. Chapel on the left: Monument of
Pietro Strozzi, with caryatides, designed by Giulio Romano (best seen
from the middle of the nave). Another monument, with the recumbent
figure of a Count Andreasi, was also designed by G. Romano. — The first
small chapel to the left of the W. portal contains the tomb of the painter
Andrea Mantegna (d. 1506) , with his ''Bust in bronze. — The walls are
covered with frescoes of different periods.

In the vicinity to the N.W. is a very extensive space, planted
with trees and bounded by the Lago di Mezzo on the N. (drill-
ground), called the Piazza Vikgiliana (PI. C, D, 2, 3), adorned
with a bust of Virgil (p. 195) , and containing a handsome arena,
the Teatro Virgiliano (PI. 16), which is used for open-air perfor-
mances on summer evenings. Beyond the theatre, from the parapet
towards the Lago di Mezzo, a superb view of the Tyrolese Alps is
enjoyed in clear weather.

The Accademia Virgiliana di Scienze e Belle Arti (PI. 1 ; D, 4)
contains frescoes, sculptures, and casts of little value. Behind it is
the Liceo (PI. 6 ; D, 4) with a Library (a room of which contains,
above the doors, the portraits of the Gonzaga family, and a Trinity,
by Rubens, cut into two parts) and the Museum.

The museum contains some very valuable antiques. Near the entrance,
326. Bust of Euripides and that of an unknown Greek poet, erroneously
called Virgil. To the right of the entrance, torso of a Minerva; busts of
emperors; 16. Sarcophagus with the myth of Medea ; 31. Funeral, an ar-
chaic relief; 36. Torso of Venus ; 39. Sarcophagus with a battle of the
Amazons; 198. in the centre (opposite), "Torso of Venus in Greek
marble; Bacchic figures on a square pedestal; 69. Relief, perhaps from a
Roman triumphal arch ; in the centre , opposite , "176. Sleeping Cupid,

198 Route 32. MANTUA.

by Michael Angela. In the adjoining room , on the right , the so-called
'seat of Virgir and inscriptions. We now return to the galleries. Win-
dow-wall, 148. Greek cippus; votive feet. Wall on the left, 171. Sarco-
phagus with Selene and Endymion ; 180. Torso of a gladiador; 187. Large
Bacchic relief. In the middle, *210. Archaic Apollo ; at the end of the
galleries, by the window, 276. Roman tomb-relief, father and son. On the
side-wall, 309. Warriors sacrificing, a Greek relief; in the centre, 237.
Youthful Mercury. — The lower rooms of the Accademia contain a small
collection of sculptures, including some interesting busts in terracotta, and
a relief with two portraits from a chimney-piece.

A short distance hence, immediately beyond the Porta Pusterla,
the S.W. gate, is situated the *Palazzo del Te (PI. 11; B, 7; con-
tracted from Tajetto) , erected by Giulio Romano , and containing
in comparatively small apartments some of that master's largest
frescoes. Antechamber, to the right of the entrance , the sun and
moon. 1st Room to the left, the favourite horses of Duke Frederick
Gonzaga ; 2nd Room : myth of Psyche and Bacchanalians ; 3rd
Room : representation of the zodiac; 4th Room : fall of Phaeton and
numerous smaller pictures; then a fine open loggia, and several
rooms with beautiful friezes in stucco (triumphal procession of
Emperor Sigismund and trains of children) by Primaticcio ; next
the celebrated *Saln de Giganti, with the fall of the giants, whose
figures are 14 ft. in height ; and lastly several cabinets, charmingly
decorated in the style of Raphael, and an oblong bathing -room
with shell-ornamentation. On the other side of the garden is the
Casino delta Grotta, with its tiny but exquisite apartments and
its grotto encircling a small garden.

Vasarfs interesting description of the Sala de' Giganti may be freely
rendered as follows : — 'Eccentric and talented, Giulio wished to show here
what he could do. He accordingly determined to adapt the walls of a
corner room in the palace for his painting , and thereby to deceive the
human eye as much as possible. After he had given to this part of the
palace, which stands on marshy ground, foundations of double the usual
height , he caused a large round chamber with thick walls to be built
upon them, the four corners outside being strong enough to bear a heavy
vaulting. He then caused doors , windows , and chimney-pieces to be
erected so much out of the perpendicular , that they really seemed as if
they would fall, and after he had built the room in this strange fashion,
he began to paint it in the most singular conception imaginable , repre-
senting .lupiter hurling his lightnings at the giants'. The execution of
these paintings is chiefly due to Rinaldo Mantovano.

Giulio Romano's House, and the Palazzo delta Giustizia, with
its colossal Ilerniie , built by him , are in the Contrada Larga
(PI. 15, 5).

FitOM JI.VNTUA TO CltEMONA, SCC pp. 166-8.

The train reaches the Po at (32 M.) Borgoforte , once an im-
portant toto-de-pont , the fortifications of which were blown up by
the Austriatis in 1866, and crosses the river by an iron bridge.

37 M. Suzzara; A2 M. Reggiolo- Gonzaga.

About 6 M. to the W., on the road from Mantua to Reggio, lies Gua-
8talla(/'o.s<«), a small town not far from the Po, with 11,300 inhab., which
in the 16th cent, gave its name to a principality of the Gonzagas, Dukes
of Mantua. These princes became extinct in 1746, and their territory fell to

VICENZA. 33. Route. 199

Parma. In the market-place is the bronze Statue of Ferdinand I. Gonza-
ga (d. 1557 at Brussels), by Leone Lconi. — At about the same distance from
the station, to the E., on the old road from Verona to Bologna, is situat-
ed Kirandola, once the capital of a duchy which belonged to the Pico
family, a town with broad streets and picturesque, antiquated buildings.
It was originally under the jurisdiction of the abbey of Nonantola and
the Countess Matilda, and after many vicissitudes came into possession
of the Counts of Pico, who retained their supremacy for upwards of
three centuries. Count Giovanni Pico (1463-94) was remarkable for his
ability and learning. Alexander I. (1619) was the first of the family who
bore the title of Duke of Mirandola and Concordia. Francesco Maria, the
last duke , sold his dominions to Modena in 1710. The old Palace of the
dukes, the Cathedral, and the church of Gesii should be visited.

46 M. Rolo-Novi. — 53'/2 M. Carpi [Aibergo Leon d' Oro, in
the market-place), a town of 18,200 iuhab., with an old Castle of
the Pico family, in whose duchy the town was, and a Cathedral,
built by Bald. Peruzzi 'according to the rules of Vitruvius' (at the
3rd altar to the left a S. Carlo Borromeo by Peranda). — 58 M.
Soliera. — 63 M. Modena (p. 276).

33. From Verona to Venice. Vicenza.

72 M. Railway in 3-5 hrs. (fares 13 fr., 9fr. 10, 6fr. 50c.). Finest
views generally to the left.

Verona, see p. 186. The train crosses the Adige, and traverses
an extremely fertile district, covered with vineyards, mulberry
trees, and fields of maize, and intersected with irrigation trenches.

Near S. Michele, on the left, stands the pinnacled castle of Mon-
tario, formerly the property of the Scaliger family (p. 189). — 4 M.
S. Martino. The mineral springs of (71/2 M.) Caldiero , which
attract many visitors, were known to the Komans. Villanuova,
with the castle of (Soave , once belonging to the Scaligers , on the
height to the left , presents a good picture of a mediaeval fortified
town.

13 M. S. Bonifacio. Arcole, 31/0 M. to the S. , was the scene
of the battle of 15th-17th Nov., 1796, between the Austrians under
Alvinczy and the French under Bonaparte, Massena, Augereau, and
Lannes. — 16 M. Lonigo ; the village lies 41/.7 M. S.E., at the W.
base of the Monti Berici, a chaiii of volcanic, wooded hills. —
20 M. Montebello. Beautiful view towards the mountains; the
handsome chateau belongs to Count Arrighi. To the left , on the
hill, the castles of the Montecchi; then stat. Tavernelle.

30 M. Vicenza. — Hotels. -Roma, in the Corso, near the Porta Castello,
with a beer-garden, R. 2, A. '/a fi'- ; Stella d'Oko , in the Corso ; Due
Mori e Gkan Pakigi, good cuisine ; Ai Tre Garofani , both in the Con-
trada delle Due Ruote, a side-street of the Corso.

Caffi' Principe Umberto and Caff^ Nazionale , in the Corso ; Garibaldi,
Piazza de' Signori; "Raihcay Restaurant.

Vicenza , the Vicetia of the ancients, the capital of a province,
with 37,200 inhab., lies at the N. base of the Monti Berici (see
above), on both sides of the Bacchiglione, near its confluence with
the Hetrone, Though the houses for the most part are crowded, the

200 Route 33. VICENZA. From Verona

town possesses many interesting palaces , to which half a day may
profitably be devoted.

Vicenza, like all larger towns of N. Italy, boasted in the i5tli cent,
of a School of Painting, which, though it was influenced by Mantegna,
and never produced masters of the highest rank, yielded results of consid-
erable importance. The earliest master of note was Giovanni Speranza,
who, however, was soon surpassed by Bariolommeo Montagna (who
flourished here in 1484-1523). The gallery and the churches (the Cathe-
dral, S. Corona, and S. Lorenzo) of Vicenza contain works by the latter,
and he is represented at Padua and Verona also. His compositions are
strongly realistic, and he shows a predilection for muscular figures, and
for colouring of a rich brownish tint. His drapery is ungraceful, but,
like that of Diirer, boldly defined. His son, Benedetto Montagna., was
unimportant, but his contemporary Giovanni Bvonconsiglio (d. 1530), a fol-
lower of Antonello da Messina, has produced some pleasing works. In
the 16th cent. Vicenza lost its importance in the history of painting, but
attained a high reputation in the province of Aechitectdue, having given
birth to Andrea Palladio (1518-1560), the last great architect of the Re-
naissance, the chief sphere of whose operations was his native town. By
his study of the antique in Rome he was enabled to effect a revival of
vchat may be termed the ancient language of forms, and he made it his
endeavour to exhibit in his buildings the organic connection between the
dilTerent members. The chief characteristic of his school consists in a
studious adherence to impressive simplicity of form, and a very sparing
indulgence in the lavish enrichments in which the early Renaissance
was too apt to revel. His finest churches are at Venice , but his most
numerous palaces are at Vicenza, to which they impart a uniform and
handsome appearance.

The town is entered by the W. gate , the Porta del Castello
(PL C, 4"). Immediately by the entrance, on the right, is the
Palazzo Gusano (now Hotel de la Villel ; adjacent, to the right, in
the S.W. angle of the Piazza Castello is the Casa del Diavolo (Pal.
Giulio-Porta), a large unfinished palace by Palladio. We next
follow the long Corso Principe Umberto. On the left the new church
of S. Filippo Neri (PL 16^. — A short cross-street opposite, on the
right, leads to the Duomo (PL 10; D, 4), consisting of a broad and
low -nave with wide vaulted arches, the aisles having been con-
verted into chapels, a choir considerably raised above the rest of
the church and covered with a dome , and a crypt below it. To the
right in the piazza is the Vescovado or episcopal palace, the court of
which to the right contains beautiful, but uncompleted arcades.
Opposite to it is the Casino.

The Via Garibaldi, or the short Contrada del Monte, to the right
of the Corso (opposite which is the Contrada Porto with numerous
palaces), leads to the handsome Piazza de' Signori, with two col-
umns of the Venetian period. Here rises the ^Palazzo del Consiglio,
or naailica(Fl. 40; D, 3, 4), with a double series of grand and beauti-
ful open arcades , the lower with Doric, the upper with Ionic col-
umns, surrounding the Palazzo delta Ragione (town-hall). These
arcades, begun in 1549, are one of Palladio's earliest works. The
slender red tower is 265 ft. in height. Adjacent is the Tribunate.
— Opposite the Basilica is the unfinished Loggia del Detegato,
or Palazzo Preftttizio (PL 47), also by Palladio (1571), adjacent to

to Venice. VICENZA. 33. Route. 201

which Is the Monte diPieth. In the Piazza, near the Basilica, stands
a good Statue of PaUadio in marble, by Gajassi, erected in 1859.

On the left, at the E. end of the Corso , is the small Casa di
PaUadio (PL 8; E, 3), the facade of which was once painted; then
to the right, in the Piazza Vittorio Emanuele, the —

*Museo Civico (PL 39 ; E, 3 ), established in the Palazzo Chiere-
gati, one of Palladio's finest edifices, which was seriously injured
in 1848, but restored in 1855 (open daily 9-4, i/^-itr.').

On tlie Ground Flook, Roman antiquities from an ancient theatre,
among wliich two female statues only deserve mention. — The Upper Floor
contains the -Pinacoteca (the names attached to the pictures are not
always reliable). Ante-chamber: 2. Jac. da Ponte, Senators kneeling
before the Madonna; 38. Girol. dal Toso, Madonna with SS. Catharine
and Apollonia. The cabinets contain ancient terracottas and bronzes,
mediseval coins, etc., and the shoes worn by the Doge of Venice on the oc-
casion of his nuptials with the sea (p. 228). — I. Room : Venetian School, 37.
Marriage of St. Catharine; 48. Madonna with Christ. — II. Room: 8. Titian,
Madonna; *54. Cima da Conegliano, Madonna with St. Jerome and John
the Baptist, an early work , executed in 1489 , before he had abandoned
tempera for oil , the figures of good proportions, agreeable form, and
firm outline (C. d- C); 57. Campagnola, Holy Family in a landscape;
15. Sdiool of Bellini (with a spurious inscription). Madonna ; 28. Marco
Palmezzano , Pieta. — III. Room : 14. Cima da Conegliano (or Andr. del
Castagno?'), Angel of the Last Judgment; *1. German School, Crucifixion
(comp. No. 315 in the Academy at Venice); 2. Bernardino da Murano,
Madonna enthroned and four saints. — IV. Room : Bart. Montagna, *2.
Madonna enthroned, with four saints and three angels; 3. Nativity of
Christ; 8. Presentation in the temple; 18. Madonna enthroned, with St.
Jerome and John the Baptist; 20. Biioncvnsiglio, Pieta. — V. Room. Por-
traits: 7. by Gentile Bellini; *24. by Vitt. Carpaccio. — The following
rooms contain engravings; in the last there are drawings and manuscripts
of PaUadio. — Returning to the ante-room, we may finally visit two
rooms with pictures of inferior value. The Natural History Collection
contains some fine fossils: a fish, a palm, a crocodile, etc., most of them
found in the neighbourhood of Vicenza.

In the vicinity is the *Teatro Olimpico (PL 51; E, 3 ; fee V2fr.),
designed by PaUadio, but not completed till 1584, after his death.
It was inaugurated by the performance of the 'ffidipus Tyrannus'
of Sophocles. PaUadio is said to have adhered to the directions
given by Vitruvius with regard to the construction of ancient
theatres, but the result differs materially from what would have
been anticipated. The perspective of the stage is very remark-
able ; it is closed by a facade adorned with statues, through three
doors in which a glimpse of the distant landscape is obtained.
The original orchestra in front of the stage is 5 ft. below the
present wooden floor.

Besides the above mentioned , the following structures of Pal-
ladio may also be noticed: Palazzo Porto-Barbarano (PL 34; D, 3),
Tiene (PL 48; D, 3), Valmarano (PL 49; D, 3), Porto Colleoni
(PL 45), and the Rotonda (see p. 20*2).

The church of S. Corona (PL 12; E, 3), a brick edifice with
a plain Lombard facade, contains Five Saints by Bart. Montagna
(2nd altar to the left), a *Baptism of Christ by G. Bellini (3rd altar
to the left; about 1495), an Adoration of the Magi by P. Veronese

202 Route 33. VICENZA.

f3rd altar to the right), and a handsome monument in a chapel to
the right of the choir. — S. Lorenzo (PI. 19; C, 3), in the Contrada
di S. Lorenzo, has a Gothic facade which deserves notice, and con-
tains (on the left) the tomb of B. Monlngna (p. 200), by whom
the altar-piece on the 3rd altar to the right, representing SS. Lo-
renzo and Vincenzo , was painted. — S. Stefano (PI. 29 ; D, 3)
contains, over the 3rd altar to the left, a large *Altar-piece hy
Palma Vecchio, the Madonna with SS. Lucia and George, an ad-
mirable example of the latest period of the master, among whose
finest creations the two saints must be reckoned.

A walk to the pilgrimage-church of Madonna del Monte on the
Monte Berico is recommended in the morning before the heat of
the day, or in the afternoon when the arcades afford shade. The
route is either through the Porta S. Giuseppe (before passing through
which the *Ponte S. Michele, PI. D, E, 4, crossing the Retrone, by
Palladio, is seen on the right), or immediately to the right from the
railway-station, past the Villa Karolyi (PI. D, E, 5) and across the
railway, to the arcade leading to the church, a passage resting on
180 pillars, and 715 yds. in length, which was sharply contested
in 1848 by Italian irregular troops , who had fortified the hill with
its villas, and the Austrians. To the left, beyond a bend in the
arcade, a view is obtained of Palladio's Villa Rotonda. The church
of the Madonna del Monte (PL 24; D, 6, 7) is in the form of a
Greek cross with a dome. The present left transept was the original
church, erected in 1428, and adorned with pictures by Montagna.
The old refectory of the monastery (shown by the sacristan) contains
the Banquet of Gregory the Great by Paolo Veronese, which was
entirely torn to pieces in 1848, but has been restored with the aid
of the copy in the Pinacoteca. Behind the church is a monument
to those who fell here in 1848 ; to the right an Italia Liberata
dedicated to them by the municipio of Vicenza. Pleasant view
hence (tolerable tavern).

On the hill of S. Sebastiano, at the E. base of Monte Berico
(not visible from the road thither), I1/2 M. from the town, is
situated the celebrated *Ilotonda, or Villa Rotonda Palladiana ( PL
G, 7) of the Marchesi Capra, a square building with an Ionic colon-
nade, surmounted by a pediment on each of the four sides. In
the centre is a circular hall with a dome.

The Cimetero (PL F, 1) contains the grave of Palladio (d. 1580).

The chalybeate Baths of Recoaro (Georgetti, ReaU Stabilimeiito, at
the springs; Europa, Posla, Trel/enei-o, in the village), about 25 M. N.W.
of Vicenza (by carr. in 4 hrs. ; diligence 6-7 fr.; carr. with one horse 12,
with two horses 20fr.) are annually frequented by 7-8000 visitors. The
Italian Alpine Club has fitted up a station for guides at Uccoaro, in order
to facilitate c.xcur.sions in the vicinity.

A Branch-Line (20 M. in l-l'/i br. ; fares 3fr., 2fr., 1 fr. 25c.), re-
cently opened, runs from Vicon/.a to the N. by Dueville and Thiene, (Alb.
della Luna), with a chateau adorned with frescoes by Faolo Veronese., to
Bchio (G()5 ft.; IlOlel Itnllarin (ilia Ci-oce d'Oro, R. I'/zfr. ; Stella (VOro),
a town with 9100 inhab. and extensive wool factories, the largest belong-

PADUA. 34. Route. 203

ing to Signer A. Rossi, who has founded here a workmen's colony like
that at Mulhouse. Schio is an admirable starting-point for excursions. —
From Schio a good road ascends the valley of the Leogra to the (12 M.)
Passo del Pian della Fugazza (drive of l^/i hr.), which forms the boun-
dary between Italy and the Tyrol, and thence descends the valley of the
Leno to Roveredo (27V2 M. from Schio; p. 44).

Poiana is the only station between Vicenza and Padua. Coun-
try flat. To the S. in the distance , the Monti Euganei (p. 279).

49 M. Padua, see below.

To the left, as the train proceeds, the Tyrolese Alps are per-
ceived in the distance. Near stat. Ponte di Brenta the line crosses
the Brenta ; at stat. Dolo a lofty, slender campanile ; at (61 M.)
Stat. Marano an arm of the Brenta is crossed. From [66 M.) Mestre
the line to Trieste by Udine diverges to the N. (R. 37). Venice,
with its dark blue line of towers and churches rising from the sea,
now gradually comes into view. The islands with their groups of
houses appear to float in the water. The line passes Fort Malghera
and two large barracks on the left, and reaches the immense Bridge,
(222 arches, length 21/3 M., breadth 28 ft.), by which the train
crosses the Lagune in 8 min. and reaches the station of (71 '/2 M.
Venice (see p. 210).

34. Padua, Ital. Paclova, Lat. Patavium.

Hotels. *H6tel Fanti Stella d'Oro (PI. a; F,3), in the Piazza dei Noli,
now Garibaldi, R. from 3, B. iV2, D. 5, L. and A. lV4fr. ; "Croce d'Oro
(PI. b; F, 4), in the Piazza Biade, now Cavour, with baths, R. 2V2, om-
nibus 3/4^ A. •/s-V^fr., good cuisine, and moderate charges; Aqdila Nera
(PI. c ; F, 3, 4), in the same piazza and belonging to the same proprietor,
opposite Cafe Pedrocchi; Paradiso, adjoining the Hotel Fanti ; Dde Croci
BiANCHB , opposite S. Antonio; "Albergo del Sole d'Oro, Via S. Matteo
1150, to the K. of the Via S. Fermo (PI. F, 3), unpretending.

Cafes. 'Pedrocchi (PI. 28; E, F, 4), opposite the University, an
imposing edifice with halls and columns of marble; 'Vittoria , in the
Piazza Unita d'ltalia (or de' Signori). — Restaurants. Gasparoito, at the
back of the Catfe Pedrocchi; Birreria di Franc. Stoppato , Via Ere-
mitani.

Cabs. '■Broughams' are those with one horse : to or from the station
1 fr. , luggage 40 c, 1/2 hr. IV2 fr., 1 hr. 2 fr. , drive in the town 50 c,
at night 25 c. more. Omnibuses from the hotels meet each train.

Sights. The following walk is recommended. Proceed straight through
the Porta Codalunga (PI. G, H, 3) , then turn to the left past the church
of / Carmini {~Scvola adjacent) to the Ponte Molino and the Strada Mag-
giore, follow the latter to the Piazza de'' Signori (or Unita d'ltalia),
turn into the Piazza dei Frutti to the left, pass through the Sala delta
Ragione to the Piazza delle Erbe , see the Cafi Pedrocchi on the left , turn
to the right to the Strada di S. Lorenzo and (where there is a direction
'al Santo') again to the right into the Selciato di S. Antonio leading to
the * Santo (Scuola, S. Giorgio, Miiseo Civico); then back to the Cafe
Pedrocchi, pass through it, and cross the Piazza Cavovr and Piazza Gari-
baldi to the right to the ''Eremitani and *S. Anniinziata.

Padua, the capital of a province, with 66,200 inhab., situated
on the Bacchiglione which flows through it in several branches,
occupies an extensive area. Its tortuous streets are generally flanked

204 Route 34. PADUA. S. Antonio.

with low and narrow '■Portic'i' or arcades , but many of the more
important thoroughfares have recently been widened by the re-
moval of the portici on one side. Some of the numerous bridges,
which cross the different arms of the river, date as far back as the
time of the Romans. Padua enjoys the reputation of being the
cheapest town in N. Italy.

Padua (races its origin to Antenor, the mythical King of Troy, and
brother of Priam, and in the reign of Augustus was the wealthiest town
in Upper Italy. At a later period all the ancient monuments were de-
stroyed during the immigration of the barbarian hordes. In the middle
ages" the town took the part of the Guelphs , and in 1318 appointed Ja-
copo da Carrara to the Signoria. The princes of this family were much
harrassed by the princes of Verona and the republic of Venice, and were
at length obliged to succumb in 1405, when the town was annexed to
Venetia. The University, founded by the Emperor Frederick II. in 1238,
rendered Padua a very famous seat of learning throughout the whole of
the middle ages.

In the History of Art Padua is also a place of importance, its re-
putation as the great focus of Italian science having attracted artists from
many other places. Thus the Florentine masters Giotto, Donatella, F. Lippi,
and Uccelli, found abundant occupation here. The school of art found-
ed here by Squarcione in the first half of the 15th cent, exhibits a strange
bias towards scholastic elements. Squarcione, though not a professional ar-
tist, made a valuable collection of works of art during his travels, and
caused a number of young artists to make drawings from these models.
The greatest Paduan master was Andrea Mantegna (p. 195), and the
school exercised no inconsiderable influence on that of Venice. The
austere style peculiar to the Paduan pictures is perhaps due to the doc-
trinal mode in which the artists were instructed, and to their predilection
for richness of decoration, for which Squarcione's collection doubtless
supplied abundant models.

*S. Antonio [PI. 1 ; D, 4), the Basilica of St. Anthony of Pa-
dua (d. 1231 ; a contemporary of St. Francis of Assisi). commonly
known as 'II Santo', is supposed to have been designed by
Niccolo Pisano in 1237, but was not begun till 1256. The
principal part of the church was completed in 1307, the re-
mainder not before 1475 (when the domes were raised); the
whole was restored in 1749 after a fire. This vast structure with
its seven domes is larger than S. Marco at Venice. Over the
portal of the facade, which is 117 ft. in width, stands a statue of
the saint; in the lunette Madonna with SS. Bernardino and Antonio,
a fresco by Mantegna. The church is 100 yds. in length, 49 yds.
in width across the transepts, and 123 ft. high in the centre. The
nave and aisles are supported by twelve pillars ; the semicircular
choir contains eight clustered columns and a series of eight chapels ;
at the back of the choir is the Santuario, in the 'baroque' style, con-
taining the treasury of St. Antony.

The Interior, now whitewashed , was probably once covered with
frescoes.

At the entrance, in the nave on the right and left, are two handsome
benetiers, with statuettes of St. John the Baptist and Christ, dating from
the beginning of the 16th centurv.

Right Aisle. By the 1st pillar a -Madonna in Trono with SS. Peter,
Paul, Bernard, and Anthonv, an altar-pioce by Antonio Roselli of Bergamo.
— 1st Chapel: Altar with reliefs in bronze by Donatello, representing the

Scuola del Santo. PADUA. 34. Route. 205

miracles of St. Anthony ; on the left the sarcophagus of General Gattamelata
(p. 206), and on the right, that of his son.

Right Transept. ''Cappella S. Felice^ restored in 1773, with frescoes
from the history of Christ and St. James, by AUichieri da Zevio and Jac.
cCAvanzo , painted in 1376, and a handsome altar of 1503.

Left Transept. ''Cappella del Santo, designed by Sansovino; the facade
has four columns and two elegant corner pillars adorned with reliefs by
Matteo and Tommaso Garvi; between the five arches are the Evangelists.
The walls are embellished with nine ■Reliefs of the 16th cent., represent-
ing scenes from the life of St. Anthony : (beginning to the left of the altar)
*1. Ordination of St. Anthony, by Antonio Minelli (1512); 2. Resuscitation
of a murdered woman, by Giovanni Maria Padovano; *3. Resuscitation of
a youth, by Oirolamo Campagna; 4. A suicide surrounded by women, by
Sansovino; 5. Resuscitation of a child, begun by Dcinese Cattaneo, and
completed by Campagna ; 6. Tvllio Lombardo , Discovery of a stone in
the corpse of a miser instead of a heart (1525) ; 7. Tullio Lombardo, Cure
of a broken leg; 8. Miracle with a glass, begun by Padovano, and finished
by Stella; '9. St. Anthony causes a child to bear testimony in favour of
its mother, by Antonio Lombardo. — The bones of the saint repose beneath
the altar, which is also adorned with many votive tablets. Two mag-
nificent silver candelabra, borne by angels in marble. The white and
golden ornamentions on the vaulting, designed, according to Burckhardt,
by Falconetto or Jacopo Sansovino, and executed by Tiziano Minio , are
of great beauty. — On the N. side of the choir is the Cappella del
B. Luca Bellvdi, a pupil of S. Anthony, with frescoes representing the his-
tory of St. Philip and St. James the Less, painted by Giov. and Ant. Pado-
vano in 1382, and restored in 1786; the walls are covered with numerous
votive paintings.

Left Aisle. Large monument of the Venetian Admiral Caterino Cor-
nelia (d. 1674), with two figures as supporters, two prisoners in fetters,
and the life-size statue of the admiral by Giusto le Curt; "Monument of
Antonio de" Roy.celUs (d. 1466), of an architectural character; by the last
pillar (1st from the W. portal) the monument of Count Sicco ; opposite to
it is the last altar , that of St. Stanislaus , with a vault which once be-
longed to the kingdom of Poland; adjacent to it is a relief by Luigi Fer-
rari to the memory of the Princess Jablonowska (d. 1846).

In the Choir are twelve reliefs in bronze , representing scenes from the
Old Testament, most of them executed by Vellano , a pupil of Donatello,
at the end of the 15th century. The features of the full-length figure of St.
Anthony are said to be faithfully represented. The reliefs on the altar and
the symbols of the four evangelists on the right and left are by Donatello.
Adjacent to the altar is a bronze "Candelabrum, ili/2 ft. in height, by
Andrea Riccio , adorned with a variety of Christian and heathen repre-
sentations (1507). The 'Crucifix in bronze, with the Virgin and the tutelary
saints of Padua, is by Donatello; the marble work is attributed to Giro-
lamo Campagna. Above the door at the back of the ambulatory is a terra-
cotta relief of the Entombment, by Donatello.

Kave. By the 2nd pillar on the left the 'Monument oi Alessandro Con-
tarini (d. 1553) , General of the republic of Venice , with six slaves as
supporters. By the opposite pillar (2nd on the right) is the simple and chaste
monument of Cardinal Bembo (d. 1547) ; by the 4th pillar on the left the
monument of the Venetian Admiral Hieronymus Michael (d. 1557). The
Sackistt contains some mosaics in wood by the brothers Canossa (15th
cent.).

The Cloisters , entered from the S. aisle (several monuments and
frescoes in the style of Giotto in the passage) , with their wide and lofty
pointed arches , contain a number of ancient tombstones.

The Sanctdart (admission 6 fr.), added to the church in 1690, con-
tains a valuable collection of admirable ''Goldsmith's Work of the 15th and
16th centuries, including the marshal's baton of Gattamelata, a reliquary
with the tongue of St. Anthony, a Gothic censer, and a credence plate.

The * Scuola del Santo (PI. 25; D, 4), adjoining the church,

206 Route 34. PADUA. Museo Civico.

the assembly-hall of the hrotherhood of St. Anthony, is adorned with
seventeen frescoes representing, like those in the Cappella del
Santo (_p. 205) , scenes from the life of the saint. Several of them
are by Titian, who at the time of their execution (1511) had trans-
ferred his residence to Padua, probably in consequence of the de-
pressed state of Venice after the war with the League of Cambrai.
Written catalogue for the use of visitors ; best light in the after-
noon ; fee 25 c.

By early Paduan masters Nos. 4, 8, and 10; by Domenico Campagnola,
chosen by Titian as his assistant, Nos. '2, 3, 9, and 17; by Titian^ No. '1.
St. Anthony giving speech to a child; 11. The saint s.aves a woman who
is threatened with death by her jealous husband; 12. Healing of a youth.
The rest are painted by pupils of Titian.

'No doubt the frescoes at Padua are creations of a master and a co-
lourist, yet the same master did many times better in oil, and unless we
suppose that the walls of the Santo are so changed as to have lost all
trace of their original beauty, we must believe either that Titian trusted
too much to his assistants, or that he disliked fresco as a craft altogether.
Venice in the person of her greatest craftsman was so far below Florence
that she could not produce a fresco painter equal to Andrea del Sarto,
while Florence on the other hand never produced a colourist equal to
Titian.' — Crowe and Caralcaselles Titian.

The ancient Cappella S. Giorgio, adjacent, contains twenty-
one admirable frescoes of 1377 by Jacopo d'Avanzo and AUichieri,
discovered in 1837 by E. Forster.

To the right, below, is the legend of St. Lucia, above it the legend
of St. Catharine ; to the left, above and below, the legend of St. George.
Altar-wall: Crucifi.\iou, Coronation of the Virgin. Wall of the door:
Flight into Egypt , Adoration of the Magi , Nativity. Afternoon light
most favourable.

In front of the church is the equestrian *Statue of Erasmo da
Narni, surnamed Gattamelata, commander of the army of the
Republic of Venice in 1438-41, cast in bronze by Donatello . the
first great specimen of bronze-casting of the modern period of Italian
art, erected in 1443.

To the right of the church of S. Antonio, established in the
S.W. cloisters of the suppressed monastery, is the Museo Civico
(PI. 49 ; D, 4), containing the civic library, and (till the new build-
ing is ready) the Pinacoteca ('/a fr-)-

1. Santa Croce , Mary as the Queen of Heaven (after Diirer) ; 3. Soc-
caccino, Madonna with SS. Lucia and Catharine; 12. Lor. Lotto (1) , Ma-
donna and saints; 8. Bonifacio, Same subject; IS. 5«5ai<i, Madonna (freely
retouched); 67. Paris Bordone, Christ and Mary Magdalene; 137. Santa
Croce, Madonna ; 144. Bellini (?), Portrait ; 657. Squarcione, St. Jerome and
other saints; Padovanino , 768. Judith, 769. Bathsheba, 633. Portrait of
himself; 710. Garofalo, Holy Family; 673. Palmezzano , Madonna; 654.
Tiepolo, S. Patrizio; 615. Paolo Agapiti da Sassoferrato , Madonna with
saints ; 549. Leandro Bassano, The Doge Memmo ; llomanino, 765. Madonna
and saints, ^1215. Madonna enthroned with four saints, a masterpiece (in
its original frame). — The Museo contains some fine specimens of Majo-
lica. — The Botlacin Collection, also contained here, consists of Romano-
Kgyptian and Mexican antiquities, Kenaissance bron:-.es, coins and medals,
modern paintings, and modern sculptures (Woman drawing, and Woman
readin;,', liy Mayni ; Spring, by Vela; Girl praying, by Camerone).

Jn the Via del Santo, No. 3950 (to the E. of S. Antonio), in the

Eremitani. PADUA. 34. Route. 207

midst of a neglected garden , stands the dilapidated Palazzo Gius-
tiniani., Ituilt by Falconetto for Luigi Coniaro in 1524, and finely
embellished with frescoes and plastic ornamentation in stucco.

*Eremitani (PI. 12; F, 4), an Augustiiiian church of the middle
of the 13th cent., judiciously restored of late, with painted vault-
ing of wood, is a very long building, destitute of aisles, columns,
and pillars.

On the right and left are two old monuments of Princes of Carrara,
the ancient lords of Padua, in a style peculiar to this town. — The walls of
the Choir are covered with indiSerent frescoes by Ouariento (beginning
of 15th cent.), representing scenes from the history of the Augustinian
Order.

The *Cappella S. Jacopo e Ckistofouo, adjoining the right transept,
is embellished with celebrated frescoes, forming one of the finest existing
specimens of Upper Italian art. Although now considerably damaged,
these pictures are still very attractive, while their decorative parts show
that the School of Squarcione , from which they emanated , was indebted
for many suggestions to its study of the antique. The Evangelists on the
ceiling are the poorest, and probably the earliest part of the work. The
four upper sections on the wall on the right are also by inferior artists;
the St. Christopher with the Infant Christ is by Bono; the two highest
scenes, representing St. James as a worker of miracles, and St. James be-
fore the king, are by an unknown master (Zoppo '?) ; the adoration of the
giant saint (central section on the right) is by Ansuino da Forli. The
paintings on the wall and vaulting of the recesses of the choir , are by
Niccolb Pizzolo , an able master of Padua, who died young. By far the
most important of all these works are the -Pictures with which Andrea
Mantkgna completed the cycle in the second half of the 15th century.
The left wall presents to us the life of St. James from his calling to his
execution. The lower scenes exhibit greater ability and maturity than the
upper , so that we can almost trace the master's progress step by step.
The Execution and Burial of St. Christopher, the last pictures on the right
wall, also by Maniegna, are sadly injured. — The large altar-relief of the
Madonna and saints in terracotta, by Giov. da Pisa , a pupil of Donatello
who worked for a considerable time at Padua, has visibly influenced the
painters of the frescoes.

The chapel to the right of the high altar contains a Coronation of
Mary of the school of Giotto.

The Sacristy (entrance to the left of the choir) contains an altar-
piece by Guido Reni (covered), representing John the Baptist, and a Pieta,
a monumental relief, by Canova.

On the N. side of the Piazza in front of the church is the
entrance (if closed, ring at the large wooden gate ; fee 72^^-) to
the *Madoniia dell' Arena {Annunziata , PI. 2; G, 4), situated in
an oval garden which shows the outlines of an ancient amphi-
theatre. The chapel, which is oblong in form, was erected by Scro-
vegno, a Paduan architect, in 1303, and its walls and vaulting are
completely covered with a series of **rrescoes by Giotto , most of
which are well preserved (restored by Botti). The period of their
execution is determined by the fact that Dante and Giotto met at
Padua in 1306. Morning light is the most favourable.

These frescoes represent the History of tue Virgin and Christ, as
narrated in the apocryphal Proto-Evangelium and in the New Testament,
and end, according to ancient custom, with the Last Judgment painted
on the entrance-wall. The last work is much injured, and was probably
executed more by Giotto's pupils than by the master himself, whose hand
is unmistakeably revealed only in the graceful figure of Christ at the top,

208 Route 34. PADUA. Cathedral.

surrounded by apostles, angels, and saints. The paintings on the side-
walls are arranged in four rows, one above another. The Uppermost
Kow (beginning to the right of the choir-arch) relates the history of the
Virgin from the rejection of Joachim's sacrifice to Mary's bridal pro-
cession. The Birth of the Virgin and the Presentation of the Virgin in
the Temple are marked by much delicacy of treatment. — The Second
Kow begins with the Annunciation (choir-arch), and depicts the youth of
Christ and the events of his ministry up to the driving of the money-
changers out of the Temple. The finest scenes are the Adoration of the
Atagi^ the Flight into Egypt, and the Entry into Jerusalem. — The highest
fiight of Giotto's imagination is seen in some of the paintings in the
Third Kow , which is mainly occupied with the scenes of the Passion.
The representation of the beginning of Christ's sorrows by the Corruption
of Judas (to the left of the choir-vrall) is a fine dramatic touch. In the
Crucifixion Giotto has not only surpassed all his predecessors in the no-
bility of his conception of the person of the Uivine Sufl'erer , hut has
added a most afl'ecting and pathetic feature in the numerous cherubs,
who show every degree of sympathy and sorrow. The gem of the whole
series, however, is the Pietd, or the dead body of Christ wept over by
the Virgin and her friends. The tone of the composition is in admirable
keeping with its tragic content. — The Lowest Kow consists of allegori-
cal figures of the Virtues and Vices in grisaille, and leads up naturally
to the Last Judgment, the Vices standing on the same side as Hell, the
Virtues on that of Paradise. The painting of Christ enthroned with
angels, above the choir-arch, shows that Giotto was as much at home in
portraying forms of placid gracefulness as in the domains of passion and
emotion. — The Frescoes in the Choir (Glorification of the Virgin) are
by a later hand, and of little importance. (Photographs from the origi-
nals may be purchased of Naya at Venice, 3 fr. each, see p. 215.) — At
the back of the altar is the monument of the founder of the church, Gio-
vanni Pisano, 1321.

Near the Porta Codalunga , in the vicinity , is the church of
I Carmini (Pi. 6; G, 3), with a dome and large choir witii six
chapels on each side, and an unfinislied fac^ade. — In the adjacent
open space rises a monument to Petrarch, erected by the town on
18th June, 1874, the 500th anniversary of his death.

On the right is the *Scuola del Carmine (PI. 24 ; G, 3 ; now a
baptistery; sacristan in the cloisters), witli sadly damaged frescoes
from the lives of Christ and SS. Joachim, Anna, and Mary.

Left, Titian, Meeting of Joachim and Anna, executed still earlier than
the frescoes in the Scuula del 8anto (p. 206), 'a hasty vrork unworthy of
the master' ; Girolamo da Santa Grace, Kirth of Mary, Presentation in the
Temple, Purification, and Sposalizio; the others by Paduan masters. *A1-
tar-piece, Madonna and Child in an attitude of benediction, by Palma
Vecchio.

The Palazzo Giustiniani, Via Pensio, contains a private picture
gallery, including several portraits by Titian (among others the
sketches for the portraits of Philip II. and Francis I.).

The Cathedral (PI. 11; E, 2), with a plain facade, -n-as built by
Righelto and Ddln Valle about 1550. The Baptistery (PI. 3; E, 2),
adjoining it on the N., a brick structure of the 12th cent., is adorned
with frescoes of 1380 by Giov. and Ant., or by Giusto Padovano.

The Palazzo della Ragione (PI. 37; E, 3), briefly known as II
Salone, situated between the Piazza delle Erbe and the Piazza de'
Frutti (or P. del Peronio), a 'Juris Basilica' as the inscription re-
cords, was erected in 1172-1219. It is celebrated for its great //aW,

University. PADUA, 34. Route. 209

witli vaulted wooden ceiling , formed by the removal of two divi-
sion-walls after a fire in 1420, and perliaps the largest in Europe,
91 yds. in length, 30 yds. in breadth, and 78 ft. in height.

This hall contains a large wooden model of a horse by Bonatello,
which has given rise to various conjectures, hut was probably used by
the artist as a model for the horse in the monument of Gattamelata (it close-
ly resembles the third horse to the right on St. Mark's at Venice,
p. 222, which was probably the prototype). Behind the horse is the tomb-
stone of T. Livius Halys, a freedman of the family of the historian Livy,
who is believed to have been born at Abano (p. 279). The walls are ad-
orned with about 400 pictures in fresco, painted soon after 142U by Giov.
Mireiio and others (frequently retouched), representing the influence of the
constellations and the seasons on mankind (custodian '/z fr.).

Under the loggia towards the Piazza dei Frutti, and that towards
the Piazza delle Erbe, both added in 1306, are Roman antiquities,
chiefly inscriptions.

The following palaces also merit inspection : the Palazzo del
Podesta or del Municipio (PL 39; E, 3), 16th cent., in the Piazza
delle Erbe ; the modern Palazzo delle Debite in the same Piazza ;
and the Pal. del Capitaneo (PI. 38 ; E, 2, 8), with a clock-tower, in
the Piazza de' Signori (now the Piazza Unitk d'ltalia) , which was
the seat of the Capitano, or governor, during the Venetian supre-
macy, and now contains the university library.

The Loggia del Consiglio, or Gran Guardia, in the Piazza
de' Signori (^Pl. p], 3), by Biagio Rossetti, is a very elegant
example of the early Renaissance style, possessing a deep vestibule
with an open arcade above a broad and lofty flight of steps.

The University (PI. 47 ; E, 4), opposite the Caf^ Pedrocchi,
is established in a building called 'II Bb' , from a tavern which
once existed in the vicinity with the sign of the ox. Below the
handsome colonnades in the court, erected in 1552 by Jac. San-
sovino, are numerous inscriptions and armorial bearings of disting-
uished 'cives academicV.

Padua has also dedicated a number of monuments to the 'audi-
tores PatavinV , or students of the university, who distinguished
themselves in after-life. A double series of statues adorn the
*Prato della Valle (PL C, 3 , 4), now called the Piazza Vittorio
Emanuele II., originally a grassy dale, now a promenade. In the
inner row to the left, No. 76. Steph. Bathori, 75. John Sobieski
'qui Patav. academ. alumnus ingenio, patriam rex etc. illustr.' ;
in the external row Tas^o, Ariosto , Petrarch, Galileo. A few of
these statues only possess artistic value, such as those of Poleni
and Capello by Ganova. This spacious Piazza presents a busy
scene at the time of the fair (fiera), which begins on the festival
of St. Anthony (13th June} and lasts for a fortnight.

On the W. side of the Prato is the Loggia Amulea (PL 40), a
modern Gothic structure, used by the judges at the horse-races
held on the Prato annually , on i2th June. Below are the marble
Statues of Dante and Giotto, by Vincenzo Vela.

Baedeker. Italy I. 5th Edit. 14

210 Route 3d. PADUA. 5. Giustina.

Inscriptions: 'A Dante poeta massimo di patria concordia propugna-
tore festeggiando Italia il 6 cenfenario dal suo natale Padova gloriosa di
sua dimora p. 1865", and, 'a Giotto per lo studio del vero rinovatore della
pittura amico di Dante lodato nel sacro poema Padova da suoi affreschi
illustrata p. 1865'.

To the S.E. of the Prato is situated the church of *S. Giustina
(PI. 16; C, 4), an edifice of strikingly noble and imposing pro-
portions, completed in 1516 by Andrea Riccio or Briosco. The un-
adorned facade of brick is approached by a handsome flight of
twelve steps, of the entire breadth of the structure. The interior
consists of a nave and aisles , bordered on each side by a row of
chapels. The aisles are roofed with barrel vaulting, the nave with
three flat domes. The transept and choir are terminated by semi-
circular recesses and surmounted by four lofty cupolas.

The church is paved with black, yellow, and red marble. In the left
transept is the sarcophagus of St. Luke, in the right transept that of St.
Matthew. Over the high altar, which contains the tomb of St. Justina,
is the 'Martyrdom of St. Justina, by Paolo Veronese. Magnificently carved
'Choir-stalls from drawings of Campagnola (1552), in 50 different sections,
each representing a subject from the New Testament above, and one
from the Old below. In the chapel on the right of the choir is represented
the Virgin with the body of Christ, at the sides John and Mary Magda-
lene, a large group in marble by Parodi (ITth cent.). The old choir, the
sole remnant of the original church, also possesses fine carved stalls.

In the vicinity is the Botanic Garden (PI. 32; C, 4), founded
in 1545 and one of the oldest in Europe, well stocked with trees
peculiar to the south.

Excursion to the Euganean Sills, see p. 279.

35. From Vicenza to Treviso. From Padua to
Bassano.

FRO.M Vicenza to Treviso, 37 M., railway in 2V4 hrs. ; fares 5fr. 50,
4fr., 2fr. 40 c.

Vicenza, see p. 199. — 8 M. S. Pietro in Gu ; 10 M. Carmi-
gnano, beyond which the Brenta is crossed; l'2i/.2 M. Fontaniva.

14 M. Cittadella, a town of 8900 inhab. and the junction for
the Padua and Bassano railway (see below). The Cathedral con-
tains a Last Supper by Jacopo Bassano. — 18 M. San Martino
di Lupari.

22 M. Castelfranco, a pleasant country-town , in the centre of
which rise the towers and walls of its old castle , was the birth-
place of the painter Giorgio Barharella, surnamed II Giorgione
(about 1467-1511). Behind the high altar of the Cathedral is a
■■"Madonna with SS. Francis and Liberale by that master; in the
sacristy are frescoes of Justice, Prudence, Time, Fame, and four
Cupids, by Paolo Veronese, an early work brought from the Villa
Soranza. Sig. Dom. Tescari possesses a collection of pictures,
which includes several by early Venetian masters and a female
portrait by Giorgione.

Castelfranco is the most convenient starting-point for a visit to the
Villa ciaconu-lli, near Afaser, which may tie reached by a carriage vvilh

BASSANO. 35. Route. 211

one horse in 1^/^ hr. A small detour may be made so as to include the
Villa Faiizolo , which contains some frescoes by P. Veronese., imperfectly
restored. — The 'Villa Giacomelli, formerly called the Villa Manin and
often spoken of as the Villa Mash; after the neighbouring village, was
erected by Palladio, and is celebrated for its frescoes by Paolo Veronese.,
executed for the Venetian patrician Marcantonio Barbaro , and ranking
among the best works of the master. A series of mythological represen-
tations and scenes from social life, grandly conceived, are here presented
to us, while a number of the illusive figures so frequently used in the
art of a late period are intmduced. Such are, immediately by the en-
trance , a girl and a page, who through a half-opened door apparently
watch the persons entering. The dining-room with its fantastically-
painted architecture is adorned with representations of Ceres with her
train and Cupids. The ceiling of the great hall is decorated with paint-
ings of the Councils of the Gods, and the Feast of the Gods on Mount
Olympus. Those who wish to obtain a good idea of a patrician abode
of the luxurious 16th cent, should not omit to make this excursion. The
chapel attached to the villa contains ornamentation in stucco by Al. Vit-
toria. — The return-drive may be made via Monte Belluna (Corona) to
Istrana (see below) in P/i hr.

2572 M. Albaredo; 30 M. Istrana; 33 M. Paese ; 37 M. Tre-
viso, see p. 260.

From Padda to Bassano, 30 M., railway in 13/4-2V4 hrs. ; fares 4 m. 20,
3 m. 15, Ifr. 95 c.

Padua, see p. 203. The train crosses the Brenta. 3 M. Vigo-
darzere; 7M. Campodarsego ; 9 M. S. Oiorgio delle Pertiche; 12 M.
Camposampiero, with 2700 inhab. ; 16 M. Villa del Conte.

2OV2 M. Cittadella, see p. 210.

25 M. Rossano ; 26 M. Ros^.

30 M. Bassano (*S. Antonio ; Hondo) , a charmingly situated
town with 14,700 inhah., the seat of a bishop, and surrounded by
old ivy-clad walls. The houses of the market-place show some in-
teresting remains of the early facade painting which was so common
in the towns of the Venetian Terra Ferma (comp. p. 260}.

Near the market is the Civic Musbum (open during the middle
of the day; adm. at other times by fee), containing a number of
works by the Da Ponte family, most of whom acquired the sur-
name of Bassano from their birthplace.

Room I. : Francesco Bassano (farther of Jacopo), Sladonna with SS. Pe-
ter and Paul; Jacopo Bassano (1510-92; the most eminent of this group
of artists, who all paint in his manner), Nativity of Christ, and St. Val-
entine baptising a dumb girl-, Leandro Bassano (d. 1623 ; son of Jacopo),
Portrait of the Podesta Capello. — Room II : Voogd, Landscape, formerly
in the possession of Canova. — Room III. : The original models for Ca-
nova's Venus and Hebe, and casts of Canova's works. — An adjoining
room contains a collection of relics of the artists.

In proceeding from the Museum to the Cathedral, we pass the
Piazza del Terraglio, which commands a noble prospect of the
town, the river, and the Alps. Just beyond the bridge, to the
right, is a small cafe with a balcony.

The Cathedkal contains several works by Jacopo Bassano.

Near its N. entrance rises the once fortified tower of Ezzelino,
the cruel Ghibelin leader, now partly occupied by ecclesiastics of
the cathedral, and affording a lovely view.

14*

212 Route 36. VENICE.

The Villa Rezzonica, IY2 M. from the town, contains, amongst
other works of art, an oil-painting by Canova, representing the
Death of Socrates. In the suburb of Borgo Leone lies the Villa
Parolini, with a beautiful park.

Bonaparte defeated the Austrians under Wurmser at Bassano on Sept.
Stb, 179G, four days after the battle of Roveredo , having marched hither
from Trent in two days. The covered w^ooden bridge over the Brenta
occupies the place of one which the French blew up on that occasion.
— In 1S09 Napoleon elevated the district of Bassano into a duchy and
conferred it upon his secretary of state Marel.

Fossagno, Canova s birthplace, is beautifully situated at the base of
the Monte Grappa^ 12 M. N.E. of Bassano. A good road to it leads by
Romano, the birthplace of Ezzelino, and Crespano. The church, in the
form of a circular temple, and designed by Canova, contains his tomb, an
altar-piece painted by him, and a handsome bronze relief of the Entomb-
ment. The church and the bridge at Crespano (see above), which crosses
the river by a single arch (118 ft. in span), were built with funds be-
queathed by Canova for the purpose. The Palazzo, as his house is called,
contains models and casts of his works.

From Bassano to Tkent, diligence thrice daily in lOhrs., see p. 43.

36. Venice, Italian Venezia.

Arrival. The Railway Station is on the N.W. side of the town , at
the end of the Canal Grande (PI. B, C, 2 ; the town office is by the Ponte
dei Pignoli; comp. Introd. vii). — Good order is maintained at the station.
An official at the egress assigns a gondola to the traveller on being told
his destination. An ample supply of gondolas and 'Omnibus-boats' is al-
ways in waiting; but the latter are not recommended, being slow, often
crowded, and aflording no view. Gondola from the station to any part of
the city 1 fr., each box 15 c.; with two rowers double these charges. A
second generally profl'ers his services , but may be dismissed with the
words 'basta uno!' — Gondola tariff for those who arrive by sea, see
p. 214. — Omnibus Boats ply, on the arrival of every train, from the
station to the Riva del Carhone (near Ponte Bialto) and the Piazzetta. Fare
25 c., gratuity 5 c., each heavier article of luggage 15 c.; the porter
belonging to the boat, who conveys luggage to the hotel , also e-xpects
a fee. Omnibus boats to the station (in 20 min.) start from the Molo , E.
of the Piazzetta, 3/-i l"". before the departure of each train (their station
is by the first bridge, the Ponte della Paglia, close to the Bridge of Sighs).
— Small cafe at the station.

Hotels (table-d'hote usually at 5 or 6 p.m.). 'Grand Hotel Royal (Dan-
lELi ; PI. a, F 4), in the old Palazzo Bernardi, well situated, at the be-
ginning of the Riva degli Schiavoni , E. of the Palace of the Doges, with
the dependance Beaurivage, also on the Riva degli Schiavoni; D. 5fr. 'Eu-
Hoi'A (PI. b; F,4), in the former Palazzo Giustiniani, on the Grand Canal,
opposite the Dogana di Mare and near the Piazza of St. Mark. Both
expensive. -Hotel Britannia (PI. c; E, 4), in the Palazzo ZucclieUi, on
the Grand Canal, opposite S. Maria della Salute. "Victoria (PI. g; E, 4),
B. 3, D. 5, B. IV2, L. and A. IV2 fr. , situation less favourable. Grand
Hotel (PI. o ; E, 4, 5). — -S. Marco (PI. e ; F, 4), in the Piazza of St. Mark,
in the old Procuratic , R. 3-4, D. 4-5 fr. ; "Italia (PI. h; E, 4), S. Mois6,
with one side facing the Canal Grande, R. from 2V2, D. 5, B. IV2, A. 8/4,
pens. 9fr. ; "Hotel Bauer (PI. m; E, 4), S. Moise, Calle Lunga, with re-
staurant; these two last belong to the same proprietors; "Luna (PI. f ;
F, 4), opposite the royal garden, close to the S.W. side of the Piazza of
St. Mark, R. 2V2, T>. 4, pens. 9fr., A. 70 c.; "Bellevuk (PI. d; F.4), N.
side of the Piazza of St. Mark, adjoining the Clock Tower, R. 34 fr., h.
Vi-1, A. 1, D. 4fr. ; "Citta di Monaco (I'l. 1; F, 4), on the Canal Grande,
not far from the Piazza of St. Mark, I). 4 fr. ; Albergo Okientale, with

» c

lal

U j,^

212 Route 36. VENICE.

The Villa Rezzonica, 1^2 M. from the town, contains, amongst
other works of art, an oil-painting by Canova , representing the
Death of Socrates. In the suburb of Borgo Leone lies the Villa
ParoUni, with a beautiful park.

Bonaparte defeated the Austrians under Wurmser at Bassano on Sept.
Stli, 1790, four days after the battle of Roveredo , having marched hither
from Trent in two days. The covered wooden bridge over the Brenta
occupies the place of one which the French blew up on that occasion.
— In 1809 Napoleon elevated the district of Bassano into a duchy and
conferred it upon his secretary of state Marei.

Fossagno, Canova s birthplace, is beautifully situated at the base of
the Monte Grappa, 13 M. N.E. of Bassano. A good road to it leads by
Romano, the birthplace of Ezzelino, and Crespano. The church, in the
form of a circular temple, and designed by Canova, contains his tomb, an
altar-piece painted by him, and a handsome bronze relief of the Entomb-
ment. The church and the bridge at Crespano (see above), which crosses
the river by a single arch (118 ft. in span) , were built with funds be-
queathed by Canova for the purpose. The Palazzo, as his house is called,
contains models and casts of his works.

From Bassano to Trent, diligence thrice daily in lOhrs., see p. 43.

36. Venice, Italian Venezia.

Arrival. The Railway Station is on the N.W. side of the town , at
the end of the Canal Grande (PI. B, C, 2 ; the town office is by tne Ponte
dei Pignoli; comp. Introd. vii). — Good order is maintained at the station.
An official at the egress assigns a gondola to the traveller on being told
his destination. An ample supply of gondolas and 'Omnibus-boats' is al-
ways in waiting; but the latter are not recommended, being slow, often
crowded, and atlording no view. Gondola from the station to any part of
the city 1 fr., each box 15 c.; with two rowers double these charges. A
second generally proffers his services, but may be dismissed with the
words 'basta unoP — Gondola tarifl' for those who arrive by sea, see
p. 214. — Omnibus Boats ply, on the arrival of every train, from the
station to the Eiva del Carbone (near Ponte Rialto) and the Piazzetta. Fare
25 c., gratuity 5 c., each heavier article of luggage 15 c.; the porter
belonging to the boat, who conveys luggage to the hotel, also expects
a fee. Omnibus boats to the station (in 2U min.) start from the Molo , E.
of the Piazzetta, V-i t"". before the departure of each train (their station
is by the first bridge, the Ponte della Paglia, close to the Bridge of Sighs).
— Small cafe at the station.

Hotels (tablo-d'hote usually at 5 or 6 p.m.). "GKANn Hotel Rotal (Dan-
lELi; PI. a, F4), in the old Palazzo Bernardi, well situated, at the be-
ginning of the Riva degli Schiavoni , E. of the Palace of the Doges, with
the dependance Beaiirivage, also on the Riva degli Schiavoni; D. 5 fr. '-Eu-
uoi'A (PI. b; F,4), in the former Palazzo Oiustiniani, on the Grand Canal,
opposite the Dogana di Mare and near the Piazza of St. Mark. Both
expensive. 'Hotel Britannia (PI. c; E, 4), in the Palazzo Zucchelli, on
the Grand Canal, opposite S.Maria della Salute. ^Victoria (PI. g; E, 4),
K. 3, U. 5, B. 11/2, L. and A. IV2 fr. , situation less favourable. Grand
Hotel (PI. o ; E, 4, 5). — 'S. Marco (PI. e ; F, 4), in the Piazza of St. Mark,
in the old Procuratie , R. 3-4, D. 4-5 fr. ; "Italia (PI. h; E, 4), S. Moi.se,
with one side facing the Canal Grande, R. from 2^/2, U. 5, B. I'/a, ^^- 'A,
pens. 9fr. ; "Hotel Baber (PI. m; E,4), S. Moise, Calle Lunga, with re-
staurant; these two last belong to the same proprietors; "Luna (PI. f;
F, 4), opposite the royal garden, close to the S.W. side of the Piazza of
St. Mark, R. 2V2, I>. 4, pens. 9fr., A. 70 c.; "Bellevuk (PI. d; F.4), N.
side of the Pia/.za of St. Mark, adjoining the Clock Tower, R. 34 fr., h.
■'/A-i, A. 1, 1). 4fr. ; "Citta di Monaco (PI. 1; F, 4), on the Canal Grande,
not far from the Piazza of St. Mark, 1). 4 fr. ; Albkrgo Ouientale, with

VEXEZIA. \i;i\EDlG

fhiese

. diaraaad Griaostomc

" e Taole

■ Marc/I I Cattecbrale )
.Maria Jormoaa-

" ^[aterDamnu.
deC XraeoU
deU'Orto
della. Sahiie
lohadgo .

■ Jlaise

Xcoli da Tolentino

.Tantalemu

. Fietro di CasteHo

. Boca>

. Salralore . .

K SeaUi .

zuola. de0^4jigelo Custode
, Sehastiano . . . .

■ Simeane. -pieeolo

. lactariii

JhgcauL di Mure
IHrezujtw di FoIlzul ■ ■

r.3.

F.G.3.
F.t.

r.3.

Dxa.

p. a.

E.l.
1.5.

EJ.*.
C3.

I.4-.
E.6.
3).3.

r.3.

C.2.
.F.2.
C.4-.
.0.2.
E.*.

.E.5.
G.3.

. c.a.

F.ft2.3

♦0 Siardbw PapadapoU
il Ospedale CiviU _ .
PaLatzi

42 Balbi 0.4-

43 Barlarigo della. Terragxa D. 3.4; .
i^ jBaltmia
15 ^emho

46 Bemardv

i7 CastL ferro

i8 Ca-d'oTo

19 Camerhn^Iii

50 Cavalb,

5 1 Contarmi degll Saiffnt

52 " " Tajan,

53 ' " Fiflure

54 Comer deUa Cd 6rcatde'.

55 Cornier deUa Regbuii
50 Camer-Spinelhi

57 Comer (Museo drieo/

iSDa/idoh

59 Dario ■jfnt/araiU'

m Dueale .

61 £mo -Treves ...

62 fiid-Wmplfen. . .

63 Tomlaco de TedeseM
(M' Tandaco de' Turchi

65 Fursetti.

66 Foscari . .

67 GioTcaieUl . .

68 BTUstinUint ...
$mstbiituL -JjO^jv - . ■

70 firimani 1 .5'. Jtmtc )

71 Grbnam della Wda
"l"- Oraiuuu ( S 3f lonnosa I

1).2

E.3
1XE.3.
E.4.5.

E.2.

E.3.

E.*.5.
D.4.
E.5.
E.2.
E.*.
B.2.
E.3.
£.5.
F.4..
E.4..

T.3.
D.2.
E.3.
1X4.
E.2.
J).*.
B.4.

E.2
FS
E.3.

Boats. VENICE. 36. Route. 213

the Restaurant Caj^pello Nero., in the Piazza of St. Mark, Procuratie
Vecchie, R. from 2 fr. ; Hotel Pension Suisse, on the Canal Grande,
opposite S. Maria della Salute; Univekso, in the Palazzo JBrandoUn, Ca-
nal Grande, adjoining the academy, R. and A. 3-5, D. 4fr., well spoken
of; Hotel d'Angleterke (formerly Laguna), Riva degli Schiavoni. —
-' Aurora (PI. p; G, 4) and Sandwirth, both on the Riva degli Schiavoni,
commanding a view, are unpretending but respectable German inns. —
Vapore (PI. i ; F, 4), in the Blerceria , S. Gallo (PI. k ; F, 4), and Ca-
valletto, all three near the Piazza S. Marco, are tolerable Italian inns
with restaurants.

Hotels Garnis. National (German) and Ang. Fabris, both on the
Riva degli Schiavoni; Scatti, Calle del Ridotto ; All' Orologio , in the
Merceria, adjoining the clock tower (p. 225); Leon Bianco, to the N.W.
of the Piazza of St. Mark. — 'Pension Anglaise, in the Palazzo Giustinian
Vescovi., on the Canal Grande, moderate.

Private Apartments are easily obtained. The rents of those on the
Grand Canal and the Riva degli Schiavoni are the highest. The Fondamenla
delle Zattere is a quiet and pleasant situation (e. g. in the Calle del Ri-
dotto , R. 1-2 fr. per day, 30-50 fr. per month). It is usual to pay for
one month in advance , before which the tenant is recommended to see
that every necessary arrangement is made, Hutto compreso\

Travellers are cautioned against sleeping with open windows on account
of the gnats. Mosquito-curtains (zanzariere) afiford the best protection
against these pertinacious intruders. Pastilles Cfldibus contro le zanzare'),
sold by the chemists, are generally effectual in dispersing them. — Drinking-
water is bad at Venice; new water-works are projected.

Restaurants ( Trattorie). "Caffi Quadri, first floor, in the Piazza S.
Marco; ''Restaurant on the Lido (see p. 259); others, where beer is obtain-
able, see below. In the Italian style: "S. Gallo (PI. k; see above), with
an open court; "Cappello Nero, in the Piazza S. Marco, sixth entry to the
left of the clock ; Gitta di Firenze, good wine, Calle del Ridotto, opposite
the Europa; *<S. Moisi, near the Hotel Italia; 'Cavalletio , at the back of
the Hotel S. Marco; Vapore; Bella Venezia, and others. — The wines of
Cyprus and Samos are among the best at Venice (sold by Giacomuzzi^
Calle Vallaressa, near the S. W. corner of the Piazza of St. Mark).

Beer. ''A. Sreher, at the N. corner of the Piazza S. Marco , with a
good restaurant; "Bauer and Griinwald (Hotel Bauer, see p. 212); and also
at the Birrerie near the Campo S. Angelo, S. Polo, and at many of the
cafes.

Cafes. In the Piazza of St. Mark, S. side: "Florian, good ices; * Gaffe
Svizzero. N. side: Degli Specchi; "Quadri (recommended for breakfast);
"Cafe Giardino Reale, to the right of the Piazzetta, beautifully situated.
After sunset hundreds of chairs and small tables are placed in front of
these cafes for the accommodation of customers. — Strangers are often
importuned by flower-girls, hawkers, musicians, etc. — The cafes on the
Riva degli Schiavoni are also much frequented, and somewhat cheaper.

Boats take the place of cabs at Venice. The light , old Venetian
Gondola, with a low black canopy or cabin (felze) and black leather seat,
accommodates 1-4 persons. They are painted black in conformity with a law
passed in the i5th century. The Barca, a modern institution, is a larger
craft, open at the sides, covered with coloured material, and accommo-
dating six or more persons. The heavy indented iron prow (ferro), resembling
a halberd, is partly intended to counterbalance the weight of the rower,
and partly as a measure of the height of the bridges, which cannot be
passed unless the ferro, the highest part of the craft, clears them. The
rower himself is hailed as '■Poppe'', from the poppa on which he stands.

'■Cccvar il Felze'' means 'to take off the covering or cabin'. The
shouts of the gondoliers on turning a corner are peculiar, e. g. gia i (boat
ahead!), premh (pass to the right!), stall (pass to the left!), etc.

Charges. Gondola for 1-4, or a barca for 1-6 persons, with one rower
(barcajuolo), according to the tariff of 1872, a copy of which the gondolier
is bound to exhibit if desired, for the first hour, or for each trip, bij dap
or by night, 1 fr., for each additional hour 50 c. (but a fee is expected in

214 Route 36. VENICE. Bnihf.

addition to these low fares), for the whole day (of 10 hrs.) 5 fr. To or
from the station, see p. 212. From the steamers to the Piazzetta (two
rowers required) 40 c, luggage 15 c. For short distances a bargain should
be made. For a second roicer double the ordinary fare is charged. One,
however, suffices for the gondola, and even for the barca if not heavily
laden C-basta uno^), unless greater speed than usual is desired. For a longer
distance, however, such as to the Lido, two rowers are desirable, and in
this case a bargain may be made with the gondolier for a second. — The
islands of Murano, S. Lazzaro, and Lido are included in the tarifl". — For
longer distances the charge per hour and per gondolier is 10 c. more. For
public festivities a bargain must be made. Officious loiterers who assist
passengers to disembark expect a gratuity of a few centimes.

The principal station of the gondolas is by the Piazzetta (p. 225; PI. F, 4).
The traveller selects a suitable boat without regarding the importunities
of the boatmen, whereupon the owner will soon present himself. If the
gondola is hired by the hour, which is the most advantageous mode for
sight-seeing, the passenger shows his watch, saying ^alV ora\ The
highest demands are generally made at the Piazzetta and Riva and in the
vicinity. It need hardly be observed that the intervention of a com-
missionaire or a waiter in the hiring of a boat causes the fare to be con-
siderably raised. If any difficulty arises it is best to apply to a policeman
(Guardia municipale).

The gondoliers are, as a class, respectable and trustworthy, and a
small gratuity goes far towards securing their good offices.

Ferries ( Traghetli) across the Grand Canal (5 c, after dusk 8 c, comp.
Plan); from the Fondamenta Nuove to Murano, 30c., and to Mazzorbo
(Torcello, p. 259); from the Fondamenta delle Zattere to the Giudecca,
15 c. ; from the Molo (Piazzetta) to the Giudecca 20 c. , to II Kedentore
30 c, to the Punta delta Salute 15 c, to S. Giorgio Maggiore 15 c; from
the Molo to the Giardini Pubblici (evening included) 50 c.

Guides ('Guides Autorise's') are to be met with before 9 a.m. or about
8 p.m. in the Piazza of St. Mark. Each hotel generally has its own guide.
Parties of visitors are frequently formed by the guides, who undertake to
conduct them to all the principal sights of Venice at a charge of 4 fr. each
person, which includes gondola-fares, gratuities, etc., but, as the number
is usually unlimited, this wholesale system cannot be recommended, the
members of the party being entirely deprived of their independence. The
traveller, alone, or accompanied by a few friends, will find it far preferable
to have a guide at his own disposal. In this case the fee, including all
expenses, is about 20 fr. (i.e. 5 fr. for the guide and 15 fr. for gondolas,
fees, etc.).

It must, however, be observed that the aid of the Handbook, coupled
with a slight acquaintance with the Italian language, will enable the
traveller entirely to dispense with a guide. The principal objects of interest
should be visited in a definite order, such as that suggested below, and
the most direct routes ascertained from the Plan, in order that the proper
orders may be given to the gondolier at each stage of the route. Much
also can be done on foot with the aid of the Plan. The route from the
Piazza di S. Marco to the station is indicated by notices on the street
corners.

Consulates. American, S. Maria del Rosario, Fondamenta Venier 709;
British, S. Maria del Giglio, Calle Gritti o del Campanile 2439; French,
S. Stefano, Calle Giustiniano 2891; German, S. Benedetto, Pal. Memmo,
3949; also others for all the principal European states.

Baths of every description (also for swimming: galleggiante) sfe situated
at the mouth of the Grand Canal, but are used during the three summer-
months only. Ferry from the Piazzetta to the baths 10c. ; the word '^bagno"
is a sufficient direction to the gondolier. Swimmers (Ifr.) ask at the
establishment for a ticket for the '■vascd' (basin); a separate bath (I'/afr.)
is a '■camerino' ; common bath for ladies (sirene) 1 fr. 40 c. ; separate bath
for ladies 3fr. No gratuities expected. The best time for bathing is about
high tide, the water at low tide being shallow and muddy. — The baths
on the Lido arc much pleasantcr. In summer a steamboat plies every hour

Steamboaln. VENICE. 36. Route. 215

(in the height of the season every half-hour) between the Riva degU Schia-
voni and the Lido in 12 min., returning after a halt of V2 hr. (Tickets must
be procured before embarking, 30 c. ; there and back, including the bath,
11/2 fr.) From the landing-place to the baths a walk of 10 min. (omnibus
25 c.). Bath 1 fr. (for ladies to the left, for gentlemen to the right), less
to subscribers ; for taking care of valuables 10 c. Connected with the
baths is a favourite "Ca/d Restmirant, where a band plays on summer
evenings till 10 o'clock. — Warm Baths at most of the hotels , and at
Chitarin''s (salt-water), near S. Maria delta Salute, IV2-2 fr.

Booksellers. MUnster, Piazza of St. Mark, S.W. corner; Colombo Coen,
Procuratie Vecchie 139.

Photographs: A'ai/a, in the Piazza of St. Mark, views of Venice,
from the smallest at about 50 c. to the large and expensive size (28 by
36 inches), copies from drawings IV2, from original pictures 4 fr. ; Ponti,
also in the Piazza of St. Mark.

Post Office iUffizio della Posta; PI. 96, F 3), to the N. of the Piazza
of St. Mark (route beyond the Merceria indicated by hands at the street-
corners, pointing out the 'Via alia Posta'). Zeiter -boxes in the Piazza of
St. Mark, at the Ufflzio del Lloyd, etc. — Telegraph Office (PI. 106-,
F, 4), to the W. of the Piazza of St. Mark.

Steamboats: To Trieste three times weekly, see p. 263; to Chioggia
(Societa Lagunare), see p. 259; to Alexandria in Egypt, a vessel of the
P. & O. Co. once weekly. The offices of these companies are in the Piaz-
zetta, and in the Piazza of St. Mark, under the new Procurazie.

Theatres. La Fenice (PI. 100; E, 4), the largest in Venice, is capable
of accommodating 3000 spectators ; internal arrangements worthy of in-
spection; performances from Christmas to Easter. The following are used
throughout the whole year, except in September: Apollo (PI. 101; E, 3),
Rossini (PI. 102; E, 4), Cam.ploy (S. Samuele; PI. 104, D4), and Malibran
(PI. 103; F, 3). In winter Marionette Tlieatre, Calle Lunga, S. Moise (6-9 p.m.).

Shops. (The recommendations and even the attendance of valets-de-
place or boatmen have the eft'ect of greatly increasing the prices ; comp.
Introd. V.) The best are in the Piazza of St. Mark, in the Merceria (p. 225),
and in the Frezzaria, entered from the W. end of the Piazza of St. Mark,
opposite the church. The Venetian pearls and jewellery enjoy a high
reputation; bracelets, necklaces, and other ornaments in mosaic, glass,
and shells are also well executed here, and are suitable for presents or re-
miniscences. Many of the shopkeepers take two-thirds or even one-half of
the price first demanded. — The most extensive Manufactories of Mosaic
are those of Dr. Salviati, S. Maria del Giglio, and the Compagnia de" Vetri
e Musaid di Venezia e Muratio, Campo S. Vito, both on the Canal Grande.

— Crystal-wares, liubbi, 8. Giovanni Crisostomo; Tommasi e Gesolmini, S.
Fosca (both on the Canal Grande) ; Dalmedico, Merceria delF Orologio,
218. — Antiquities and objects of art, Guggenheim, Pal. Balbi, on the
Canal Grande, by the Pal. Foscari (p. 240; entrance in the Campo S.
Toma) ; Ricchetti, also on the Grand Canal; Aless. Clerle , Ponte dei Dai
848; C. Znber, Canal Grande 2177. — Venetian lace, antique at Ruggieri's,
near S. Gallo; modern at the Societa, di Merletfi, Campo S. Zaccaria.

— Money-Changers : Gaetan Fiorentini, Bocca di Piazza 1239, opposite the
Telegraph Office.

Exhibition of Art in the Palazzo Mocenigo S. Benedetto, adm. 40 c.

English Church Service, Palazzo Contarini degli Scrigni, Grand Canal,
near the iron bridge. — Scotch Presbyterian Church on the Grand Canal,
not far from S. Maria della Salute.

The Climate of Venice is tempered by the proximity of the sea and
the Lagune. Invalids who intend wintering in Venice should be partic-
ular as to a S. aspect. The quietest apartments are to be found in the
Fondamenta delle Zattere (PI. C, D, 5). — Chemist: Farmacia Zampironi,
near S. Moise, W. of the Piazza of St. Mark. — Physicians: Dr. Keppler,
Campo S. Maurizio, 2808; Dr. Kurz, Calle Fimbera 951 (S. Marco); Dr. Ri-
chetti, Ponte dei Consorzi 4392 ; Dr. Levi.

During the Carnival no other city in Italy, Rome excepted, presents

216 Route 36. VENICE. Plan of Visit.

so busy and animated a scene as Venice. The Piazza S. Marco is then
converted into a kind of vast ball-room. Balls also take place in the Bi-
dotto and the Teatro Fenice.

Plan of Visit. A stay of 3-4 days may suffice when time is limited,
in which case the following plan is recommended, but it may be extended
or modified at discretion.

Afternoon, or Evening of arrival. In order to gratify their first curiosity,
and obtain a general idea of the peculiarities of Venice, travellers are
recommended to undertake a preliminary voyage from the Piazzetta along
the Grand Canal (see p. 239) to its extremity (near the railway-station is
the church Begli Scalzi, see p. 243, which may now be visited on
account of its remoteness from the other points of attraction) ; then under
the iron bridge to the Canal di Mestre, to the left of which is the Jews'
quarter (the Gfiello , inhabited by the lowest classes); back hence by the
Grand Canal to the Ponte Rialto., where the gondola should be quitted.
Then walk through the Merceria to the Piazza of St. Mark. The whole
expedition will occupy 2-2V2 hrs.

Ist Day. -S. Marco (p. 222); "Palace of the Doges (p. 225); "S. Gior-
gio Maggiore (p. 257; ascend campanile); "Redentore (p. 257); ~S. Sebastiano
(p. 258).

2nd Day. Pal. Emo Treves (p. 239); S. Maria delta Salute (p. 252);
"Accademia delle Belle Arli (p. 231) ; *,S. Stefano (p. 251) ; "Fran (p. 248) ;
'Scuola di S. Rocco (p. 250).

3rd Day. S. Salvaiore (p. 246) ; Pal. Vendramin (p. 243) ; Museo Correr
(p. 243) ; -Madonna delV Orto (p. 253) ; Gesuiti (p. 253) ; S. Maria de" Mi-
racoli (p. 255).

4th Day. "S. Zaccaria (p. 245) ; S. Maria Formosa (p. 245) ; *S. Gio-
vanni e Paolo (p. 254); S. Francesco delta Vigna (p. 256); Arsenal (p. 231;
open till 3 p.m.) ; Giardini Pubblici (view, p. 258).

Lastly ascend the Campanile of S. Marco (p. 224).

Those who make a longer stay may proceed to the Lido (sea-baths,
p. 259), and make excursions to the N. to Murano and Torcello (p. 259;
5 hrs. there and back); to the S. to Malamocco and Chioggia (p. 259). —
Every leisure hour should be devoted to S. Marco and its environs.

Admission is generally obtained to the —

Churches from 6 a.m. till 12 or 1 o'clock , after which application
must be made to the sacristan (nonzolo, fee 50c.), for whom one of the
officious loungers in the neighbourhood may be sent (5 c.).

-'Academy (p. 231) daily 10-3; admission on week-days 1 fr., on Sun-
days and holidays gratis; closed on New Year's Day and Easter Sunday
only.

■Arsenal (p. 231), on week-days, 9-3; closed on Sundays and holidays.
'"Palace of the Doges (p. 225), on the same days, and at the same hours
as the Academy, adin. Ifr., to the dungeons 20c. more; guide quite un-
necessavv; information may be obtained from the custodians.

■■■■Museo Correr (p. 243), Mond., Wed., Sat., 10 4.

The Private Palaces (" Vendramin, Emo- Treves^ Fini- Wimpfen, Pesaro)
are generally shown between 9 or 10 a.m. and 3 or 4 p.m. When the
proprietors are residing in them, application should be made on the day
previous to the visit, but this formality is often dispensed with (fee to
attendant Ifr., to porter 25-50 c).

History. For the early history of Venice, sec p. 185. The foundation
of the greatness of Venice" as an eastern power was laid by the Doge
Enrico Dandolo (1192-1205), who conquered Constantinople in 1204. In
consequence of this the Byzantine Empire was divided , and Venice ob-
tained possession of numerous places on the coasts of the Adriatic and
the Levant, from Dura/./.o to Trebisond, and also of jnost of the islands
of the Greek Arcliipelago, including Candia. During the process of con-
i|uering and ruling these new territuries there gradually arose a class of
aristocrats or nobles (Xohili), who declared themselves hereditary in 1297

History. VENICE. 36. Route. 217

and shut out the rest of the people from all share in the government.
The supreme authority lay with the Great Council (Consiglio Maggiore).,
which consisted of all members of the noble families above the age of
twenty. The executive was entrusted to a Doge or Duke., and six coun-
sellors, with whom was also associated the Council of the Pregadi. At a
later period the Pregadi were combined with the higher officials to form
the Senate. The Avvogadori di Comune watched that the powers of office
were used in a constitutional manner. After the conspiracy of 1310 the
highest authority became vested in a secret Council of Ten (Consiglio dei
Died) , who kept the whole administration of the city and also the man-
agement of its foreign policy entirely under their control. From this
council the Inquisition was developed in the 16th century.

Under the successors of Enrico Dandolo the republic underwent severe
contests with Genoa, which occasioned the loss of many of the Venetian
conquests in the East, but at length terminated in the total defeat of
Genoa in 1352, by the Doge Andrea Dandolo. His successor Marino Falieri
contemplated the overthrow of the aristocratic form of government, but his
scheme was discovered, and he was beheaded on 17th April, 1355. Diiring
the reign of Andrea Contarini (1367-82) Padua, Verona, Genoa, Hungary,
and Naples formed an alliance against Venice. In 1879 the Genoese took
possession of Chioggia, but were surrounded in the Lagune and compelled
to surrender, 24th June, 1380. Peace was concluded in 1381. In 1386
Antonio Venier (1382-1400) took possession of the island of Corfu , then of
Durazzo, Argos, etc. Under Michele Steno (1400-14) the Venetian general
Malatesta conquered Vicenza, Belluno, Feltre, Verona, and Padua (1405);
in 1408 the republic gained possession of Lepanto and Patras, and in 1409
of Guastalla, Casalmaggiore , and Brescello. In 1421 Tommaso Mocenigo
waged war successfully against Hungary. In 1416 the Venetian fleet under
Loredan defeated the Turkish at Gallipoli , and in 1421 subjugated all
the towns of the Dalmatian coast, so that Venice was now in possession
of the entire coast district from the estuary of the Po as far as the
island of Corfu.

Mocenigo's successor was Francesco Foscari (1423-57). In 1426 Brescia
fell into the hands of the Venetian general Carmagnola , but in 1431 his
successful career was terminated in consequence of a suspicion of treason,
and in 1432 he was executed. In 1449 the Venetians gained possession
of Crema, but were unable to prevent the elevation of Sforza to the
dignity of Duke of Milan (1450). A sad ending awaited the long and glo-
rious career of Foscari. Becoming an object of suspicion to the Council
of Ten , and weakened by contentions with the Loredani and other pri-
vate feuds, he was deposed in 1457 and died a few days afterwards. —
Under Cristoforo Moro (1462-71) the Morea was conquered by the Turks.
In 1480, in consequence of the renunciation of Catharine Cornaro, wife of
King James of Cyprus, this island came into the possession of Venice, and
in 1483 the republican dominions were farther augmented by the island
of Zante.

The close of the 15th cent, may be designated as the culminating point
of the glory of Venice. It was now the grand focus of the entire commerce
of Europe, numbered 200,000 inhab. , and was universally respected and
admired. Its annual exports were valued at 10 million ducats, 4 millions
of which were estimated as clear profit. It possessed 300 sea-going vessels
with 8000 sailors, and 3000 smaller craft with 17,000 men, as well as a
fleet of 46 galleys carrying 11,000 men , who maintained the supremacy
of the republic over the Mediterranean. But already, in the middle of
the 15th cent., an event had taken place, which cast an ominous shadow
on the future of the Republic ; the capture of Constantinople by the
Turks in 1453 completely xmdermined the supremacy of Venice in the
East. The crowning blow, however, was the discovery of the new sea
routes to India at the close of the century, by which its commerce was
diverted to the Portuguese. However 'the arts, which had been gradually
rising to perfection , shed a glorious sunset over the sinking form of the
Republic'.

The opening of the 16th cent, was signalised by new losses. In 1503

218 Route 36. VENICE. History.

Venice signed a humiliatinf: peace with Bajazet II., in which she sur-
rendered the whole of the Jlorea. The League of Cambray, formed by
the Pope , the Emperor, and the kings of France and Arragon against
Venice in 1508, and the victory of the French at Agnadello in 1509 occa-
sioned serious losses to the republic. The wars between Emp. Charles V.
and Francis I. of France (1521-30) were also very prejudicial to Venice,
but its power was undermined most of all by its constant strugjjle
against the advance of the Osman empire. In 1540 Nauplia, the islands
of Chios , Paros , and others were lost , and in 1571 Cyprus , notwith-
standing its brave defence by Bragadino. In the naval battle of Lepanto
(1st Oct., 1571) the Venetian fleet greatly distinguished itself. In 1659 the
island of Candia was conquered by the Turks. In 1684 the Venetians
under Francesco Morosini and Konigsmarck were victorious in the Morea,
and conquered Coron , Patras, Corinth, etc.; in 1696 and 1698 they again
defeated the Turkish fleets , and by the Peace of Carlowitz in 1709 they
retained possession of the Morea ; but in 1715 the Turks reconquered the
peninsula, and in 1718 were confirmed in their possession by the Peace
of Passarowitz.

From this period Venice ceases to occupy a prominent position in the
history of Europe. It retained its N. Italian possessions only, observed a
strict neutrality in all the contests of it5 neighbours, and continued to
decline in power. On the outbreak of the French Eevolution Venice at
first strenuously opposed the new principles ; on the victorious advance
of the French it endeavoured to preserve its neutrality , and repeatedly
rejected Buonaparte's proposals of alliance. Irritated by this opposition,
the French broke off their negotiations and took possession of the citv on
16th May, 1797. The last doge was Lod. Manini (1788-97). By the Peace
of Campo Formio (1797) Venetia was adjudged to Austria, and by that of
Pressburg (1805) to the kingdom of Italy. In 1814 Venice was again de-
clared Austrian, and remained so until 1848, when a revolution broke out,
and the citizens endeavoured to re-establish their ancient republican form
of government, under the presidency of Daniele Manin. Their renewed
independence, however, proved most disastrous and short-lived. The city
was torn by internal dissension , and at the same time besieged by the
Austrians. After a siege of 15 months it was compelled to capitulate to
Radetzkp, in August, 1849, a victory which cost the Austrians upwards of
20,000 soldiers. The war of 1859 did not atVect the supremacy of Austria
over Venetia, but its re-union with Italy was at length effected by the
events of 1866.

In the History of Art Venice has shown herself as independent of,
and distinct from the mainland , as are her situation and her political
history. The sensation of novelty experienced by the traveller who visits
Venice for the first time, even after having seen the whole of the rest of
Italy, will also be felt by those who begin to study her art. The earliest
monuments of Venice at once betray the fact that her greatness was
founded on her Oriental commerce. The church of St. Mark is in the
Byzantine style , the oldest mosaics bear a Byzantine impress , and the
same type is observable in other briinches of art. Even during the period
of Gothic Art the Venetians did not adopt the same forms as the rest of
Italy. In the building of their churches several architects from the main-
land (including perhaps Mccold fisano) appear to have been summoned to
their aid. Their palaces, which, like those of Upper Italy, generally form
the chief examples of Gothic, particularly that of the Doges, exhibit
a very peculiar character. They usually possess a large entrance colon-
nade, a loggia on the upper floor with a number of windows close together
in the middle, wings, treated rather as spaces for the reception of paint-
ings , and everywhere abundance of decoration and colour. Examples of
this style are the Cd d''Oro, and the Palazzo Foscari. At a later period the
Renaissance Architecture, which did not become naturalised till the end
of the 15th cent., was still more zealously cultivated. In point of size
the early Renaissance buildings at Venice bear no comparison with those
of Tuscany, but are more richly decorated, and the palaces retain the
articulation peculiar to the earliest period. At a later date, when art

History. VENICE. 36. Route. 219

began to decline, the Venetian architecture resisted the influences of
bad taste longer than that of Central Italy. Among the most important
Venetian architects were several members of the Lombardi family,
Jacopo Sansovino of Florence (1477-1570), Antonio da Ponte, and lastly
Andrea Palladia of Vicenza (1518-1580), who inaugurated a new era,
especially in church architecture, by limiting the facade to a single range
of massive columns. Palladio's chief successors were Scamozzi and Longhena.

In the province of Sculpture the master who designed the statuary on
the Palace of the Doges (perhaps Fil. Calendario) was the most famous of
the middle ages. About the middle of the 15th cent, the growing taste
for monumental tombs afforded abundant employment to the sculptors, and
from the studios which now sprung up issued the numerous magnificent
monuments which still fill the churches of Venice. The names of the
Bregni or Rizzi, of the Lombardi (probably not natives), and of Alessaiidro
Leopardo, are the most important. At a later period Jacopo Sansovino
was the leading master here , both as a sculptor and an architect.
His works, though often designed chiefly for pictorial efi"ect, are far more
pleasing than those of Michael Angelo's school. His pupils were Girolamo
Campagna and Alessandro Vittoria (d. 1607).

The Venetian Painters did not begin to attract universal attention
till the beginning of the 16th century. In the 14th cent, they were far in-
ferior to those of the other Italian schools, and though Giotto was engaged
for a considerable time at the neighbouring Padua, they were unaffected
by his influence. In the 15th cent, the most noted masters at Venice were
Giovanni, also named Alamannus, Antonio, and Bartolommeo Vivarini, who
were known as the Muranese. An event of great importance, which took
place about 1473, was the visit to Venice of Antonello da Messina, who
introduced painting in oils, the method best adapted for giving full scope
to the Venetian love of rich colouring. After the impulse given to the
Paduan school by the labours of Squarcione, its style was more or less
zealously adopted by the Venetian masters Carlo Crivelli , Jacopo Bellini,
father-in-law of Mantegna, and others. As a master of the pure Venetian
type we must next mention Giovanni Bellini (1426-1516; a son of Jacopo,
like Gentile, 1421-1507), who may be regarded, both in the style of his
compositions (such as his 'sacra conversazione", a peaceful and yet ex-
pressive group of saints with the Madonna), and his conception of female
figures , as the precursor of the glorious prime of Venetian painting.
One of his contemporaries was Yitlore Carpaccio (d. after 1519), a lively
pictorial narrator, and to his school belonged Cima da Conegliano (who
flourished about 1489-1508), Catena, and Marco Marziale.

The first of the great masters was Giorgione (Barbarella, 1477? -1511),
but unfortunately few of his works are authenticated (the most impor-
tant being an altar-piece at Castelfranco, a portrait at Rovigo, a Famiglia
in the Palazzo Giovanelli at Venice , and a Concert in the Palazzo Pitti
at Florence). The peculiar glow of his colouring, an attribute which
seems rather to be natural to him than acquired from others , imparts
even to his isolated half-figures an unwonted life and poetical charm.
The first artist who fully developed that type of female beauty in which
a simple and natural enjoyment of life is so admirably expressed, was
Jacopo Palma ( Vecchio, 1480-1528). Surpassing all his fellows in reputation,
in fertility, and in the length of his career, next comes the great Tiziano
Vecelho (1477-1575). His finest frescoes are in the Scuola del Santo and
Scuola del Carmine at Padua, and though most of his oil-paintings are
distributed throughout the galleries of Europe, several of his most strik-
ing works, especially in the province of religious composition , are still
preserved at Venice.

Such was the vitality and vigour, and so great the resources of the
Venetian School at this period, that even masters of secondary importance
frequently produced works of almost unrivalled excellence. Those who
chiefly call for notice are Sebastiano del Piombo (1485-1547), who was
afterwards influenced by the fascinating proximity of Michael Angelo,
Rocco Marconi, Lorenzo Lotto, Bonifacio, Giovanni Antonio (da) Pordenone
(d. in 1539), whose carnation tints are unsurpassed, and Paris Bordone

220 Route 36. VENICE. Situation.

(1500-70), whose portraits rival those of Titian. A prominent master of a
somewhat younger generation was Jacopo Tintoretto (Robusti, 1518-94), who
squandered his eminent abilities on superficial works, and in his eiiger-
ness for effect threw away the rich golden tints which formed a dis-
tinctive characteristic of his school. Paolo Caliari, surnamed Veronese,
(1528-86), on the other hand, though more material in his conceptions,
and frequently confining himself to mere representations of actual life,
was a faithful adherent to the traditions of his predecessors. Among the
last masters of note were the Bassaiio's, Palma Giovane , and Padovanino,
after whose time the Venetian school became extinct. In the 18th cent.,
however, we must mention Tiepolo (A. 1770), a spirited decorative painter,
Antonio Canale, an architectural painter, and his pupil JSern. Belotto, both
surnamed Canaletto, who were much admired by their contemporaries.

Venice, situated in 45° 25' N. latitude, lies 21/2 M. from the
mainland in the Lagune, a shallow part of the Adriatic about 25 M.
in length and 9 M. in width. The 15,000 houses and palaces of
Venice are situated on three large and 114 small islands, formed
by 150 canals, connected by 378 bridges (most of them of stone),
and altogether about 7 M. in circumference. The population which
had dwindled from 200,000 to 96,000 after its dissolution as an
independent state (1797), amounts now to 128,000, of whom, how-
ever, one-fourth are paupers. Its trade has again been on the in-
crease since the middle of the century, and Venice is now one of
the greatest seaports on the Adriatic.

The lagune are protected from the open sea by long sand-hills
(lidi), which again are strengthened by means of bulwarks (ynurazzi)
of solid masonry, averaging 30 ft. in height and 40-50 ft. in width.
On the side next the Lagune the Murazzi are perpendicular,
while towards the sea they descend in four terraces. The Murazzi
on the Lido from Pelestrina to Chioggia (p. 259) date from the
last period of the republic. The Diya of Malamocco, a pier which
extends for a distajice of 1 1/4 M. into the open sea, was constructed
by the Austrian government after 1825 , in order to prevent the
harbour from becoming choked with mud. The Lagune are connected
with the open sea by means of four entrances , of which those of
the Lido and Malamocco alone are available for vessels of heavy
tonnage. The steamers usually enter by the Porto di Lido, but in
stormy weather occasionally by that of Malamocco.

The Lagoons are called either 'lagune vive', or Hagune morte',
about one half of them belonging to each class. In the former the
tide rises and falls about 2 ft. ; the latter, shallower, and situated
nearer the mainland, are unaffected by the tide. Venice is situated
ill the 'laguna viva'. At high water innumerable stakes, protrud-
ing from the water in groups of the most varied form , mark the
situation and shape of the low sand -islands which surround the
city on every side , forming a complicated network of navigable
channels, most of them accessible to small boats only.

Most of the houses rise immediately from the canals (rii), or
are separated from them by narrow streets only , here called (as

Piazza of St. Mark. VENICE. 36. Route. 221

in Spain) calli (^sing. il calle), and paved with broad slabs of stone,
or sometimes with brick or asphalt. These lanes form a laby-
rinth from which the stranger will frequently And it difficult to
extricate himself; none, however, but walkers can form an adequate
acquaintance with the picturesque nooks of the city and the char-
acteristics of its inhabitants. The following description is so
arranged that many of the sights can be visited on foot, but all
the principal buildings may also be visited by boat. Gondola-
travelling is very pleasant, and is of course far preferable to
walking for expeditions of any length.

The **Piazza of St. Mark, usually called 'La Piazza' (the other
open spaces being 'campi'), is a square paved with blocks of
trachyte and marble, 192yds. in length, and on theW. side 61, and
on the E. 90 yds. in breadth. On three sides it is enclosed by
imposing structures, which appear to form one vast marble palace,
blackened by age and exposure to the weather; on the E. it is
bounded by the Church of St. Mark and the Piazzetta (p. 225).
These palaces were once the residence of the nine 'procurators', the
highest officials of the republic after the Doge, whence their appel-
lation of Procuratie. The Procuratie Vecchie, or N. wing , were
erected at the close of the 15th cent, by Bartolommeo Buon. The
Procuratie Nuove, or S. wing, were begun by Scamozzi in 1584.
The latter now serve, in conjunction with the adjoining building
(formerly a library, p. 225), as the Palazzo Reale, and contain
handsome modern apartments and several good ancient and mod-
ern pictures (entrance under the New Procuratie ; custodian 1 fr.
for 1-3 pers.). The modern edifice on the W., called the Atrio,
or Nuova Fabbrica , was erected under Napoleon in 1810, partly
on the site of the former church of S. Geminiano. The ground-floors
of these structures consist of arcades, in which the cafes and shops
mentioned at pp. 213, 215 are established. — The Piazza of St.
Mark is the grand focus of attraction at Venice. On summer even-
ings, after sunset, all who desire to enjoy fresh air congregate here.
The scene is most animated towards 8 p.m., especially on the even-
ings when the military band plays (Sundays , Mondays, Wednes-
days, and Fridays, 8-10 o'clock), when the Piazza is sometimes
thronged until after midnight. On other evenings the crowd dis-
perses about 10 o'clock. In winter the band plays on the same days,
2-4 p.m., and the Piazza is then a fashionable promenade. Early in
the morning a few visitors to the cafes may be seen sipping their
coffee, but these are rarely natives of Venice. The Venetians
themselves are seldom visible at a very early hour, and the Piazza
is comparatively deserted except at the hours just mentioned. The
Piazza with its adjuncts presents a strikingly imposing appearance
by moonlight.

A large flock of Pigeons resorts daily to the Piazza at 2 p.m. to be
fed. According to tradition. Admiral Dandolo, while besieging Candia at
the beginnine of the 13th cent., received intelligence from the island by

222 Route 36. VENICE. S. Marco.

means of carrier-pigeons, which greatly facilitated its conquest. He then
despatched the birds to Venice with the news of his success, and since
that period their descendants have been carefully tended and highly re-
vered by the citizens. They nestle in the nooks and crannies of the sur-
rounding buildings, and are generally seen in great numbers in the
evening, perched on the facade of St. Mark's.

The three lofty Flagstaff's (PiU) in front of the church, rising from
pedestals resembling candelabra, executed by Aless. Leopardo in
1505, once bore the banners of the kingdoms of Cyprus, Candia,
and the Morea, to commemorate their subjugation by the republic.
On Sundays and festivals the Italian colours are now hoisted here.

**S. Marco (PI. 17; E, 4), the Church of St. Mark, the tutelary
saint of Venice , whose remains are said to have been brought by
Venetian citizens from Alexandria in 828, was erected in 976-1071
in the Romanesque -Byzantine style peculiar to Venice, and
decorated with lavish and almost Oriental magnificence during sub-
sequent centuries. The facade received some additions in the Go-
thic style in the 14th century. The form of the edifice is that of a
Greek cross (with equal arms^, covered by a Byzantine dome in the
centre and one at the extremity of each arm. Around the W. and
part of the N. transept is a vestibule covered by a series of smaller
domes. Externally and internally the church is adorned with five
hundred columns of marble , the capitals of which present an ex-
uberant variety of styles. The most remarkable are eight detached
columns in the vestibule, four at each of the lateral portals on the
W. side, with peacocks and lions. The mosaics cover an area of
45,790 sq. ft. , and the interior is also profusely decorated with
gilding, bronze, and Oriental marble. The aggregate effect is highly
picturesque and fantastic. The mosaics, some of which are said to
have been executed as far back as the 10th cent., belong chiefly
to the 12th and 16th centuries, and afford interesting evidence of
the aptitude of the earliest Venetians for pictorial composition. —
Since 1807 St. Mark's has been the cathedral of Venice, a dignity
which formerly belonged to S.Pietro di Castello (p. 258).

Over the principal portal are *Four Horses in gilded bronze, 5 ft. in
height , which were long supposed to be the work of a Greek master
(L^jsippjis), but are now believed to be of Roman workmanship, probably
of the time of Nero. They are finely executed, and are especially valuable
as the sole e-xisting specimen of an ancient quadriga preserved intact.
They probably once adorned the triumphal arch of Nero , and afterwards
that of Trajan. Constantine caused them to be conveyed to Constantinople,
whence the Doge Dandolo brought them to Venice in 1204. In 1797 they
were carried by Napoleon I. to Paris, where they afterwards occupied the
summit of the triumphal arch in the Place du Carrousel. In 1815 they were
brought back to Venice by the Emp. Francis and restored to their former
position.

Facade. -Mosaics in the arches , best surveyed from the steps of the
flagstafls. Below, over the principal entrance, the Last Judgment, executed
in 1836, on the right the Embarkation of the body of St. Mark at Alexandria,
and its Disembarkation at Venice, both executed in 1660; on the left the
Veneration of the saint, of 1728, and the Church of St. Mark into which the
relics are conveyed, of the 13th century. — Above are the four horses in
front of the great arched window, on the left and right are four mosaics

S. Marco. VENICE. 36. Route. 223

of the 17th cent., Descent from the Cross, Christ in Hell, Resurrection,
Ascension.

Entrance Hall (Atrio), the whole breadth of the church: the vault-
ing consists entirely of Mosaic, of which the older portion (12th cent.)
represents Old Testament subjects, beginning on the right: 1st Dome,
Creation of the World, and Fall of Man; in the following arch the De-
luge-, 2nd Dome, over the entrance to the church, St. Mark, executed in
1545 from a design by Titian. — The three red slabs commemorate the
reconciliation between the Emp. Fred. Barbarossa and Pope Alexander
III., which was effected here on 23rd July, 1177, through the mediation of
the Doge Seb. Ziani. According to an old tradition the emperor kneeling
before the pope said , '-non tibi sed Petro\ to which the pope replied , '■et
miki et Petro\ — In the next arch, Koah, and the Building of the tower
of Babel; 3rd Dome, History of Abraham; 4th (corner) Dome, Joseph's
dream, Joseph sold by his brethren, and Jacob's lament; 5th and 6th
Domes, Joseph in Egypt; 7th Dome, History of Moses.

Interior, 86 yds. in length, 70 yds. in width, with five domes and
an apse. The large Entrance Doors are of bronze, that on the right in the
Byzantine style, and that in the centre of the 12th century. Above the latter.
Mosaics: Christ, Mary, and St. Mark. The mosaics in the three domes of
the nave illustrate the doctrine of the Trinity: God the Father with Da-
vid, Solomon and the prophets; the Ascension of Christ; the Descent of
the Holy Ghost. The beautiful stone mosaic Pavement of the 12th cent, is
now being skillfully repaired. By the screen, on the right and left of
the approach to the high altar, are two Pulpits in coloured marble,
each placed on seven columns in accordance with the ancient custom.
On the Screen are "Fourteen Statues in marble (of 1393) , representing
St. Mark, Mary, and the twelve Apostles, with a gilded Crucifix. —
The Left Transept contains two handsome bronze Candelabra of 1520;
above, on the left, a Mosaic of 1542, representing the genealogy of Mary ;
adjoining it are some fine Byzantine mosaics. — The Right Transept
also contains two bronze Candelabra, of the end of the 16th century.

On the arched Parapet on each side of the Choir are three reliefs in
bronze , by Sansovino (d. 1570) , representing events from the life of St.
Mark. On the parapet of the Stalls are the four Evangelists in bronze,
by Sansovino, and four Fathers of the church, by Caliari (1614).

The High Altar (AUare Maggiore) stands beneath a canopy of verde
antico, borne by four columns of marble (with reliefs of the Uth cent.).
The Pala d'Oro, enamelled work with jewels, wrought on plates of gold
and silver, executed at Constantinople in 1105, constitutes the altar-piece,
which is uncovered on high festivals only, or, at other times , for a fee
of 6 fr. (It was originally intended to embellish the front of the altar.)
Under the high altar repose the relics of St. Blark , as the marble slab
at the back records. — Behind the high altar is a second altar with four
spiral columns of alabaster, of which the two white ones in the middle are
semi-transparent, and are said to have once belonged to the Temple of
Solomon.

The Sacristt (Sagrestia), to the left, contains some fine mosaics on the
vaulting ; cabinets with inlaid work of 1523 ; on the door leading from the
high altar, reliefs in bronze by Sansovino (1556); to the right of the handle
is the portrait-head of the maker of the door; in the right corner the head
of Titian. Entrance to the Crypt, see below.

To the right of the high altar : Cappella di S. Clemente, with altar-
relief of the 16th cent., representing SS. Nicholas, James, and Andrew,
and the Doge Andr. Gritti.

In the right aisle, close to the principal entrance, is the Battistero, in
the centre of which is a large bronze font of 1545 ; above it is John the
Baptist. Also the monument of the Doge And. Dandolo (d. 1354). The stone
over the altar is from Mt. Tabor. To the left of the altar the head of John
the Baptist, of the 15th cent. ; below it is the stone on which he is said
to have been beheaded. — From the Baptistery we enter the *Cappella
Zeno, containing the handsome "Monument of Cardinal Giambattista Zeno
(d. 1501), wrought entirely in bronze; on the sarcophagus is the figure of

224 Route 30. VENICE. S. Marco.

the cardinal , over life-size ; below are the six Virtues. The 'Altar and
canopy are also cast in bronze , with the exception of the frieze and the
bases of the columns. Over the altar are groups in bronze, of the Sladonna,
St. Peter, and John the Baptist; on the altar itself a relief of the Re-
surrection. To the right and left two lions in coloured marble.

In the right transept is the entrance to the Treasury ( Tesoro di S. Marco,
open on Mondays and Fridaj'S 121/2-2 o'clock, except on festivals), containing
candelabra by Benvenuto Cellini; cover of the books of the Gospels from
the church of St. Sophia at Constantinople, decorated with gold and jewels ;
a crystal vase with the 'Blood of the Saviour'; a silver column with a
fragment of the 'True Cross'; a cup of agate with a portion of the 'skull
of St. John'; the sword of the Doge Morosini; cuneiform writings from
Persepolis ; an episcopal throne of the 7th cent., said to be that of St.
JIark; and a number of other curiosities.

The Crvpt, freed from water and restored in 1868 (but still often
underwater), also deserves a visit; open 12-2 o'clock, entrance by the first
door to the right in the Sacristy (see above); at other hours it is shown
by the sacristan. To the right a well executed Christ in relief by San-
sovino.

A walk (sacristan 1/2 fr.) round the Galleet inside the church is
strongly recommended in order that the mosaics may be more closely
inspected. The ascent is from a door to the right in the principal porta),
which the sacristan opens. The gallery on the outside of the church
should then be visited for the sake of examining the bronze horses.

On the N. side of St. Mark's, under the arch of the transept,
is a marhle sarcophagus borne hy lions, executed by Borro, and
containing the remains of Daniele Manin , the president of the re-
ptiblic in 1848, which were brought from Paris in 1868. — On the
wall here are placed numerous ancient Byzantine reliefs in marble
(Madonna, etc.), brought from the East by Venetians.

On the S. side of the church (comp. p. 225) are two short square
*Columns, inscribed with Greek characters, brought hither in 1256
from the church of St. Saba at Ptolemais, which was destroyed by
the Venetians. From the Pietra del Bando , a block of porphyry at
the S.W. corner, the decrees of the republic were anciently pro-
mulgated. Two curious Reliefs in porphyry are immured by the
entrance to the Palace of the Doges , representing two pairs of
knightly and armed figures embracing each other. They are said
also to have been brought from Ptolemais, atid have given rise to a
great variety of conjectures, the most recent being that they re-
present four emperors of Byzantium of the 11th cent., and once
adorned the pedestal of an equestrian statue.

Opposite St. Mark's, to the S.W., rises the isolated square
^Campanile (II Campanile di S. Marco), 322 ft. in height, which is
always open to the public (doorkeeper 15 c. for each pers. on enter-
ing). It was founded in 911, restored in 1510, and finally completed
in 1591, the upper part and the spire having been constructed by
Bartolommeo Buon. The ascent by a winding inclined plane of 38
bends, and finally by a few steps, is easy and well-lighted. The
watchman at the summit is provided with a telescope and opens the
door to the second gallery for a trifling gratuity. The*View comprises
the city, the Laguno (comp. p. 220), the Alps, and part of the
Adriatic; W. the Monti Euganoi near Padua (p. 279), rising above

Clock Tower. VENICE. 36. Route. 225

the Lagune; E. in clear weather the Istrian Mts., rising ahove the
Adriatic, a magnificent spectacle towards sxmset. The ascent of
the campanile is recommended to the traveller, hoth for a prelimin-
ary survey, and as an appropriate termination to his visit to Ven-
ice. — The Loggetta, or vestibule, on the E. side of the campanile,
erected by Sansovino in 1540 and lately restored, once served as a
waiting-room for the procurators, whose offjce it was, during the
sessions of the great Council, to command the guards. The bronze
statues of Peace, Apollo, Mercury, and Pallas, and the reliefs on
the coping by Sansovino, and also the Bronze Doors, cast in 1750,
deserve inspection.

The Clock Tower (La Torre delV Orologio), on the opposite side,
at the E. end of the old Procuratie, erected by Pietro Lombardo in
1496, rises over a gateway, resembling a triumphal arch, restored
in 1859. On the platform are two Vulcans in bronze , who strike
the hours on a bell. The custodian of the clock, who lives in the
building, shows and explains the mechanism (fee 1/2 fr.). The
entrance is under the archway to the left, where it is indicated by
a notice. The Merceria (p. 215), the principal commercial street
of Venice, quits the Piazza of St. Mark here, and leads to the Ponte
Rialto (p. 242).

From the S.E. corner of the Piazza of St. Mark to the Lagune,
extends the *Piazzetta (PI. F, 4), which is bounded on the W. by
the former Library, and on the E. by the Palace of the Doges.

The *Library (Antica Libreria di S. Marco), which now belongs
to the royal palace, begun by Sansovino in 1536 , is a magnificent
structure of the 16th cent., and one of the finest secular edifices in
Italy. In plan the structure consists of a double colonnade with
arches and embedded columns. In the upper colonnade the arches
rest upon smaller, additional columns of the Ionic order. The
effect is so fine, that Sansovino may be fairly said to have justi-
fied the liberty he has taken in enlarging the metopes at the ex-
pense of the triglyphs and architrave, and in some other points
(Burckhardt). — In the direction of the Lagune are two Granite
Columns, brought by the Doge Michiel from Syria in 1120, and
erected here in 1180; one of them bears the Winged Lion of St.
Mark, the emblem of the tutelary saint of Venice ; the other is
surmounted by St. Theodore on a crocodile, the patron of the ancient
republic, placed there in 1329. This used to be the place of
execution, and is now the headquarters of the gondoliers (comp.
p. 214). On the Lagune, between the Library and the Royal Garden,
is situated the Zecca or Mint, which was also built by Sansovino in
1536.

The **Palace of the Doges (Palazzo Ducale, PI. 60), the W.
side of which, 82 yds. in length, looks towards the Piazzetta, aud
the S. side, 78 yds. in length, towards the Molo, was founded in
800, afterwards destroyed five times, and as often re-erected in

Baedeker. Italy I. 5th Edit. 15

22G Route 36. VENICE. Pal. of the Doges.

a style of greater magnificence than before. The reconstruction
begun in 1341 from the designs of Filippo Calendario was carried
out under the superintendence of Pietro Baseggio. The facade
was restored in the Gothic style in 1424-42. The whole building
is undergoing restoration. On the W. and on the S. side the
palace is flanked by two colonnades of 107 columns (36 below,
71 above), one aboj^e the othrr , with pointed vaulting. The
mouldings of the upper colonnade, 'La Loggia'', are remarkable
for their richness. From between the two columns of red marble
(9th and 10th from the principal portal) in the Loggia, the Ee-
public anciently caused its sentences of death to be published.
The capitals of the short columiis below are richly decorated with
foliage, figures of men and animals, etc. On the corner-pillar by
the portal are interesting representations of Numa Pompilias,
Scipio, the Emperor Trajan judging the cause of a woman , and of
Justice , with inscriptions. Above these is a group representing
the Judgment of Solomon. At the corner towards the Lagune,
Adam and Eve. (Porphyry-reliefs on the corners to the left, see
p. 224.) The fine Portal adjoining St. Mark's, constructed of
marble of different colours in 1439, in the Gothic style with a Re-
naissance tendency, and recently restored, is called the Porta delta
Carta, from the placards formerly exhibited here to announce the
decrees of the republic. Justice is represented in the tympanum.

The *CouRT, begun at the close of the 15th cent, by Antonio
Bregno and Antonio Searpagnino , but only partially completed,
has an admirable finished facade on the E. side. The unsym-
metrical form of the court was probably rendered necessary by the
previous existence of surrounding buildings. Within one of the
highest windows to the left was the prison of the poet Count
Silvio Pellico in 1822, before he was conveyed to the Spielberg at
Briinn. In the centre of the court are two Cistern-fronts in bronze,
dating from 1556 and 1559. To the right, on the facade of the
Clock Tower, is a statue of the Venetian general Duke Francis
Maria I. of Urbino (d. 1625). The other statues are antique, but
freely restored. The charming small facade farther E., perhaps the
best, is by Guglielmo Bergamasco (1520).

The *Scala dei Giganti, the flight of steps by which the palace
is entered, derives its name from the colossal statues of Mars and
Nt!ptune at the top, executed by Sansovino in 1554. It was on
the highest landing of these steps that the coronation of the doges
used to take place. Opposite the landing are statues of Adam and
Eve, by Antonio Rizzo (1462).

The *Intkriob, of the Ducal Palace (admission , see p. 216)
also forms a noble specimen of Venetian art. Had not the fire in
1577 destroyed so many paintings, we should have been able here
to trace the whole progress of Venetian art during its golden era.
The earliest Venetian painters devoted their energies to the church

Pal. of the Doges. VENICE. 36. Route. 227

of St. Mark, but the great masters of the loth and 16th cent, were
chiefly occupied in embellishing the Palace of the Doges. Their
works having unfortunately perished , the edifice now forms a mu-
seum of later masters only, such as Tintoretto, Palmn Giovane, and
Paolo Veronese, but, nevertheless, it still presents a brilliant and
most attractive array of the Venetian painters, so far as their ener-
gies were enlisted in the service of the state.

We ascend the Scala del Gigaiiti. Around the upper colonnade
are placed the busts of a number of Venetian scholars, artists, and
doges. The first staircase is the richly decorated Scala d'Oro, con-
structed by Battista Franco under the superintendence oiSansovino
and completed in 1577, which was once accessible to those only
whose names were entered as Nobili in the Golden Book. By this
staircase we ascend on week-days (admission Ifr., payable at the
second landing) direct to the upper story, where we enter the Atrio
Quadrato. In this case we traverse the narrow passage to the left,
visit the apartments described at p. 229, and afterwards descend to
the middle story.

The next staircase , the Scala del Censori , which forms the
entrance to the apartments on Sundays and festivals, first leads to
the First Floor, which contains the Library (on the left; p. 228j,
the Sala del Maggior Consiglio (in a straight direction ; see below),
and the Archaeological Museum (on the right ; p. 228j.

I. 'Sala del Maggior Consiglio (door generally open; if not, ring).
In this large hall (55 yds. long, 26 yds. broad, 47 ft. high), the Nobili,
whose names were entered in the 'Golden Book', and who constituted
the highest authority in the Republic, formerly sat. In 1848-49 the House
of Representatives under the Dictator Manin also met here. On the frieze
are the portraits of 76 doges, beginning with Angelo Participocio (d. 827) ;
on the walls 21 large pictures by Bassano, Faolo Veronese, Tintoretto, etc.,
painted to commemorate the achievements of the Republic. On the K.
wall Jae. Tintoretto's Paradise, said to be the largest oil-painting in the
world, containing a perplexing multitude of figures, several of the heads
of which are admirably done. — The Historical Pictures consist of two
series. The first illustrates in a somewhat boastful style the life of the
Doge Sebastiano Ziani (1173-79), who accorded an asylum to Pope Alexan-
der III. when at variance with the Emperor Frederick Barbarossa, and
(in league with the towns of Lombardy) resisted the imperial demands.
The second series depicts the exploits of the Doge Enrico Dandolo (p. 216).
As works of art they are somewhat tedious.

The first series begins on the upper part of the wall to the right of
the entrance, and runs to the left in the direction of the opposite end of
the rooms; 1. Meeting of Pope Alexander III. and the Doge Ziani at the
Monastery delta Oarita, and — 2. Parting audience of the amuassadors of the
Pope and the Doge on their departure for Parma, both by pupils of Paolo
Veronese; 3. (over the window) Presentation of the consecrated candle,
by Leandro Bassano ; 4. Ambassadors of the Pope and the Doge presenting
to Fred. Barbarossa at Pavia a petition for a cessation of hostilities , by
Jacopo Tintoretto; 5. The Pope presenting a sword to the Doge, by Franc.
Bassano; 6. (over the window) Departure of the Doge with the papal bene-
diction, by Paolo Fiammingo; 7. Battle of Salvore (Pirano), defeat of the
Imperial lleet, and capture of Utho, 1177, by Dom. Tintoretto; 8. (above
the door) The Doge presenting the son of the Emperor to the Pope, by
Andrea Vicenlino; 9. Pope Alexander grants permission to the captive Otho
to repair to his father in order to negotiate a peace, by Palma Giovane;

228 Route 36. VENICE. Pal. of the Doges.

10. Fred. Barbarossa kneeling before the Pope (p. 223), by Federigo Zvc-
raro-., 11. (over the door) Conclusion of peace between the Pope, the Doge,
and the Emperor, at Ancona, by Oirolamo Gambaralo ; i'2. The Pope pre-
sents gifts to the Doge, including the ring, the symbol of supremacy with
which the Doge annually 'wedded the Adriatic', 1177? by Gitdio dal Moro.

The cycle of pictures in honour of the Doge Dandolo also begins on
the entrance wall, to which we return after having inspected the first
series. They run from left to right as follows : 1. The Doge and French
Crusaders swear an oath of alliance at St. Mark's in 1201, for the purpose
of liberating the Holy Land, by Giov. Le Clerc ; 2. Storming of Zara in
1202, by Andrea Viceniino ; 3. Surrender of Zara to the Crusaders in 1202,
by Dom. TintoreUo (placed over the door to a balcony, which affords a
line 'View of the Lagune and the islands of S. Giorgio and Giudecca); 4.
Alexius, son of the dethroned Greek Emp. Isaac Angelus, invoking the
aid of the Venetians in behalf of his father in 1202, by Andrea Vicentino ;
5. Taking of Constantinople by the Venetians and French, 1204, by Dom.
Tintoretto; 6. Second taking of Constantinople, 1204, by Dom. Tintoretto;
7. Count Baldwin of Flanders elected Greek Emp. in the church of St.
Sophia, 1204, by Andr. Vicentino; 8. Coronation of Baldwin by the Doge
Enrico Dandolo, 1204, by Aliense. (Above this, a black tablet on the frieze
among the portraits of the Doges bears the inscription: Mic est locus Ma-
rini Falethri decapilati pro criminibus; comp. p. 217.) — Lastly, as an ad-
ditional picture: *9. Return of the Doge Andr. Contarini from the victory
over the Genoese fleet near Chioggia, 1378, by Paolo Veronese. — The
ceiling paintings , which also represent battles fought by the Venetians,
are by Paolo Veronese^ Sassano, Jac. Tintoretto, and Pulma Oiovane; the
'Fame of Venice (next to the entrance) is by Paolo Veronese.

The CoEKiDOR contains a bust of the Emp. Francis. — The Sala dello
Serutinio, or Voting Hall, is decorated similarly to the preceding saloon.
On the frieze are the portraits of 39 doges, down to Lodovico Manin (1797).
On the wall of the entrance: "^Last Judgment, by Palma Giovane. On the
left wall, towards the Piazzetta : 1. Victory of the Venetians over King
Roger of Sicily in 1148; 2. Subjugation of Tyre under Domenico Dlichieli
in 1125; 3. (over the door to the balcony, which affords a good survey
of Sansovino's library) Victory of Dom. Michieli over the Turks at Jaffa
in 1123; 4. Victory in the lagoons over Pipin , son of Charlemagne, in
811 ; 5. Siege of Venice by Pipin in 809. — • Opposite the entrance: Monument
to the Doge Francesco Morosini 'Peloponnesiacus', who in 1684 - 90 con-
quered the Morea and Athens (p. 218). — On the right wall: 6. Lazaro
Mocenigo conquers the Turks, near the Dardanelles in 1657; 7. (over the
window towards the court): Destruction of Margaritino in 1571; 8. Battle
of Lepanto, in the same year; 9. (over the second window) Conquest of
Cattaro in Dalmatia during the war against Genoa in 1378 ; 10. Re-capture
of Zara in 1346. — On the ceiling several other scenes from the history
of the Republic.

The celebrated Library of St. Mark, containing many rare MSS. and
beautiful miniatures, and also some ancient cameos (two heads of Zeus),
is open to the public daily from 10 to 3 (Sundays and holidays excepted).
Among its chief treasures is the "Breviario Grimani, embellished with
miniatures by Hans Memling, Lievin de Wide, and other Netherlandish
painters "f the 15tb century. — The extensive and choice Collection of
Coins is shown by special permission only.

II. The Archseological Museum, established in 1846 in the apart-
ments in which the doges resided till the close of the 16th cent., contains
ancient sculptures in marble, of Greek and Roman origin, most of which
were brought home as booty by the Venetians from their various cam-
jiaigns.

I. Room: 94. One of the Dioscuri, a portrait statue; 90. Colossal
Minerva; "85. Bacchus and a satyr; °80. Apollo reposing; 70, 68. Elegant
candelabra-bases, with armed cupids; '■'51, 56. Muses from the Amphitheatre
of Pola; 46. Dancing Silenus; 35. Cupid bending his bow; 32. Boy with a
t'oose, a fountain-ligiire: 29. Venus and Cupid.

U. Kuom: 169. llcrinaiihroditc, fraiiment of a sidrited group; "148.

Pal. of the Doges. VENICE. 36. Route. 220

Rape of Ganymede, freely restored; *153. Gaul sinking from exhaustion;
■145. Dead Gaul lying on his shield; *144. Gaul, in his last desperate
struggle ; these three resemble the Dying Gladiator in the Capitol at Rome
and similar statues at Naples, and probably belonged to the groups de-
dicated to the Acropolis of Athens by Attains, King of Pergamos, about
B.C. 239, after his victory at Sardes in Asia Minor over the invading
Gauls; 138. Leda with the swran ; 133. Apollo ; 113,187. Two comic masks;
IC^. Cupid bending his bow, in Parian marble. — The chimney-piece dates
from the end of the 15th century.

III. Room: old maps; among them the celebrated "Map of the
World by the Camaldulensian monk Fra Mauro, 1457-59; six tablets of
carved wood by Haji Mehemet of Tunis (1559) , representing the globe ;
Plans of Venice of 1500 and 1728. The next room is entered by a door
to the right. — IV. Room: 190. Warrior sacrificing; 195. Fragment of a
sarcophagus, rape of Proserpine ; 196. Another with the destruction of the
children of Niobe ; 220. Greek tomb relief; 222. Centaurs fighting, and a
female Centaur asleep; 231. Fragment of a Greek frieze, battle of the
Greeks and Trojans around the ships ; 239. Four-sided base of a candelabrum.
We now return to the 3rd room, from which the next is entered to the
right. — V. Room; chiefly busts of emperors, the best being 292. Vitel-
lius; 250,299. Bacchantes; 245. Replica of the archaic Diana at Naples.
— To gain admission to the last rooms (closed), which contain interesting
bronzes, application must be made to the director.

The Upper Floor contains the apartments in which the
authorities of the republic once held thSir meetings, and which
are still in a great measure preserved in their ancient splendour.
The following description begins by the entrance from the Scala
dei Censori. (On the upper landing we turn to the left ; to the
right is the Instituto di Scienze.) — Those who ascend by the
Scala cVOro (the staircase used on week-days, comp. p. 227) first
enter the Atrio Quadrato, from which they proceed to the Sala delle
Quattro Porte, Sala del Senate, and the following rooms, till they
reach the Anticollegio, whence they visit the Stanza dei Tre Capi
del Consiglio and the remaining rooms in the reverse order from
that given below. They then descend from the Sala della Bussola
by the Scala dei Censori to the first floor.

I. Sala della Bussola, once the ante-chamber of the three Inquisitors
of the Republic ; by the entrance is an opening in the wall , formerly
decorated with a lion's head in marble, into the mouth of which (Bocca di
Leone) documents containing secret information were thrown. This apart-
ment contains two pictures by AUense: on the right, Taking of Brescia,
1426, and on the left. Taking of Bergamo, 1427; chimney-piece by Sanso-
vino. — In a straight direction we next enter the —

II. Sala del Consiglio dei Dieci. On the wall of the entrance , Pope
Alexander III. and the Doge Ziani, the conqueror of Emp. Fred. Bar-
barossa, by Bassano ; opposite, the Peace of Bologna, concluded in 1529
between Pope Clement VII. and Emp. Charles V., by Marco Vecellio ; on
the ceiling, in the right hand corner, portraits of an old man and a hand-
some woman, by Paolo Veronese, restored. Large modern ceiling paintings.
Fine putto frieze. — We now retrace our steps through the Sala della
Bussola and enter (to the right) the —

III. Stanza dei Tre Capi del Consiglio, with ceiling-paintings (an angel
driving away the vices) by Paolo Veronese ; chimney-piece by Sansovino ;
caryatides by Pietro da Said ; on the left. Madonna and Child , two saints
and Doge Leon. Loredano, by Catena. — A passage leads hence to the —

IV. Atrio Quadrate, into which the Scala dWro leads, with a ceiling-
painting by Tintoretto, representing the Doge Priuli receiving the sword
of justice. On the walls eight portraits of senators.

230 lirjute :i(l. VENICE. Pal. of the Doges.

V. Sala delle Q,uattro Porte, restiircd in 1869; doors designed hy Pal-
ladio , 1575; left, Verona conquered by the Venetians, 1439, by Giov.
Contarini ; right, the Doge Ant. Grimani kneeling before Religion, by Titian;
left, the Arrival of Henry III. of France at Venice, by Andrea Vicentino;
the Doge Cicogna receiving the Persian ambassadors in 1585, by Carletto
Caliari. Magnificent ceiling. — Through the door on the right we now
enter the —

VI. Sala del Senate. Over the throne. Descent from the Cross by
(Hacomo Tintoretto; on the wall, the Doge Franc. Venier before Venice,
the Doge Cicogna in presence of the Saviour, Venetia on the Lion against
Europa on the Bull (an allusion to the League of Cambray, see p. 218),
all three by Palma Giovcine; the Doge Pic'ro Loredano imploring the aid
of the Virgin, by Gincomo Tintoretto. Ceiling-painting: Venice, Queen of
the Adriatic, by Domenico Tintoretto.

Beyond this room (to the right of the throne) is the Ante-Chamber
to the chapel of the doges, containing five pictures of little value. —
In the Chapel over the altar a Madonna by Sansovino. To the left of the
altar: Paris Bordone., Pieta; 'Paolo Veronese., Forest landscape with
accessories ; Cima da Conegliano (?), Madonna in a landscape ; Early
Flemish Artist, Mocking of Christ; Giorgione (?), Christ in Purgatory;
"Bonifacio., Christ teaching (three pictures brought from the Palazzo Reale
in 1875); then (to the right of the door). Crossing of the Red Sea, wrongly
ascribed to Titian. To the right of the altar is a staircase descending to
the private dwelling of the Doge; on the wall of the landing, St. Christopher,
a fresco by Tiiian. — We return through the Sala del Scnato and enter
to the right the —

Sala del CoUegio. Over the door, the Nuptials of St. CathariHC (be-
low, the Doge Franc. Dona); to the left of it. Virgin in glory (with the
Doge Kiccolo da Ponte) , Adoration of the Saviour (with the Doge Alvise
Mocenigo), all three by Tintoretto ; over the throne a memorial picture of
the Battle of Lepanto, *Christ in glory (below, the Doge Venier, Vene-
tians, St. Mark, St. Justina, etc.), both by Paolo Veronese; opposite, the
Prayer of the Doge Andrea Gritti to the Virgin , by Tintoretto. Ceiling-
paintings, Neptune and Mars, Faith, Venetia on the globe with Justice and
Peace, all by Paolo Veronese.

AnticoUegio : left, '^'Rape of Europa, by Paolo Veronese ; Jacob's return
to Canaan, by Bassano; Forge of Vulcan , Mercury with the Graces, op-
posite to it Blinerva driving back Mars, and Ariadne and Bacchus, all
four by Tintoretto. Ceiling-painting, Venetia enthroned, by Paolo Vero-
nese, much damaged.

The handsome E. side of the Palace of the Doges towards the
canal, which presents a more harmonious appearance than the W.
side, and has a basement of facetted stone, is connected with the
Carceri or Prigioni, constructed in 1512-97 hy Giov. da Ponte, by
means of the lofty Bridge of Sighs (Ponte dei Sospiri; PI. 97).
The Piombi, or prisons under the leaden roof of the Palace, were
destroyed in 1797, but a torture-chamber has recently been restored
to satisfy the curiosity of tourists. The Pozzi, or half-ruined dun-
geons on the farther side of the narrow canal on the E. side of the
Palace, with the place of execution for political criminals, may
also be inspected, and are full of sombre interest (entrance from
the first floor).

A good survey of the Bridge of Sighs is obtained from the Ponte
dellfi Piiiilid, which connects the Molo with the adjacent —

Riva degli Schiavoni (PI. F, (t, 4), a quay paved with un-
polished slabs of marble, and presenting a busy scene. Sailors of all
nations, from the vessels which lie in the vicinity, and numerous id-

Academy. VENICE. 36. Route. 231

lers, are soeii lounging here or congregated at the cafes. — The
church of S. Maria della Pieta, situated about the centre of the
Riva, contains a *Christ in the house of the Pharisee by Moretto
(in the high choir, above the principal entrance), and a Coronation
of Mary by Tiepolo (on the ceiling). From the Riva a view is ob-
tained of the Giardini Pubbtici, mentioned at p. 258.

If we diverge from the Riva to the left, by the church of S.
Biagio (PL 6), which contains a monument to Admiral Angelo
Emo by Ferrari-Toretti, the teacher of Canova, and skirt the broad
canal, we soon reach the entrance gate of the -

*Arsenal (PI. 3; H, 4; admission daily, 9-3, except on Sun-
days and festivals, on presenting a visiting-card), which at the time
of the Republic employed 16,000 workmen, but now 2000 only.
The decline of Venice is nowhere so apparent as here. At the outer
entrance (handsome gateway of 1460) are the four antique lions,
brought here in 1687 from the Pirsus ; the large one on the left,
the body of which is covered with inscriptions no longer legible,
is conjectured once to have stood on the battle-fleld of Marathon.

iNTEKioK (entrance by crossing the court to the left). First Floor:
Interesting collection of models of ships of all periods, including a model
and the scanty remains of the Bucentoro, a vessel destroyed by the French,
from which the Doge was wont annually on Ascension Day to throw the
ring (p. 228) into the Adriatic, which he thus symbolically wedded ; model
of the system of piles on which the city is to a great extent built. —
Second Floor: Fine collection of weapons; by the entrance, statue of Vit-
tore Pisano (1380); monument to Admiral Angelo Emo (d. 1792), by Canova;
several trophies of historical interest, banners from the battle of Lepanto,
armour of former doges, of the Condottiere Gatf amelata, and of Henry IV.
of France ; revolvers and breech-loaders of a primitive description of the
16th cent., a finely executed culverin of steel, adorned with reliefs, in-
struments of torture , iron helmet found near Aquileia, bust of Napoleon
of 1805. (Explanatory inscriptions on each object; gratuities forbidden.)

Beyond the bridge, near the Direzione Generale , stands the
Monument of Count von der Schulenburg, marshal in the Venetian
service (d. 1747).

The **Accademia delle Belle Arti (PI. 1 ; D, 5), In the sup-
pressed Scuola delta Carith, the assembly-hall of this brotherhood,
on the Grand Canal, opposite the S. extremity of the iron bridge
(p. 240) and 1/.2 M. from the Piazza of St. Mark, may easily be
reached on foot (comp. p. 252). The entrance is in the cloisters,
to the left, whetice we ascend to the first floor. (Admission, see
p. 216.) Permission to copy is easily obtained at the office. The
numbers over the doors apply in each case to the next room. —
Catalogue, 1 fr.

The gallery contains almost exclusively pictures by Venetian
masters. The general public will be most interested in the works
of the time of Bellini and the following period, as well as in the
historical pictures by Gentile Bellini and Carpaccio in the XVI.
Room, exhibiting a lifelike picture of ancient Venice, the brilliant

232 Route 36.

VENICE.

Academy.

colours of -which cause us to forget the poverty of the execution
and waut of inspiration which characterise the individual ttgures
as well as the groups. It is instructive to compare these paintings
with the manner in which Florentine artists of the same epoch
arranged their groups and described historical events. Attention
must be drawn to the numerous pictures of Giovanni Bellini (Nos.
38, 94, and others), representing the assemblage of saints sur-
rounding the throne of the Madonna ('sacra conversazione'), to the
beauty of the nude figures, and to the powerful and imposing,
though not very saintlike male figures. A picture by Boccaccino
da Cremona (No. 132), a little known master of the earlier school,

En-
trance

XI XII XIII XIV

1 1 1

/-^

. Corridor

XV
XVI

Ante-

rodui

v,u| 1

COUKX

VII
V VI

Court

XVII

VIII

XX XIX X

1 '

III

is one of the best of that period. Giorgione's Storm at sea (No. 37)
is of doubtful authenticity, and moreover much damaged. Palma
}'eccliio is not represented here by his best works. On the other
hand Rocco Marconi s Descent from the Cross (No. 405) is one of
his finest efforts. Titian's masterpiece , the Assumption of the
Virgin (No. 24), requires no comment; the glowing rapture of the
apostles, the jubilant delight of the angels, the beaming bliss of
the Madonna, the magnificence of the colouring, cannot fail to
strike the eye of every beholder. The gallery comprises what is
perhaps the earliest known work of this master, and his last, un-
completed creation : tlie Visitation, and the Descent from the Cross.
The Presentation in the Temple (No. 487) is very attractive owing
to the spirited character of tlie grouping, and the beauty of the

Academy. VENICE. 36. Route. 233

individual figures. Bonifacio'' s wealtli of colour is displayed in the
Adoration of the Magi (No. 57), and in the History of the Rich Man
(No. 500). The Miracle of St. Mark (No. 45) by Tintoretto, and
the Supper in the house of Levi (No. 547) by Paolo Veronese, are
specially interesting.

Beyond the Corridor, which contains numerous architectural
drawings, we pass through an ante-chamher containing sculptures
(I. Adonis by Rinaldo Rinaldi, III. Adonis by Jacopo de Martini),
and enter the —

Saxa I, DEGLi Antichi Dipinti. Ancicut pictures, the hand-
some original frames of which should be noticed. 1. Bart. Vivarini,
Mary and four saints, painted in 1464; 4, 6. (belonging to each
other), Marco Basaiti, St. James and St. Anthony ; 5. Lorenzo
Veneziano and Franc. Bissolo , Altar-piece in sections, in the
centre the Annunciation, above it God the Father (1358); 8. Gio-
vanni and Antonio da Murano, Coronation of the Virgin in an
assembly of saints, in the centre 'putti' with instruments of torture
(1440); 10. Bartolommeo Vivarini, St. Matthew; 11. Vincenzo
Catena, St. Augustine; 14. Bart. Vivarini, St. Barbara (1490) ;
18. Alwise Vivarini, St. Anthony; 21. Bartolommeo Vivarini, Sta.
Clara ; *23. Giovanni d'Alemagna and Antonio da Murano, Ma-
donna enthroned, with four Fathers of the church (1446), interest-
ing also on account of the peculiar architecture.

Sala II, dell' Assunta , the ceiling richly gilded , in the
lunettes portraits of painters of the Venetian school, painted in
1849-55, the light unfavourable (the visitor requires to shade his
eyes from the glare of the windows). Opposite the staircase : —

**24. Titian, Assumption (Assunta), painted in 1516-18 for
the Frari (p. 248), whose high altar it once adorned.

The present position of the picture is very unfavourable. 'Neither
the place nor the light is that for which Titian intended it ; and the con-
trast between the radiance of the sky and the darkness round the tomb
is lost on the one hand, whilst coarseness of outline and foreshortening
— unseen in. the gloom of a church — are forced unfairly into view.
Yet few pictures impress us more even now with the master's power. . . .
There is nothing so remarkable in this enchanting picture as the contrast
between the apparent simplicity of the results, and the science with which
these results are brought about. Focal concentration is attained by per-
spective science, applied alike to lines and to atmosphere, at the same
time that a deep and studied intention is discoverable in the subtle
distribution of radiance and gloom. . . . Something indescribable strikes
us in the joyful innocence of the heavenly company whose winged units
crowd together singing, playing, wondering and praying, some in light,
some in half light, others in gloom, with a spirit of life moving in them
that is quite delightful to the mind and the eye. Like the bees about
their queen this swarm of angels rises with the beauteous apparition of
the Virgin, whose noble face is transfigured with gladness, whose step is
momentarily arrested as she ascends on the clouds , and with upturned
face and outstretched arms longs for the heaven out of which the Kternal
looks down. To this central point in the picture Titians invites us by all
the arts of which he is a master. . . . The apostles we observed are in
shade. An awfully inspired unanimity directs their thoughts and eyes
from the tomb round which they linger to the circle of clouds beauti-

231 Route 36. VENICE. Academy.

fully supported in its upward passage by the iloating shapes of the
ani^L'ls." The lifelike semblance of nature in these forms and the mar-
volb us power with which their various sensations of fear, devotion, re-
verent wonder, and rapture are expressed, raise Titian to a rank as
high as that held by Raphael and Michaelangelo. — C. d- C.

Farther on, to" the right : 25. Tintoretto., The Fall. *31. Marco
Bamiti, Call of the Sons of Zehedee, painted in 1510, and mark-
ing, along with No. 534 in Room XVI. (painted in the same year),
the highest level reached by Basaiti, before he adopted the style
of Bellini. 32. Tintoretto, Madonna and Child, with three senators.

*33. Titian, Entombment, his last picture, with which he was
engaged at the time of his death, in his 99th year, completed by
Palma Giovane in 1576, as the inscription records.

'It may be that looking closely at the 'Pieta', our eyes will lose
themselves in a chaos of touches; but retiring to the focal distance, they
recover themselves and distinguish all that Titian meant to convey. In
the group of the Virgin and Christ — a group full of the deepest and
truest feeling — there lies a grandeur comparable in one sense with that
which strikes us in the 'Piota' of Michaelangelo.' — C. <t C.

34. Bonifacio, SS. Anthony and Mark ; 35. Titian(;^), Visitation
(if genuine, his earliest work extant) ; 36. Tintoretto, Resurrection,
and three senators ; 37. Giorgione (?), Storm at sea.

*38. Gioi:. Bellini, Madonna enthroned in a richly decorated
niche, with (1.) St. Francis, Job, St. .John, and (r.) SS. Sebastian,
Dominique, and Louis, and three angels on the steps of the throne ;
this is one of the master's finest works.

'Finely thcmght out is the concentration of light on the Virgin seated
with the babe on her knee. ... By means essentially his own, Bellini
was here creating for the Venetian sch(uil something distantly akin to
the ecstatic style of Angelico. . . . The 'canon' of Venetian art is truly
stated to have been laid down in this picture.' — C. d- C.

39. Palma Giovane, Vision from the Apocalypse ; 40. Palma
Giov., The four horsemen of the Apocalypse ; *45. Tintoretto, St.
Mark releasing a condemned slave; 47. Padovanino, Marriage of
Cana ; 49. Bonifacio, St. Francis and the Apostle Paul ; 50. Boni-
facio, The adulteress before Christ; 51. Tintoretto, Portrait of the
Poge Luigi Mocenigo; 52. Catena, Scourging of Christ ; 53. Tin-
toretto, Madonna and Child, with SS. .Joseph, Mark, and Jerome,
and the portrait of the doge ; 54. Paolo Veronese, Virgin in glory,
below is St. Dominicus, distributing crowns of roses to the pope,
emperor and king, doges, cardinals, etc. (difficult to see); *55.
Bonifacio, Solomon's judgment (1533); *57. Bonifacio, Adoration
of the Magi; 59. Palma Vecchio, Assumption; 60. Rocco Marconi,
Christ, Peter, and John; *62. Paolo Veronese, Scourging of St.
Christina; 63. Tintoretto, Death of Abel.

Sala III. (adjoining the Assunta on the right): Marble bust of
(riov. Bellini. Late Venetian masters of no great merit. The
foUnwiTig are temporarily placed here : Cima da Conegliano, Tobias
and the angel; *Vittorc Carpaccio (according to Mr. Crowe; form-
erly attributed to Giovanni BeUini), The Supper at Enimaus, from
S. Salvatore (p. 246). The ceiling paintings are by Tintoretto.

Academy. VENICE. 36. Route. 235

vSala IV. (to the left, up the staircase), academic assembly-hall
with several reliefs and numerous old drawings, among which
those hy Leonardo da Vinci and the so-called sketch-hook of Ra-
phael are particularly interesting. — As some of the rooms were
formerly closed on certain days, the numbering of the rooms does
not correspond with the order in which they are now traversed.
We next enter —

Sala. XVII. : 582. Cima da Conegliano, Madonna and saints;
586. Bonifacio, Temptation of SS. Benedict and Sebastian.

*593. Palma Vecchio, Peter and saints.

'None of Palma's works was executed with more energy and force
than this. ... In keeping with forcible attitudes and movements are the
solid Ijreadth and substance of the impast, the large cast and unusually
line style of the drapery, the massively modelled surfaces, the grand shapes,
and clean articulations.' — C. d- C.

572. Bonifacio, Adoration of the Magi ; 575. Tintoretto, Two
senators. — We next inspect the three small adjoining rooms,
turning first, by the second door to the right, into —

Sala XVIII. : Modern pictures by professors and pupils of the
Academy.

Sala XIX. : Pictures of the 18th cent., most of them mediocre:
644. Antonio Canale , surnamed Canaletto , Architectural piece ;
656, 661. Carriera, Portraits in chalks.

Sala XX. : Modern pictures: 671. Ant. Zona, Meeting of
Titian and Paolo Veronese. — We now return to Sala XVII. and
from it enter —

Sala XVI. : **547. Paolo Veronese, Jesus in the house of Levi
(1572), a masterpiece of the artist , who has treated the historical
incident merely as a pretext for delineating a group of handsome
figures in the full and unfettered enjoyment of existence (Burck-
hardt). 545. Lazzaro Sebastiano, Antonio Riccio congratulated by
his friends. 543. Gentile Bellini, Miraculous cure of Pietro di Lu-
dovigo through the fragment of the Cross, an interior, originally
painted, like the two other large pictures on canvas , Nos. 529
and 555, for the Scuola di S. Giovanni Evang. (1500), where a
relic of the Cross was formerly revered ; the walls were hung with
these pictures In the same way as with tapestry, a circumstance
which accounts for many peculiarities in the composition. *534.
Marco Basaiti, Jesus at Gethscmane.

*Vittore Carpaccio, Nine scenes from the legend of St. Ursula,
painted in 1490-95 for the Scuola di S. Ursula in Venice.

539. The ambassadors of the pagan king of England bring to King
Maurus, father of S. Trsula, the proposals of their master for the hand
of his daughter; 533. S. Ursula's vision; 537. The ambassadors depart
with the answer that the bride desired the postponement of the marriage
for three years, in order to make a pilgrimage to Rome; 549. Return of
the aml]as.<!adors to England and their report to the king; 542. Double
picture, representing the Departure of the English monarch, who has re-
solved to share in the pilgrimage, and his Meeting with Ursula (on ship-
board) ; 546. Ursula, her companions, and the prince receive the blessing
of Pope Cyriacus ; 544. Arrival of S. Ursula at Cologne ; 554. Martyrdom

236 lioute 36. VENICE. Academy.

of the saint and her virgins , who are pierced with arrows ; 560. Apo-
theosis of S. Ursula. — The style in which the legend is narrated is al-
most too simple, but interesting on account of the admirable perspective
and faithful rendering of real life. The traveller who has visited Belgium
cannot fail to compare this work with the celebrated shrine of S. Ursula
at Bruges , painted by Hans Jlemling about (he same time (1489) for the
Hospital of St. John there. The execution of the northern artist is ten-
der and graceful , almost like miniature-painting , while the extensive
canvases of his Venetian contemporary are vigorous, almost coarse in
character.

o29. Gentile Bellini , Miraculous finding of a fragment of tlie
'True Cross', wMcli had fallen into the canal ; *564. Carpaccio,
Healing of a lunatic, with the old Rialto bridge In the background ;
561. Alwise Vivarini, Madonna with saints; 559. Carpaccio, Mar-
tyrdom of the 10,000 Christians on Mt. Ararat, painted in 1515;
*55o. Gentile Bellini, Procession in the Piazza of St. Mark, painted
in 1496 (showing the appearance of the Piazza at that date, differ-
ing materially from its present form) ; 55'2. Carpaccio , St. Anna
and St. Joachim between St. Louis and St. Ursula.

Sala XV. : *bOO. Bonifacio, Banquet of Dives; *idb. Rocco
Marconi, Descent from the Cross; 494. L. Bassano, liaising of La-
zarus ; 493. Carlo Caliari , Same subject ; *492. Paris Bordone,
The fisherman presenting the Doge with the ring received from
St. Mark , probably the most beautiful ceremonial picture in
existence (Burckhardt). — *490. Pordenone , The glory of S. Lo-
renzo Giustiniani, with John the Baptist, St. Francis, St. Au-
gustine, and three other figures.

The composition unites all the peculiar qualities of the master, and
we can see that a supreme eftort has been made to produce a grand im-
pression. The work, however, cannot be put on a level with the great
creations of Titian. — C. & C.

489. P. Veronese , Salutation ; 488. Carpaccio , Circumcision
[1510). — *487. Titian, Presentation in the Temple.

'It was not to be expected that Titian should go deeper into the per-
iod from which he derived his gospel subject than other artists of his
time. ... It was in the nature of Titian to represent a subject like this
as a domestic pageant of his own time, and seen in this light it is ex-
ceedingly touching and surprisingly beautiful. JIary in a dress of celesti-
al blue "ascends the steps of the temple in a halo of radiance. She pauses
on the first landing place, and gathers her skirts , to ascend to the sec-
ond. . . . Uniting the majestic lines of a composition perfect in the bal-
ance of its masses with an ell'ect unsurpassed in its contrasts^ of light
and shade, the genius of the master has laid the scene in palatial archi-
tecture of grand simplicity. . . . The harmony of the colours is so true
and ringing, and the chords are so subtle, that the eye takes in the scene
as if it were one of natural richness, unconscious of the means by which
that richness is attained. ... In this gorgeous yet masculine and robust
realism Titian shows his great originality, and claims to be the noblest
representative of the Venetian school of colour'. — C. <C' C.

486. Pordenone, Madonna of Carmel and saints; 481. Pado-
vanino, Descent of the Holy Ghost; Canova's original model of
the group of Hercules and Lichas; 473. Pielro da Cortona, Daniel
in the lions' den; 524. Bonifacio, Massacre of the Innocents;
*519. Paolo Veronese, Madonnn and saints ; 516. Bonifacio, Christ

Academy. VENICE. 36. Route. 237

and the Apostles; 513. Heirs of P. Veronese (i. e. produced after
the death of Veronese in his studio, which was maintained by his
sons), Banquet at the house of Levi ; *505. Bonifacio, Christ en-
throned, surrounded by saints (1530); 503. Tintoretto, Madonna
and Child, with four senators.

Sala IX. (long corridor) : 352. Tommaso da Modena, St. Catha-
rine (1351); 349. Antonello da Messina, 'L'Addolorata', a weeping
nun in a brown hood ; 338. Michael Mierevelt, Portrait of a general ;
337. Bissolo, Madonna and four saints ; 332. Girolamo da Santa-
croce. Madonna and Child with saints; 326. Bonifacio, Madonna
and saints ; 324. Pordenone , Angels among clouds ; 319. Titian,
Portrait of Jacopo Soranzo , damaged; 318. Gregorio Schiavone,
Madonna; 315. Cornelis Engelbrechtsen, Crucifixion; 313. Giow.
Bellini, Madonna; 312. Lorenzo Canovizio, Christ in the house of
the Maries ; 306. Tinelli, Portrait of a man ; 298. Michael Angelo
Caravaggio, Chess-players ; 295. Tintoretto, Portrait of Antonio
Capello; *281, *280. Hondekoeter, Victorious cock, Hen and
chickens; 356. Antonello da Messina, Madonna. — We now pass
through the door to the right and then turn to the left into —

Sala X. : 361. Montagna, Madonna and saints ; 365. Andrcq,
Schiavone, Madonna and Child with the infant John and three
saints. — *366. Titian, John the Baptist in the wilderness,
painted about 1536 and formerly an altar-piece in 8. Maria Mag-
giore.

'As a solitary figure this Baptist embodies all the principles of move-
ment inculcated in this 16th century. It is a splendid display ol mus-
cular strength and elasticity combined with elevation in a frame of most
powerful build'. — C. it C.

367. Bassano, Holy Family; 368. Bonifacio, Adoration of the
Magi ; *372. G. Bellini, Madonna and the Child asleep.

Sala XI. and XII. chiefly contain early Italian masters of the
13th and 14th centuries, interesting to the student of art.

Sala XIII. Pinacoteca Renter (presented in 1850 by the
widow of Count Bernard Ilenier) : Francesco Vecellio (brother of
Titian), Madonna and Child with John the Baptist; 421. Cima da
Conegliano, Madonna and Child.

*424. Giov. Bellini, Madonna with St. Paul and St. George
(painted after 1483).

'Unrivalled for its extreme precision of drawing, its breadth of light
and shade, easy cast of drapery, and bright enamel of colour'. — C <fc C.

425. Tintoretto, The adulteress before Christ; *429. Cima,
Entombment; 432. School of L. da Vinci, Jesus and the scribes.
*436. Giov. Bellini, Mary, Magdalene, and Catharine : 'the three
women are characterised by an extraordinary union of dignity,
earnestness, and beauty' (C. ($' C).

Sala XIV. : *446. L. Bassano, Adoration of the Shepherds ;
*452. Garofalo, Madonna transfigured and four saints (1518);
*456. Cima, Christ with SS. Thomas and Magnus ; 464. Tintoretto,

238 Route 36. VENICE. Academy.

Senator; 465. Titian, Portrait of Antonio Capello (1523; conip.
No. 295, Sala IX}.

We now return to Sala IX. and thence enter Corridor II.,
which contains architectural drawings. This corridor Is adjoined
on the left by —

Sala VIII., which contains pictures from the Manfrin Gallery
(p. 244) : 255. Antonello da Messina, Portrait ; 258. Jac. Savoldo,
Two hermits; 259. Niccolb di Pietro, Madonna enthroned (1394);
201. Moretto, St. Peter; 264. Antonello da Messina, Christ scour-
ged ; 266 , 268. Netherlandish portraits ; 270. Venetian School,
Portrait of an old woman ; 272. Marescalco, Three saints ; *273.
Andrea Mantegna , St. George, the head classically shaped, the
workmanship line and minute; 274. Jan Steen, Genre -picture
(1660).

We now traverse the first corridor to the ante-room with sculp-
tures (p. 233), and then turn to the left into —

Sala V., the pictures in which were presented by Count Con-
tarini in 1843 : 84. Palma Vecchio, Christ and the Syrophenician
woman ; 88. After Raphael, Holy Family.

*94. 6iov. Bellini, Madonna and Child, painted in 1487.

'We know not which to admire most, the noble gravity of the mother,
or the pulsation of life in the child. Bellini certainly never so com-
pletely combined relief with transparence, or golden tinge of flesh with
rich and tasteful harmony of tints'. — C. <i- C.

96. Marco Marziale, Supper at Emmaus (1506); 101. Qiov.
Bellini, Madonna; 107. Sassoferrato , St. Cecilia; 110. Andrea
Cordegliaghi (or perhaps Pordenone), Madonna with St. Catharine
and St. John; 117. Pierfrancesco Bissolo, Body of Christ mourned
over by angels ; 124. Bened. Diana, Madonna with John the Bap-
tist and St. Jerome ; 125. Cima da Conegliano, Madonna with John
the Baptist and St. Peter; *132. Boccaccino da Cremona, Madonna
and saints; 133. Polidoro Veneziano, Madonna and Child, with
John the Baptist and angel; 151. Jacques C allot , Market at Im-
pruneta near Florence, a large picture with numerous figures and
groups; 164. Callot, Pont Neuf at Paris (these two doubtful); 155.
Schlavone, Circumcision; 186. iJissoZo, Madonna. In the centre,
Dzedalus and Icarus, executed by Canova when 21 years of age.

Sala VI, Gabinktto Contarini, containing 66 small pictures :
Nos. 229, 230, 231, 241, 242, 243, all by Pietro Longhi, are in-
teresting as affording samples of the Venetian costumes and habits
of last century. Also: 191. Antonio Badile, The Samaritan wo-
man at the well ; 234-238. Giov. Bellini, Allegories. The series
of pictures attributed to Callot are probably copies.

Sala VJI. contains groups of Ethiopian slaves in ebony, bear-
ing Japanese vases, executed about the middle of last century,
and other sculptures.

Canal Orande.

VENICE.

36. Route. 239

The **Canal Grande ('Canalazzo'), tlie main artery of the
traffic of Venice, nearly 2 M. in length, and 33-66 yds. in width,
intersects the city from N.W. to S.E., dividing it into two unequal
parts, and resembling an inverted S in shape. The Canal Grande
occupies the same position at Venice as the Corso at Rome , the
Toledo at Naples , or the Boulevards at Paris. Numerous gondolas
and other craft are seen here gliding in every direction, but little
or no commercial traffic is carried on, as the water is too shallow
for sea-going vessels. Handsome houses and magnificent palaces
rise on its banks , for it is the street of the Nobili, the ancient
aristocracy of Venice. A trip on the canal is extremely interesting;
the distance from the Piazzetta to the station may be traversed in
less than i/-2 hr. , but ^/^-i hr. at least should be devoted to it
in order to obtain a glimpse at the principal palaces in passing.
The gondolier points out the most important edifices. The posts
(pali) were formerly the distinguishing marks of the palaces of the
nobles , and are still so to some extent , being painted with the
heraldic colours of their proprietors. The following, beginning from
the Piazzetta, are the most striking.

Left.

Dogana di Mare (PL 37j, the
principal custom-house , erected
by Benoni in 1682 ; the vane sur-
mounting the large gilded ball
on the summit of the tower is a
gilded Fortuna.

Seminario Patriarcale (PI. 99 ;
open every afternoon), contain-
ing a collection of statues, archi-
tectural fragments, etc., a col-
lection of coins , a library , and
the small Gallery Manfredini.

To the left, 'Madonna and Child
with a saint and an angel with a
lyre, attributed to Leonardo da Vinci;
two small pictures, Christ and Mary
Magdalene, and the Samaritan wo-
man, probably by Filippino Lippi.

S. Maria delta Salute (PI. 22),
see p. 252.

Pal. Dario-Angarani (Pi. 59),
in the style of the Lombardi
(15th cent.).

Pal. Venter, a grand building,
but the ground-floor only com-
pleted.

Right.
Palazzo Giustiniani, now the
Hotel Europa (PI. b), in the
pointed style of the 15th century.
Pal. Eino-Treves (PI. 61); in
one of the apartments is a *Group
of Hector and Ajax , over life-
size , Canova's last work (fee
1 fr.).

Pal. Tiepolo-Zucchelli(VL 91),
now Hotel Britannia.

Pal. Contarini, 15th century.

*Pal. Contarini-Fasan(P[.b2),
restored in 1857, and —

Pal. Ferro (PI. 47) , now the
Grand Hotel (New York), both
handsome structures in the point-
ed style of the 14th century.

240 Route 36.

VENICE.

Canal Grande.

Left.

Pal. Da Mula , pointed style
of the 15tli cent, (now a glass
manufactory, p. 215).

Pal. Zkhy-Esterhazy (PI. 95).

Pal. Manzoni - Angarani (PI.
78), of the period of the Lom-
bard! (15th cent.), formerly an
edifice of great magnificence, and
the sole palace which stood in a
feudal relation to the republic,
now in a dilapidated condition.

Ibon Bridge, coiistruf

Campo delln Cnrita.

Accademia delle Belle Arti (PI.
1), see p. 231.

Pal. Gamlutrn, of the 17th
century.

Palazzi Contarini degli Scrigni
(PI. 51), one, erected by Sca-
mozzi, of the 16th, the other of
the 15th cent. ( the picture-gallery
formerly here has been presented
to the Academy, see p. 238).

Pal. dell Ambasciatore , loth
century.

*Pal. Rezzonico (PI. 88), the
property of Count Zelenski , a
spacious structure of the 17th
and 18th cent., erected by Lon-
ghena and Massari.

Two Pal. Giustiniani (PI. 68),
in the pointed style.

*Pal. Foscari (PI. 66; called
the Pal. Giustiniani before the
addition of the upper story by the
Doge Francesco Foscari), in the
pointed style of the 15th cent.,
a handsome structure , situated
at the point where the Canal
turns to the F., containing the
,S<-uola Superiore di Commercio.

Right.

Pal. Fini-Wimpffen (PI. 62),
now incorporated with the Grand
Hotel.

*Pal. Corner della Ca Grande
(PI. 54), erected by Jac. Sanso-
vino in 1532, with spacious in-
ner court, now the seat of the
prefecture.

Pal. Barbaro, 14th century.

''Pal. Cavalli (PI. 50) , in the
pointed style of the 15th cent.,
with fine windows, the property
of P)aron Franchetti, who has re-
stored it.

Church of 5. Vitale.

ted in 1854 (toll 2 c.).
Campo S. Vitale.

Pal. Giustinian-Lolin (PI. 69),
of the 17th cent., the property of
the Duchess of Parma.

Cd, del Duca , a house begun
for the Duke of JMilan, but left
unfinished by order of the Re-
public.

Pal. Malipiero, Renaissance.

Pal. Grassi (PI. 72), of the
18th cent., restored by the late
Baron Sina.

Pal. Moro-Lin (PI. 82), 17th
cent., erected by Maz/.oni.

*Pal. Contarini delle Figure (PI,
53), in the early Renaissance
style, 1504-64, with shields
and trophies suspended from the
walls.

Pal. Moceniyo (PI. 81), three
contiguous palaces, that in the
centre occupied by Lord Byron in
I81H; that on the N. (PI. 80)

Canal Grande.

VENICE.

36. Route. 241

Left.

Pal. Balhi (PL 42), a Renais-
sance structure, erected by iliess.
Vittoria, a pupil of Sansovino.
This part of the Canal , and
especially the two palaces, are a
favourite subject with artists.

Pal. Grimani (PI. 70) in the
early Renaissance style.

Pal. Persko (PI. 831.

Pal. Tiepolo (PL 92), begin-
ning of 16th century.

*Pal. Pisania -S. Paolo(Pl.86\
in the pointed style of the 14th
century. The celebrated picture
of Darius and Alexander, by
Paolo Veronese , formerly here,
is now in England.

Pal. Barbarigo della Terrazza
(PI. 43) was once celebrated for
its picture-gallery, which became
the property of the Emp. of Russia
in 1850.

Pal. Grimani, erected by one
of the Lombardi in the Renais-
sance style.

Pal. Bernardo (PL 46), in the
pointed style.

*Pal. Papadopoli , formerly
Tiepolo-Sturmer (PL 90), in the
Renaissance style.

Pal. Pisani-Moretta , pointed
style.

Baedeker. Italy I. 5th Edit.

Right.
contains the Exhibition of Art
mentioned at p. 215 (with Ti-
tian's picture , The Saviour's
Blessing).

Pal. Garzoni, 15th century.

*Pal. Corner Spinelli (PL 56),
early Renaissance, in the style of
the Lombardi.

Pal. Cavalli , in the pointed
style of the loth century.

*Pal. Grimani (P. 71b), a Re-
naissance edifice, chef d'oeuvre
of Michele Sammicheli, middle of
the 16th cent. , now the Corte
d'Appello.

*Pal. Farsetti (PL 65, origin-
ally Dandolo~] , in the Venetian
style of the 12th cent., with an
admixture of Byzantine and
Moorish features, now occupied
by the municipal offices (Muni-
cipio).

*Pal. Loredan (PL 74) , coeval
with the last, with coloured in-
crustation, was once the resi-
dence of king Peter Lusignan of
Cyprus , husband of Catharine
Cornaro (comp. Pal. Corner, p.
243), whose armorial bearings
are seen on different parts of the
edifice ; now occupied by muni-
cipal offices.

Pal. Dandolo (PL 58), early
Gothic , once the unpretending
residence of the celebrated Doge
Enrico Dandolo (p. 227 ; small
cafe' on the ground-floor).

*Pal. Bembo (PL 45), in the
pointed style of the 14th century.

Pal. Manin (PL 77), with
16

242 Route 36.

VENICE.

Canal Grande.

Left. Right.

facade by Jac. Sansovino , 16th
cent., was the property of the
last Doge Lod. Manin , who on
the approach of the French in
May, 1797, resigned his office ;
it is now the Banca Nazionale.

The *Ponte di Rialto (i.e. 'di rivo alto'; PL E, 3),
built in 1588-91 by Antonio da Ponte, 158 ft. long, 46 ft. wide,
consists of a single marble arch of 74 ft. span and 32 ft. in height,
resting on 12,000 piles. It is situated midway between the Dogana
di Mare and the railway-station, and down to 1854 (p. 240) was the
sole connecting link between the E. andW. quarters of Venice. On
the right bank, near the bridge, is the Fish Market, abundantly sup-
plied on Fridays. On the left is the Fruit and Vegetable Market,
where excellent fruit may generally be purchased in the morning.
On the left bank are also situated the Fabbriche Vecchie, erected by
Scarpagnino in 1520, and the Fabbriche Nuove, built by Sansovino
in 1555, as offices and warehouses for the republic. A new edifice
in a similar style , adjoining the Canal at the back of the Pal. de'
Camerlenghi , contains municipal offices. — Description of the
quarter near the Ponte Rialto, see p. 247.

Fondaco de' Tedeschi (PI. 63)
was a depot of the wares of Ger-
man merchants from the 13th
cent, onwards. It was re-erected
in 1505, and as the Signoria re-
fused to allow the use of marble
in its construction, the Germans
betook themselves to Giorgione
and Titian, who decorated it ex-
ternally with frescoes. Of these
the only vestiges are a figure on
the side facing the canal and a
Justice by Titian above the door
in the lane. The building is
now used as a custom-house
(Dogana).

Carte del Remer, 13th century.

Ca da Mosto, 12th century.

Pal. Mangilli-Valmarana (PI.
76), built by Visentino.

Pal. Michieli dalle Colonne
(PI. 79), 17th century.

Pal. Sagredo. pointed style of
the 14th century.

Pal. de' Camerlenghi (PI. 49),
in the early Renaissance style of
1525, once the residence of the
republican chamberlains or offi-
cers of finance , was erected by
Guglielmo Bergamasco.

Erberia , vegetable market (p.
248).

Pescheria (PI. E, 3), fish-
market.

Canal Grande.

VENICE.

36. Route. 243

Left.
Fal. Corner della Begina (PI.

55) was erected by fiossj in 1724,
on the site of the house in which
Catharine Cornaro, Queen of Cy-
prus, was born ; it is now a 'monte
di piet^' or pawn-office.

*Pal. Pesaro (PI. 84), a Re-
naissance edifice of the 17th cent,
by Longhena (accessible daily
9-4 o'clock, attendant 1 fr.,
porter 20 c.), contains a series of
sumptuous apartments adorned
with pictures of no great value.

Church of S. EustacMo ('S.
Stae').

Pal. Tron (PI. 93), 16th cen-
tury.

Pal. Battagia(Pl.Ai'), erected
by Longhena.

*Foiidaco de' Turchi (PI. 64),
Romanesque style of the 10th
cent., once (after 1621) a Tur-
kish depot , has lately been en-
tirely restored and fitted up for
the reception of the *Civico Mu-
SEo Corker (open Mon., Wed.,
and Sat., 10-4), formerly in the
Palazzo Correr. The Library is
open on Tuesdays, Thursdays,
and Fridays, 10-3.

The Museo contains ancient and
modern sculptures , paintings, and
smaller objects of art. The Sculp-
TDREs include a fine antique draped
statue, a statue of Agrippa (form-
erly in the court of the Pal. Grimani,
and supposed to have been brought
from the Pantheon) , antique terra-
cottas, etc.

Among the Pictures , many of
which are very mediocre, the finest
are : Ansovius da Forli , Portrait ;
Ant. da Messina (?), Portrait of Giov.
Pico della Mirandola; "Gentile Bellini,
Doge Foscari ; Jacopo Bellini , St.
Nicholas ; Giov. Bellini, Doge Moce-
nigo ; Carpaccio, Two Venetian ladies
of the 15th cent. ; C'i7na da Conegliano,
Madonna ; Leonardo da Vinci, Cesare
Borgia; Longhi, Portrait of Goldoni,
Pictures characteristic of Venice;

Right.

*Ci d'Oro (PI. 48), properly
Doro, 'the golden house', on ac-
count of its rich ornamentation,
is, in spite of its unsymmetrical
plan, the most elegant of the pa-
laces in the pointed style of the
14th cent. (p. 218).

Pal. Fontana, late Renais-
sance.

Pal. Grimani della Vida (PI.
71), 16th cent., in the style of
Sanmicheli.

Pal. Erizzo , in the pointed
style of the 15th century.

*Pal. Vendramin Calergi (PI.
94), early Renaissance style,
erected in 1481 by Pletro Lom-
bardo, one of the finest palaces
on the Canal Grande , and well
worthy of a visit, is the pro-
perty of the Duke of Bordeaux.
Motto on the exterior, 'non nobis'.
The interior is magnificently fit-
ted up, particularly a room to the
right of the reception room, with
leather tapestry and a fine painted
frieze by Palma Giovane, repre-
senting the Triumph of Caesar.
It also contains some flue paint-
ings by Palma Giovane, Tintoret-
to , and P)Ordone , and modern
works (accessible daily, porter
25 c. , attendant 1 fr.). There
are also two rooms containing
pictures for sale.

Church of S. Marcuola.

Church of-S. Geremia(Pl.D,2).

Pal. Frangini, Renaissance,
with fagade curiously terminated
by a half- column.

*Gli Scalzi (PL 31) is the
sumptuous , picturesque church
of the order of barefooted monks,
immediately to the E. of the
railway-station, builtin 1649-89,
16*

244 Eovte 36.

VENICE.

Canal Grande.

Left.

Vivarini, SS. Jerome and Augustine.
— Drawings by Dilrer and others.
The Small "Objects of Art in-
clude carvings in ivory , bronzes
(Gothic reading-desk, brought from
Rhodes by Doge Morosini), majolica
from Gubbio, Faenza, and Urbino,
enamels, glass, porcelain, gems, hand-
some weapons, Venetian curiosities,
etc. ; also a large bird's eye view
of Venice, carved in wood by Jacopo
dei Barbari as a wood-cut for An-
thony Kolb, a merchant in Nurem-
berg (about 1500).

Right.
and affords an excellent sample
of the decorative style of the 17th
century. The seven chapels and
the fa(^ade were constructed at
the expense of eight different
Venetian families. It was great-
ly damaged by the bombardment
of 1849, but was restored in 1860.
Behind the high altar a Madonna
by Bellini.

New Ieon-Beidgk, completed in 1858 (toll 5 c.}.

Stazione della Strada Ferratn
(Rail. Station ) ; omnibus-boats,
etc., see p. 212.

S. Simeone Piccolo (PI. 34"),
opposite the railway-station, W.
of the iron bridge, erected 1718
-38 , with a portal resting on
columns , is surmounted by a
dome in imitation of the Pan-
theon at Rome. — Adjacent is a
house with a painted facade in
good preservation.

To the left, near the point where the Canal turns to the N.W.,
is situated the well-kept Giardino Papadopoli (PI. 40, C 3; per-
messo to be obtained at the Pal. Papadopoli).

In the Canarkggio, which diverges from the Canal Grande at
S. Geremia, rises, to the left, the Pal. Labia (PI. 73), of the 17th
cent., with frescoes byTiepolo. Farther on, also to the left, is the
Pal. Manfrin (PI. 75), containing a picture-gallery, the best works
of which were sold in 185G. It still contains about 200 pictures,
some of them valuable, in seven rooms :

3. Lorenzo Lotto, Madonna and Child with two saints, and the donor
between them ; 28. Bernardo da Milano ('?), Madonna enthroned ; 25. Boni-
facio, Allegory, 51. Oirolamo da Santa Croce, Adoration of the Magi; 79.
Good old copy of Titian's Entombment in the Louvre; 160. Raphael (?),
Noah entering the ark. All for sale (admission daily 10-3, '/2fr.).

Opposite, on the right side of the canal, diverges the Ghetto
Vecchio (PI. D, 1). Following the Canareggio farther, we pass the
Pal. Savornian on the left, and reach the church of S. Giobbe
(PI. C, 1), an early Renaissance structure with a fine portal.

The Ikteriok is embellished with fine stone-carving, particularly in
the first chapel on the left, constructed by Pietro Grimani [A. 1553), above
the first and second altars, and in the choir, which was adorned in 1462
by Doge Moro, who is buried here. Above the fourth altar to the left, SS.
Peter, Andrew, and Nicholas, by Paris Bordone. The sacristy contains
three early Venetian paintings.

Adjoining the church is the entrance to the Botanical Garden
(PI. C, 2), famed for its gigantic cacti.

From the Pal. Corrcr (PI. 57 ; D, 2) a side-canal leads to the

S. Zaccaria. VENICE. 36. Route. 245

church of S. Giacomo dell' Orio (PL D, 1, 3), the interior of which
is Gothic in style, with a timher-roof.

On the entrance wall, to the right, Giov. BuonconsiffU, St. Sebastian
and two other saints. The right aisle contains a vestibule adorned with
a column of verde a7itico, above which runs a richly gilded frieze ; Franc.
Bassano^ John the Baptist. The wall to the left, above the sacristy door,
is embellished with frescoes by Paolo Veronese. In the chapel farther to
the left; 'Lorenzo Lotto, Madonna with saints; opposite, a pulpit in the
form of a drinking-glass.

In the vicinity is the Fondaco de' Turchi, see p. 243.

In the following description of the churches and other sights at
Venice the Piazza of St. Mark is taken as a starting-point (comp.
also p. 2213.

Skirting the N. side of the church of St. Mark, proceeding to the
E. of the small piazza in which rises the monument of Manin (p. 224),
and passing the Pal. Patriarcale on the right, we observe opposite
us the Pal. Trevisani , or Bianca Capello , built in the style of the
Lombardi about 1500. We cross the bridge (fine view of the back
of the palace of the doges and of the Bridge of Sighs), and traverse
two small piazzas to the Campo and the church of —

*S. Zaccaria (PI. 36 ; G, 4), erected by Martino Lombardo in
1457-1515 in the round-arch style, supported by six Corinthian
columns, and possessing a remarkable and somewhat discordant
fa(jade. The recess of the high altar is in the Gothic style. Over
the entrance the statue of St. Zacharias by Aless. Vittoria.

The walls of the Nave are covered with large pictures , all of them,
except those over the altars, representing memorable events in the history
of the church. To the left of the entrance, over the benitier, a statuette
of John the Baptist by Al. Vittoria. The third arcade on the right leads
to the CoRo DELLE MoNACHE (choir of the nuns). On the wall to the
right: 'Sladonna enthroned and four saints, by Giov. Bellini: — This
altar-piece, painted in 1505, shows, even more than the Baptism of
Christ in S. Corona at Vicenza (p. 201) , the growing mastery of Gio-
vanni , and 'takes us with a spring into the midst of the Venetian
moderns. . . . There is no other example up to this time of great monu-
mental art in this school; none in which composition, expression, move-
ment, effect, and colour are so richly combined with freedom of hand'. —
C. <L- C. — Over the door, Nativity of John the Baptist, by Tintoretto. In
the Cappella di S. Tarasio (2nd on the right), three gilded *Altars in
carved wood, of 1443-44 , with old Italian pictures by the Vivarini of Mu-
rano. Here, too, is the entrance to the Crypt, belonging to the original
church , which was burned down in 1105. — Third altar in the choir,
Circumcision , by Giovanni Bellini. In the left aisle , the tombstone of
Alessandro Vittoria (d. 1605) , with a bust by the master himself, '■qui
vivens vivos duxit e marmore vuUns\ — 2nd altar (1.), "Enthroned Madonna
and saints, by Palma Vecchio (?).

"We now retrace our steps , and proceed from the first Campo
direct to the bridge of the Rio dellaPaglia to the left (N.), traverse
the Calle della Chiesa , cross the Ponte Storto , follow the Ruga
Giuffa to the left (on the right is the Gothic Arco Bon , with rich
ornamentation), and thus reach the considerable Campo S. Maria
Formosa (Pi. F, 3), in which is situated —

S. Maria Formosa (PI. 18), erected in 1492, a cruciform church

246 Route 36. VENICE. S. Salvatore.

covered with a dome . and with smaller domes over the sections of
the aisles.

Interior. 1st Altar on tbe right: Palma Vecchio, *St. Barbara and
four saints, with a Pieta and four lateral pictures above, in the best and
grandest form of Palma's art. St. Barbara's shape is grandiose and queenly.
The glance, the massive hair, tbe diadem and vestments, the full neck
and throat , are all regal ; and the whole impersonation scents of the
Giorgionesque and reveals the IBth century. It is the very counterpart of
the flne-chiselled and voluptuous fair one who sits so gorgeously in her
red dress and auburn locks amongst the three graces of the Dresden
Museum (C. <{■ C). — 2nd Altar: Bart. Vharini, Mary, Anna, and St.
Joachim; 3rd Altar: Palma Giovane, Descent from tbe Cross. S. Transept:
L. Bassano, Last Supper. Choir: modern frescoes by Paoletti (1844). — A
chapel, to which a staircase ascends (shown by the sacristan), contains (1.)
a Madonna and Child by Sassoferrato.

Passing to the right of the church and skirting the canal, we
ohserve beyond the bridge the picturesque Porta del Paradiso.
— [From this point we may pass through the Calle del Paradiso
to the church of S. Lio, on the first altar to the left in which is
Titia-n's S. Jago of Compostella (1565).]

We then cross the Ponte Kuga Giuffa and proceed past the Pal.
Querini (now a reading-room and library; adm. 3-11 p.m. on
previous application to the director) to the Pal. Orimani (PI. 71a;
¥, 3), erected in the 16th cent, under the influence of Pietro Lom-
bardo. — The Pal. Malipiero in the Campo S. Maria Formosa also
dates from the beginning of the 16th century.

The street opposite the church leads direct to the church of
S. Giuliano and to theMerceria (PI. F, 4, 3), the principal business
street of Venice, containing the best shops after those of the Piazza
of St. Mark. From the latter the Merceria is reached by passing
under the clock-tower (p. 225). The first short street to the right
leads to —

S. Giuliano (' -San Zulians\ PI. 16 ; F, 3, 4), erected by Sansotjmo
in 1553. The bronze statue of the founder, Thomas of Ravenna,
in a sitting posture, is by the same master.

Interior. 1st Altar to the left: Boccaccino da Cremona, Madonna and
four saints; in the chapel to the left of the high altar is Girolamo Cam-
payna^s Dying Christ supported by angels, a relief in marble; Paolo Veronese,
Last Supper. Above the high-altar: Santa Croce, Coronation of the Virgin.

Returning to the Merceria , we soon observe the lofty choir of
S. Salvatore appearing between the houses. The entrance to the
church is in the Campo of the same name.

*S. Salvatore (PI. 30; F, 4), by Oiorgio Spavento, completed
in 1534 (fa(^ade 1663), surmounted by three flat domes resting on
circular vaulting, is one of the finest churches in Venice in this
style. It is at present undergoing restoration (pictures in the
Academy, p. 234).

Eight Aisle. Between the 1st and 2nd altars the monument of Proc.
Andrea Dolfino (d. 1602) and his wife; between tbe 2nd and 3rd, tliat of
the Doge Franc. Venier (d. 1556), an architectural "Monument by Sanfo-
rino; over the 3rd allar (also by Satisovi/io) an "Annunciation by Titian,
executed in his 89th year, in which 'the grandeur attained brings
tbe painler as near to Michaelangelo in conception as it was possible for

SS. Apostoli. VENICE. 36. Route. 247

Titian to come' (C. <k C). — Transept: On the right the monument of
Catharine Cornaro (d. 1510), Queen of Cyprus, who abdicated in 1489 in
favour of Venice. — Choir. Transfiguration, high altar-piece by TUian,
painted, like the Annunciation, about 1560; behind it an 'Altar-piece chased
in silver, with 27 scriptural representations, executed about 1290. — In the
Chapel on the left, 'Christ at Emmaus, by Vitt. Carpaccio. — Left Aisle,
Monument of three cardinals of the Cornaro family. — Over the altar to
the left of the organ, statue of St. Jerome, by Tnllio Lonibardo. Lofty
architectural monument of the doges Girolamo (d. 1567) and Lorenzo Priuli
(d. 1559), with gilded recumbent figures of the brothers.

Then to the right (N.) (the street to the left leads through the
husy Calle dei Fabbri hack to the Piazza of St. Mark) to the Campo
S. Bartolommeo. For the church of S. Bartolommeo, otherwise
uninteresting, Diirer painted, on the commission of the German
merchants in Venice, his celebrated Madonna and Child with the
garlands of roses (now in Prague ; comp. p. 6). We now proceed
to the right through the narrow Calle della Bissa, cross the Ponte
S. Antonio, and reach first the church of S. Lio (p. 246) and then
that of S. Maria Formosa. To the left is the Ponte di Rialto
(p. 242). We cross the piazza in a straight direction, pass the
Fondaco dei Tedeschi (PI. 63 , F 3 ; p. 242) on the left, and reach,
on the right —

S. Giovanni Crisostomo (PI. 14 ; F, 3), erected in the Renais-
sance style in 1483 by Tullio Lombardo a.ui Seb a stiano da Lugano.

1st Altar on the right, Oiov. Bellini, three saints. High altar, "Seb del
Piombo, St. Chrysostom with SS. Augustine, John the Baptist, Liberale,
Catharine, Agnes, and Magdalene, one of the master's first important
works: 'there is much to characterise Sebastian in the ideal sensualism
and consciously attractive bearing which distinguish the females on the
left foreground' (C. i& C). Base of the altar, Entombment, a relief by an
unknown master. Altar to the left, Coronation of the Virgin, and the 12
Apostles, reliefs by Tullio Lomhardo.

At the back of the church is the Teatro Malibran (PI. 103);
then farther on, beyond the second bridge, the church of —

Santi Apostoli (PL 5; F, 2), erected in 1672, containing the
Cappella Corner (2nd chapel to the right), which belonged to an
earlier church, and was erected by Guglielmo Bergamasco in the
16th cent., with two monuments of the Corner family. To the right
in the choir : Cesare da Conegliano , Last Supper ; left , Paolo
Veronese, Fall of Manna.

Opposite is the Scuola delV Angela Custode (PL 82 ; German
Prot. church). — To the N.W. of the Campo SS. Apostoli runs the
new Corso Vittorio Emanuele (PL E, 2) , the broadest street in
Venice , by which we may proceed past the church of S. Felice to
the Palazzo Giovanelli (p. 253).

We now proceed to the S. to the Rialto Bridge (PL E, 3;
p. 242). Immediately beyond it, on the right, is the church of —

S. Giacometto di Bialto (PL 13c; E, 3), which is said to have
been erected in 520 (?), a short basilica with a dome over the cross,
the most ancient example of this style at Venice. The Fabbriche

248 Route 36. VENICE. Frari.

Nuove and Vecchie are situated here (p. 242). On the farther side
of the Vegetable Market (Erberia; p. 242} is a short column of
Egyptian granite, to which a flight of steps ascends, home hy a
kneeling figure, 'ii Gobbo di Rialto' . From this column the laws
of the Kepuhlic were anciently promulgated.

Next in a straight direction , past the Beccherie , or slaughter-
houses , to the church of S. Cassiano (PL 13 b; E, 3), of 1611 ;
1st altar on the right, *Palnia Vecchio (or Rocco Marconi), John
the Baptist and four saints ; 3rd altar on the right, Leandro Bassano,
Salutation. — Still farther on is the church of S. Maria Mater
Domini (PI. 19; D, E, 8), begun by P. Lombardo, and completed
by Sansovino. Over the 2nd altar to the right : Vine. Catena,
Glorification of St. Christina; on the left, Bonifacio, Last Supper.

The traveller who wishes to proceed direct to the Frari , turns,
on leaving S. Giacometto , to the W. into the Ruga Vecchia, in
which, on the left(gateway adjoining the campanile), isS. Giovanni
Elemosinario, erected in 1527 by Scarpagnino. (This church should
be visited in bright, clear •weather.)

Bay on tbe right, altar-piece by Povdcnone, SS. Sebastian, Rochus,
and Catharine. 'High altar-piece by Titian, S. Giovanni Elemosinario : —
'St. John the ahnsgiver, bishop and patriarch of Alexandria, is not a saint
of note. His type is not one that painters know and respect as tradi-
tionally preserved in the annals of the pictorial craft. A bishop giving
alms might be the subject of a tame composition. Kone but a man of
genius could give interest and force to such a theme ; but Titian was a
genius and it is surprising with what power he conceives and carries
out his idea. . . . The forms are natural, but of good scantling, moving
boldly, yet appropriately, foreshortened with daring yet without strain,
the nude correct, the modelling masterly. . . . His colouring is gorgeous,
his command of line surprising, his touch unsurpassable' (C. d- C). —
To the left, Marco Vecellio. Doge Grimani giving alms.

We follow the same street, and cross the Campo S. Apollinare,
near which is the Pal. Albrizzi (fine stucco embellishments in the
interior, by Al. Vittoria) to the Campo S. Polo (in the neighbour-
ing Rio di S. Polo is the Pal. Corner-Mocenigo, with a good fa(;ade
by Sammicheli). Passing between the church and the ancient cam-
panile of the 14th cent., we take the second side-street to the right,
and then the fourth to the left, leading to the former church of the
Franciscans, or the —

**Frari (^S. Maria Gloriosa del Frari, PL 10 ; D, 3), a cruciform
church , one of the largest and most beautiful at Venice , in the
Gothic style with the peculiar Italian modifications (twelve circular
buttresses), erected about the middle of the 13th cent. , and
completed before 1338 by Niccolh Pisano. It contains numerous
monuments, sculptures, and pictures, and like S. Giovanni e Paolo
(p. 254) is the last resting-place of many eminent men. The rounded
terminations of the facade are much later than the church itself.

RioiiT Aisle. Adjoining the Ist altar the "Monument of Titian (d.
1576), erected l)y Emp. Ferd. I. , completed by Luiffi and Pietro Zando-
meiicyhi in 1852. In the centre, above the dedication 'Titiano Ferdinan-
dus I. 1852', between four columns, Titian sitting by an angel and uncover-

Frari. VENICE. 36. Route. 249

ing the statue of Sais ; on the columns are figures representing Sculpture,
Architecture, Painting , and Wood-carving. On the wall are-reliefs of the
three most celebrated pictures of Titian, the Assumption (p. 233), Martyr-
dom of St. Peter (p. 255), and Martyrdom of St. Lawrence (p. 254) ; above,
left and right of the vaulting, Entombment and Annunciation, his last and
first pictures (comp. p. 234) ; above these the lion of St. Mark. Below are
two figures with tablets : 'Eques et comes Titianus sit. Carolus V. 1553'', and
'Titiano monumentum erectum sit. Ferdinandus I. 1839'. — Over the 2nd
altar: Salviaii, Presentation of Mary in the temple; adjacent, the monument
of Almerico d'Este of Modena , a general of the Republic (d. 1660) , with
a statue; 3rd altar, *St. Jerome, a statue by Alessandro ViUoria, said to
possess the features and figure of Titian when in his 98th year.

Right Transept. -Monument of Jacopo Marcello (d. 1484), a sarcophagus
borne by three male figures ; altar-piece in four sections by Bart. Yivarini.
Over the door of the sacristy, the monument of Benedetto Pesaro (d. 1503).
— In the Sacristt , opposite the door, a shrine with reliefs in marble
of the 17th century. '^'Altar-piece, a Madonna and saints, by Giov. Bellini,
in a beautiful frame: 'the gentlest and most elegant emanation of Bel-
lini's art .... the Virgin handsome and pensive, the children pretty in
their crowns of leaves, the saints in admirable proportion, everything
definite, with crisp precision as in Van Eyck or Antonello' (C. & C). —
In the church , to the left of the entrance to the sacristy, the monument
of Paolo Savelli (d. 1405), with an equestrian statue.

Choik Chapels. 2nd Chapel on the right : on the right, the monument of
Buccio degli Alberti, on the left, that of an unknown warrior, both of the
14th century. — Choir : (r.) mausoleum of the Doge Franc. Foscari (d. 1457),
(1.) that of the Doge Niccolo Tron (d. 1473), both by Ant. Rizzo. — Chapels
on the left: 1st, altar-piece, ''Madonna and saints, by Bern. Licinio da Por-
denone: 'the broad handling, sombre tone, and free drawing, give an un-
usual charm to this work ; there is something Titianesque in the pose
and mien of some of the attendant saints' (C. & C). — 2nd, (r.) monument
of Melch. Trevisano (d. 1500) , the altar in coloured and gilded carved
wood , in the centre John the Baptist in wood, by Donatella ; 3rd, altar-
piece, St. Ambrose and saints, by Vivarini and Marco Basaiti; right, St.
Ambrose on horseback expelling the Arians, by Giov. Contarini.

Left Transept. Altar-piece in 3 sections , St. Mark with saints
(1474), by Bart. Vivarini.

Left Aisle. Baptistery: altar in marble, St. Peter, Mary, and eight
saints, of the 15th cent. ; over the font a statue of John the Baptist , by
Sansovino. Farther on : Tomb of Jac. Pesaro (d. 1547).

' "'Altar-piece, Madonna of the Pesaro family, by Titian, completed in 1520.

More elaborate and studied, and in every sense grandiose, the 'Ma-
donna di Casa Pesaro' reveals more surely than the 'Annunciation' (Scuola
di S. Rocco, p. 250) the breadth of Titian's talent, and takes us, not
without preparation, to the height of his pictorial fame. He has brought
to perfection the last and finest of all forms of presentation pictures, the
noblest combination of the homely and devotional with palatial archi-
tecture — the most splendid and solemn union of the laws of composition
and colour with magic light and shade. . . . Far away from those humble
conceptions of place which mark the saintly pictures of earlier times, the
Pesari kneel in the portico of a temple, the pillars of which soar to the
sky in proportions hitherto unseen. . . . The Virgin sits on her throne,
bending down in a graceful kindly way, and directs her glance towards
the kneeling 'Bafifo' (Jacopo Pesaro, Bishop of Paphos), her white veil
falling over one shoulder, but caught on the other by the infant Christ,
who peeps with delightful glee from beneath it at St. Francis (behind
whom, in the background, is St. Anthony of Padua). ... To the left front
of the throne St. Peter at a desk interrupts his reading, and marks the
line with his finger as he turns to look down at Baffo, who kneels in
prayer on the floor below. In the rear between both an armed knight
with the standard of the church unfurled and a captive Turk bound by
a rope symbolizes the victory of the Pesari. Below, to the left, are
Benedetto Pesaro and the members of his family (C. & C).

250 Route 36. VENICE. 5. Rocco.

Monument of the Doge Giov. Pesaro (d. 1669), of a rich architectural
character, occupying the entire wall, with unpleasing figures of negroes
as bearers, by Longhena. "Mausoleum of Canova (d. 1822), '■principis sciilp-
toritm aetalis suae\ erected in 1827 from the master's own design for
Titian's monument, execxited by Canova's pupils Martini, Ferrari, Fabris,
and others. — By the W. portal the sarcophagus of Pietro Bernardo (d.
1538), by Al. Leopardi.

In the Nave a high parapet of marble , covered with two series of
reliefs , separates the seats of the monks from the rest of the church.
Elegantly carved stalls, by Marco da Vicenza, 1468, semi-Gothic in style.
A pleasing glimpse of the apse is obtained through the screen.

The adjacent monastery contains the Archives (PI. 2), one of
the most magnificent collections of the kind in the world, compris-
ing ahout 14 million documents , the earliest of which dates from
883. They are deposited in 298 different apartments.

Beyond the archives is the church of S. Rocco (PI. 29 ; D, 3),
dating from 1490 and 1725, and like the adjacent Scuola di S.
Rocco containing numerous pictures by Tintoretto.

On the right, the Annunciation, beyond it the Pool of Bethesda, and
above the latter St. Rochus in the wilderness. Chapel to the right of
the choir: Titian, Christ dragged to Golgotha, ascribed by Vasari to
Giorgione. In the choir, to the right, St. Rochus in the hospital, to the
left, "Holy Martyrs by Tintoretto. On the left side of the church, Fumiani,
Expulsion of the money-changers from the Temple ; above it, Pordenone,
St. Rochus and St. Martin.

In the alley to the left of the church is the entrance to the
*Scuola di S. Rocco (PL 98; D, 3), begun in 1517, and containing
the council-halls of the brotherhood. It possesses a magnificent fa-
cade, and a handsome old staircase and hall (open daily, 9-4, cus-
todian V2f''- ; good light necessary).

The ground-floor, staircase, and first floor, on the ceilings, as well as
on the walls, are adorned with pictures by Tintoretto. On the staircase is
an 'Annunciation by Titian, painted in 1525 and suggestive of 'the distance
which separates the simple staidness of older pictorial forms from the
gorgeous brilliancy of Titian's time". Opposite, a Visitation by Tintoretto.
At the top, on the left, is a small room containing Tintoretto's master-
piece, a large 'Crucifixion of 1565. From this work we learn to appreciate
the importance of Tintoretto's historical position, as the first of the Vene-
tian painters to represent the sacred history in a perfectly naturalistic
manner, perhaps with the view of appealing directly to the feelings. Oppo-
site is an Ecce Homo by Titian, one of the master's earliest works, and al-
ready giving proof of his superior genius in the fact that he does not, like
previous painters, depict the 'outward signs of suflTering', but 'rather the
inward resignation to pain'. — The bronze doors in front of the altar
in the principal hall, are by Gins. FHiberti of Florence, 1756.

The low gateway adjoining the Scuola leads to the church of
S. Pantaleone (PI. 26; D, 4), erected in 1668-75. The chapel
to the left of the high altar contains (r.) a * Coronation of the
Virgin by Giovanni and Antonio da Murano , painted in 1444;
also an ^Entombment in high relief, of the same date.

Crossing the bridge, and traversing the long Campo S. Marghe-
rita (PI. C, 4), we reach —

S. Maria del Carmine (PI. 7 ; C, 4), known as / Carmini, which
was consecrated in 1348, and restored in the 17th century.

Over the 2nd altar on the right. "Cimn da Conegliano, Adoration of
the Shepherds and saints; 4th altar on the right, Tintore^o, Circumcision,

8. Stefano. VENICE. 36. Route. 251

a youthful work ; 2nd altar on the left, "Lorenzo Lotto, St. Nicholas with
three angels and two other saints on clouds, painted in 1529, and showing
solidity of handling and a true sense of beauty.

To the left of the egress of the church are the cloisters of the

former monastery of the Carmini, with a hasrelief over the entrance,
by Arduino, 1340. — On the right is the Scuola dei Carmini, of
the 17th cent., with paintings by Tiepolo and others.

We may either return hence to the Piazza of St. Mark by
gondola (1 fr.), or proceed to S. Sebastiano (PI. 33 ; C, 4; p. 258),
crossing the bridge to the S., and then taking the first cross-street
(Calle Lunga) to the right.

The passage in the S.W. corner of the Piazza of St. Mark
leads to the Calle S. Moise. To the left is the church of S. Moise
(PI. 24; E, F, 4), with an over-decorated fa(;ade of 1668. Beyond
it we cross the bridge and proceed straight on along the Calle
Lunga. — [The second side-street to the right, the Calle dalle
Veste, leads to the Campo S. Fantino, in which are situated the
Teatro Fenice (PL 100 ; E, 4), the Ateneo, and the church of S.
Fantino (PL 8; E, 4), built by the Lombardi, with a fine choir by
Sansovino and a Madonna of the school of Giov. Bellini]. — The
Calle Lunga crosses a second bridge and leads to the church of —

S. Maria Zobenigo (PL 23; E, 4), erected in 1680 by the
Earbaro family ('barbaro monumento del decadimento dell' arte',
as it has been called). The niches of the facade contain statues
of members of the family. At the base of the lower row of columns
are plans of Zara, Candia, Padua, Rome, Corfu, and Spalato, hewn
in the stone; on the bases of the columns are representations of
naval battles. The interior of the church contains nothing worthy
of note.

Leaving this church, we cross the Campo S. Maurizio, where the
small church of that name is situated, to the larger Campo S.
Stefano (PL E, D, 4). The church of S. Vitale (PL D, 4), on
the left, contains a painting loy *Carpaccio, representing St. Vitalis
and his family worshipping the Madonna. On the right rises —

*S. Stefano (PL 35 ; E, 4), a Gothic church of the 14th cent.,
with an elegant facade in brick , good window mouldings in ter-
racotta, and a peculiarly constructed vaulting of wood, restored in
the ancient style, imparting a very pleasing appearance to the
interior.

Entkance-Wall, above the principal door, equestrian statue of Dom.
Contarini, middle of 17th cent.; adjacent, (1.) the 'Tomb of the physician
Jacopo Suriano (d. 1511). On the Pavement of the nave is the large tomb-
stone of the Doge Francesco Morosini 'Peloponnesiaci' (d. 1694), with the
cap and baton of office in bronze. — Adjacent to the Sacristy in the right
aisle a Madonna with saints , a relief in bronze of the 16th cent. ; in the
sacristy small marble statues of John the Baptist and St. Antony by Pietro
Lomhardo ; on the right Madonna and saints by Palma Vecchio (freely re-
touched). — Choir. On the lateral walls statues of the twelve Apostles
and four saints, and reliefs of the four Evangelists and two Fathers of the

252 Route 36. VENICE. S. Maria delta Salute.

church. In front of the high altar two candelabra in bronze, on marble
pedestals, by Al. ViUoria, 1577 ; behind it, choir-stalls of the 15th cent,
carved and inlaid. — 3rd altar (1.) statues of St. Jerome and St. Paul by
Pietro Lombardo.

Adjoining tlie church on the left is a handsome ^Monastery
Court, restored in 1532, and once adorned with frescoes hy Porde-
none, of which there are remains on the S. and E. wall over the
colonnade (four saints on the E. wall, particularly those to the left,
very good); below the windows 'putti', the subjects on the S. side
being from the Old Testament. — Crossing the court, we reach the
Campo S. Angela (PI. E, 4), with a monument of Paleocapa , the
minister, and to the left the Pal. Grimani (p. 241). Farther to
the E., near the Teatro Rossini (PI. 102; E, 4), is a large new
piazza adorned with a Monument of Manin (p. 224) in bronze.

To the left in the Campo S. Stefano is the Pal. Morosini. In
the vicinity is the Pal. Pisani, now a girls' school, in the small and
dreary Piazza of that name, with interesting old ships' lanterns and
richly adorned mast-knobs in the lobby.

To the S. of the Campo S. Stefano is the Campo S. Vitale with
the church of that name, from which the Iron Bridge (p. 240 ; 2 c.)
crosses to the Campo delta Carith , where the Academy is
situated (p. 231).

We now proceed towards the E., cross several bridges, and
reach —

*S. Maria della Salute (PI. 22; E, 5), a spacious and handsome
dome-covered church, at the E. extremity of the Canal Grande,
erected in 1631-82 by Longhena, a successor of Palladio, in com-
memoration of the plague in 1630.

Chapels on the Right: 1. Presentation in the Temple, 2. As-
sumption, 3. Nativity of the Virgin, all by Luca Giordano; in the last
Chapel on the Left: Descent of the Holy Ghost, by Titian, much dark-
ened by age (1543). The monolithic columns by which the vaulting of the
choir is supported are from a Roman temple at Pola in Istria. On the
high altar a large candelabrum in bronze by Andrea Alessandro da
Brescia , of admirable workmanship ; the Virgin banishing the demons
of the plague, a group in marble by Le Curt. On the ceiling eight '"Me-
dallions with portraits of the evangelists and fathers of the church by
Titian; the large pictures hy Salviati. — Outer Sacristy: Pieta, a relief
of the 15th cent., by Dentone {?) ; 'Titian, St. Mark and four saints (1512;
still reminiscent of Giorgione and Palma) ; Marco Basaiti, St. Sebastian.
— Sacristy: by the entrance-door, St. Rochus and other saints, by Qirolamo
da Treviso; on the left, Madonna by Pennachi (formerly in S. Spirito)
amid four Madonnas in the manner of Sassoferrato ; on the right wall,
Madonnas by Jacopo da Valenzia and Palma (I); Tintoretto, Marriage of
Cana ; Madonna and Child, with four worshippers, an altar-piece 'a tempera'
by C'risto/oro da Parma, 1495. Ceiling-paintings (originally in S. Spirito) :
'■'Cain and Abel, Abraham and Isaac, '-'David and Goliath, by Titian; these
works, painted about 1543, reveal, like the above-mentioned descent of
tlie Holy Ghost, the highest level reached by Venetian art in the middle
of the 16th cent. , and are of marvellous originality in thought and
composition.

Adjoining this church are the Seminario Patriarcale (p. 239)
and the Dogana di Mare (p. 239), which lie obliquely opposite the
Piazza of St. Mark (traghetto, or ferry, see Plan).

S. Maria delV Orto. VENICE. 36. Route. 253

The more remote quarters of the city are most conveniently
visited hy gondola. Leaving the Canal Grande opposite the Pal.
Pesaro (p. 243), we enter the Bio S. Felice; here, on the left, is
the *Pal. Giovanelli (PI. 67; E, 2; admission most easily obtained
about noon in the absence of the proprietor), of the 15th cent.,
with sumptuously furnished apartments, a handsome ball-room
(with family portraits by Titian and Tintoretto'), and a room with
modern pictures; in the boudoir, *Giov. Bellini, Madonna; *Gior-
gione, Landscape ('LaFamiglia di Giorgione') ; *Titiar^, St. Jerome ;
*Paris Bordone, Madonna and saints.

From the Rio S. Felice a side-canal, the Rio della Misericordia,
leads on the left to the church of S. Marziale (properly S. Mar-
ciliano), which contains a *Tobias and the Angel by Titian (above
the 1st altar to the left), a Crucifixion by Palma Vecchio (3rd
altar), and Tintoretto's last work, a St. Marcilius (middle altar to
the right). — We now return to the Rio S. Felice, follow it to the
N. for a short way, and then turn to the right into a side-canal,
the N. bank of which is formed by the Fondamenta Zen. The high
altar-piece of the church of S. Cateeina here (PI. F, 2 ; if shut,
entrance through the Lyceum, Convitto Nazionale) is a *Marriage
of St. Catharine by Paolo Veronese. — Returning once more to
the Rio S. Felice, we pass the Abbadiazza della Misericordia, and
reach the church of —

*S. Maria dell' Orto (PI. 21 ; E, 1), originally dedicated to
S. Cristoforo Martire, with a beautiful late Gothic *Fa<;ade erected
by Pietro Lombardo soon after 1481, and recently restored, and a
curious tower. The church contains many good pictures.

Right, 1st altar: * Cima da Conegliano, St. John the Baptist with SS.
Peter, Mark, Jerome, and Paul. By the 3rd altar: Sansovino, Madonna.
Between the 3rd and 4th altars : Jlonument of Hieronymus Cavassa, by
Sardi. At the 4th altar: Daniel van Dyck, .St. Lawrence. Adjoining the
4th altar: ''Palma Vecchio, St. Stephen surrounded by four other saints
(formerly in the chapel on the left of the choir). Above the entrance of
the sacristy. Virgin and Child, half-figure found in a garden (whence the
name of the church), and restored by Giovanni de Sanctis; on the right
and left, two angels by Paolo Veronese. — In the Sackistt: 28 portraits
of Venetian Saints. — Chapel on the Eight of the choir: '-Girolamo da
S. Croce, SS. Augustine and Jerome; memorial tablet to Tintoretto (d.
1594), who is buried here. — In the Choir, (r.) the Last Judgment, (1.)
Adoration of the golden calf, large works by Tintoretto. Over the high
altar an Annunciation , by Palma Giovane , with surrounding pictures by
Tintoretto. — Chapel on the Left of the choir, altar-piece, a copy from
Pordenone. — In the Left Aisle the Capp. Contarini, containing busts of
six members of the celebrated family of that name ; among them those oi
the Cardinal and the Procurator, the two in the middle on the left, by
Alessandro Vittoria; *Altar-piece by Tintoretto, Miracles of St. Agnes; 2nd
chapel on the left: (r.) Tintoretto, Presentation in the Temple; (1.) Palma
Giovane, Crucifixion. 4th Chapel, to the left by the entrance: altar-piece
by Bellini, Madonna (restored) ; (1.) Lor. Lotto, Lamentation over the body
of Christ.

We now return along the Fondamenta Nuove (PL F, G, 2 ; view
of Murano, the cemetery island, andTorcello) to the church of the —

Gesuiti (PL 11; F, 2), erected in 1715-30 in the 'baroque'

254 Route 36. VENICE. S. Oiov. e Paolo.

style, entirely lined in the interior with marble inlaid with verde
antico , and sumptuously decorated like all the churches of this
order.

At the High-Altak are ten spiral columns of verde antico; in the
centre a globe, with God the Father and the Son. The marble mosaic
pavement in front of the altar resembles a carpet. The chapel to the
right of the high altar contains the monument and statue of Orazio Far-
nese (d. 1654); in the chapel on the left is the 'Monument of the Doge
Pasquale Cicogna (d. 1595); then, in the Left Transept, the Assumption,
an altar-piece by Tintoretto. In the 1st chapel on the left of the principal
door is the "'^'Martyrdom of St. Lawrence, one of the finest of the altar-
pieces by Titian., who 'never made a nearer approach to the grand art of
the Florentines than when he painted this piece, in which he applied the
principle of dramatic execution peculiar to Michaelangelo'. Unfortunately
it is much darkened by age (seen best 11-12 a.m.).

We next enter the Rio dei Mendicanti (PI. F, 2, 3), skirt the
large Spedale Civile [PI. 41), and reach —

*S. Giovanni e Paolo QS. Zanipalo' ; PI. 15, F, G, 3), be-
gun under Niccolb Pisano's influence in 1240 , and completed in
1430 , a very spacious and magnificent Italian Gothic edifice,
supported by ten circular columns, and covered with a dome. This
church , next to St. Mark's the most imposing at Venice, contains
the burial-vaults of the doges , whose funeral-service was always
performed here , and may to some extent be called the West-
minster Abbey of Venice.

Right Aisle. In front : " Mausoleum of the victorious Doge Pietro Mo-
cenigo (d. 1476), with fifteen statues by the Lombardi; the sarcophagus is
'■ex hostium manuhiis' (from the spoils of his enemies). Between the 1st
and 2nd altar, an obelisk to the memory of the painter Melch. Lanza
(d. 1674) ; monument of Marc Antonio Bragadino (d. 1571) , who long de-
fended Famagosta in Cyprus against the Turks , and after its surrender
was barbarously flayed alive, as the picture above indicates; *Altar-piece
in six sections by Bellini, or Carpaccio; monument of the Senator Alb.
Michiel (d. 1589). In the chapel: altar-piece, Descent from the Cross,
by Pietro Liberi. Over the doors of the sacristy the "Mausoleum of Ber-
tucci, Silvestro, and Elisabetta Valier with their statues, a rich archi-
tectural 'baroque' monument in marble of the 18th cent., embellished
with numerous statues and reliefs. In the chapel below the monument,
(1.) St. Hyacinth crossing a river dry-shod, by L. Bassano. The second
door is an egress. The following chapel contains six reliefs in bronze
and wood, scenes from the life of St. Dominicus, 1720.

Right Tuansept. At the corner, St. Augustine, an oil-painting by Viva-
rini da Murano (1473); tomb of General Niccolo Orsini (d. 1509) with
equestrian statue ; 'Apotheosis of St. Antoninus, Bishop of Florence, an
altar-piece by Lorenzo Lotto; stained glass designed by Vivaririi (1473,
restored in 1814) ; altar-piece , Christ, S3. Andrew and Peter, by Rocco
Marconi. — The chapels on the right and left of the choir, recently re-
stored, contain nothing noteworthy except a monument of 1347.

Choir. Tombs of the Doges, (r.) =■ Michele Morosini (d. 1382), in the
Gothic style, and ■* Leonardo Loredano (d. 1521), (1.) * Andrea Vendramin
(d. 1478; by Alessandro Leopardo, perhaps the finest monument in
Venice), and "'Marco Corner (d. 1368), Gothic.

Left Transept. Above, by the entrance to the Chapel of the Rosary,
a "Group in marble by Antonio Dentone, of the 15th cent., St. Helena
presenting General Vittore Capello with the marshal's baton^ over the
door the monument of the Doge Antonio Venier (d. 1400). — The adjacent
(on llio left) Cappella del Hosario , founded in 1571 to commemorate the
victory of Lepanto, was destroyed by fire in Aug., 1867, but is to be rebuilt.

S. Maria dei MiracolL VENICE. 36. Route. 255

Of its former valuable contents nothing remains but tbe blackened and
mutilated fragments of admirable reliefs in marble, representing scenes
from the life of the Saviour and the Virgin, executed by Bonazza, Torcelli,
and other masters from 1600 to 1732. At the time of the contlagration the
celebrated picture by Titian, representing St. Petrus Martyr attacked and
murdered in a vs^ood, and a Madonna by Bellini had unfortunately been
deposited in the chapel during the execution of repairs in the church, and
also became a prey to the flames. — Farther on in the church, Monument
of the wife and daughter of the Doge Antonio Venier , 1411; monument,
with equestrian statue , of Leonardo da Prato (d. 1511).

Left Aisle. On the right and left of the door of the Sacristij, admir-
able wood carving by Brustolone. Over the door busts of Titian and the
two Palmas, by Jac. Albarelli, 17th century. ^Mausoleum of the Doge Pas-
quale Malipiero (d. 1462) ; tombstone of the senator Bonzio (d. 1508), under
it statues of St. Thomas by Antonio Lombardo and St. Peter the martyr by
Paolo da Milano; in the niches, (r.) the recumbent effigy of the Doge Mi-
chele Steno (d. 1413), formerly painted, (1.) that of Aloiso Trevisan (d. 1528) ;
monument with equestrian statue of General Pompeo Giustiniani ; *Monu-
ment of the Doge Tommaso Mocenigo (d. 1423), Gothic ; monument of the
Doge l^iccolo Marcello (d. 1474) by Pietro Lombardo; 2nd altar, left of the
principal entrance , early copy of Titian's martyrdom of St. Peter (see
above), presented by King Victor Emmanuel to replace the picture which
was destroyed; monument, with equestrian statue, of Orazio Baglioni (d.
1617); over the last altar a statue of St. Jerome by Aless. Yittoria; adjoining
it, the monument of the Marquis de Chasteler (d. 1825), who distinguished
himself in the Tj-rolese war in 1809. Mausoleum of the Doge Giov. Mo-
cenigo (d. 1485) by Tnllio Lombardo. Over the Pkincipal Entrance the
mausoleum of the Doge Aloiso I. Mocenigo, his wife, and the Doge Giov.
Bembo (d. 1618). This whole side, which is very handsomely arranged,
belongs to the Mocenigo family , and was constructed by Tullio Lom-
bardo.

Adjoining S. Giovanni e Paolo is the rich Facade (of 1485)
of the *Scuola di S. Marco (PI. 41 ; F, 3), erected by theiom&ardi,
with singular reliefs in perspective , two lions , and the achieve-
ments of St. Mark. In the interior the lower hall only is preserved.
The building has been used as a hospital (Spedale Civile) since
1815 (50 rooms, for 600 patients'). The large sickroom has a magni-
ficent ceiling. Connected with it is the old chapel of S. Maria della
Pace, which once contained Marino Falieri's tomb (p. 228). — To
the S. , on a lofty and elegant pedestal of marble, rises the equestrian
*Statue of Bart. Colleoni (d. 1475, buried at Bergamo, p. 169),
general of the republic, modelled by Andr.Verrocchio (his last woik),
cast in bronze by Aless. Leopardo. The handsome base is also by
Leopardo (1495).

"We now proceed through the Rio di Marina to the church of —

*S. Maria dei Miracoli [Madonna d. M. ; PL 20, F3), a small,
early Renaissance structure, erected in 1480, under the influence
of Pietro Lombardo, and entirely covered on the fagade, on the side
next the canal, and in the interior, with valuable marble. The
quadrangular choir with a dome, twelve steps higher than the nave,
is peculiar (below it is the sacristy). On the right and left are
ambos , or lecterns where the epistles and gospels are read, as in
the ancient Christian churches. The '^Decorations are by Pietro
Lombardo. The coffered barrel- vaulting is sumptuously painted and
gilded. The church has been undergoing restoration for some years.

256 Route 36. VENICE. .S. Giovanni.

We now return through the Rio di S. Giovanni Laterano, S.
Lorenzo, and Fontego, to —

S. Francesco della Vigna (PI. 9 ; G, 3), the interior of which
was constructed in 1534 liy Sansovino, the fa.^a.Ae lay Andr.Palladio
in 1568-72.

At the entrance a holy water vessel with St. John the Baptist and
St. Francis, statuettes in bronze by Vittoria. 1st Chapel on the right, Last
Supper, by Franc. Santacroce; 3rd chapel, encrusted with coloured marble,
property of the Contarini family ; 4th chapel , Resurrection , by Paolo
Veronese. Bight Transept, Enthroned Madonna, by Fra Antonio da Ne-
groponte. To the left of the choir is the "Cappella Ghistiniani, the altar
entirely covered with reliefs in marble, a work of the 15th cent.; Last
Judgment below; above (as an altar-piece), St. Jerome and four saints;
over them Madonna and angels; at the sides of the chapel twelve prophets
and the four Evangelists ; higher up , the history of Jesus in eighteen
sections ; below, on the altar, the history of St. Jerome in three sections.
— In the chapel of the cloisters adjacent to the K., a Madonna and four
saints , by Giov. Bellini. — Over the pulpit , God the Father and Christ,
by Girolamo /Saretocroce, modernised.- To the left: 2nd chapel, Altar with
statues of SS. Rochus, Anthony Abbas, and Sebastian by Al. VHtoria\
3rd chapel, fitted up with white marble, containing busts of the Patriarch
and the Doge Sagredo , erected in 1743; over the altar the statue of S.
Gherardo ; the 5th chapel (at the principal door) , a Madonna and four
saints, by Paolo Veronese.

A little to the S. in the Rio della Pieta is the church of S.
Lorenzo (on the right), containing two good statues of SS. Law-
rence and Sebastian by Oirol. Campagna (at the high altar). On
the loft is the church of S. Giorgio degli Schiavoni (PL 13; G, 3),
with a good Renaissance fa(;ade of 1551, a low wooden ceiling, and
pictures by Carpaccio, on the right, three scenes from the life of
St. Jerome , on the left, three from the life of St. George ; altar-
piece, St. Tryphon and St. Matthew ; above the high altar, a Ma-
donna by Vine. Catena ; the ceiling of the oratory beautifully
painted by Palmn Veccliio. — Farther S. we next come to the
church of S. Antonino, where we cross the bridge to the right to —

S. Giorgio dei Greci (PI. 13a; G,4), with an elegant campa-
nile of the 16th cent., and an ikonostasis adorned with gorgeous
Byzantine mosaics. The head of Christ in the dome is said to have
been designed by Titian. — Returning to S. Antonino, and again
pursuing a S. direction, we soon reach —

S. Giovanni in Bragora (PL i3d ; G, 4), a church of early origin,
but entirely restored at the beginning of the 18th cent.

1st Chapel on the right: Alwise Vivarini (according to Mr. Crowe; usu-
ally attributed to Giov. Bellini), Madonna and Child; farther on, on the
wall of the church, Bissolo (or Ant. Vivarini), St. Andrew with SS. Jerome
and Martin, the latter on horseback; '^Paris Bordone , Last Supper. — On
the pillar before the chapel of the choir: "Cima da Coneglicino, Constantino
and St. Helena by the side of the Cross, 1502. At the back of the high-
altar: '"'Cima da Conegliano, Baptism of Christ, 1494. On the pillar to the
left, L. Vivarini. Resurrection ; on the wall to the left, Bart. Vivarini,
Madonna with St. Andrew and John the Baptist; under it, Cima da Coneg-
liano. Finding of the Cross, originally a predella of the above named picture.

We may now proceed towards the E. , past S. Martina (erected
by Sansovino in 1540; font with four kneeling angels by Tullio

8. Giorgio Magg. VENICE. 36. Eoute. 257

Lomtardo, 1484; Last Supper by Girolamo da Santacroce, 1549)
to the entrance to the arsenal (PI. 3, H4; see p. 231); or to the
S. to the Riva degli Schlavoni (p. 230).

Opposite the Piazzetta, on an island fortified in 1848, is situ-
ated —

*S. Giorgio Maggiore (PI. 12 ; G, 5),helonging to the adjacent
suppressed Benedictine monastery, now an artillery barrack, a
cruciform church with a dome, and apses terminating the transepts,
begun by Palladia in 1560. The facade was finished by Scamozzi
in 1575.

The Interior (when closed, ring the bell to the right ; the person
who shows it is a well-informed Benedictine) is very beautiful, and has
not been spoiled by decorations of a later date. Over the door a portrait
of Pope Pius VII., who was elected by a conclave of Cardinals held here
on 14th March, 1800. To the right, the monument of Lorenzo Venier (d.
1667). Over the 1st altar. Nativity, by Bassano ; 2nd, Crucifix in wood, by
Michelozzo ; 3rd altar, Martyrdom of SS. Cosmas and Damianus and their
companions ; 4th altar. Coronation of the Virgin, the two last by Tinto-
retto; 5tb altar, Adoration of the Madonna, by Rizzi. — Choir: (r.) Last
Supper, (1.) Rain of Manna, both by Tintoretto; on the high altar a '-Group
in bronze by Girolamo Campagna, representing the Saviour on a gilded
globe borne by the four Evangelists, beside them two angels ; two can-
delabra in bronze by Mc. Roccatagliata (1596); the reliefs on the 48 "Choir-
stalls represent scenes from the life of St. Benedict , and were executed
according to the inscription by the Flemish artist, Alberto de Brule (1598).

— In the Corridor, to the right of the choir, the mausoleum of the Doge
Domenico Michiel (d. 1129), erected in 1637; in a Chapter House behind
it, with a fine Renaissance portal. Descent from the Cross by Tintoretto.

— To the left, farther on in the church, the Resurrection, by Tintoretto,
with the family of the Doge Morosini, whose mausoleum is by the wall
to the left (1588); then, St. Stephen, also by Tintoretto; Virgin and Child,
a group over life-size by Girolamo Campagna; last altar. Martyrdom of
St. Lucia, by Leandro Bassano; monument of the Doge Marc Antonio
Memmo (d. 1615).

A Staircase in 32 spiral windings , well lighted and of easy
ascent , leads from the interior of the church to the summit of the
Campanile (before ascending, enquire if the door at the top is open),
which commands an admirable *View of the city and the Lagune.

On the adjoining island of Giudecca is situated the church of —

*Redentore (PL 28; E,6), erected in 1576 by Palladia, a spa-
cious church with a portal borne by columns, a much vaunted edi-
fice, chiefly interesting in the interior.

On the Right : 1st Chapel, Nativity, by Francesco Bassano ; 2nd, Baptism,
Carletto Caliari ; 3rd, Scourging, Tintoretto. On the Left : 3rd Chapel, De-
scent from the Cross, Palma Giov. ; 2nd, Resurrection, F. Bassano; 1st,
Ascension, Tintoretto. In front of the high altar, Christ bearing the
Cross , behind it a Descent from the Cross , reliefs in marble by Massa
da Bologna; the bronze figures by Campagna. — The Sacristy contains
three admirable -Madonnas formerly attributed to Giovanni Bellini; that
with the sleeping Child, the most richly coloured, but somewhat stiff, is
attributed by Mr. Crowe to Alwise Vivarini, the two others to Bissolo and
Pasqualino, scholars of Bellini.

The church belonged formerly to the neighbouring Franciscan
monastery, which contains a few paintings by Lor. Lotto,

Baedeker. Italy I. 5th Edit. 17

258 Route 36. VENICE. S. Sebastiano.

We now cross tlie Canale delta Giudecca and skirt the Fonda-
menta delle Zattere (PI. C, D, 5), passing the Pal. Giustiniani-
Recanati (No. 1402 ; with a number of antique works in marble
and a line Attic funereal monolith), to —

*S. Sebastiano (PI. 33 ; C, 4), containing a number of works by
Paolo Veronese, and his tomb. It was erected in 1506-18, and
lately very skilfully restored. Admission to the upper choir, whence
some of the pictures are seen to greater advantage, 1-4 o'clock only.

On the Right: 1st altar, St. Nicholas, painted by Titian in his 86tb
year; 2nd, Madonna with a saint, a small picture by Paolo Veronese;
3rd, 'Madonna with St. John, a group in marble by Tommaso Lombardo,
1547; 4th, Christ on the Cross, and the Maries, by Paolo; "Monument of
Bishop Livio Podocataro (d. 1555) , by Sansovino. — Choir. Altar-piece,
Madonna in glory and four saints , on the wall to the right -Martyrdom
of St. Sebastian, to the left -Martyrdom of SS. Mark and Marcellinus , all
three by Paolo Veronese. — Organ, on the extreme wing, the Purification of
Mary, on the inner, the Pool of Bethesda, both by P. Veronese; to the
left the bust, in front of it the tomb of the master (d. 1588) , bearing the
inscription: '■Paiilo Caliaro Veronensi piciori , naturae aemulo , arlis mira-
culo, snperstite fatis , fama victuro." — Sacristy. Ceiling-paintings by Ve-
ronese, Coronation of the Virgin, on the sides the four Evangelists. Farther
on in the church, the next chapel on the left, 'Bust of the Procurator
Marcantonio Grimani (d. 1565), by Vittorio; 2nd altar. Baptism of Christ,
by Paolo Veronese; beautiful ceiling-paintings representing the history of
Esther, also by Paolo, aided by his brother Benedetto Caliari.

In the vicinity is the Campo di Marte, or esplanade (PI. B, 4),
a large grassy island surrounded with trees.

At the S.E. extremity of Venice (Punta della Motia) are the
Giardini Pubblici (PL I, 5) , laid out by Napoleon in 1807 , the
space having been obtained by the demolition of several monas-
teries. They are about 300 yds. in length and 100 yds. in width,
and are planted with six rows of acacias and sycamores. At the
S. end is a small shrubbery, with a cafe'. The grounds, which are
generally almost deserted, afford line views of the city and Lagune.
On Sundays and Mondays they are much frequented, chiefly by
women of the lower classes (gondola thither from the Piazzetta
50 c.). They are approached by the Via Nuova dei Giardini, or
Garibaldi (formerly Eugenia^ , constructed in 1810 by Eugene
Beauharnais, viceroy of Italy, by bridging over a canal.

S, Pietro di Castello (PI. 27; I, 4), a church with a dome, on the
island to the N. of the Giardini Pubblici, begun by Smeraldi in
1596, is said to have been designed by Palladia in 1557. Down
to 1807 it was the cathedral of the Patriarch of Venice, when St.
Mark's was raised to that dignity by Napoleon I., and the adjoining
palace converted into a barrack. Handsome campanile (1474).

The Interior contains few objects of interest. In the chapel of the
left transept are two high-reliefs in marble, executed by Micfi. Ongaro
in the 17tli cent., representing the consecration by Pope Paul V. of the
Patriarch Vendramin as cardinal, and an allegory of death. To the right,
bevond the second altar, is a marble throne from Antioch , said to be
that of St. Peter.

Nothing will convey to the traveller a better idea of the situa-

Murano. VENICE. 36. Route. 259

tion of Venice with its islands , than a visit to the Lido, where
'there are good sea-haths and a restaurant (see p. 215). A small
steamer performs the trip in 12 min., starting hourly from the
Ponte della Paglia. A gondola takes 1/2 ^^- (comp. p. 214). The
excursion may be pleasantly prolonged by a detour by the island
of S. ELena, with its old monastery and fine garden. The N. end
of the Lido is defended by the Forte S. Niccolo and (to the W.,
beyond a small arm of the sea) the Forte Andrea di Lido, erected
by Sammicheli as architect of the republic.

Interesting excursion to Murano, on an island about IV2 M. N. of Ve-
nice (omnibus-boat hourly, starting not far from SS. Apostoli; PI. 5, F 2).
Half-way we pass, on the right, the Cemetery Island (Cimitero), with
the church of S. Michele, built by Moro Lombardo in 1466, with sculp-
tures on its facade, and the pretty Cappella Emiliana, erected by Gugl.
Bergamasco in 1530. — Uurano, with 3900 inhab., originally an indepen-
dent town, but afterwards dependent on Venice, possesses interesting
treasures of art in its churches, dating from its most prosperous period.
The 'Cathedkal S. Donato , a vaulted church supported by columns,
with transept resting on pillars, almost vies with St. Mark's in the splen-
dour of its interior, its columns of Greek marble, mosaics, etc. An
inscription on a marble slab inserted in the mosaic pavement of the
church bears the date 1111. Over the side-door on the right a Madonna
with saints, by Lazzaro Sebastiani; to the left, on the same wall, a Roman
tomb-stone of the family Acilia, formerly used as a font; farther to the
left, coloured mosaic in wood of St. Donatus (1310). In the apse, a Byzan-
tine mosaic of the Assumption, on a gold ground ; below it, a fresco of the
15th century. — S. Pietro Martire is a simple and spacious basilica of
1509. Near the door of the sacristy, to the left, are an Assumption by Marco
Sasaiti, and a Madonna with saints and angels, by Giov. Bellini (between
the Qnd and 3rd altars on the right). — The church of S. Maeia degli
Angeli contains the Finding of the body of St. Mark , by Tintoretto. —
Murano possesses an extensive manufactory of glass beads, mosaics in
glass, crystal, etc. The Museo (adm. 40 c.) contains a good collection of
these articles.

Torcello, situated on an island about 6 M. to the N.E. of Venice
(omnibus-boat to Mazzorbo , see p. 214), the ancient Altinvm, belonging
to the town of Burano on a neighbouring island (74(X) inhab.), is a poor
place, consisting of a few small houses only and two well-preserved
churches. The -Cathedral, S. Maria, erected in the 7th cent. , re-built
in 1008, is a basilica in the early Christian style, supported by columns
resembling those of Murano. The principal object of interest is the
ancient arrangement of the semicircular seats of the priests on the tribuna,
rising in steps and commanded by the lofty episcopal throne in the centre.
On the W. wall of the interior is a large -Mosaic of the 12th cent., repre-
senting the Sacrifice of Christ, the Resurrection, Last Judgment, etc.,
recently restored. In the choir a Madonna and the 12 Apostles in Byzan-
tine mosaic. Below it is an ancient crypt with a font. — An octagonal
Baptistery of 1008 adjoins the cathedral. — "■''S. Fosca , dating in its
present form from the 12th cent., is externally octagonal (interior intended
for a dome, but at present covered with a flat roof). On five sides it is
enclosed by an arcade supported by columns (sixteen in number, and four
corner-pillars), a structure worthy of the notice of architects.

B. Lazzaro, the Armenian Mechitarist monastery on the island of the
same name, 2 M. to the S. E. of Venice, contains a considerable Oriental
library, and a large printing-office.

Chioggia, 18 M. to the S. (steamer in 2 hrs., every afternoon, but on
Sundays at 8 a.m.; fare 2 or lV2fr.; also pleasure-trips occasionally),
an ancient town at the end of the lagoons, was founded about the same

17*

260 Route 37. TREVISO. From Venice

period as Venice, by which it was soon conquered. During the war with
Genoa it was taken by the Genoese (1379), but recovered by the Venetians
the following year (comp. p. 217). The inhabitants have always differed
materially in language and customs from the other inhabitants of the
lagoon-districts. None of the churches are worthy of note. — The Murazzi
(p. 220) are most conveniently inspected in the course of an excursion to
Chioggia.

37. From Venice to Trieste.

a. By Land, viS. XJdine.

133 M. Railway. Ordinary trains in 10 hrs. (fares 25fr. 50, 18fr. 25,
12 fr. 80 c.); express in 73/4 hrs. (fares 30 fr. 55, 22 fr. 40c., of which the
amount due for the Austrian part of the journey is payable in goldj.
Austrian custom-house examination at Gorizia. A supply of change is
desirable, as cases of dishonesty are not unfrequent at the Venice station.

Bridge across the Lagune, and Fort Malghera, see p. 203. At
Mestre the line diverges N. from that to Padua. Stations Mogliano,
Preganziolo ; then —

18 M. Treviso (*Stella dOro; Albergo Reale), with 28,500 in-
hab., the capital of a province. The handsome, but unfinished old
cathedral of S. Pietro contains some good pictures. Above the
3rd altar on the left, a St. Euphemia by Fr. Bissolo. Opposite,
in the large chapel, an Adoration of the Shepherds, the chief work
of Paris Bordone, who was born here in 1500. In the choir, to
the left, is the tomb of Bishop Zanetti, by Tullio Lornbardo. The
side-chapel to the right contains an *Annunciation by Titian, a
Madonna and St. Sebastian by Oirolamo da Treviso (1487), and
mural paintings by Ant. da Pordenone. — The Gothic church of
S. NiccoLO contains the *Tomb of Senator Vonigo (in the choir, to
the left), with a background painted by Bellini, and the Madonna
enthroned with saints as an altar-piece by Savoldo. In a lateral
chapel to the right are a St. Thomas by Sebastian del Piombo ("?),
enclosed in an architectural border by Tullio Lornbardo , and
some ancient mural paintings. — The Town Hall and Theatre are
fine edifices. The Monte di Pietli (pawn-office) contains a good
Entombment by Pordenone (according to Mr. Crowe, and not by
Giorgione). In the Piazza dell' Indipendenza a monument in memory
of the liberation of Italy from the Austrian yoke , by Borrh , was
erected in 1875. At Treviso, as well as in other Venetian towns on the
mainland (such as Conegliano, Serravalle, Bassano, and Pordenone),
the pictorial decoration of the facades , in various stylos , differing
both in point of subject (figures, decoration, or mottoes) and of
execution (in sgraffito, grisaille , or coloured) are interesting. To
these varied artistic efforts the impulse was doubtless given by
Squarcione's school at Padua. The Villa Manfrini possesses ex-
tensive gardens. — Excursion to Mastr, see p. 211.

Railway from Treviso to Castelfmnco, Cittadella, Vicenza, Padua, and
Bassano, see pp. 210, 211.

22 M. Lancenigo. Beyond (27 M.) Spresiano the train crosses
the Piave and approaches the mountains , which it skirts as far

to Trieste. UDINE. 37. Route. 261

as Sacile. The lofty Friaul Mts. continue in sight as far as Mon-
falcone on the Carso. — 30 M. Piave.

35 M. Conegliano (Alb. e Trait, all' Europa), birthplace of the
celehrated painter Cima (d. 1517), surnamed da Conegliano, is
commanded by an extensive and conspicuous castle on an eminence.
The Cathedral contains an altar-piece by Cima (1492). With regard
to the painting of the fagades, see above.

From Conegliano to Belluno a road leads to the N., via Ceneda,
Serravalle (with handsome palaces), S. Croce, and Capo di Poiite (Stella
d'Oro; diligence once daily in 6 hrs.; carr. 30-35 fr.).

Belluno (1365 ft.; 'Due Torn), capital of a province, with 14,600 in-
hab., situated on a hill between the Ardo and the Piave, which here unite,
presents all the features of a Venetian town. The Cathedral, erected by
Palladio, is the finest of its fourteen churches. It contains several good
altar-pieces and an ancient sarcophagus. The massive campanile, 21tj ft.
in height, commands a beautiful prospect. An old sarcophagus of some
artistic merit adorns the small Piazza in front of the church of S. Stefano.
The triumphal arch outside the gate was erected in 1815.

In the valley of the Piave, about 22 M. above Belluno, and reached
thence via Longarone (Posta) and Perarolo (Corona), lies Pieve di Cadore
(*Alb. del Progresso), the birthplace of Titian (b. 1477). The church con-
tains an altar-piece by the great master.

40 M. Pianzano. 451/2 M. Sacile, a town on the Livenza, sur-
rounded by walls and fosses, with a handsome palace of the Po-
destk, exhibits traces of its ancient importance. 53'/2 M. Pordenone,
probably the Partus Naonis of the Romans , was the birthplace of
the painter Giov. Ant. Licinio da Pordenone (d. 1540). The ca-
thedral contains a St. Christopher by him.

Beyond (63 M.) Casarsa, the train crosses the broad channel of
the Tagliamento by an iron bridge, 1/2 M. in length. The stony
deposits of the stream have raised its bed so considerably that the
next Stat. Codroipo (Imperatore), situated between the Tagliamento
and the Corno, lies 28 ft. below the level of the bottom of the
former river.

To the right lies Passeriano, at the chateau of which the pre-
liminaries of peace between France and Austria at the end of last
century were adjusted, the treaty being finally concluded on 17th
Oct. 1797 , at the small village of Campo Formio , which also lies
to the right of the line. By this treaty the Republic of Venice
was dissolved. 771/2 M. Pasiano Schiavonesco.

841/2 M. TJdine (* Italia; Croce di Malta; *Rail. Restaurant),
once the capital of the Austrian province of Friaul, and a place
of great importance, is an ancient town with 28,800 inhab.,
surrounded by walls of considerable antiquity. In the centre is the
old town, with walls and fosses. Above it rises the castle, on an
eminence, which according to tradition was thrown up by Attila,
in order that he might thence survey the conflagration of Aquileia
(p. 262). Udine may in some respects be called a miniature Venice,
as it presents several points of resemblance to the met ropolis to
which it was so long subject. It possesses a town -hall (Palazzo
Pubblico) o{ iAbl , burnt down in 1876, resembling the palace of

262 Route 37. AQDILEIA. From Venice

the doges, two columns like those of the Piazzetta of Venice, a
campanile with two figures which strike the hours, and a consid-
erable library. The Romanesque Cathedral contains a few inter-
esting pictures, and some fine sculpturing in wood and stone. In the
Episcopal Palace a ceiling-painting by Giovanni da Udine. The
Castle, now a prison, commands an extensive survey of the Friaul.
— The luggage of passengers coming from Austria is examined by
the custom-house officers at Udine.

Cividale, the ancient Forum Julii, interesting on account of the numer-
ous Roman antiquities which have been found here (Museum), lies 9 M.
to the E. of Udine.

The new Pontebba Railway, which diverges at Udine, forms part of
a new route from Venice to Vienna, shorter by 90 M. than that via Cor-
mons and Nabresina. Express train from Venice to Vienna in 16'/2 hrs. •,
fares 84 fr. 45, 61 fr. 95 c. In wild grandeur of scenery and boldness of
construction the portion of the line in the valley of the Fella, between
Resiutta and Pontebba, is unsurpassed by any other mountain railway.
The Italian custom-house is at Pontebba, the Austrian at Pontafel.

At (90 M.~) Buttrio the train crosses the Torre by a long bridge.
931/2 M- 'S'- Giovanni Manzano, the Italian frontier-station (where
the luggage of travellers coming from Austria is examined; railway
restaurant}. The train now crosses the Natisone. The small Judrio
forms the frontier. 97 M. Cormons , beyond which the Iscnzo is
crossed.

102 M. Gorizia, Germ. Gorz (*Hdtel Brandt, German, with
restaurant, R. 1 fl., omnibus 20 kr. ; Angelo d'Oro, Italian, good
cuisine ; Tre Corone), the seat of a bishop, with 16,700 inhab., is
charmingly situated on the Isonzo in a hilly district, and noted for
its mild climate. Cathedral worthy of notice. In the upper part
of the town is the dilapidated castle of the former counts of the
place, partly used as a prison. The preserved fruit of Gorizia is
highly esteemed. — The Austrian custom-house examination takes
place here.

Charles X. of France (d. here 1836) is interred in the chapel of the
monastery of Castagnovizza, on a height above the town. In the vicinity
rises the Monte Santo, with a pilgrimage-church, commanding a fine view.

The train next crosses the Wipbach , a tributary of the Isonzo.
To the left of stat. Rubbio is the chateau of that name. Fine view
of the Alps, beyond the Isonzo. Stat. Sagrado. Gradisca with its
church lies on a height to the left. — 109 M. Ronchi.

1151/2 M. Monfalcone (^Leone d'Oro). The train enters the
stony wilderness of the Carso (p. 49), and the Adriatic comes in
sight on the left. Thus far the Venetian style of church-archi-
tecture is prevalent throughout the coast-district.

Aquileia, IS M. to the W., once a most important Roman colony, and
at that period strongly fortified, was the principal bulwark of Italy on the
N.E. frontier. The population at the time of Augustus, who frequently
visited the town , is computed to have been 100,000. It was then the
great centre nf the traffic between Italy and the N. and E. of Europe,
and supplied the inhabitants of Illyria aiid Pannonia with grain, oil, and
wine, in return for slaves and cattle. The incursions of the Romans into
these districts were always undertaken from this point. In 452 Attila,

to Trieste. NABRESINA. 37. Route. 263

exasperated by the obstinate resistance he encountered here, caused the
city to be plundered and destroyed. The sole trace of its ancient glory
is the Cathedral, erected in 1019-42, once the metropolitan church of the
patriarchs of Aquileia. The place is now a poor village with 500 inhab.,
but interesting on account of the valuable antiquities frequently found in
the neighbourhood. The collections in the Battistero, adjoining the cathe-
dral, of Count Cassis, and the apothecary Zantonati, may be visited.
In 1862 a large Castellum Aquse was discovered between Monastero and
Aquileia. One of the principal curiosities is a fine mosaic, with the Rape
of Europa.

A.iS. Giovanni the Timavo, the Timavus of the Romans, which
under the name of Recca (or Rjeka, i.e. river) is lost in the
grottoes of the Carso near St. Canzian, re-appears after a subter-
ranean course of 23 M., falling into the Adriatic IY2 M. lower
down. A pond formed by the river is crossed by a bridge. Farther
on is Duino, with an ancient castle of Prince Hohenlohe.

At (I251/2 M.) Nabreslna the line unites with the Vienna and
Trieste Railway, and the train runs back a short way on the line
just traversed. From this point to (133 M.) Trieste, see p. 49.

b. Sea Voyage to Trieste.

Steamboat (Austrian Lloyd) on Tues. , Thurs. , and Sat. (same days
in the reverse direction) at midnight, corresponding with the express train
to Vienna; fare 9 or 6V2 A-, return-ticket, available for a fortnight, 13 or
10 fl. — Gondolas to or from the steamers, see p. 214.

The navigable channel is indicated by stakes. The small for-
tifled island of S. Andrea del Lido commands the entrance to the
harbour. Beautiful retrospect of Venice on moonlight nights. As
Trieste is approached, a view is obtained of Grado, of the plateau
of the Karst to the E., with the distant, snow-clad Julian Alps in
the background, and of the coast of Istria to the S.E. Trieste, see
p. 49. As Triest is a free port, luggage must be again submitted
to custom-house examination on continuing the journey by train.

YI. The EmiHa.

The Emilia includes the former duchies of Parma and Modena, as well
as the papal Romagna , and is now divided into the eight provinces of
Piacenza^ Parma, Reggio, Modena, Bologna., Ferrara , Ravenna, and Forli,
covering an area of 7921 sq. M., with a population of 2,187,000 souls. The
dialects spoken here form the third main group of the Gallic languages
of Upper Italy, and the nasal sound of the vowels will at once strike the
traveller as indicating the original affinity of the people with the French.
The Celts seem to have crossed the Alps in several difierent detachments.
After the InsiibiH had conquered the district of Milan, and the Cenomani
Brescia and Verona, the tribe of the Boii crossed the Po in the 5th cent.
B.C., and subjugated the Etruscans and Umbrians who were settled to
the S. of that river. They chose Bologna for their capital, in the name
of which is still preserved that of the conquerors. The Senones next in-
vaded Italy, and took possession of the coast district to the S. of the Boii,
e.xtending nearly to Ancona. It was a horde of these Gauls who destroyed
Rome in B.C. 389. About a century later Italy, united under the guidance
of Rome, began to reconquer the lost territory. In 283 the Senones were
exterminated. In 269 a colony was established at Ariminum, which was
constituted the strongest frontier fortress in the peninsula, and connected
with Rome by the Via Flaminia. In 224 the Boii were subjugated, and
in planting the colonies of Placentia and Cremona in 218, Rome extended
her frontier as far as the Po. This process of Latinisation was interrupted
by the invasion of Hannibal, but vigorously resumed after his defeat; and
in 189 Bologna, and in 183 Modena and Parma received Roman colonies.
M. ^milius Lepidus , who was consul in B.C. 1S7, constructed a military
road from Rimini to Piacenza. via Bologna, Modena, Reggio, and Parma,
a distance of 150 M., called the Via JEmilia, whence the whole district
derived the ancient name which it still retains. Down to the time of
Caesar, although the Roman language and customs had spread rapidly here,
the district was officially known as the 'Province of Gaul on this side of
the Po\ and the Rubicon formed the frontier of Italy; but in B.C. 43 it
was finally united with the latter.

The institutions of antiquity lingered here longer than in any other
part of Italy. In 404 the Emperor Honorius transferred his residence to
Ravenna, which also continued to be the capital of the Gothic Kings.
After the overthrow of Gothic domination by Belisarins in 539, Ravenna
became the seat of the Exarchs, and the Italian centre of the Eastern
Roman Empire. The Lombards afterwards attacked and took possession
of it, but it was soon wrested from them by the Franconian king Pepin,
who is said to have presented the whole exarchate, i.e. the coast district
from the Po to Ancona, to the Romish Church in 755. At first, however,
the real supremacy over the district was held by the Archbishop of Ra-
venna. The States of the Church never constituted a uniform whole
like those of Milan or Venice. They consisted of a number of towns,
principalities, and monasteries, often estranged from the pontifical throne,
and not unfrequently in arms against it. The pope appointed cardinals as
his legates in the different districts, but their power was limited, as the
most important prerogatives were usurped by his subjects. Meanwhile
the Towns in the Emilia prospered greatly, and became famous as cradles
of Science, notwithstanding the feud between Guelphs and Ghibellines,
princes, nobles, and burghers, which raged within and without their walls.
Roman Law, which after the Germanic invasion had been preserved in

VI. THE EMILIA. 265

several towns and districts, began to be studied scientifically at Ravenna
in the lltli cent. From the 12th cent, onwards, owing to the unsettled
condition of rights, the study became very prevalent, Bologna being its
great centre, whence a knowledge of Roman Law gradually extended over
the other countries of Europe (comp. p. 288).

The Political Histokt of these districts during the middle ages re-
cords continual struggles for precedence among several rival powers. As
long as the power of the emperors was in the ascendant, they kept the
pretensions of the popes in check. During the exile of the popes at
Avignon, the dismemberment of the papal dominions seemed imminent,
but after protracted combats was prevented by Cardinal d''Albornoz, a
valiant Spaniard, who was sent to Italy by Innocent IV. in 1353. Even
those princes, however, who consented to acknowledge the papal supre-
macy, still continued practically independent. Alexander F/,, who was
elected pope in 1492, and his son Cesare Borgia at length put an end to
this insubordinaticn; they extirpated the dynasties of the Romagna with
fire and sword, and from that period the papal liefs began to be gradually
converted into a state in the modern sense. Under Julius II. and Leo X.
the papal supremacy was farther extended to Modena, Parma, and Piacenza.
In 1546 Paul III. Farnese invested Pier Luigi, his natural son, with the
two last as a duchy, which, on the extinction of the Farnese in 1731, came
into the possession of the Spanish Bourbons. In Modena and Reggio , the
house of £ste maintained its supremacy in spite of the papal pretensions,
while Ferrara in 1597 was incorporated with the states of the church.

The whole of the existing institutions were at length overthrown by
the French Revolution. Napoleon united Parma to France, and annexed
Modena and the Romagna to his kingdom of Italy. 'At that time', writes
Cesare Balbo, 'Italy was doubtless entirely subjugated by a foreign power,
but no period of subjection had ever been so cheerful, so active, perhaps
useful, and even great and glorious, as this. The foreign yoke was, more-
over, the less ignominious, as it was imposed on Italy in common with
one half of the rest of Europe, by a man so great and so marvellously
enterprising, and one who by birth, and certainly in character and name,
was himself an Italian. The country had not achieved independence, but
the hope of it had never been so near realisation; the people were not
yet free, but they enjoyed equality, an advantage regarded by many as
equivalent to liberty. The name of Italy now began to be honoured and
loved, and the country to be spoken of as a united whole, while the petty
municipal and provincial jealousies, which had become deeply rooted in
the course of centuries, began gradually to disappear.' On the fall of
Napoleon the Austkians obtained supremacy over these districts. Parma
was awarded to Marie Louise , and Modena to Archduke Francis , the heir
of the last Este (who died in 1803 with the title of Duke of Breisgau).
The worst lot befel the Romagna, in spite of the entreaty addressed by
its ambassadors at the Congress of Vienna, rather to hand over their
country to an 'infernal than to the papal government'. By an edict of
15th August 1814, no fewer than 1824 dissolved monasteries, and 612 nun-
neries were re-erected in the States op the CnnECH. The Code Napoleon
was abolished, and the ecclesiastical administration, as organised by SixtusV
in 1590, re-established. The four northernmost provinces, Bologna, Fer-
rara, Ravenna, and Forli, were governed by a cardinal with the title of
Legate (whence these districts were called legations) , whose sway was
arbitrary and despotic in the extreme. The courts of justice and all the chief
magistracies were administered by priests, and never probably had a gov-
ernment earned for itself such a fund of hatred from its subjects. In
1821, 1830, and 1848, the Emilia succeeded in throwing off the yoke of its
dukes and legates, but on each occasion the insurrection was crushed
by Austrian intervention. The war of 1S59 rendered the rising under Farini
a more successful undertaking, and by the plebiscite of 12th March 1860,
the annexation of the Emilia to Piedmont was accomplished.

266
38. From Milan to Bologna. Piacenza. Keggio.

135 M. Railway in 53/4-7 hrs. (fares 24 fr. 45, 17 fr. 15, 12 fr. 25 c).
To Piacenza 43 M., in l>/2-2V.j hrs. (fares 7 fr. 80, 5 fr. 50, 3 fr. 90 c).

Milan, see p. 116. At (^3'/2 M.) iJoyoredo the line to Pavia
diverges to the right (see p. 162). 11 M. Melegnano, formerly
Marignano, is a memorable place in the annals of medifeval and
modern warfare. Here, on 14th Sept., 1515, Francis I. of France,
in his campaign against Milan, defeated the Swiss allies of the city,
7000 of whom fell in the action. In the environs, and especially
in the town itself, a sanguinary conflict took place between the
French and the Austrians, on 7th June, 1859, resulting in the
retreat of the latter. 15Y2 M. Tavazzano. Innumerable cuttings
for purposes of irrigation and drainage here intersect the fruitful
plain (comp. p. 115).

2OV2 M. Lodi (Sole; Gambero) , a town with 19,000 inhab.
(41/2 M. E. of which lies Lodi Vecchio, the ancient Roman colony
of Laus Pompeia), was one of the bitterest enemies of Milan in the
middle ages. It is celebrated as the scene of Napoleon's storming
of the bridge over the Adda, 10th May, 1796. Excellent Parmesan
cheese is made in the neighbourhood. The Cathedral contains an
ancient relief of the Last Supper. The Renaissance church of
*Incoronata, erected by Bramante in 1476, is adorned with frescoes
by Calisto Piazza da Lodi, a pupil of Titian.

28 M. Secugnago ; 321/2 M- Casalpusterlengo (branch-line to Pa-
via and Cremona, see p. 166) ; 351/2 M. Codogno ; 38 M. S. Stefano.

43 M. Piacenza. — Hotels. Crock Bianca (PI. c; D, 2), in the
Strada al Dazio Vecchio; *S. Maeco (PI. a; D, 2), Strada S. Marco; Italia
(PI. b; D, 3), Strada del Guasto.

Ca/i BaUaglia, in the Piazza; C<tfi Grande, in the Strada di S. Rai-
mondo, a little to the S. of the Piazza. — "Railicay Restaurant, I). 3'/2fr.

Cab with one horse V2 f""., with two horses 75 c. ; at night 75 c. or
1 fr. 10 c. ; each box 25 c.

Piacenza, French Plnisance, the capital of a province, with
32,000 inhab., and an episcopal see, lies on the S. bank of the Po,
which is crossed by an iron bridge. The streets are broad and dull,
but there are several interesting churches.

Piacenza was founded by the Romans, B.C. 219, as Colonia Placeniia,
at the same time with Cremona. In the middle ages it held a high rank
in the league of the Lombard towns, and was afterwards frequently the
subject of fierce party-struggles between the Scotti, Torriani, and Visconti.
In 1488 it was plundered by Francesco Sforza, a blow from which it never
entirely recovered. In 1545 it finally came into the possession of the
Farnese family and was united to Parma.

In the Piazza db' Cavalli (PI. D, 3) is situated the *Palazzo del
Comune (PL 12), erected at the end of the 13th century. On the
ground-floor there is a spacious arcade with five pointed arches ; in
the upper floor are six rich round-arch windows, above which rise
handsome pinnacles. In front of it stand the equestrian Statues of
the Dukes Alessandro and Ranuccio Farnese , erected 1620-24, by
Francesco Mocchi , a pupil of Giovanni da Bologna. Alessandro

PIACENZA. 38. Route. 267

attained great distinction in the wars in the Netherlands as gov-
ernor under Philip II. He took Antwerp in 1585, besieged Paris
in 1591 , and died at Arras in 1592. He was succeeded by his
tyrannical son Ranuccio (d. 1622).

S. Francesco (PL 4), a brick edifice in the Piazza, with Gothic
interior, was erected in 1278. In front of it rises a statue to
Romagnosi, professor of constitutional law at Parma, and editor of
the new Italian penal code (see p. 127). — The principal street
(Via Diritta) leads to the E. to the —

^Cathedral (PI. 1 ; E, 3, 4), a Romanesque-Lombard edifice dat-
ing from 1122, with a superstructure of brick added in the 13th
cent., containing admirable frescoes by Guercino (prophets and
sibyls) on the dome, and by Lodovico Carracci on the arch of the
choir, and pictures by Procaccini (in the choir), and by Andrea and
Elisabetta Sirani over the 3rd altar on the right. The crypt is borne
by 100 columns. — In the vicinity (take the first side-street to the
left on leaving the cathedral) is —

S. Antonino (PL 3 ; D, E, 4), formerly the cathedral, dating from
903, 1104, and 1562, with a fine old vestibule, called 'Paradiso'
(1350), of curious irregular shape, and a tower borne by eight
massive round columns in the interior. — Adjacent is the hand-
some Theatre (PL 15), built in 1804.

We return to the Piazza by the Via S. Antonino , turn to the
right past the Palazzo Comunale, and follow the Strada Campagna
to the right to the church of —

S. Maria delta Campagna (PL 6 ; A, 2), said to have been erect-
ed by Bramante, but disfigured by alterations. It contains some
admirable frescoes by Pordenone (to the left of the entrance St.
Augustine), paintings in the two chapels on the left with small
domes, and also in the large dome. Behind the high-altar is a
Descent from the Cross, after Tintoretto. — We return by the Str.
Campagna and turn to the left to the church of —

*S. Sisto (PL 9 ; D, 1), the richest in Piacenza, erected in 1499-
1511, with an Ionic atrium. About 1518 Raphael painted for this
church his master-piece , the Sistlne Madonna (Madonna with St.
Sixtus and St. Barbara, now at Dresden), which was sold in 1753
to King Augustus III. of Poland for 20,000 ducats and replaced by
a copy by Avanzini (beginning of 18th cent.). The choir contains
pictures by Camilto Procaccini , Palma Giovane, etc. ; also several
good intarsias and (in the left transept) the unfinished monument
of Margaret of Austria (d. 1586) , daughter of Charles V. and wife
of Ottavio Farnese, Duke of Parma, the father of AlessandroFarnese.

The Biblioteca Pubblica contains 35, 000 vols., including a val-
uable psalter on red parchment, bound in silver, which once be-
longed to Angelberga, the consort of Emp. Lewis II. (857), and a
copy of Dante, supposed to date from 1336; also a small archaeo-
logical and palffiontological collection.

268 Route 38. BORGO SAN DONNINO. From Milan

A little to the E. of S. Sisto is the Palazzo Famese (PL E, 2),
erected in a magnificent style by Vignola during the reign of Mar-
garet in 1558, one of his first great works. It was never completed,
and is now a barrack. — On the S.W. side of the town is the
Citadel (PI. A, B, 3, 4), erected in 1547,

A diligence plies daily in 6 lirs. from Piacenza to Bobbio, 25 M. to the
S.W., once famous for the library in the monastery.

The remains of the ancient town of Velleia, which is believed to
have been buried by a landslip in the reign of the Emp. Probus (about
278), lie 25 M. to the S.E. of Piacenza. Various antiquities excavated here
in 1760-75 are now in the museum at Parma (p. 273). An amphitheatre,
temple, forum, etc., have also been discovered. The route to Velleia is
by <S. Polo, S. Giorgio on the Nure^ with a villa of the Scotti erected by
Vignola, Rezzano, and Badagnano (where the carriage-road terminates). —
Velleia may also be reached from Fiorenzuola (see below) , via Caslel
Arquato.

The Railway from Piacenza to Bologna follows the direc-
tion of the Via Emilia, the road constructed by the Roman Consul
M. y^lmilius Lepidus, B.C. 187, and named after himself (comp.
p. 264), several traces of which still exist. The train passes S.
Lazaro, an ecclesiastical seminary greatly enriched in the 18th
cent, by the eminent Cardinal Alberoni, who was born at Fioren-
zuola in 1664 (d. 1752). The church contains his tomb, and
pictures by Procaccini, Zucchero, etc.

Near (481/.2 M.) Ponte Nure the train crosses the Nure, and soon
passes Fontana Fredda, where Theodoric the Great and the Lombard
kings once possessed a country-residence. Beyond (53 M.) Cadeo
the Arda is crossed. 56V2 M. Fiorenzuola., a small but thriving
place. To Velleia, see above.

611/2 M. Alseno. — Then the small town of (65^/2 M.) Borgo
San Donnino ( Croce Bianca ; Angela), the ancient FjdeniJa Juiia,
which received its present name in 387 from St. Dominicus, who had
suffered martyrdom about a century earlier, under Maximian, and
to whom the ancient *CathedTal is dedicated. This church is one
of the finest in N. Italy; the admirable facade (the upper
part unfinished) has three lion portals in the Lombard style ;
and the interior with its round-arch arcades is of symmetrical
proportions.

71 M. Castel Guelfo, with the Torre d" Orlando, a ruined castle
erected by the Ghibelline Orlando Pallavicino about 1407, for pro-
tection against the Guelph Ottone Terzi of Parma. The train crosses
the river Taro over which the road is carried here by a bridge of
twenty arches, constructed in 1816-21 (under Duchess Marie
Louise, ex-Empress of the French), and commanding a charming
view of the Apennines. The costumes of the peasant-women here
are picturesque.

791/2 M. Parma, see p. 270.

The train crosses the Enza, formerly the boundary between
the duchies of Parma and Modena, and, beyond (841/2 M.) S. llario,
the Crostolo.

to Bologna. REGGIO. 38. Route. 269

961/2 M. Reggio. — Albekgo della Posta, in the main street-
Cavalletto, near the Piazza, R. I1/2, A. 1/2 fr. '

Cafi Vittorio Emanuele.

Cab, per drive 80 c, per hour IV2 fr., at night 1 fr. and 2 fr 20 c
respectively.

Reggio, which is also called Reggio neW Emilia to distinguish it
from Reggio in Calabria, the ancient Regium Lepidi, is the capi-
tal of a province and a town of 21,000 inhab., possessing broad
streets flanked with arcades. Lodovico Ariosto (d. 1533), the
greatest Italian poet of the 16th cent., was born here on 8th Sept.,
1474, in a house near the Municipio, which is still shown (PL 4)!

In the Piazza Maggioeb (PI. C, 3), nearly in the centre of the
town, is situated the ^Cathedral (PI. 5), erected in the 15th cent.,
with a Renaissance facade, completed only in the lower part, in
which interesting traces of the earlier Romanesque church of the
12th cent, are still observable. At the principal entrance are colossal
statues of Adam and Eve by Clementi of Reggio (d. 1584), a pupil
of Michael Angelo. The other statues on the facade are by his
pupils.

The Interior, which has a lofty choir and a crypt, contains several
statues and monuments by Clementi, the finest being the monument of
•OJgo Rangoni, Bishop of Reggio, and nuncio of Paul III. at the court of
Charles V. (in the chapel to the right of the choir); the monument of
Horatius Malegutms is also attributed to him, dating from 1583 (im-
mediately on the right of the entrance). — In the 1st chapel on the left
is the tomb of Clementi, with his bust, by his pupil PaccUone (1588).

On the S. side of the piazza is the Municipio (PI. 18); at the
entrance is a marble bust of General Cialdini, who was born here.

Proceeding to the right past the Municipio, and following a broad
street to the right, we next reach the church of the ^Madonna della
Ohiara (PL 6 ; A, 3), built in 1597 from a design by Balbi, in the
form of a Greek cross covered with a dome.

The Interior is adorned with frescoes in the nave as far as the dome
and in the N aisle hjLuca Ferrari (1605-54) of Reggio, a pupil of Guido
Rem. The altar in the latter, presented by the town in 1621, has an
altar-piece by Guercino. The frescoes in the choir are by Tiarini of Bo-
logna, of the school of the Carracci; the Annunciation at the back of the
high altar is by Carlo Caliari (brother of Paolo Veronese), and the fres-
coes in the S. transept are by Lionello Spada and others.

Passing through the arches to the right of the cathedral, we
reach the Piazza Minobe, with the church of S. Prospero (PL 14 •
C, 3, 4), re-erected in 1504 by Oasparo Bisi on the site of an
earlier Lombard edifice, to which the six marble lions of the facade
originally belonged. The choir contains damaged frescoes by Campi
and Procaccini, and pictures by Tiarini.

The Madonna della Concezione (PL 7 ; C, 2) is a handsome
modern church near the theatre. — The Theatre (PL C, 2), the
chief boast of Reggio, is a remarkably fine edifice for so small a
town.

The Museum (PL 16; C, 2) contains the natural history col-
lection of the celebrated Spallanzani, born at Reggio in 1729

270 Route 39. PARMA.

(d. 1799); Director, Prof, CMerici. — The Library (PL 3; B, 4)
contains 56,000 vols., and 1066 MSS.

Correggio, 9 M. to the N.E. of Reggio, formerly the capital of a
principality belonging to the Duchy of Modena , was the birthplace (in
1494) of the celebrated painter Antonio Allegri da Correggio. Old copies
of his two earliest works are preserved here.

Excursion to Canossa (see small map on the plan of Reggio), 8 hrs.
there and back; carriages at the 'stabiliraento di vetture' at Reggio near
the Albergo della Posta (with one horse 10-15, with two horses 20-25 fr.).
The route is by the road to Massa (p. 113), traversing a fertile and pic-
turesque plain, enclosed by hills which at first are sprinkled with villas,
and leading by Pajanello and Vezzaiio (on the hi'ils to the right lies
Quattrocasiella ^ with the ruins of four castles w>iich once belonged to
the Countess Matilda of Tuscany, d. 1115) to the small village of Pecorile
(tavern). The route beyond this point must be continued on horseback
or on foot. The path cannot be mistaken. It leads through the village,
and then to the right towards the church of Casola , which is left on
the hill to the right; at the angle of the hill Canossa comes in sight,
and the path leads in the direction of the village along the dreary bed of
the Campola. The walk to the foot of the castle hill takes 1 hr. ; we then
ascend for 1/2 hr. in the direction of the church of S. Paolo which lies
three-quarters of the way up the hill, follow a level path round the
castle-rock and at the back of the small village of Canossa (poor tavern),
and lastly mount to the summit of the rock , which is crowned by the
scanty, ivy-clad ruins of the castle of Canossa. The castle once belonged
to the Countess of Tuscany above mentioned, and was afterwards destroyed
by the inhabitants of Reggio in 1255. The Emp. Henry IV. performed
penance here in presence of Pope Gregory VII. during three days in 1077.
The castle-well contains good water. "Magnificent view of the Apennines
towards the S., with the well preserved castle of Rossena in the foreground,
and of the vast plain of the Po towards the N., with Parma, Reggio,
and Modena. Excavations have been prosecuted here for some years.

104 M. Rubiera. The Secchia is then crossed.

IIIY2 M. Modena, see p. 276.

The train continues to follow the direction of the Via Emilia
and crosses the Panaro near S. Ambrogio. — 119 M. Castelfranco,
a small town, supposed to he the Forum Oallorum where Antony
was defeated hy Octavian and Hirtius, B.C. 43. Near (124 M.)
Samoggia, An,zola, and Lavino the train crosses the rivers of these
names, and then the narrow Reno, the ancient Rhenus, or Amnis
Bononiennis. As Bologna is approached the country is open and
richly clothed with vegetation; the Monte delta Uuardia (p. 302)
is a conspicuous point.

135 M. Bologna (*Rail. Restaurant), see p. 286.

39. Parma.

Hotels. '^PosTA, Strada Maestra, or Corso di S. Michele; 'Ckoce Bianca,
in the Piazza Grande; Italia, with good trattoria, Via S. Lucia, near
the cathedral, moderate, R. 2, A. '/<, omnibus 3/4 fr. ; Leone d'Oko, in the
Corso S. Michele.

Cafes. Cavoiir, Via S. Lucia; Jiisorgimenio, Corso S. Michele.

Post Offict (PI. 32; E, 3), Piazza di Corte.

Cat) to or from the station 1 fr., two-horse 1 fr. 60 c. ; at night I'/i
OP 2fr. ; per hour 1 fr. 60 c. or 2 fr. — t)mnibus 40 or 50 c., trunk 20 c.

Parma, situated on the river Parma, a small tributary of the
Po, the capital of a province (formerly a duchy), is a town of en-

l»eooinjili An.suaJt von

Chiese

1 QUtedraU,
I.Battisteiio

F.3

, E.3.

CD 4
, G.fe
F.6.

G.2.
&.3.i
E3.

H*.

. J'.'2.
H*.

r.5.

. r.2.i

F6.

t S.Andrea, .

5. S.S.AiuuuixiatiL

^.S.Anlonia

7. (appuecmi ( nuoi

H. S. &islijieL

9. X TranCASCo del Fraio .
10. X Giottaiuii Evantfeiista
llJltuUnjia delliL Stecca-ta
nSMurJmle

13 S.J'a„lo/ora S. Lud<,„U4,l
Xli.S.Sepoltro . .
15. X Tomjimso
\6.S.S.rraiita (DeaJiia)
n.S.VIderieo .

Palazzi

18. P. J>ucale I t'arnese I
19. - dtl Giardino
20 ■ del Gooemo
21 . dA Comime .

Lsliluli pul}l)liri

tlAc£ademia ddle SeUe Ji-ti D.E.2.

23 SitlivUea D.E.3.
2^.CpIle^w Jjahiiia I ora Jfaria

Luiijia) H.* 3.

yj.Conave^u^ijone delle Carttti £.4".

26.0rU Botanico F. 6.

21.Se,nij,ar;o . F.3.

E.i'.

F.3.

ri.2.

E.3.

. r.t.

Z^.VjuversiiiL -
'iO.Teali-ofainese

31 .)«,.««

32 Pffsta d^TL^ Jiifttfre

"Wagner i- Deljes. Leipzig

Cathedral. PARMA. 39. Route. 271

tirely modern appearance, tut of very ancient origin, with broad
streets, and 42,000 Inhabitants. It possesses a university founded
in 1549, and the felt-hat and clock manufactories are important.

Parma was founded by the Etruscans, afterwards conquered by the
Gauls, and at a later period by the Romans, and in B.C. 183 was erected into
a Roman colony at the same time with Mutina (Modena). It was sub-
sequently extended by Augustus, and called Colonia Julia Augusta Parma.
Both in ancient and modern times its woollen manufactories have rendered
it a place of some consequence. It participated in the general develop-
ment of the towns of Upper Italy, zealously espoused the cause of the
Guelphs, and in 1247-43 was long unsuccessfully besieged by Emp. Freder-
ick II. In 1303 Giberto da Correggio obtained possession of the supreme
power. In 1341, after various vicissitudes, Parma came into the hands
of the Visconli, and from that period down to 1512 was generally united
with the Duchy of Milan. In 1545, after it had been annexed to the States
of the Church, it was presented by Pope Paul III.., with Piacenza, to his
infamous son Pier Luigi Farnese. This prince was assassinated in 1557,
and was succeeded by seven dukes of his family, after which the male
line became extinct in 1731. Elizabeth , the daughter and sole heiress of
Duke Ranuccio II., was married to King Philip V. of Spain, and by the
quadruple alliance concluded at London in 1718, the succession was secured
to their son Charles, who, however, ascended the throne of Naples in
1734, and deprived Parma of many treasures of art which now grace the
national museum at Naples. By the Peace of Aix-la-Chapelle in 1748 the
duchy was ceded by Austria to bis younger brother P/«%; in 1807 it was
annexed to France, and in 1815 awarded to Marie Louise, who ruled better
than the Italian princes, and benefited the country by the construction of
roads. In 1847, after her death, it came into the possession of the Bour-
bons , who had hitherto been indemnified with Lucca. Charles II. was
banished, in 1848 Charles III. was assassinated in the open street, and in
1859 his widow withdrew along with the Austrian garrison. The Duchy
covered an area of 2216 sq. 31., and had a population of about half-a-
million souls.

Parma owes its importance in the Histoky op Art to Antonio Allegri
of Correggio (1494-1534; p. 270), who lived here in a quiet and modest
style, and died early. It was not till a later period, when he was followed
by the Carracci, that his merits were duly appreciated (characteristics, see
p. Ivi). The best known of his pupils is Francesco Mazzuola, surnamed Par-
meggianino (1503-40), an excellent portrait painter, and a native of Parma.

The ancient Via jEmilia (p. 264) intersects the town, from the
Porta S. Michele to the Porta S. Croce, crossing the *Piazza Grande
(PI. E, F, 4), in which rise the Palazzo del Governo [PL 20 ; E, 3)
and the Pal. del Comune (PI. 21 ; F, 4). In front of the latter
edifice is a Statue of Correggio, erected in 1872. — A little to the
N. rises the —

*Catliedral (7i Duomo ; PI. 1 ; F, 3), an admirable example of
the Lombard-Romanesque style, begun in 1060, but not completed
till the 13th century. It is a cruciform building covered with a
dome, with a somewhat raised choir above a crypt, and abroad facade
with a triple columnar gallery. The three portals are embellished
with two huge lions (executed in 1281 by Bono da Bisone) and four
of smaller size, and sculptures by Lucchino Bianchini, 1493.

The Interior, consisting of nave and aisles, rests on fourteen articulat-
ed pillars, above which runs a fine triforium. The vaulting of the nave
was painted by Oirolamo Mazzuola. 3rd chapel on the right, a Descent from
the Cross in relief by Benedetto Antelami (1178); 4th chapel, frescoes of
the 15th cent.; 5th chapel, frescoes by Rondani, a pupil of Correggio,

272 Route 39. PARMA. Baptistery.

To the right of the steps to the choir is the Cappella S. Agata with an
altar-piece by Gatti, and on the right a bust of Petrarch, who was archdean
of the cathedral, a work of 1713.

The octagonal Dome is adorned with an "Assumption by Correggio (see
p. 271), unfortunately much injured by damp. 'It seems as if some mighty
upward impulse had impelled the whole armies of Christendom to soar
away from earth in joyful bliss. A striking feature of the work is that
the figures seem to cleave the vaulting and to be in the act of forcing
their way out of the church-walls into bright ether. The masterly and
almost playful manner in which the greatest difficulties in the work have
been overcome has ever been an object of the highest admiration'. —
'■Covreggio\ by Dr. Julius Meyer. Noon is the best hour for inspecting the
painting. Persons not liable to dizziness may ascend into the dome to examine
the painting more closely, but no great advantage is thus gained. (Co-
pies in the picture-gallery, see p. 274.) To the right, above the tribune, are
portraits of Correggio and his family. In the Choir, David and St. Cecilia,
by Camillo Procaccini , and good half Gothic stalls by Cristo/oro Lende-
nari (1473). — The Cetpt, a spacious cruciform structure with thirty-
eight marble columns, contains monuments of (r.) the Canon Montini
(1507), the jurist Prati farther on, by Cleinenti (1542), and of Bernardo degli
TJberti. The Sacristy contains frescoes of the 14th cent., and intarsias by
Lucchino Bianchini. — The principal altar is by Clementi. The 5th Chapel
to the left of the entrance contains frescoes of the 14th cent., on the left
History of St. Peter, on the right SS. Sebastian and Catharine.

The ^Baptistery {Battistero ; PI. 2; F, 3), constructed of Vero-
nese marble, externally octagonal, with three round-arched portals,
and consisting of five stories with colonnades, and a flat root sur-
mounted by seven pyramidal turrets and a belfry, was designed
by Benedetto Antelami, and erected in 1196-1270. Around nearly
the whole exterior of the building runs a series of medallions,
representing various animals of symbolical import. The portals are
adorned with the following scriptural subjects: —

At the N. Portal (towards the Piazza), above, is the Nativity of Christ;
then the History of John the Baptist; on the door-posts are genealogical
trees of Jacob and of Jesse. — At the W. Portal, above, a curious repre-
sentation of the Last Judgment. On the door-posts to the left, Christ per-
forming works of mercy; on the right, the six ages of man. — On the S.
side is an Allegory of Death from the biblical romance of Barlaam and
Josaphat. All these are probably by Benedetto Antelami, whose name
appears as the master from the inscription on the portal.

The Interior (closed; key in the house opposite the S. entrance) is
sixteen-sided, with thirteen niches and three doorways below and two
galleries above, and graceful columns on the walls. The sculptures have
only been partly completed. The old frescoes in the dome (13th-14th cent.)
represent the history of John the Baptist and prophets, with a number of
saints below. The whole population of Parma since 1216 is said to have
been baptised here. The font dates from 1294. Altar-piece by Filippo
Mazziiola (15th cent.), father of Parmeggianino.

At the back of the cathedral is situated the church of —

*S. Giovanni Evangelista (PI. 10; G, 3), belonging to an an-
cient Benedictine monastery, which is now a barrack. This elegant
cruciform structure, covered with a dome, with aisles and two series
of chapels, was erected in 1510 by Bernardino Zaccagni (not Bra-
mante); the fa(;,ade is by Simone Moschino (1607).

Interior. In the two first chapels on the left", 'Frescoes by Parmeggia-
nino (SS. Lucia and Apollonia, two deacons, S. Giorgio and S. Agata); in
the 1st chapel on the right, a handsome monument of the Countess San-
vitale-Montennovo, daughter of Marie Louise, the wife of Napoleon I.;

Palazzo della Pilotta. PARMA. 39. Route. 273

n the 2nd a '-'Nativity, by Giacomo Francia, 1519. The sombre Dome is
adorned with ''Frescoes by Correggio , representing Christ in glory, sur-
rounded by apostles and angels , painted in 1520-24 (the best time to see
them is at noon or 4 p.m.; copies in the picture-gallery, see p. 274).
The half- dome of the Choir containing a Coronation of Mary by Cor-
reggio was removed in 1584 (the original of the principal group is in
the Library, p. 275; copies of other parts of this great composition by Ann.
and Ag. Carracci are in the picture-gallery, see p. 274). The new dome
of the choir was adorned with a copy of the complete work by Cesare
Aretusi. The handsome choir-stalls are by Zucchi and Testa. In the
archway of the door of the sacristy (N. transept) "'S. Giovanni by Correg-
gio. — The picturesque monastery-courts (to the left of the church) are not
now accessible. Among the guests who have been entertained in the
monastery were King Charles Emmanuel, when a fugitive in 1798, Pope
Pius VI. as a prisoner of the French in 1799, and Pope Pius VII. in 1805.

The ^Madonna della Steccata (PI. 11; E, 3), an imitation of St.
Peter's (a Greek cross with rounded ends), designed hy Bernardino
Zaccagni in 1521, is situated in the street leading from the princi-
pal piazza to the (formerly) ducal palace.

iNTEEioK. The corner -chapel to the left of the entrance contains a
■^'Madonna of the school of Fil. Mazzuola (see p. 271). In the corner-
chapel between the choir and the S. transept , monuments (r.) of Duke
Ottavio Farnese and (1.) of Sforzino Sforza , the latter by Qiov. Franc,
da Grado, 1529. The archway of the choir is adorned with frescoes by
Parmeggianino, the tribune with frescoes by Anselnii. Corner-chapel on
the right of the choir: monument of Guido da Correggio, by G. B. Bar-
bieri; the 1st chapel on the right contains the monument of Beltrando
Rossi, dating from the first half of the 15th century.

In the Piazza di Corte (PI. E, 3) is the Palazzo Ducale (PI. 18),
now the seat of the Prefettura.

To the N.W. of the Palazzo Ducale, which is passed on the
right, is the *Pala2zo della Pilotta (PL E, 2), an extensive block
of buildings, begun in 1597 by the Farnese, but never completed,
containing a very valuable collection of antiquities and pictures, as
well as a considerable library (cross the court and ascend a broad
flight of steps to the left); open daily 9-4, adm. 1 fr. ; on Sun.
and festivals 10-2, gratis.

In the half-story is the *Museo di Antichitk.

I. Room. Collection of Coins, arranged in four cabinets and consisting
of 30,000 specimens. The glass-cases contain Parmesan coins and medals. —
II. Room. Bronzes : the Tabula Alimeniaria of Trajan, containing directions
for the maintenance of poor children ; bronze tablet with the Lex Ruhria
de Gallia Cisalpina, and other inscriptions on bronze, obtained in the
excavations at Velleia (p. 263), begun in 1760 by Philip Bourbon; head
of Hadrian in gilded bronze; bust of a young man; '^'Drunken Hercules,
a bronze statuette ; Bacchus, Victoria, Ajax , and other bronze statuettes
from Velleia; terracottas; golden necklaces, bracelets, and clasps of the
later imperial epoch, found in digging the foundations of the theatre at
Parma. — III. Room. Architectural fragments from the excavations (1844)
in the ancient theatre of Parma. — IV. Room (corridor). Roman am-
phora;, dolia, and vases. — V. Room. Grseco-Italian vases (Peleus and
Thetis, Bellerophon and the Chimsera, 'Theft of the Tripod). — VI. Room.
Etruscan antiquities, cinerary urns, vases, idols, ornaments of bronze,
silver, and gold. — Room VII (corridor). Egyptian antiquities. — Room VIII.
Draped statues of Germanicus , Livia, Drusilla, Agrippina, Augusta ('?),
Caligula, and six praetors from Velleia; statues of Agrippina and Leda
from the Roman theatre at Parma; Jupiter Olympicus, Jupiter Serapis,
torso in basalt, good torso of a youth , from other excavations. — Rooms

Baedkeek. Italy I. Sth Edit. 18

274 Route 39. PARMA. Picture Gallery.

IX. and X. contain carved and inlaid wooden cabinets, bronzes , and ter-
racottas of the middle ages. — A staircase descends from the first room
to the rooms on the ground-floor. — Room XI. Roman inscriptions, some
of them of Christian oiifiin, arranged according to the places where they
were found. — Room XII. Valuable collection of pre-Iloman antiquities
found in the province of Parma, presented by Professors Strobel and Pi-
gorini ; weapons, implements of flint, bone, bronze, iron, and clay. —
Room XIII. Similar antiquities from the Terra Mara of Castione.

The extensive *Picture Gallery is on tlie flrst floor. The pic-
tures are numbered and labelled with the names of the painters.

I. Room: nothing worthy of note. — II. Room. On the left, *31. Ma-
donna della Scala (formerly in the church della Scala) , a celebrated
picture by C'orreggio, unfortunately much damaged. The other works are
chiefly of the school preceding Correggio : 44. Francesco Mazzuola, surnamed
Parmeggianino , Nuptials of the Virgin; 74. Girolamo Mazzuola, Holy
Family; 45. Araldi , Annunciation; 62. Copy of Parmeggianino's Madonna
del Collo Lungo in the Pitti Palace (p. 406); others by Anselmi, Eon-
tlaiii, etc. — III. Room or Rotunda. Paintings by modern artists, and two
colossal statues of Hercules and Bacchus in basalt, found in the imperial
palaces at Rome.

Lakge Saloon. Over the entrance, on the right and left, and at the
opposite end, "Copies of Correggio's Coronation of Mary (in S. Giovanni,
p. 272), by Aiinibule and Agostino Cavracci. By the entrance, on the right
and left, below: 115. Spagnoletto, Twelve Apostles; then, on the right,
farther on, "126. Fr. Francia, Descent from the Cross, and 130. Enthroned
Madonna, 1515; 158. Lod. Can-acci, Entoml)ment of Mary; 168. Fra Paolo
da Pistoja, Adoration of tlie Magi ; '-ISO. Oiov. Bellini (v), Christ as a boy
with the Scriptures; 197. Ascribed to Titian, Christ bearing the Cross.
Statue of Marie Louise in a sitting posture , in marble , by Canova. On
the left, 213. Tintoretto, Ascension; 214. Tiepolo , Heresy conquered by
Religion; 217. Giovanni da S. Giovanni, A merry party. The door to the
left at the upper end of the room leads to the 'Studio d"incisione", which
contains admirable engravings by Toschi (d. 1854), from Correggio, Ra-
phael, etc. — A small door at the beginning of the Large Saloon, to the
left, leads to the rooms containing the best pictures in the collection: —

XI. Room. Landscapes of various schools.

X. Room. Portraits: 302. SeO. del Pio'mbo, Pope Clement VII. and a
chamberlain.

IX. Room. *350. Correggio, Madonna della Scodella. 'The picture
breathes a spirit of cheerful and calm emotion and is suffused in a soft
and sunny glow. The figures, marked by the most delicate gradations of
light and shadow, stand out clearly against the darker wooded back-
ground, the tone of which is of a juicy greenish brown'. — Meyer.

VIII. Room. 636-632. Toschi, Drawings from Correggio.

VII. Room. *351. Correggio, Madonna di S. Girolamo, also known as
'II Giorno'; the figure of the Magdalene, prostrate in utter humiliation,
is especially admired (Meyer). — The adjoining corridor contains 'Water
Colour Coi-iks from Correggio by Toschi and his pupils.

VI. Room. 355. Holbein, Portrait of Erasmus of Rotterdam. — *353.
Correggio, Martyrdom of Placidus and Flavia. 'The artist's principal
aim i.s to produce a pleasing picture. The tragic scene is transacted in
a rich and charming landscape. The wonderfully picturesque execution
and the harmony of the lively and yet subdued tints are most attractive.
Even the shadows produce an cftect of light, and define the form clearly
and decidedlv. The figures as it were float, breathe, and move in an
atmosphere of brilliant light' (Meyer). '360, '361. Cima da Conegliano,
Madonnas; 362. Leonardo da Vinci, Head; '384. Correggio, Descent from
the Cross.

V. Room. 378. Van der Heist, Portrait; '371. Giulio Romano (after a
sketch by Raphael, in the Louvre), Christ in glory, with the Madonna,
SS. .lolui, Paul, and Catharine; 309. Giirofalo , Madonna among clouds;
364. Murillo, Job.

Conv. 8. Paolo. PARMA. 39. Route. 275

The door opposite the picture-gallery in the same story leads
to the *Library (PI. 23).

The library contains 200,000 vols, and 5000 MSS.; several of the
latter are of Oriental origin , amongst them the Koran which the Emp.
Leopold I. found in 1683 in the tent of the grand vizier Cara Mustapha
after the raising of the siege of Vienna; the 'livre d'heures' (prayer-
book) of Henry II.; a Dante written by Petrarch in 1370; a letter
of Luther; Byzantine and Jewish miniatures; the original fresco of C'or-
reggio's Coronation of Blary from S. Giovanni (p. 273); a room with fres-
coes from the 'Divine Comedy' by Franc. Scaramuzza, formerly the di-
rector of the academy, completed in 1857.

The dilapidated Teatro Farnese, also situated here (keys kept by the
custodian of the picture-gallery , fee 30 c), was erected in 1618-28. —
The (formerly) ducal Tipografia (PI. 28), founded by Bodoni in 1766, is
celebrated for its admirable printing.

The custodians of the picture-gallery also keep the keys (fee
50 c.) of the —

*Coiivento di S. Paolo (PI. 13; F,2), formerly a Benedictine nun-
nery, now a school, an insignificant building, containing charming
*Frbscobs by Correggio in the Camera di S. Paolo, which was thus
decorated by order of the abbess Giovanna da Piacenza in 1519 (the
best preserved works of the master) : over the chimney-piece Diana,
on the ceilitig Cupids and emblems of the chase (the celebrated
'Putti del Correggio'), on the frieze the Graces, Fortuna, Adonis,
etc. The most favourable light is in sunny weather, 10-12 a.m.

'This, his first work of a monumental character , shows the painter
as already possessed of his full powers. The execution is in the highest
degree painstaking and minute, his handling even in fresco is delicate
and at the same time broad, soft, and warm. As in the later paintings
in the domes of the Cathedral and S. Giovanni Kvangelista, the decorative
arrangement seems to transcend the limits of the building , and force its
way through the ceiling, forming an arbour through which the light of
heaven appears to find free ingress'. — Mei/er^s Correggio.

The adjacent room is adorned with exquisite, slightly-figured
arabesques on a dark blue ground by Al. Araldi (d. 1528). — The
monastery church (<S. Lodovico) contains the monument of Count
Neipperg (d. 1829), the husband of the empress Marie Louise of
France, afterwards Duchess of Parma, by Bartolini of Florence.

To the S. of the Piazza Grande rises the University (PI. 29 ;
E, 4), possessing faculties of jurisprudence, medicine, and mathe-
matics and natural science. The students number about 200. The
palaeontological department of the natural history museum is wor-
thy of inspection. Director, Professor P. Strobel.

Quitting the museum and crossing the small river Parma by
the Ponte Verde, we reach the (formerly) Ducal Garden (closed
at 7 p.m.), at the N. end of which is the Palazzo del Giardino
(PI. 19; C, 1, 2), erected by Ottavio Farnese, and adorned with
numerous frescoes. One of the apartments contains the Rape of Eu-
ropa, the Triumph of Venus, the Marriage of Peleus and Thetis,
etc., by Agostino Carracci. (The palace is now a military school and
often inaccessible.)

The garden adjoins the Rampari, a promenade encircling the

18*

276 Route 40. MODENA. Cathedral.

town , and laid out on the site of the former fortifications. To the
S., between the Orto Botanico and the castle, lies Lo Stradone
(PI. F, G, H, 6), another public walk.

40. Modena.

Hotels. Albergo Reale (PI. a), in the Corso Via Emilia; S. Makco,
Via Posta Vecchia (PI. D, 4), commercial, R. 2, L. '/a, A. 1, omn. ^/ifr.;
Italia, near the Piazza Reale; Mondatoua (PI. c) ; Leopardo (PI. d).

'Caffe Nuzionale, Corso Via Emilia, opposite the Dogana (PI. 25), with
restaurant. — Beer at the Birreria Tesli, on the W. ramparts, between
the Porta S. Agostino and Baloardo di S. Francesco.

Cab with one horse 80 e., with two Ifr. per drive, at night Ifr. 30
or Ifr. 50c.; per hour Ifr. 60c. or 2fr., at night 2fr. 10 or 2fr. 50c.,
each additional half-hour 50 or 60 c., at night 75 or 85 c.

Modena, a town with 56,300 inhab., situated in a fertile plain
between the Secchia and the Panaro, formerly the capital of the
duchy of that name, and now that of the province of Emilia, pos-
sesses broad streets, spacious arcades, a university, and an aca-
demy of art.

Modena, the ancient Mi/iina , in the dominions of the Gallic Boii,
became a Roman colony in B.C. 183, and, being situated on the high
road from Rome to Mediolanum (Milan), was a place of some importance.
After the murder of Csesar, Brutus was besieged here by Antony for
four months, Dec. 44 to April 43 B.C. (Bellum Muiinense); but the latter
was defeated by Octavian with the consuls Pansa and Hirtius, and compel-
led to raise the siege. — In the middle ages Modena belonged to the
estates of the Countess Matilda, but eventually obtained its independence
and became the scene of violent conflicts between the Guelphs and Ghi-
bellines. In 1288 Obizzo II. cfEste gained possession of the supreme power,
which his descendants continued to enjoy (see p. 282). — On the death of
Alphonso II., without issue (1597), the states of Modena and Reggio (but not
that of Ferrara) fell to his kinsman Cesare d'Este (1598), husband of
Virginia de' Medici , daughter of Grand-duke Cosimo I. of Florence.
Hercules III. (d. 1803), who by the Peace of Luneville lost Modena in
1801, was the last of the family of Este. Through his daughter Beatrice,
who married Archduke Ferdinand, the duchy came into the possession of
the younger branch of the House of Austria in 1814. The insurrections
of 1848 and 1851 were quelled with cruel severity. Francis V., the last
duke, quitted his dominions in 1859 and went over to the Austrians.

A specialty of Modena with regard to art history, was the sculptur-
ing of Terracottas , the aim of the artists being to represent dramatic
groups rather in accordance with pictorial than plastic principles, and
therefore calculated only for being exhibited in niches. This branch of
art was first fully developed by the strongly realistic master Guido Maz-
zoiii, some of whose works may be inspected in the crypt of the cathedral
(see below), and in S. Giovanni Decollato (PI. 7). The art was next
practised in a more refined style by Antonio BegarelU (d. 1565), who re-
jected the aid of painting, and brought it to the utmost perfection of
which it seems capable.

The *Cathedral (PI. 1; D, 5), begun in the Romanesque style in
1099 by Lanfranco, consecrated in 1184, has a superstructure of
later date. The facade is relieved by a large rose window and a
simple colonnade (three arches resting on columns in the wall
and enclosed by a larger arch), which is continued round the
whole building. The portals are adorned with the often recurring
marble lions. The rude sculptures of the facade, representing the

Chiese

1 Diiomo D.5

'2 Campttjiile o S/iirlamb'na .D.i

3 JqosHiw lora SJRcchele > B.C.4

4 S. Bartolommeo D.6
6 S.Damenico E3

6 SJrancesco C.6

7 S. Giovanni decollato 1)4

8 Madonna cM Popolo BA.

9 j:/w& D.6

10 S.Pietro £.7

11 S.JinceneLo E.5
Edifjgj ed Istilirti pubMici

K ^ccademia iMeBeUeJrti E.3

13 OrtoBotanico G34

14 Osservatorio^slronaniico Ei'.4

\h Palazzo Tleale

E3.4

16 Coimuiale

D.5

n . Jrcioesan>ae

1)5

18 Scminario Vestxmile

19 Vniversita

E.5

IQ ScwhMcdidic dell Tmvcr

r,7<i or?'

21 Tffl^-o Coinunale t Socieiii

del Casino

T.5

11 TeatroJl,,,randi

XI JrMuioe6ittJicatu,e

diManJampnlo

ll.'ki

Vk Sanai ]!faxionale

1>.6

?i i>o^a/»«

E.5

?6 JUuseoLu/iidario

K.t

21 0.peJabcimco

li.CS.t

28 m/ZrV

B.4

29 /i/to

E.6

Alb«^

a./W,.

E.A

b.,f.ifo/-««

D.t

c.J!fo«J«fe,-u

D.i

A.Leopardo

r.i

Wa^nfp & Debes.TIfipzio

S. Pielro. MODENA. JU. Route. 277

Creation, and the history of the first men down to Noah, are by JVJ-
colaus and Guilelmus (about 1099); on the S. side, to the right near
the choir, is the history of St. Geminianus, a relief by Agostino da
Firenze, 1442 (perhaps Agostino di Duccio). The sculptures on
the N. side-portal are old and interesting.

The Interior is low and heavy, but of handsome proportions. The
nave and aisles are supported by alternate pillars and columns, over which
runs a triforium, and the vaulting is pointed. In the 2nd chapel on the
left, a late Gothic *Altar of terracotta; 3rd chapel, a Coronation of Mary
with saints on a gold ground, by Serafinus de Serafinis , the oldest extant
picture of the school of Modena (1385) ; 4th chapel. Madonna in clouds, St.
Jerome, St. Sebastian, and John the Baptist, by Dosso Dossi. By the
opposite pillar is the pulpit by Enrico di Campione, 1322; very ancient
font, to the right of the approach to the choir, adapted for the purpose from
the capital of a column. Choir-stalls by Cristoforo Lendenari , 1465; in
the choir, on the right, sculptures of the beginning of the 12th cent, by
Nicolaus and Guilelmus , representing the Passion. Above these are early
frescoes of St. Christophorus and the Annunciation. By the left entrance to
the choir, and on the left side of the choir, are several monuments of the
Rangoni family, the best being that (designed by Giulio Romano) of Claudio,
Count of Castelvetro (d. 1537), husband of Lucrezia, daughter of the
celebrated Pico della Mirandola (p. 199); and that of Hercules III.
of Este (d. 1803). The lofty crypt, with four lions at the entrance, and
supported by thirty slender columns, most of them vi^ith Romanesque
capitals, the fluted ones in front of the high-altar being antique, contains
the tomb of St. Geminianus ; the realistic group over the altar on the
right, a Madonna and Christ, with a nun, St. Joseph, and a servant, is
by Mazzoni.

The Archives of the Cathedkal Chapter-House contain a
large number of manuscripts.

The *Campanile, or La Ghirlandina (PI. 2), erected in 1224-
1319, 335 ft. in height, is one of the finest in N. Italy. It leans
slightly towards the back of the cathedral, which is itself slightly
out of the perpendicular.

In the campanile is preserved an old Secchia , or pitcher, which the
Modenese (Geminiani) captured from the Bolognese (Petronii) at the battle
of Rapolino, 15th Nov., 1325. Alessandro Tassoiii of Modena (1565- 1635)
has humorously described this incident in his comic epic poem 'La Secchia
Rapita' (1616). A monument was erected to him in 1860 in the principal
street, behind the cathedral.

S. Pietro (PI. 10; E, 7), at the S. end of the town, is a spacious
church with double aisles , one of the best brick facades of the
Renaissance, and cross vaulting, partly in the pointed, and partly
in the circular style.

Interior. 2nd Altar on the right, Pieta by Herri met de Bles; 3rd al-
tar. Assumption by Dosso Dossi; in the chapel to the right of the choir,
■Mourning for the dead Christ, in terracotta, by Antonio BegarelU of Mo-
dena (p. 276). Six statues in the nave by the same master. The 3Ia-
donna and Child in clouds, with four saints below, a group in the S.
transept, was begun by BegarelU and completed by his nephew Lodo-
vico. 2nd Altar on the left, Madonna in clouds with two saints by Giam-
battista Dossi.

S. Francesco (PI. 6 ; C, 6) contains a *Descent from the Cross
(in the chapel to the left of the choir) by BegarelU., an imposing
composition in terracotta , with thirteen life-size figures, among
which the group of women is specially pleasing.

278 Route 10. MODENA. Palazzo Reale.

The old cliurcli of S. Agostino , lately restored and now called
S. Michele (PI. 3; B, C, 4), contains a monument (to the left of
the high altar) to the celebrated savant Carolus Sigonius (1524-85),
a tahlet (to the left on quitting the church) In memory of Lod.
Ant. Muratori (1672-1750) of Modena, the eminent historian of
Italy, and a Pieta hy Begarelli.

The Museo Lapidario (PI. 26), in the court to the left of S.
Agostino, contains Roman inscriptions and sarcophagi, and in the
passage to the left two mediaeval monuments of 1312 and 1309
respectively.

The Corso Via Emilia, a short way from here, is adorned with
a marhle statue to the celebrated historian, with the inscription:
a Lodovico Antonio Muratori la Patria, 1853.

The *Palazzo Reale, formerly Ducale (PI. 15; E, 3, 4), at the
end of the Corso Vittorio Emanuele , a magnificent edifice with a
handsome court, begun under Francis I. in 1634 by the Roman
Bartolommeo Avanzini , contains a Picture Gallery (open daily
10-3, fee 1 fr. ; Sundays gratis ; entrance at the N. side of the pal-
ace , second floor; catalogue 3fr.). The name of the painter is
affixed to each picture.

II. Room : 24. Simoiie Avanzi, Madonna and angels (1370) ; without a
number, Barnaha da Modena^ Madonna (14th cent.); 30. Baldovinetti (?),
Adoration of the Child ; 33. Gherardo da Haarlem (or rather by an early
master of the school of Bologna), Crucifixion; 39. Giac. Francia., Assump-
tion of the Virgin; 46. Bartolommeo Bonasio, Pieta (1483); -36. Franc. Bianclii
Ferrari (Correggio's teacher). Annunciation; 51. Bernardino Losco, Madonna
and two saints (1515); 58. Marco Meloni, Madonna and two saints (1504).

— III. Room: *60. Correggio, Ganymede carried off by the eagle (ceiling-
painting) ; 66. Correggio, Angels. Then a number of frescoes, comprising
nine scenes from the JEneid (transferred to canvas) , by Niccolb delV
Abbate of Modena (1512-71); by the same master, the octagonal piece
No. 107, with singers and musicians. — IV. Room : 108-112. Ceiling-
paintings by Tintoretto from Ovid's Metamorphoses ; 115, 118, 119, by the
same master; 117. Copy of Titian, Portrait of a lady; '113. P. Veronese,
Portrait of a knight; 140. Palma Giovane, Allegory; *141. Bonifacio,
Adoration of the Magi; *143. Cima da Conegliano, Descent from the Cros.s.

— V. Room: '149. Giiido Reni, Christ on the Cross; 163. Guercino,
St. Peter reading ; in the centre the statue of a wounded warrior by
Obbigi. This room and the 8th contain a number of drawings. —
VI. Room : 189, 190. Garofalo , Madonna and saints ; 176. Dosso Oossi,
Adoration of the Child; 178, 191, 193, by the same master. In the
centre a marble statue of Psyche by Capelli. — VII. Room: 201. Lodovico
Carracci, Flora; 204. Annibale Carracci, Venus; 212. Caravaggio, Soldier
drinking. — VIII. Room : unimportant, and most of the names questionable
(among the drawings are the 'Judgment of Paris and the Flight of
Helen). — IX. Room: 297. Madonna, after Andrea del Sarto. — To the
left is the (X.) Sala Grande; Statue of Francis I. by Bernini; two land-
scapes, without numbers, by Salvator Rosa; 341. Guercino, Crucifl.xion of
St. Peter; 325,346. Tintoretto, Mythological pictures; 348. Lionello Spada,
Gipsy woman. — XI. Room: 404. Oasparo Pagano, Nuptials of St. Ca-
tharine. In the centre, Woman begging, a marble statue by Capelli. —
XII. Room: Nugari , Copy of Correggio's La Notte; Ezzelin's fall, by
Malatesta, the director of the gallery. — Room to the right (generally
closed) : *423. Palma Vccchio (or Bern. Licinio ?), Portrait of a lady ; "488.
Pinturicchio, Madonna and Child; 478. Holbein fV), Henry VITI. of England ;
490. Miirillo, Portrait of a Benedictine; 458. Memliiig, St. Christopher, an

Palazzo lieale. MODENA. 40. Route. 279

original repetition of the picture at Munich, with alterations ; 694. Bern.
Luitii, Infant John ; 693. Giulio Romano, Study of a head. — Another room
contains small bronzes, majolica ware, carved wooden articles, and
vessels of various kinds, including three with fine Venetian enamel.

On the first floor of the palace is the Library (Biblioteca Estense), with
90,000 vols, and 3000 MSS. (closed 1st Aug. to 1st Oct.), transferred by
Duke Cesare d'Este from Ferrara to Modena in 1598, when Pope Clement
VIII. claimed the Duchy of Ferrara as a vacant fief (p. 282). The eminent
scholars Zaccaria, Tiraboschi, Muratori (p. 278), and the archjeologist Ca-
vedoni (d. 1865) were once librarians here. Some of the MSS. are very
valuable, e. g. a collection of Provencal poems by Ferrari (1254), Dante
with miniatures of the 14th cent., prayer-book of Elector Albert of
Mayence (d. 1545), with miniatures. The same building also contains the
Cabinet of Coins and the Archives.

At the end of the street are the well-kept Gardens of the pal-
ace, now the Giardino Pubblico (PI. F, 3 ; closed In rainy weather),
which, as well as the ramparts of the town, afford pleasant walks.

From Modena to Mantua, see R. 32.

Vignola, 12V2 M. S.E. of Modena, on the Panaro , is situated on an
eminence and commands the landscape far and wide. The celebrated
Muratori (p. 278) and the architect Giacomo Barozzi da Vignola were
born here.

About the year 1770 Duke Francis III. of Modena constructed a bold
and interesting, but now neglected road from Modena to Pistoja, a dis-
tance of 46 M., leading by Formigine, Serra, Paullo, Pieve a Pelago, and
Fiwnalbo , at the base of the lofty Monte Cimone, where charming views
of the Apennines are obtained. A diligence runs daily to Pieve a Pelago.
Continuation of the road (to Boscolungo, S. Marcello, etc.), see p. 313. —
To the W. of this road, about IOV2 M. S.W. of Modena, is situated
Sassuolo, a small town on the Secchia , with a ducal Villa and beautiful
park. The Zibio, a neighbouring volcanic mountain , is remarkable for
its naphtha springs.

41. From Padua to Bologna.

77 M. Railwat in 3-4 hrs. ; fares 14fr. 5, 9fr. 95, 7fr. 5c.

Padua, see p. 203. The line skirts and crosses the navigable
Canale di Battaglia. — 6 M. Abano , a small town , said to be the
birthplace of the historian Livy, lies at some distance to the right
of the line. In the vicinity are the Bagni ('Baths', a well-appointed
establishment), the Aquae Patavinae, or Fons Aponi, of the Ro-
mans, on the E. slope of the Monti Euganei, an isolated volcanic
chain of hills, with extensive qnarries of trachyte. The culminat-
ing point of the range is the Monte Venda (1890 ft.), on which lie
the ruins of a monastery.

8 M. Montegrotto. The train passes through a long tunnel,
and reaches • —

11 M. Battaglia (ylift. alia Luna, bargaining necessary), with
warm baths of considerable repute. The chief spring rises close to
the chateau of Count Wimpffen, the proprietor of the watering-
place. In the immediate vicinity is seen the chateau of Cattajo,
erected by the Venetian family of the Obizzi, and now the property
of the Duke of Modena. It is adorned with numerous frescoes by
Celotti, and contains a valuable Collection of Antiques.

280 Route 41. ROVIGO. From Padua

Ground-floor. Ante-chamber: inscriptions, large trilateral Roman
monument; farther on, a room with inscriptions and architectural frag-
ments. First floor. 1st Room: casts. 2nd R. : early Christian sculptures.
Hall: twenty Etruscan cinerary urns with scenes of leave-taking and
battles; 9, 17, 19. Death of Neoptolemos at Delphi; 18. Cadmus slaying
the dragon; 7. Rape of Helen; to the left, farther on, 40. Relief from a
Roman tomb; 43. Torso of a satyr; Brazen vessels from the Euganean
Jits. ; *102. Greek tomb-relief of a young girl ; 288. Good relief of the
liust of a girl; 545. Statue in a sitting posture; 605. Isis; 1190. Upper half
of a portrait-statue ; 1179. Bearded Dionysus ; Egyptian sculptures in gra-
nite. — A room to the right contains a large collection of Wecqions. The
Oratorio S. Michele, or Chapel of the chateau, contains good early Italian
pictures.

About 3 51. to the S. W. of Battaglia, on the Monti Euganei, is situated
Arqua del Monte, where Petrarch lived and died (1304-74). His monument
in front of the church consists of a sarcophagus resting on short columns
of red marble, bearing the inscription :

Frigida Francisci lapis hie tegit ossa Petrarce,
Suscipe virgo parens animam ! Sate virgine, parce I
Fessaque nam terris cell requiescat in arce.
On the top is a bust of Petrarch, dating from 1547. His house in the
upper part of the town, with painted wooden ceilings and faded frescoes
in allusion to his poems, contains a few reminiscences of its former
illustrious owner.

141/2 M. Monselice , a town at the base of the Monti Euganei,
has remains of fortified walls and a ruined castle, which once be-
longed to the Patriarch of Venice.

18 M. Stat. Este. The town , the ancient Ateste, lies 32/4 M. to
the N., on the road which here diverges to Mantua. It possesses
the extensive , but now ruinous ancestral residence of the House
of Este (p. 282), a spacious piazza surrounded with arcades, a Porta
Vecchia with a clock-tower, a Museo Civico in the church of S.
Francesco (containing several interesting Roman inscriptions), a
cathedral of elliptical plan with a lofty choir , and a church of S.
Martino with a leaning tower.

Near (IQ'/'i M.) Stanghella the line crosses the Gorzone Canal.
The country is fertile , but flat and marshy. Near Boara a small
new fort is passed and the Adige crossed.

27^/2M.'Rovigo(Cnppa d'Oro; *CoronaFerrea), on the Naviglio
Adigetto, an episcopal residence and the capital of a province, with
10,700 inhab., belonged to Venice from 1484 downwards. The
Via Ponte Adige leads from the station past the Corona Ferrea
Hotel to the Piazza, in which stands a Venetian column. To the
left, adjoining 'the Cafe' Vittorio Emanuele , is the entrance to
the —

Palazzo Comunale, which contains an extensive Library and
a ^Picture Gallery.

2. Copy of Tiliaii, Madonna; 3. Copy of Gen. Bellini., Madonna; 4. Bern.
Licinio, SS." Lucia, Agnes, and Catharine"; '11. Giorgione., Portrait; 18. Palma
Vecc/iio, Madonna and saints; 22. Giorgione (attributed by Mr. Crowe to
Bonifacio), Scourging of Christ; 24. Bissolo , Christ; 25. Leonardo da
Vinci (n, Christ; 31. Giov. Bellini (school-piece). Betrothal of St. Catha-
rine; 35. Bonifacio, St. Peter; 37. Angelica Kavfmann, Innocence; *'39.
falina Vecchio, Madonna with SS. Helena and Jerome; '42. Perugino (ace.

to Bologna. ROVIGO. 41. Route. 281

to Mr. Crowe by Lo Spaffiia), Madonna; 48. Perin del Vaga., Madonna
and saints ; 80. Copy of Bellini by Marco Belli, Presentation in the Temple;
103. Master of N. Italy, Venus; 106. Cima (?), Madonna; 109. Giov. Bel-
lini, Madonna; 118. Andrea Schiavone, Apollo and Daphne; 119. Holbein O),
Portrait of Ferdinand I.: 123. Palma Vecchio , Portrait fretouched) ; 126.
Pedrini, Ecce Homo; 134. Antonio Badile, The Magi; 135. Garo/alo, Ma-
donna and saints; 136. Barf. Montagna (ascribed by Crowe to Polidoro),
Madonna and saints ; 142. Titian, SS. Nicholas, Paul, Francis, and Cecilia ;
102. Dosso Dossi, SS. Benedict and Bartholomew; 110. Dossi, SS. Agnes
and Lucia; 152. Panetti, Nicodemus with the body of Christ; 148. Palma
Vecchio (copy), Adam and Eve. — In the Library, which contains 70,000
vols., there is a small picture of St. Lucia, by Quiricins of M^irano {iiW).
The reading-room contains a portrait of the astronomer Biela. — The
staircase is decorated with beautiful tapestry.

The two leaning towers belong to a Castle erected in the 10th
century. The handsome Assize Buildings were erected in 1873.

From Rovigo to Verona, see p. 194.

Adria , 15 M. from Rovigo, and connected with it by a branch-line
(fares 2fr. 85, 2fr., Ifr. 45c.), is situated on the Bianco Canal, and
occupies the site of the very ancient Etruscan town of the same name,
whence the Adriatic derives its appellation. The sea has gradually re-
ceded from it, and is now 17 M. distant. Travellers who desire to visit
Signor BoccWs collection of antiques (chiefly fragments of vases) will best
consult the convenience of the le<arned owner by doing so in the forenoon.

321/2 M. Arquh. The line crosses the Bianco Canal near
the Bosaro, and, near —

38 M. Polesella, reaches the Po, which is here the boundary be-
tween Venetia and the Roniagna. The left bank of the Po is now
followed. Stat. Paviole; then S. Maria Maddalena. The river is
then crossed, and the train reaches station Pontelagoscuro .

411/2 M. Ferrara, see p. 28'2.

From Ferrara to Bologna, 291/2 M., in 1-1 1/2 hr. The train
crosses the Cavo Tnssone Canal, which communicates with tlie
Po di Primaro immediately to the S. of Ferrara, and traverses flat,
well-cultivated land (rice-fields). Stations Poggio Renatico, Oal-
liera, S. Pietro in Casale, and 8. Giorgio.

From S. Pietro in Casale a diligence plies twice a day in I'/z hr.
to Cento , a small town on the Reno, the birthplace of the great painter
Giovanni Francesco Barbieri, surnamed Guercino da Cento (b. 1590; d. at Bo-
logna 1666). Several of the churches, particularly those of ~S. Biagio and
the Madonna del Rosario, contain works by Guercino, who was greatly
attached to his native town. His house, where he received many illustrious
visitors, is still shown. In the centre of the town is his statue by Galletti.
— Near Cento is situated Pieve di Cento, a small town with the pilgrimage-
church of S. Maria Assuuia; the high altar-piece is an 'Assumption by
Gnido.

Next stations Castel Maggiore and Corticella. The fertility of
the soil increases as Bologna is approached.

77 M. Bologna, see p. 286.

282

42. Ferrara.

Hotels. EuKuPA, opposite the post-office (PI. 27; E,5), mediocre;
Stella d'Oro, opposite the castle; at both, R. 2, L. and A. Ifr. ; Albekgu
DELLA CoLOMBA, Unpretending.

Cah from the station to the town 1 fr., per hour I'/afr., each additional
Vz hr. 60 c.

Cafi's in the Piazza del Commercio, opposite the castle. Small Restau-
rant at the station.

Ferrara is situated near the ancient Forum Alieni, 81/2 M. S.
of tlie Po, in the midst of a fertile, but unhealthy plain. It is the
capital of a Delegation, with 28,500 inhab. , and possesses broad,
deserted streets , mouldering palaces , and other imposing reminis-
cences of its golden period. It was once a prosperous commercial
place, numbering 100,000 inhab., and was the seat of the renowned
court of the House of Este.

The family of Este was descended from the Lombardic invaders of Italy,
and derived its feudal name from the castle mentioned at p. 280. Azzo I.
became Count or Margeave of Este under Emp. Henry III. His eldest son
Welf (founder of the younger branch of the Gvelp/is) was invested with the
Duchy of Bavaria, which had belonged to his grandfather, the last male
representative of the elder branch of the Guelphs, and his son Henry the
Provd became the founder of the families of Brunswick and Hanover.
Giulio, the second son of Welf, was the ancestor of the dukes of Ferrara
and Modena. Obizzo 1 11.^ who added Modena and Reggio to his dominions
(d. 1352), considerably extended the power of his house, which from an
early period was a liberal patron of art and science. In 1462 Borso
received the title of Duke of Modena and Reggio from Emp. Frederick III.,
and that of Duke of Ferrara from Pope Paul II. He died in 1471. His
brother Hercules I. (1471-1505), and the son of the latter, Alphonso I.
(1505-34), husband of the infamous Lucrezia Borgia, were powerful and
influential princes. Cardinal Hippolylus (TEste, Archbishop of Milan,
brother of Alphonso , was the friend and patron of Arioslo. Hera/les II.
(1534-58), son of Alphonso, was the husband of Renata, daughter of
Louis XII. of France, patroness of the Reformers Calvin and Marot, to
whom she accorded an asylum. Having declared herself in favour of the
reformed doctrines, she was separated from her husband and children.
Her son Alpfionso If. (1558-97) raised the glory of Ferrara to its culmin-
ating point, but with him the family became extinct, his three m.arriages
being childless. He was the patron of the poets Tasso and Giiari7ii {author
of the 'Pastor Fido', born at Ferrara in 1537, died at Venice in 1612).
Goethe in his 'Torquato Tasso' has drawn a faithful picture of the court of
Ferrara about the year 1575, although a somewhat ideal colouring is given
to some of the characters. His description of the attachment of Tasso to
Eleonora (1537-81), the youngest unmarried sister of the duke, is however
not without foundation. Anna (1531-1()07), one of the sisters, was married
to the Due dc Guise, and afterwards to the Due de Nemours ; Lucrezia
(1534-98), the other sister, was the wife of the Duke of Urbino. Alphonso
II. was succeeded by Cesare d'Este, descendant of a natural son of
Alphonso I., but only as duke of Modena and Reggio, Ferrara and
Comacchio having been claimed by Pope Clement VIII. as vacant fiefs.
In the history of art and science the renown of the House of Este is
immortal.

'Whoe'er in Italy is known to fame

This lordly House as frequent guest can claim."

The art of Painting was liberally patronised at Ferrara, as at all the
other Italian courts, but the Ferrarese painters did not succeed in main-
taining full independence. In the 15th cent, they were chiefly influenced
by the Paduan school, as in the case of Cosimo Turn (1430-1496), whose
chief works are the frescoes in the Palazzo Schifanoja (p. 284; painted

Ck,

lese

\.Caitedralt J).3.

ISAndrM. F.?.

Z.SBejiedelto .C.2 3.

^.Corpus Domini . E. 6.

^.S.Criftoforo ( Cert0j-cL,CampoSaJvto^JL'l

^.S.])omeixia> . C'.B.i.

Is. Francesco , £.5.

%.iJLel Oes-iL . . . ' D.I.4.

'i f.Giovajmtiaitisla. F.3.

\0.f.GirolanLO F. 6.

W.S'.^Woj'iaiiLvade £6

V.S.MaureHo (Cappiiccini I D.?.

XZ.S.J-aoU . . J).5.

Ik.S.SpiriU .Y\.

l^AcaademiaAruistetc Ti.'i

l^Jrcinescanado D'i.5.

\1 Casiello degU aniicki Mucki D.4

\^.Giardiju>£oiajiico ... D.E.6,

]S.Palazzo del Murdcipio . D/i'.j,

20, . " delUi JU^imu . D.5.

2l.J'«JM>Ml/-M> D^'.S.

llSladioPuhbUe^i j;.5.6.

H.Teaii-o £ojuicossi-
24'. ■ " Cpmunale.

li.CascL deU'^rUs-ta.
I^.GheMo .

27 7V.j-to </eZfe leUere.
28. ■■ ■■ rf^i OwaUL .

^.(h-pedale Sf i4nna .

Q.^tt^nto civicj) . .

31 Jtonume/Uo Sarrmarola

32 Palazzo Bevilaqua

.« Costabitt . .

34. . . de'ZeoTu .
36 .
36 .

D.5.
D.*.

CD. 2.

E.5.

. E./J..

J), a-.
.E.<k

.D.3.
.D.it.
.E.3.
F.J.

dj:.3.

.F.6.
.F.3.

Detes Xeipza^

Cathedral. FERRARA. 42. Route. 283

perhaps with the aid of Piero della Francesco). Lorenzo Costa (1460-
1535), another Ferrarese master, became an adherent of Francia during
his residence at Bologna. In the 16th cent, the influence of Raphael and
the Venetian painters predominated, the former being apparent in the
works of the skilful Benvenuto Tisio, surnamed Garo/alo (1481-1559) and
Dosso Dossi (d. 1542), who sometimes displays a taste for fantastic themes,
while the colouring of the talented Lodovico MazzoUno recalls the Vene-
tian school. The princes of Esfe, it is well known, were eager collectors
of the works of Raphael and Leonardo. Titian also occasionally resided at
Ferrara, where he painted his 'Cristo della Moneta'', now at Dresden.

The *Castello (PL 17; D, 4), an ancient and picturesque edi-
fice with four towers , situated in the centre of the town , is now
occupied hy the local authorities and the telegraph-office. The cus-
todian shows several dungeons , and among them one at the base
of the 'lion tower', where on 21st May, 1425, the Marquis Nicho-
las III. caused his faithless wife Pnrisina Malatesta and his na-
tural son Hugo, her paramour, to be beheaded. Lord Byron in his
poem of 'Parisina' substitutes the name of Azzo for Nicholas as
being more metrical. — The Sala del Consiglio , and the adjacent
Sola di Napoli in the building of the piefecture, contains frescoes
by Dosso Dossi, representing wrestling-matches of the ancient pa-
laestra. The Sala deW Aurora , with frescoes by the same master,
contains a fine *Frieze with children (said to be Eleonora's room).

Between the castle and the cathedral rises a monument by
Galetti to Girolamo Savonarola (PL 31), who was born at Ferrara
on 21st Feb. 1452 ('in tempi corrotti e servili del vizi e dei tiranni
flagellatore' ; p. 352). It was unveiled in 1875 , on the occasion of
the Ariosto festival. — On the right , farther on , is the Palazzo
del Municipio (PL 19), the oldest residence of the Este family,
much altered during the last century.

The *Cathedral (<S. Giorgio; PL 1 ; D, 5) has an imposing facade
with three series of round arches , one above the other , an ad-
mirable example of the Lombard style. The lower part of the
front and the lateral facades date from 1135; the upper part is of
the 13th cent., the sculptures of the 13th and 14th. The projecting
portal, enriched with sculptures and four lions, was added at a later
period; the reliefs, however, are of an earlier date.

The Interior, with its aisles and double transept, has been entirely,
but not unpleasingly modernised. In the 2nd Transept on the right :
*St. Peter and St. Paul by Garo/alo, Martyrdom of St. Lawrence by
Guenino. Crucifix and four figures in bronze by Niccolb Baroncelli; ter-
racotta figures of Christ and the apostles in both transepts by Alfonso
Lombardi. — In the Choir, to the right, Annunciation, to the left St.
George, by Turn; above. Last Judgment, by Bastianino. 3rd Chapel on
the left, Madonna enthroned with saints, by Garofalo. On the right and
left of the principal door, SS. Peter and Paul, in fresco, by the same
master (repainted).

At the S. corner of the cathedral rises a lofty and handsome
Campanile in four massive stories, erected in the Renaissance style
under Ercole II. Opposite to it is the Pal. della Ragione, a Gothic
brick building with restored fa(;ade , erected in 1315-26, restored
in 1840, and still containing the courts of justice. — Adjoining is

284 Route 42. FEREARA. Palazzo Schifanoja.

tlio former church of <S. Romano, which is uow almost entirely con-
cealed from view by other buildings, only the tasteful brick orna-
mentation of the frieze and window-arches being visible.

S. Paolo (PI. 13^ contains pictures by Bonone and Scarsellino,
and the tomb of Ant. Montecatino , the friend and minister of Al-
phoiiso II.

The Studio Pubblico, or University (PI. 22; E, 5, 6), a school
of medicine, mathematics, and jurisprudence, contains a valuable
collection of coins, and Greek and Latin inscripitious (in the court
several Roman and early Christian sarcophagi), and a Library of
100,000 vols, and 1100 MSS.

Among the latter are several cantos of the 'Orlando Furioso'' in
Arioi'lo's handwriting, with numerous corrections, and a copy of Tasso's
'Gerusalomme Liberata", also with corrections; letters and poems written
1)y Tasso in prison; Guarinfs MS. of the 'Pastor Fido'; a number of choir-
books of the 13th-16th cent, with beautiful miniatures. Among the
printed books are fiftv-two old editions of Ariosto. His monument was
brought here from S. Benedetto (p. 285) in 1801.

S. Francesco (PL 7; E, 5^, erected in 1494 by Pietro Benve-
nuti^ is entirely covered with domes, and each aisle is flanked with
chapels. The frieze of 'putti' and foliage , lately restored , is by
Giralamo da Carpi. 1st Chapel on the left, frescoes by Garofalo, the
Donors and the Kiss of Judas. The other pictures are copies, of which
the originals are preserved in the Pinacoteca. The church contains
monuments of the family of Este and that of Giambattista Pigna,
the secretary of Alphonso II. and rival of Tasso (a simple slab,
outside, to the right of the entrance). A famous echo here (under
the second dome in the nave) answers sixteen times if awakened
with due energy.

S. Maria in Vado (PL 11 ; F, 6), one of the oldest churches at
Ferrara, but altered after 1475 by Biagio Rossetti and Bartolommeo
Tristani, consists of a nave divided into three parts, with aflat
ceiling resting on ten columns, and surmounted by a dome sup-
ported by buttresses. It contains frescoes by Bononi.

At the back of the church. No. 23 , Strada della Scandiana, is
the Palazzo Schifanoja (PL 35 ; F, 6), once a chateau of the Este,
and now containing a deaf and dumb institution. It was begun by
Alberto d'Este in 1391, and completed by Borso in 1469. Over the
handsome portal is the unicorn from Borso's armorial bearings. The
principal saloon contains "'Frescoes by Cosimo Tura , Lorenzo
Costa QY), and others, discovered in 1840 under the whitewash,
representing the twelve months of the year, the signs of the zodiac,
and scenes from the life of Borso.

To the S. of S. Maria in Vado, in the Corso Porta Romana , is
the Palazzo Costabili (PL 33; F, 7), sometimes called Palazzo
Scrofa , after its former proprietors, or Palazzo Beltrame from the
family to which it now belongs. It was erected in 1502, but is un-
completed. Handsome court.

The N. yuAKTKii of the town, or 'Addizlone Erculea', erected

S. Benedetto. FERRARA. 42. Route. 285

by Hercules I. in the 14th cent., is traversed by two main streets,
the Corso Vittorio Emanuele and the Corso di Porta Po and di Porta
Mare. At their intersection (PI. D, E, 3) are situated four hand-
some palaces , the linest of which are the Palazzo Prosperi, or rie'
Leoni (PI. 34), with admirable ornamentation, and the —

*Palazzo de' Diamanti (PI. 30 ; D, 3 ), so called from the pe-
culiar facets of the stones with which the building is covered, a
handsome early Renaissance structure , erected for Sigismondo
d'Este by Biagio Rossetti , and completed in 1567. It contains
the Ateneo Civico and the important Civic Picture Gallery^ most of
the works in which have been collected from suppressed churches.
(Open daily 10-3 ; ring on the left at the entrance ; fees prohibited.)
Oarofalo and Dosso Dossi are particularly well represented. Good
catalogue, 1 fr.

I. Room. '95. Rocco Marconi, The Tribute-money; 97. Panetti, (master
of Garofalo), St. Paul, a fresco; 31. Carpi (pupil of Garofalo), St. Catha-
rine; 120. Tintoretto, Madonna del Rosario. — II. Room. 33. Calzolareiio
(pupil of Dossi), St. Lucia; Panetti, 99. St. Andrew, 98. Annunciation,
100. St. Augustine, *101, 102. Annunciation; 28. Lor. Costa, Madonna en-
throned, with SS. Petronius and Jerome. — III. Room (I.): 27. Franc. Costa,
Condemnation, and 26. Beheading of St. Maurelius; 53. Oaleassi (Ferrara,
15th cent.). Entombment; 55. Grandi (pupil of Costa), Holy Family; *i22.
Cosimo Tiira , St. Jerome; 123. Tura, Pieta in a landscape; 94. Perugino,
Drawing; *121. Tura, St. Jerome. — We now return throxigh the second
room to the IV. Room. 109. Eosselli, Ascension ; 59. Garofalo, The Old
and New Testament, a fresco from S. Andrea; 19. Bononi, Wedding at
Cana. — V. Room. 60. Garofalo, Adoration of the Blagi; 56. Graiidi, La-
ment of the women. — VI. Room. 45. Dosso Dossi, St. John inspired for
the Apocalypse; 61. Garofalo, Madonna del Pilastro; 93. Ortolano (a con-
temporary of Garofalo), Adoration of the Child; *62. Garofalo, Adoration
of the Slagi, with a carnation painted in the foreground by way of signa-
ture, 1537; 103. Panetti, Salutation of Mary; 88. Mazzolino, Adoration of
the Child; 58. Garofalo, St. Nicholas of Tolentino celebrating mass; 63.
Garofalo, Christ on the Mount of Olives. — VII. Room. 75. Guercino,
Decapitation of St. Maurelius ; 64. (over the door) Garofalo , Return of
the Holy Family to Egypt; 65. Garofalo, Madonna among clouds, with
saints and donors below, 1514; 37. Vitt. Carpaccio , Death of Mary; 66.
Garofalo, Slaughter of the Innocents. — VIII. Room. 44. Dosso Dossi, An-
nunciation (an early work) ; 68. Garofalo, Conversion of Constantine (in
four small pictures); 124. Timoteo delta Viie(?), Assumption of the Egyp-
tian Mary ; 105. Panetti, St. Andrew. — IX. Room. 69. Garofalo, Madonna
del Riposo; *71. Garofalo, Raising of Lazarus; 72. Garofalo, Finding of the
Cross; '"45. Dosso Dossi, Madonna with SS. Augustine and Sebastian on
the left, and .SS. Ambrose and George on the right, one of the master's
finest works. — X. Room (to the right of the entrance): Modern pictures.
In the Corso di Porta Po, a little farther to the W., is the church
of S. Benedetto (PI. 3 ; C, 2, 3) , erected in 1496-1553 by Giam-
battista and Alberto Tristani, consisting of nave and aisles supported
by pillars, and flanked with chapels. The circular vaulting is inter-
rupted by domes. The monument of Ariosto was originally here
(see p. 284). The old monastery, now a barrack (keys at the
Palazzo Comunale, not always easily obtained), is adorned with
frescoes by Scarsellino and Dosso Dossi ; that of the ante-chamber
of the refectory represents Paradise, with saints and angels , among
whom Ariosto caused himself to be painted.

286 Route 43. BOLOGNA.

The simple House of Ariosto [PI. 25 ; C, D, 2), which he erected
for himself and occupied during the latter part of his life, Via dell'
Ariosto No. 67, has been the property of the town since 1811. It
bears the inscription, composed by the poet himself:

'Parva, sed apta mihi, sed nulli obnoxia, sed non
Sordida, parta meo sed tamen acre domu3\
A few reminiscences of Ariosto are shown in the interior.

While the poet was studying law, which however he soon exchanged
lor poetry, he resided in the Casa degli Ariosti, near the church of S.
Maria di Bocche, but quitted it on his father's death.

A Statue of Ariosto by Franc. Vidoni, on a lofty column in the
Piazza Ariostea (PI. Pi, F, 3), was placed there in 1833. In the
Ifith cent, the column was erected as a monument to Hercules I.,
and in 1810-14 bore a statue of Napoleon. On the S. side of the
piazza is the Palazzo Zatti (PI. 36} , and on the W. side the Pa-
lazzo Bevilacqua (PI. 32).

The church of S. Cristoforo (PI. 5 ; E, F, 2) in the Campo Santo,
which was formerly a Carthusian monastery, a handsome Renais-
sance building , was erected in 1498-1553. The cemetery contains
several tasteful modern monuments.

The Hospital of St. Anna (entrance in the Strada della Giovecca, next
door to the Europa; PI. 29; E. 4) is interesting as the place wheve Tasso
was kept in conlinement for seven years (from 1579J by order of Al-
phonso II. He is supposed to have incurred the displeasure of his patron
by his passion for the Princess Leonora, the sister of Alphonso, or to
have suffered from periodical attacks of insanity. A dungeon is shown
in which he is said to have been incarcerated, with the names of Byron
and other poets written on the walls. — Adjoining the hospital is the
Casino dei N^egozianti, formerly Palazzo Roverella, erected in 150S, with a
flne facade.

In'the church of S. Giorgio, outside the Porta Romana (PI. F, 8), Pope
Eugene IV. opened the Council convened in 1438 with a view to effect a
union of the Greek and Roman churches, in the presence of the Greek
Emp. John Palseologus. This locality being considered unhealthy , the
seat of the Council was afterwards transferred to Florence.

43. Bologna.

Hotels. 'Hotel Brun and Pension Suisse (PI. a; E, 4), in the Pal-
azzo Malvasia (good survey of the town from the loggia) , Strada Ugo
Bassi, R. 3fr. and upwards, B. l'/^, A. 1, L. ^/i, D. 5, omnibus Ifr. —
Albekgo Bologna; Aquila Nera ; "Pellbgrino (PI. c; F, 4), R. 2, L. and
A. 1, D. 3'/2, omnit)us '/zfr. (all these hotels are in the Strada Ugo Bassi);
Hotel dItalie, Portico delle Gabelle Vecchie , well spoken of, R. from
2fr. — Albergo de' Tre Re, and Quattro Pellegrini & Bella Venezia,
both in the Mercato di Mezzo; Commercio, Via Orefici.

Restaurants. " Risloratore Stelloni, Mercato di Mezzo 79 cfe 81, near the
Pia/,/,a Vitl. Einanuele , on the 1st floor; Felsineo, Mercato di Mezzo, en-
trance from the Via Venezia, not expensive; 'CaffH del Corso , Strada S.
Stefano; also at most of the hotels. (The 'Mortadella\ or Bologna sausage,
and the ^Cervellato", a kind of pudding, which is eaten in winter, are
much esteemed by the natives.)

Cafes. The most frequented are in the arcades near the Palazzo
Pubblico, and in the streets to the S. of S. Petronio, most of them sombre
and uninviting. "Pavaglioiie, in the Piazza at the back of S. Petronio, to
the S.; Majaiii (confectioner); "delle Scieiize , Via Miola; del Commercio,
opposite Hotel Brun; del Corso (sec above). — Beer at the following

O-iese.

I.SJiiiro ' Metropphtjina '
3. S.Baitcl'injiiro di Porta

^.SSartrlaiiuueo tit Rato
h StmedrUo
k.S.CrcUin
7. S.CleniciUr

■ hi Santu

a.s.rnstuui

10. Sdmirnicci

U.S.Sonato

XI SJ^ranccsco

\'i.S.6iaci*mo majjifwre
■ Vk-S-Giifrtfio

Ya.SJHcvanniin niotUr
^^Va.S.S.Giustppe cd Itpia^

W .S.Grcqorio
K.S.kma

iS. S.Lucia
',1X> Madtnmu di Oidliera

"n.S.Varia dclla Orrila
iK. , JLiildalrna

IB. muqgiorr

|24 dctlaPicUi

IvtctidicmU
iM, dcJUVita

l&.S.^tLti-titto laaqijiore

■n.HfascarcJla o fiHari.
\ Turifii

TASMaUia Ri

i Z%.SJnc<vld di S. Felice D.3

130. Or/one metidiranH diSJfiata 11

iVSTaoln

32.SJ>nxvIa F.6

n.sMocco . a

iiSSaha/nrc E*

i^^tSerpi 'S.^trca de'S.' I^
J^.S.StcJkiu) MSm

:S\.S.S.Trmita 1.7

W,.S.SMtaU ed^qriccla. Hft

dclla

\ Edifizj

I piibblici

\2S>.Jecademia delle belle arti JJ
'40. Cetlleaia di Snaana .

M.PaUlx-^ Arcivescovde KGl*.

I43. ilella Mrcemxia

1 oLoqaia de^Mercanii G.W,

4». del^odeftd Ti.

'tU P„6i!iroodelln,re,-no . F't

ru/umastti

147. Cniiter^itti

[iOTal ..■Hbcri/ati
|M. ^dravandi

]i2. Baeiifcrkt

43 BmtivcgUa

IS*. . Bei*tlttcqita Krtecrl

M. Bioffiim- - -■

Ei6

Palliimcini >ilI6.

Scrcoltuii

'Midoc x\i Medic i. ■ .
Campeqyi

M.,rrsr.
PrpoV
Viella

tlehi

H3A.
6^

70 '• lampter\

lie:,.-.,

TcaUi

KS.Cemunule odelCcmiuu
13.. Coiibivalli O I

li.dilCarso H>

M,..Jhurno detto^rmt del

?</, tU' iU«»« r//i';/« I -ST

K Gautm di P,JIo,u <kai fiL£,inca \azw , J< 1 > ^

77.C,«/« H5 M A^Xj

li. Torre ^nnelU G* *

79. - Cjrtsc.Ja Cl*.

1: 16.i>.'.o

QgrapU Anirtalt TDnVnBnrrS-Defccs.LrivEi^

^,^^

CONTORNI Di BOLOCKA

Siala I el I 8bi00

Baths. BOLOGNA. 43. Route. 287

Birrerie^ which are also restaurants: ''Hoffmeisler, opposite S. Petronio, in
the Piazza della Pace, Via de' Libri; Neviani in the side arcade of the Piazza
to the E. of S. Petronio; "Milaiw, Via Miola, adjacent to the Cafte delle
Scienze; Werder, Via Ugo Bassi ; Brewery on the S.W. side of the Piazza
d'Arini (to which an omnibus runs every evening from the Piazza Petronio).

Railway Station outside the Porta Galliei-a, N.W. of the Montagnola
(PI. G, 1). Railway to Ferrara, see R. 41; to Ravenna, see R. 44; to Flor-
ence, see R. 45; to Piacenza, see R. 38; to Ancona, etc., see Baedeker^s
Central Italy.

Post Office in a wing of the Palazzo Pubblico (PI. 45), opposite the
Palazzo del Podesta. — Telegraph Office on the first floor of the Palazzo
Pubblico.

Cahs. Per drive, within the town, 3/4 fr-; first 1/2 hr. 1 fr., whole hour
and each following hour IV2 fr. ; to or from the station 1 fr. ; small ar-
ticles of luggage 26 c, trunk 50 c. To the Giardini Margherita and the
Campo Santo 2 fr. per hour; to S. Michele in Bosco, for the first hour 21/2,
each additional V2 hr. s/, fr. After 10 p.m. (in winter 9 p.m.) 50 c. more
in each case.

Baths. Bagni al Torresotto, Strada Castiglione ; Bagni Nuovi del Reno,
Via S. Felice.

Theatres. Teatro del Comune (PI. 72; H, 3), the largest, erected by
Bibiena in 1756 on the site of the Palazzo Bentivoglio, performances from
the end of Sept. till the middle of Dec; Contavalli (PI. 73; G, 3), estab-
lished in 1814 in the former church of the Carmelites; del C'orso (PI. 74;
H, 5) ; Teatro Brunetti , in a side-street of the Strada Castiglione ; Arena
del Sole (PI. 75; F, G, 2), Via de' Malcontenti , near the Montagnola,
open-air theatre. — The favourite Gitwco di Pallone , or ball-game, al-
ways attracts spectators; a building (PI. 76; G, 2) in the Promenade Mon-
tagnola (p. 301) is fitted up for the purpose, and should be visited (charge
for admission ; bills are posted up to announce the names of the parties
to the matches about to be played).

Shops. The best are in the arcades near the Palazzo Pubblico. —
Booksellers. 'iZanichelU (also photographs), under the arcades, to the K. of
S. Petronio. Serra ., Palazzo Tanari, Via Galliera (PI. 67), dealer in old
books, curiosities, and pictures.

English Church Service in the Hotel Brun.

The situation of Bologna is considered healthy, although the summer
is often very hot and the winter keen. The town is sometimes called
'•Bologna la grassa\ owing to its reputation for wealth and good-living.
The neighbourhood produces tolerable wines and excellent fruit. The
grapes are delicious ; the yellow Uva Paradisa is a kind which may be
kept a considerable time. — The once favourite lap-dogs of Bologna are
now almost extinct. Soap, maccaroni, and liqueurs ('bebita') are among
the most esteemed commodities of the place.

Principal Attractions : Piazza Vitt. Emanuele with the Pal. Pubblico
and del Podesta, 'S. Petronio, the Archiginnasio, ~S. Domenico, 'S. Ste-
fano, *S. Giacomo Maggiore, S. Cecilia, *Accademia delle Belle Arti, the
Leaning Towers, Foro de' Mercanti, ■' Campo Santo, and, if possible, the
"Madonna di S. Luca for the sake of the view. If time remains, the
University, the Palaces Bacciocchi, Bevilacqua, Fava, and Zampieri, and
the handsome Via Galliera may be visited.

Boloyna, with 89,100 inhab. (with suburbs 112,900), one of the
most ancieikt and important towns in Italy, the capital of the Emi-
lia , is situated in a fertile plain at the base of the Apennines,
between the Reno, the Aposa , and the Savena. It possesses 130
churches, 20 monasteries, and a venerable and celebrated univer-
sity, whence the inscription on old coins '■Bononia docet\ The
narrow streets and lofty arcades , the numerous old palaces , and
the venerable churches surmounted by quaint-looking towers , all
bear testimony to the peculiar character of the place.

288 Route 43. BOLOGNA. History.

The town was founded by the Etruscans, and named Felsina, but was
afterwards conquered by the Gallic Boii , and by them called Bononia.
In the Punic War it espoused the cause of Hannibal , after which, B.C.
190, it was converted into a Roman colony, at the same time as Cremoua
and Placentia, by the consul C. Leelius , and as such was a place of
very great importance. Under the Empire it was even occasionally the
residence of the monarchs themselves. It afterwards belonged to the
Greek E.xarchatc, and then to the Lombards and Franks. Charlemagne
constituted Bologna a free town ^whence its motto '■ Libertas'), and its
commerce and prosperity rapidly increased. In 1119 the Univeksity , one
of the oldest in the world, was founded, and as a School of Jurisprudence^
where Jrnerius and other celebrated jurists taught, soon attained a
European reputation, and was visited by many thousand students annually.
In 1262 the number is said to have attained to nearly 10,000; at the present
day there are 400 only. Irnerius introduced the study of the Roman Law,
while his successors the Glossators devoted their energies to its inter-
pretation. The study of medicine and philosophy was introduced at a
later period, and a theological faculty established by Pope Innocent VI.
The anatomy of the human frame was first taught here in the 14th cent.,
and galvanism was discovered here by Jos. Galvani in 1789. It is a
remarkable fact that the university of Bologna has numbered members of
the fair sex among its professors. Thus, in the 14th cent., Novella d" Andrea,
a lady of great personal attractions, who is said to have been concealed
by a curtain during her lectures ; at a subsequent period Laura Bassi
(mathematics and physical science), Mme. Manzolina (anatomy), and more
recently (1794-1817) Clotilda Tambroni (Greek).

Bologna acted a very prominent part in the contests of the Guelpbs
and Ghibellines, espoused the cause of the former, and allied itself with
the Pope against Emp. Frederick II. In a sanguinary encounter at
Fossalta, in May, 1249, King Enzio, son of the Emperor, was captured by
the Bolognese, and kept in confinement by them for the rest of his life
(22 years, p. 289). He was the founder of the family of the Bentivogli,
afterwards so powerful, who after protracted feuds entered into an alliance
with the papal throne. During several centuries the town was the scene
of the party-struggles of the Bentivogli, Visconti, and other families, until
jn 1512 Pope Julius II. incorporated it with the States of the Church.

In 1515 the interview of Pope Leo X. with Francis I. of France took
place at Bologna, and in 1529, 1530, and 1532 those of Clement VII. with
Emp. Charles V. Here, too, the Council of Trent held a meeting in 1547.
In 1796 Bologna was annexed to the 'Cisalpine Republic' by Napoleon; in
1815 it again became subject to the States of the Church; in 1831 and 1849
revolutions broke out , and in 1859 the town finally united itself to the
kingdom of Italy.

In the History of Art Bologna did not attain to any distinction till
a comparatively late period. In the Gothic era it at length became am-
bitious of possessing within its walls the largest church in Italy. To
this ambition it was indebted for <Si. Petronio, which, had it been com-
pleted, would have surpassed in size all the other cathedrals in Italy.
Unfortunately, however, it remained a torso, and gave rise to innu-
merable disputes. The Eaijly Renaissance style is abundantly represented
here. The Palatial Edifices, constructed of brick , with their ground
doors opening in arcades towards the street, impart a peculiar charm to
the town. Sculi-tuue was chiefly practised by foreign masters. Thus,
as early as the 13th cent. , pupils of Niccolb Pisano were engaged to
embellish the tomb of S. Domenico; the reliefs on the principal portal
of S. Onofrio were executed by Jacopo della Quercia of Siena, one of the
founders of Renaissance sculpture; and even Michael Angela, when a
fugitive from Florence after the banishment of the Medici (1494), found
occujiation in the church of S. Domenico. Tribolo was likewise em-
ployed here. Of the U])per Italian masters, who are well represented
at Bologna, Alfonso Lombardi. or properly Oiltadella of Lucca (1488-1537),
holds the highest rank. Bologna was also the birthplace of Properiia de"

Pal. del Podestct. BOLOGNA. 43. Route. 289

Rossi (1490-1530), one of the few women who have devoted themselves
to sculpture.

In the province of Painting the first master who attained more than
a local reputation was Francesco Francia (1450-1517) , the goldsmith , a
pupil of Zoppo of Ferrara. In the devotion and gracefulness of his female
figures he almost rivals Perugino. His son Giacomo Francia was influenced
by the Venetian school, while at the same time the school of Raphael
gained ground at Bologna. The chief adherents of the latter were Bartol.
Ramenghi., surnamed BagnacavaUo (d. 1542), and Innocenzo da Imola (d.
1550?). Bologna attained its greatest importance at the close of the 16th
century. The mannerism into which Italian painting had gradually lapsed,
was resisted by the Eclectics, whose style was mainly introduced by
Lodovico Carracci (1555-1619). In teaching at his academy he inculcated a
thorough mastery of the elements of art, a comprehensive education, and
a careful study of the great masters. The school was afterwards carried
on by his cousins Agostino (1558-1601) and Annibale Carracci (1560-1609),
the last of whom in particular possessed a refined sense of colour, devel-
oped by the study of Correggio. To this school belonged also Guido
Reni (1574-1642), Domenichino (Domenico Zampieri; 1581-1641), and Albani
(1578-1660), who exercised a great influence on Italian art in the 17th
cent., and eff'ected a temporary revival of good taste. They afterwards
came into collision with the naturalists, chiefly at Rome and Naples, but
at Bologna their sway was undisputed.

The *Piazza Vittorio Emanuele (PI. F, G, 4), formerly Piazza
Maggiore , in the centre of the town , the medieval 'forum' of Bo-
logna , is one of the most interesting in Italy. It is adorned with
a Fountain by Laureti; the bronze statue of Neptune, executed by
Giov. da Bologna (born 1524 at Douay in Flanders) in 1564, is
said to weigh 10 tons, and to have cost 70,000 ducats. The
smaller part of the Piazza on the N. side is sometimes called
Piazza del Nettuno.

In the Piazza Vitt. Emanuele is situated the Palazzo Pubblico,
or del Governo (PI. 45; F, 4), formerly Pal. Apostolico , begun in
1290, adorned with a Madonna on the facade by Niccolh delV Area
(d. 1494) and a hronze statue of Pope Gregory XIII. {Buoncompagni
of Bologna) by Menganti, which was transformed in 1796 into a sta-
tue of St. Petronius. The grand staircase in the interior was de-
signed by Bramante (1509); the galleries and halls are decorated
with frescoes ; a colossal sitting statue of Hercules (in plaster) in
the hall of that name, by Alfonso Lombardi ; in the Sala Farnese a
statue of Paul III., etc.

In the Via delle Asse, which opens to the S. of the Palazzo Pub-
blico, on the right, is the Palazzo Marescalchi (PI. 63; E, F, 4), erected
by Dom. Tibaldi , and containing some frescoes by Lod. Carracci and
Guido Reni. — The handsome neighbouring church of S. Salvatore (PI.
34; E, 4) was built by Magenta in 1603. 1st chapel to the left, Garofalo,
Zacharias, St. John, and saints; 3rd chapel (1.) Inn. da Imola., Christ and
four saints; left transept, Tiarini, Nativity. — S. Francesco (PI. 12), nov/
a military magazine, contains a handsome altar of 1388.

On the N. side of the Piazza is the Palazzo del Podest^ (PI.
44; F, 4), of 1201, with facade of 1485, where the young and
poetically gifted King Enzio was kept a prisoner by the Bolognese,
but was solaced by his attachment to the beautiful Lucia Venda-
goli, from whom the Eentivoglio family is descended. The great
hall is called after him Sala del Re Enzio. The conclave for the

Baedeker. Italy I. 5th Edit. 19

290 Route 43. BOLOGNA. S. Petronio.

election of Pope John XXIII. was held here in 1410. The palace
contains the Civic Archives, with a nnmher of ancient documents.

The adjoining Portico de' Banchi, erected by Vignola in 1562,
is chiefly used for shops. On the S. side of the Piazza is —

*S. Petronio (PI. 1), the largest church in the town, begun in
emulation of the cathedral of Florence in the Tuscan-Gothic style
in 1390 from a design by Antonio Vincenzi, but never completed.
The projected length was upwards of 200 yds., and an imposing
transept and an octagonal dome rising above the centre between
four towers were to be erected. The work was discontinued in
1659, when the nave and aisles as far as the transept only were
completed, and they are now terminated by an apse of the breadth
of the nave. Length 128 yds., breadth with the chapels 52 yJs.
The nave is of vast dimensions, and the aisles are flanked with
chapels. The church is supported by twelve pillars, and below the
pointed vaulting are small round-arch windows. The*Sculptures of
the principal entrance are 'hy Jacopo delta Quercia , 1429; side-
doors by Niccolh Tribolo, 1525. — Over the principal entrance a
bronze statue of Pope Julius II. with the keys and a sword in his
left hand, by Michael Angela, was placed in 1508, but it was
destroyed by the populace three years later, and sold as old metal
to the Duke of Ferrara, who used it in casting a piece of ordnance
('Giuliano').

The Interior is adorned with numerous sculptures and pictures. Most
of the chapels are enclosed by handsome marble screens , dating from
the 14th, 15th, and 16th centuries. 1st Chapel on the right: altar-piece
(God the Father with angels) by Giacomo Francia; 2nd Chapel (r.) curious
old frescoes of the year 1417. 4th Chapel : Old stained glass by Jacob of
Ulm. 8th Chapel: good inlaid stalls by Fra Raffaele da Brescia. 9th
Chapel (di S. Antonio) : Statue of the saint , an early work of Sansovino,
and the eight Miracles wrought by him , in grisaille , by Girolamo da
Treviso; fine stained glass from designs by Pellegrino Tibaldi. 11th Chapel :
Assumption of Mary, a high-relief, the lower part by Niccolb Tribolo;
the two angels by his pupil Froperzia de" Rossi ; opposite to it is a Pieta
by Viiiceiizo Onofri. — The sacristy contains pictures of no great value.

Under the canopy of the Choir. Charles V. was crowned emperor
by Pope Clement VII. on 24th Feb., 1530, this being the last occasion on
which an emperor was crowned in Italy.

The Reverenda Fabbrica (workshop), at the end of the N. aisle,
contains forty sketches of the unfinished facade, of the 15th-17th cent., by
Palladia, Giiilio Romano, Vignola, etc., an interesting collection; also a
model of the church in wood (the best time for inspecting it is about noon).

N. Aisle : The Cappella Bacciocchi (5th from the altar) contains
the monument of Princess Elisa Bacciocchi (d. 1820) , grand-duchess of
Tuscany and sister of Napoleon, and of her husband Felix; opposite to
it, that of two of her children, groups in marble by the \^f/o Franzoni.
Over the altar a Madonna by Lorenzo Costa , by whom the stained glass
windows were also designed. 7th Chapel : Annunciation in two pictures,
and the Twelve Apostles, also by Costa (windows probably by bim).
8th Chapel, the oldest in the church, consecrated in 1392, contains ancient
frescoes: Adoration of the Magi, with Paradise and Hell beneath, recal-
ling Dante's poem; altar with sculptures in marble, and stained glass by
Jacob of Vim (?), also worthy of note. Between this and the 3rd chapel
are two clocks manufactured by Fornasini in 1756 , one of which gives
the solar, the other the mean time. On the pavement of this aisle is

S. Domenico. BOLOGNA. 43. Route. 291

the meridian-line drawn by the celebrated astronomer Gian. Domenico
Cassini in 1653.

To the S. E. of S. Petronio is situated the "'Archiginnasio Antico
(PI. 46 ; F, 5 ; entrance under the Portici del Pavaglione), erected
as a university in 1562 by Terribilia, and since the removal of the
latter (p. 297) used as a Biblioteca Comunale (open daily 11-4, ex-
cept Sun. ; several valuable MSS.). The Logge of the court and
of the first floor contain numerous monuments, adorned with ar-
morial bearings, to the memory of professors of the university (Mu-
ratori, Peggi, Malpighi, Mariani, etc.), and the arms of the students
arranged according to their provinces. On the first floor is the Mu-
seum of Antiquities (open daily 10-4), connected with the library
(Museo Civico). The custodian, Giov. Szedlo, speaks English.

I. Room. Egyptian antiquities. — II. Room. Vases found in Lower
Italy, most of them with the usual representations of offerings for the
dead; 11. Battle of Codrus with the serpent; 231. Athenian prize-vase with
inscription (one of those in which the victors in the athletic sports at
Athens received a certain measure of the holy oil). Black vases found
at Chiusi (Clusium). Sculptures by the window-wall : *2061. Head of an
athlete, possibly by Polycletus ; 2065. Athene ; 2075. Relief of Zeus, Hera,
and Hebe. In the glass-cabinet interesting vases from iEgina ; 1585. Fight-
ing cocks, with the name of the sculptor Nikosthenes; 1589. Athene,
Dionysus , Hercules ; 1584. Genre scene , a cock staked as a wager ; 1598.
Cloaked figures playing at Morra , the guessing game , which is still so
popular in Italy. Below, without a number, 'Orestes, Pylades, and Electra.
By the wall (1.) vases from Athens; 13T7. (Edipus and the Sphinx
(blackened by the burning of the corpse) ; on the glass cabinet bronzes
of the best style; 535. The nine Muses. — III. Room. Vases. -108. Battle
scene, *84. Battle scene; 104. Poseidon and Amphitrite; in front of the
last are ancient Etruscan ornaments, domestic utensils, etc., from the ex-
cavations in the old Necropolis near the Certosa fp. 301), which have
been carried on since 1869. To the left are tombstones with reliefs. By
the window are several early Etruscan tombs. In the centre, under glas.s,
is a *Bronze Vase with representations of processions. — IV. Room. Tombs
and tombstones from the same source. — The anatomical lecture-room
with statues of the most celebrated professors is also interesting. The
roof over the chair is borne by two anatomical figures in wood.

"We now proceed to the S. to the Piazza Cavour (PI. G, 5) in
which the new Banco Nazionale (PL 82; F, 5), by CipoUa, is
situated on the right, and the Palazzo Guidotti (PL 59) on the left.
The latter was rebuilt by Cor. Monti, the architect of several other
modern buildings in the town. A little farther S. is the Piazza
S. Domenico (PL F, G, 6), in which is situated the church of —

*S. Domenico, formerly S. Bartolommeo (PL 10 ; G, 6), but re-
dedicated to St. Dominicus, who was born in Castile in 1170, and
died here in 1221. The church is in the Romanesque style, dating
from the 12th cent., but was completely remodelled in the 18th.

Intekiok. 3rd Chapel on the right, above the altar a Madonna
by ScarselUno da Ferrara, under glass. — Right Transept: Chapel of
S. Domenico, containing the tomb of the saint, a '-Sarcophagus ('area")
of white marble dating from 1267, the sarcophagus itself completed, with
reliefs from the life of the saint, by pupils of Niccold Pisano ; -Reliefs in
front by Guglielmo (some of them perhaps from designs by the master
himself) , the statues by Niccolb delV Area (d. 1494) , who received his
surname from this work, and by Cortellini, reliefs on the base by Alfonso
Lombardi (d. 1537). The kneeling -Angel on the left was until recently

19*

292 Route 43. BOLOGNA. Collegio di Spagna.

rpgarded as a work of Michael Angela (1494), but the less attractive angel
to the right of the spectator is now attributed to him instead of the other.
The same great master is also supposed to have executed the drapery of
St. Petronius immediately over the sarcophagus with the church in his
hand. In the half-dome over the area, a 'Transfiguration of the saint, by
Outdo Rent; (r) the saint resuscitating a boy, by Tiarini; (1.) the saint burn-
ing heretical documents, by Lionello Spada; adjoining the choir, on the
right, Filippivo Lippi, Madonna and saints, 1501. — In the Choir, magnificent
inlaid 'Stalls by Fra Damiarw da Bergamo, 1528-51 , among the finest of
the kind in Italy. Between the 1st and 2nd chapels on the left of the choir
is the monument of 'Hencius Rex', or king Enzio (p. 289) , frequently
restored; in the 2nd chapel (r.) that of Taddeo Pepoli by Jacopo Lan/rani,
1337; opposite to it a portrait of St. Thomas Aquinas (d. 1274; much re-
touched).— Left Transept: The Cappella del Eosario contains the tombs
of Giiido Reni (d. 1642; to the left a memorial stone; his grave under a
slab in the centre) and the talented paintress Elisabetta Si rani (died of
poison at the age of 26, in 1665). The frame round the altar-piece con-
sists of small paintings Isy Guido Reni, the Carracci, Elisabetta Sirani, and
others. In the vestibule of the side-entrance (to the right in going out) is
the monument of the jurist Alessandro Tartagni , by Francesco di Simone
(1477). Opposite is the monument of the Volta family, with St. Proculus
by Prospero Clementi (about 1580).

In the Piazza S. Domenico rise two columns with statues of the
saint and the Madonna and two Monuments of the 13th cent., the
more important of which, borne by nine columns, was erected in
1207 in honour of Rolandino Passegyieri, whoTlistinguished himself
in the contests between the town and the Eiup. Fred. Barbarossa
(^restored in 1868).

In the vicinity, in the first piazza to the S., is the Pal. Bac-
ciocchi (PL 52 ; F, 6) , with a facade by Andrea Palladia and a
colonnade by Bibbiena. It is now occupied by the Tribunale, or
law-courts.

To the W. in the Strada Azeglio (formerly S. Mamolo) is the
*Pal. Bevilacqua- Vincenzi (PL 0-4 ; F, 5), ascribed to Bramantino,
with a superb court, the finest of its style (perhaps by Gasparo
Nadi, about 1483), but without the usual arcade on the ground-
floor. In 1547 the Council of Trent sat here for a short time. —
The Via Urbana then leads to the —

Collegio di Spagna (PL 40 ; E, 5), at the corner of the Strada
Saragozza, founded in 1364 by Cardinal Albornoz, and containing
frescoes (damaged) by the Carracci and a Madonna (above) by
Bagnacavallo. The Coronation of P2mp. Charles V. at S. Petronio
by the latter is covered by whitewash. — A little to the N. is the
church of 5'. Paolo (PL 31 ; E, F, 51, erected by Magenta in 1611,
with pictures by Lod. Carracci (2nd chapel on the right, Paradise),
Guercino (in the 4th chapel on the right), and other masters. —
Obliquely opposite to it are the Pal. Zambeccari di S. Paolo
(PL 69; F, 5), and the suppressed chapel of the Frati di S. Spirito,
with a charming Renaissance fa(,-ade, adorned with two rows of
pilasters, medallions, and an attica in terracotta.

We now return by the Strada Azeglio to the Piazza Vitt.
Emanuele.

Leaning towers. BOLOGNA. 43. Route. 293

From the N. side of the Piazza del Nettuiio (p. 289) the lousy
Mercato di Mezzo (PI. F, G, 4) leads to the E. to the leaning towers
(see helow). — In the neighbouring Piazza dbl Duomo (Pi. F, 3, 4)
rises the cathedral church of —

S. Pietro (PL 2), in the 'baroque' style, begun in 1605. It
consists of a spacious nave with circular vaulting, the aisles being
partly converted into chapels with lofty galleries, and partly into
separate apartments. In the chapter-room, St. Peter with the
Madonna ; above the choir an Annunciation, the last work of Lod.
Carracci. — Adjoining it on the N.E. is the Palazzo Arcivescovile
(PL 42), with a court constructed by Tibaldi in 1577. — In the
vicinity, to the N.W. of S. Pietro, is the small church of the
Madonna di Galliera (PL 20 ; F, 3), with an interesting, but dilap-
idated fa(;ade of 1470. — Opposite is the Pal. Fava (PL 57 ;
F, 3), with fine *Frescoes by the Carracci from the myths of Jason
and ^neas.

"We now return to the Mercato di Mezzo, at the E. end of
which, nearly in the centre of the town, are the Leaning Towers
(PL G, 4), the most singular structures in Bologna. The Torre
Asinelli (PL 78), erected in 1109 by Gherardo degli Asinelli, which
looks prodigiously high when seen from the pavement below, is
320 ft. in height and 4 ft. out of the perpendicular. A rough stair-
case of 447 steps leads to the summit, which commands a fine view.
The Torre Garisenda (PL 79), erected in 1110 by Filippo and
Ottone Oarisenda, is 163 ft. high only, but is 10 ft. out of the per-
pendicular. Dante (Inferno xxxi. 136) compares the giant Antaeus,
who bends towards him, to this tower, 'when a cloud passes over
it'. The latter is probably the only one of the many leaning towers
in Italy whose obliquity has been intentional (comp. p. 324), but
it was found impossible to complete it.

From the leaning towers five streets radiate to the gates of
the same names : the Strada Castiglione, S. Stefano, Maggiore, S.
Vitale, and Luigi Zamboni (or S. Donato). To the right at the
corner of the Strada S. Stefano and Str. Castiglione is situated
the *Palaz20 della Mercanzia (PL 43; G, 4), or Faro de' Mercanti
(Chamber of Commerce), a Gothic structure , said to have been
erected in 1294, and restored by the Bentivogli in 1493. The
interior is adorned with the armorial bearings of all the jurists who
taught law here from 1441 to 1800. — Farther S. in the Strada
Castiglione is the Pal. Pepoli (PL 64; G, 5), of 1344, the castel-
lated residence of this once powerful family, with a rich gateway
and an imposing court with a colonnade on one side and arched
passages on the three others. — Farther on, to the right, rises the
handsome new Cassa di Risparmio (PL 81; G, 5), with arcades on
the ground-floor, and handsome wrought iron gratings at the win-
dows ; the plan of this palace , as well as of other buildings in the
town, was designed by Giuseppe Mengoni (p. 121).

294 Route 43. BOLOGNA. S. Stefano.

On the left in the Straba S. Stefano is situated —
*Sto. Stefano (PI. 36 ; H, 5), a pile consisting of seven different
churches, containing ancient columns and mural paintings, and,
according to an inscription still extant (of which there is a copy
on the exterior to the left, of 1769), occupying the site of a temple
of Isis, having probahly been founded in the 5th century. The
churches are not all on the same level, the last having been con-
structed as a crypt below the first. The first church, of 1637, contains
nothing noteworthy. — A chapel leads thence to the left into the
second church (now undergoing alteration), *S. Sepolcro, originally
the Baptistery, surrounded by an ambulatory, and erected for its
present purpose before the year 1000. In the 12th cent, the tomh
of St. Petronius was added in imitation of the Holy Sepulchre at
Jerusalem, and a brick column was placed adjacent to each of the
antique marble columns. The ambo with the symbols of the evan-
gelists is of the 9th century. Over the altar are frescoes of the 15th
cent, by an unknown master. — To the left is situated the third
church (also in course of alteration), that of SS. Pietro e Paolo,
an ancient basilica , in which the last column to the right of the
altar has an antique Ionic capital. The altar adjoining the choir on
the left is a sarcophagus dating from the 9th cent., and contains the
bones of the martyr St. Vitalis (d. 382). Above it, a Madonna
with saints by Lor. Sabbatino (d. 1577). On the right the sarco-
phagus of the martyr Agricola (9th cent.), the saint being represent-
ed with wings , between a stag and a lion ; above it a crucifix by
Simone da Bologna, surnamed rfe' Croc/^ssi (14th cent.). — We
now return to the second church, whence the first door on the left
leads us to the fourth church, the Atrio di Pilato ; in the centreis a
font with an inscription mentioning the Lombard king Lnitprand
(d. 744). Chapel oti the left. Crucifixion by Franc. Francia. To the
right of the portal is the fifth church (below the first) , delta Con-
fessione, dating from the 11th century. — The sixth church, della
Consolazione, adjoins the Atrio di Pilato on the right. — Lastly,
on tlie left, rises the seventh church, della TrinitU, resting on
pillars, in the centre of which is a series of columns with Roman-
esque capitals. 3rd Chapel on the right, an Adoration of the Magi
in wood ( 14th cent.). — To the right the handsome cloisters (13th
cent.) of the suppressed Celestine monastery.

The Piazza in front of the church contains several handsome
Renaissance buildings. A side-street to the right now leads to —

S.Giovanni in Monte (PI. 15 ; H, 5), one of the oldest churches
in Bologna, founded by St. Petronius in 433, re-erected in the
Gothic style in 1440 , and restored in 1824. It consists of a low
nave with aisles and a short transept, and a facade and dome of
more recent date.

Interior. 1st Chapel on the right, Christ appearing to Mary Magda-
lene in the garden, by Oiacomo Francia; 3rd Chapel, "St. Joseph on the

Ai Servi. BOLOGNA. 43. Route. 295

right, St. Jerome on the left, both by Guercino. 7th Chapel, *Madonna
enthroned with four saints and angels, by Lorenzo Costa. In the Choiu,
Coronation of the Virgin , by Costa ; stalls by Paolo Sacca , 1523 ; above
them, the busts of the twelve apostles in terracotta, by Alfonso Lombardi.
The N. transept contained Raphael's St. Cecilia down to 1796 (p. 298; the
frame by Formigine is the original). 6th Chapel on the left, 'Statue of
Christ in wood over the altar (15th cent.). 5th Chapel on the left, Call
of the sons of Zebedee, by Cesi. 2nd Chapel on the left, St. Francis, by
Ouerdno.

At the beginning of the Strada Maggiore (PI. G, H, I, 4, 5),
opposite the Torre Garisenda, at the corner of the Strada S. Vitale,
is the church of S. Bartolommeo di Porta Ravegnana (PI. 3 ; G, 4),
a gaudy dome-covered church with paintings by Angela Colonna,
erected about 1530 by Andrea Marchesi, surnamed Formigine, and
afterwards in part modernised. The 4th altar on the right contains
an Annunciation (1632), one of the best works of Franc. Albani
(1632), and a Nativity, and Flight to Egypt, by the same master.
— The opposite Palazzo, with the elegant windows and the date
1496, is said to have been desigried by Franc. Francia. — Farther
on in the Str. Maggiore, on the left, N. 244, is the —

Pal. Sampieri (PI. 70; H, 4), with the inscription 'Galleria
Sampierr (admission V2f''0) adorned with admirable frescoes from
the myth of Hercules by the Carracci and Guercino. The celebrated
old picture-gallery it once contained has been sold. The present
collection (good light necessary) consists chiefly of works by pupils
of Guido Reni and Guercino. Many of the names in the written
catalogue are arbitrary.

2nd R. Frescoes on the ceiling: *Hercules contending with Jupiter;
right wall, Ceres seeking Proserpine, by Lod. Carracci. Pictures : 46. Elisa-
betta Sirani, Putti; 76. ScarseUino, Madonna and saints; 134. Parmeggianino,
Madonna; 73. Annib. Carracci, Old woman spinning. — 3rd R. Frescoes on
the ceiling : The path to virtue is difficult ; right wall , Giant struck by
lightning, both by Annib. Carracci. Pictures: 147. Domenichino , Mater
dolorosa; 164. Olympus. — 4th R. Frescoes on the ceiling: Hercules and
Atlas. Wall on the right, Hercules and Cacus with the lion's head, by
Agost. Carracci. Pictures: 166. Guido Reni, Circe; 162, 163. Portraits by
Agost. Carracci; 152. Cavedone , Christ and the tribute-money. — 5th R.
Ceiling-painting: Hercules and Antaeus, by Guercino. Pictures : 242. Carracci,
Madonna; *232. Salvator Rosa , Storm. — 6th B. Ceiling-painting : *Genius
of strength, by Guercino.

The adjoining House of Rossini (PL 71) was erected by the
great composer in 1825, and adorned with inscriptions from Cicero
and Virgil (recently marked by a tablet).

Ai Servi (5. Maria ai Servi; PI. 35; I, 5), at the corner of the
Str. Maggiore and Cartoleria Nuova, erected by Andrea Manfredi
in 1393 , with remarkably thin columns placed very wide apart, is
adorned with frescoes (much damaged) on the facade, dating from
the 17th century.

Interior. Over the high altar, completed by MontorsoU in 1561:
Christ risen from the Dead, and Mary and St. John, below (1.) Adam, (r.)
Moses, at the back the portrait of the donor Giulio Bori. Below the
organ are small frescoes by Guido Reni. 7th altar on the left, Annuncia-
tion, by Innocenzo da Imola. The place of the 3rd altar on the left is
occupied by the monument of Lod. Gozzadini in stucco, by Oiov. Zacchio.

296 Route 43. BOLOGNA. S. Cecilia.

2nd altar: Christ and Magdalene, by Fr. Albani. In the choir, on t.he
right, a terracotta relief, representing the Madonna and SS. Laurence and
Eustace with two angels, bv Vincenzo Onofri, 1503.

S. Vitale ed Agricola {J\. 38; H, 4\ in the Strada S. Vitale,
was consecrated in 428 by St. Petronius, and restored in 1872. The
large chapel on the left contains an altar-piece (covered^ by Fr.
Fnmcia. Side-frescoes on the right representing the Adoration of
the Shepherds by Fr. Francia, on the left the Conception by
Bdgnncavallo. — Opposite is the Palazzo Fantuzzi, now Pedrazzi,
built in 1605 from designs by Andrea Marchesi , surnamed For-
migine, which contains a superb staircase by P. Canali.

The most northerti of the streets radiating from the leaning
towers is the Strada Luigi Zamboni (PI. H, I, 4, 3) or S. Donato,
to the right in which is the effective and well-proportioned Pal.
Malvezzi-Medici (PI. 61\ built by Bart. Triachini in 1550. Farther
on, in the small Piazza Rossini, which is named after the cele-
brated composer, who attended the neighbouring Liceo Filarmonico
(PI. 411 in 1807-10, is —

*S. Giacomo Maggiore (Vl. 13 ; H, 4"), founded in 1267, consist-
ing of a nave with barrel-vaulting of 1497, with a portico erected in
1483 by Gasparo Nadi, and adorned with several excellent pictures.

Over the altar, immediately to the right of the entrance, is the 'Vergine
della Cintura', by an early Bolognese master (covered); 3rd Chapel on the
right: Ercole Procaccini, Conversion of Saul; 5th Chapel, Passerotti, Ma-
donna enthroned, with saints and the donor; 7th Chapel, Marriage of St.
Catharine, by limocenzo da Imola (1536; the green colour unfortunately
faded); 9th Chapel, St. Rochus with an angel, by loj. Carracci; ilth
Chapel, erected by Pellegr. Tibaldi, the teacher of Carracci, and decorated
by him with frescoes. In the Choir large paintings of the Resurrection,
etc. by Tommaso Laiiretti. The 3rd chapel in the retro-choir contains a
gilded altar with numerous saints; to the left, on the wall, a large painted
crucifix by Simone de" Crocefissi (1370). The 6th "Cap. de' Bektivogli, erected
in 1486 and paved with coloured and glazed tiles, contains a "Madonna,
with angels, on the right S. Sebastian, on the left the founder, the best
work of Fr. Francia., and frescoes by Lorenzo Costa, representing the
Triumph of life and death, after Petrarch, on the left, and the Bentivogli
family on the right (1488); the frescoes above are by Giacomo Francia;
equestrian statue of Annibale Bentivoglio by Niccolb deW Area (1458) ;
opposite to it the "Monument of Antonio Bentivoglio (d. 1435) by Jacopo
della Querela. The 9th Chapel in the left aisle contains a Presentation
in the Temple, by Orazio Sammachini.

The sacristan of S. Giacomo also keeps the keys of the adjacent
oratory of *S. Cecilia (PI. 6; H, 4), erected in 1481 for Giovanni
Bentivoglio. The frescoes by Lor. Costa, Fr. Francia, and their
pupils represent the legend of St. Valerian and St. Cecilia (Nos. *1
and 10 by Fr. Francia, 2 and 9 by Costa, *3 and 8 by Giacomo
Francia, 4 by Chiodarolo, 5, 6, and 7 by Aspertini).

Opposite, on the left side of the street, is the Pal. Malvezzi-
Campeggi (PI. 62'), by Andrea and Jac. Marchesi, with an interesting
court. Adjacent is the Palazzo Magnani-Guidotti, by Dom. Tibaldi,
1577, with frescoes in the interior by the Carracci. — Then the
Teatro del Comune (PI. 72; H, 3). — On the right we next observe
the -

Academy. BOLOGNA. 43. Route. 297

University (PI. 47; I, 3), established since 1803 in the old
Palazzo Cellesi, with a court by Triachini. After that of Salerno, it
is the oldest iu Italy, having been founded in 1119, and now pos-
sesses a staff of 50 professors and 400 students (comp. p. 288) and
a considerable number of scientific institutions (clinical hospital,
anatomical theatre, natural history collections, open on Sundays,
botanical garden, and observatory). — It also contains a Museum of
Antiquities, the keys of which are kept by the bidello, or custodian.

A/He- Chamber: Roman mile-stones. In the room to the left are in-
scriptions; on the right and left of the door are fragments of an ancient
columbarium. — We now pass through the gate to the right (and begin on
the right) : four good antique capitals , with earthen and leaden conduit-
pipes between them. Earthen cinerary urn with the battle of Eteocles
and Polynices (the same scene is repeated six times ■■, the two winged
figures are gods of death). *Five marble figures , probably part of the
decoration of a fountain : 1. Venus stooping in the bath ; 2. Venus rising
from the water (Anadyomene), above it a bakehouse; 3. Satyr with a
boy on his shoulder; 4. Torso of a young satyr; 5. Same subject. Be-
tween Nos. 2 and 3, torso of a figure in armour. On the right and left of
No. 4 are fragments of an Amazon battle in relief. Head in black marble
(high relief). End-wall : trilateral 'Pedestal of a candelabrum. Left
wall: "^Corner-brick with Hercules and Dionysus, Zeus, and Hera. Rich
cornice. Room on the right: portraits of popes Urban VIII., Innocent III.,
Boniface VIII. , and others. The cabinets contain fine terracottas (some
of them found at the Certosa) : Victory sacrificing a bull , the drunken
Dionysus supported by a satyr boy, etc. ; also vases , bronzes (weights in
the form of a head , chariots , spoons , lance-points, etc.). End-wall :
bronze statuettes, Etruscan mirrors (birth of Athena, Hera with the in-
fant Hercules, etc.); on the left a few Egyptian antiquities.

The extensive Library of 100,000 vols, is open daily, 10-2 o'clock, ex-
cept Sundays. The oldest of the MSS. is that of Lactantius; also letters
from Voltaire to Fred, the Great, miniatures, etc. The celebrated linguist
Giuseppe Mezzo/anli (born at Bologna 1776, died at Naples in 1849j, professor
of Oriental languages at the university, was once librarian here. At the
age of 36 he is said to have spoken 18 languages fluently, and at the time
of his death no fewer than 42. — The Archives comprise a number of an-
cient documents on papyrus, the Codex Diplomaticus Bononiensis in 44
vols., etc.

The Geological Museum was established in 1871 in an adjoining
building. Via Luigi Zamboni 2530, under the superintendence of Prof.
Capellini , who has enriched it with interesting fossils from the neigh-
bourhood of Bologna, minerals from different parts of Europe and America,
and a collection of prehistoric anthropological curiosities. — The Tower
commands a good survey of the town.

We next proceed to the —

*Accademia deUe Belle Arti (PL 39 ; G, 3) , established in the
old College of the Jesuits. It contains on the Ground-Floor col-
lections of casts and modern works of art; on the First Floor (1.)
a collection of weapons (Oploteca) , comprising arms captured from
the Turks, Venetians, etc., and (r.) a valuable *Picture Gallery, or
Pinacoteca , consisting chiefly of works of the Bolognese School ar-
ranged in eight saloons and rooms (open daily from 9-3 or 4 , ac-
cording to the season ; admission 1 fr. ; on Sundays gratis ; catalogue
60 c.). Each picture bears the name of the painter.

The visitor imbued with the modern taste for the historical
study of art, will find little attraction in the works of the Seven-

298 Route 43. BOLOGNA. Academy.

TEKNTH Century, which form the chief hoast of the gallery. Al-
though it would he unfair to depreciate the undoubted talent and
skill of these late masters, their works are unsatisfactory owing to
the absence of any definite aim or indication of progress, and from
the obvious pains which have been taken to reproduce trite themes
in an iiiteresting manner. In the department of fresco painting
the works of these Bolognese eclectics (see p. 289) are most
numerous at Rome, but they are admirably represented here by a
series of oil-paintings. We may first mention several works by
Guido Reni, the most talented master of this school : No. 134.
Madonna dellaPietS, remarkable for its masterly grouping, which
again recurs in No. 136, the Crucifixion, and which places these
two pictures on a level with the finest works of the 16th cent, in
point of composition; No. 135, the Slaughter of the Innocents,
exceptionally harmonious and dignified in character; No. 139, St.
Andrea Corsini , an excellent specimen of Guido's powers as a co-
lourist; No. 142, a masterly drawing in chalks for the Ecce Homo
which was so popular in the 17th century. The most interest-
ing work of Lodovico Carracci is probably No. 45, the Nativity of
St. .John. Annibale Carraccfs Madonna and saints (No. 36) has
the merit of stately architectural arrangement. The Communion
of St. .Jerome (No. 34) by Agostino Carracci is very inferior to
Domenichino's treatment of the same subject in the Vatican. Do-
menichino's scenes of martyrdom are far from pleasing, but Ouer-
cino's Madonna with the two Carthusian monks (No. 13) is a de-
votional picture of profound sentiment. — The gallery also
possesses several valuable works of the Earlier Period of Italian
art. Thus No. 78, a Madonna by Fr. Francia, exhibits features of
resemblance with Perugino, who is represented here by one of his
finest works (No. 197, Madonna and saints). We also obtain a
good survey here of the masters who went over from Francia's
school to that of Raphael : thus, 204. Timoteo delta Vite, Mary
Magdalene ; 292, 90. Innocenzo da Imola, Madonna and saints,
and Holy Family. — The gem of the gallery, however, is Raphael's
St. Cecilia (No. 152), the indelible impression produced by which
is doubtless due to the master's unrivalled genius in exalting his
figures into the regions of the supernatural, and yet making them
human and pleasing. Everything has been maturely considered,
the broken instruments , the angels' song, the distribution and
graduation of the characters, — and yet the picture appears as
simple and natural as if it could not possibly have been arranged
otlierwise.

Corridor A: 16. Ouercino, Joseph the Carpenter; 39. 40.
An. Carracci, Annunciation; 280. Eiis. Sirani, Mary Magdalene.

Corridor R: 64. Fr. Cossa, Madonna, with SS. Petronius and
.John (1474); *292. Jnnoc. da Imola, Madonna and Child, with
saints.

Academy. BOLOGNA. 43, Route. 299

Corridor C: 102. Oiotto, SS. Peter and Paul, and the angels
Michael and Gabriel, the wings of an altar-piece (now at Milan,
p. 125) from the church degli Angioli, with good predelle ; 282.
Hugo van der 0063(1), Madonna in a garden ; 163, 159, 205, 164,
161, 203. Altar-pieces of the 14th and 15th centuries, hy Vitale
(1320), Simone da Bologna, Jacopo Avanzi, Ant. Vivarini, and
Bartolommeo da Murano (1450). In the glass cabinet are some
niellos, by Franc. Francia.

Corridor D : 392. Lor. Costa, Madonna enthroned and two
saints (1491); 275, Raphael Mengs, Portrait of Clement XIII.;
61. Cima da Conegliano, Madonna; 119. Oiul. Bugiardini, Ma-
donna and Child with John the Baptist ; *83. Ft. Francia, Christ
mourned over by angels; 294. Pontormo, Madonna; 116. Parmeg-
gianino, Madonna and Child with saints; 297. Amico Aspertini,
Adoration of the Holy Child.

Room E : *135. Guido Rent, Massacre of the Innocents ; 182.
Tiarini, Entombment; 138. Guido Reni, Madonna del Rosario,
painted on silk in 1630 (as a procession-flag); *13. Guercino, St.
Bruno and another Carthusian worshipping the Virgin in the
desert; *137. G. Reni, Samson, victorious over the Philistines,
drinking out of the jaw-bone of an ass ; 12. Guercino, William
of Aquitaine receiving the robe of the Order of St. Felix ; *136.
0. Reni, Crucifixion ('Cristo dei Cappuccini', the high altar of
whose church it formerly adorned) ; 208. Domenichino, Death of
Peter Martyr; *134. G. Reni, Madonna della Pieta, below are
SS. Petronius, Carlo Borromeo, Dominic, Francis, and Proculus
(painted in 1616 for the Town Council, who presented the painter
with a valuable gold chain and medal, in addition to his remune-
ration); 141. G. Reni, Madonna enthroned; 140. G. Reni, St. Se-
bastian ; *139. G. Reni, St. Andrea Corsini.

Room F: 371. Fr. Francia, Madonna and saints, with the In-
fant Christ above in the 'mandorla'; *84. Giac. Francia, Madonna
and four saints, 1526; 122. Niccolb da Cremona, Entombment;
*78. Francesco Francia, Madonna and Child, four saints, angels,
and the donor (1494) ; *197. P. Perugino, Madonna in gloria, with
the archangel Michael, SS. John, Catharine, and Apollonia ; 79.
Fr. Francia, Madonna with John the Baptist, St. Jerome, and
angels ; 87. Giac. Francia, Madonna and saints, and nuns ; *214.
Timoteo della Vite, Mary Magdalene ; *90. Innocenzo da Imola,
Holy Family and two donors ; 85. Giacomo Francia, Madonna and
saints ; 89. Innocenzo da Imola, Archangel Michael subduing the
dragon; 198. Fasari, Banquet of Gregory I., 1540; 80. Fr. Francia,
Madonna enthroned, with SS. John the Baptist, Stephen, George,
and Augustine ; 210. Old copy from Raphael, Young St. John (a
replica of the same in the Ufflzi at Florence).

**152. Raphael, St. Cecilia surrounded by four other saints,
painted in 1513 on the commission of Cardinal Lorenzo Pucci for

300 Route 43. BOLOGNA. Academy.

the church of S. Giovanni in Moute (p. 294). It was at Paris from

' 1796 to 1815.

'The youthful and beautiful patron saint of music has just ceased
playing the organ to her friends, and a heavenly echo falls upon their
ears. Six angels, resting on the edge of a cloud, have caught up the melody
and continue it by singing. Raphael's painting depicts the impression
produced by the celestial music. The saints on earth are silent in pre-
sence of the heavenly choir. St. Cecilia lets her hands rest mechanically
upon the organ, but, with head and eyes turned upwards, listens entranced
to the song. St. Paul, to her left, is difl'erently all'ected. Sunk in deep
meditation, he also seems completely oblivious of the actual world. In
pleasing contrast to these two figures, Mary Magdalene, who stands on the
right of St. Cecilia and holds a box of ointment in her hand, shows her
delight simply and openly. ... In the second line stand SS. John the
Evangelist and Augustine (or Petronius?). ... A crowning touch is added
to the careful distribution of the figures and well-balanced discrimination
of expression by the harmonious arrangement of the colours. The strongest
and most intense tone is afforded by the yellow tunic of St. Cecilia,
embroidered with gold; in the St. Paul the predominant tint is the red
of his mantle, relieved by the green under-garment; the Magdalene's dress
is of a violet colour. The toning down and blending of the ground-tints
is effected through the two saints in the background, who thus fulfill the
same function in regard to the colouring as they do with respect to the
expression and composition'. — Prof. A. Spi'inger''s ^Raffael und Michelangelo' .

133. Bagnacavallo (after Raphael), Holy Family; 65. Lorenzo
Costa, Three saints (1502); 81. Fr. Francia, Madonna adoring the
Child, with saints and donors.

Room G: 183. Tiarini, Nuptials of St. Catharine; 34. Agostino
Carracci, Communion of St. Jerome; 207. Domenichino, Madonna
delRosario; 55. Oiacomo Carerfon;, Madonna in glory with saints;
37. Ann. Carracci, Madonna with saints; 2. Albani, Baptism of
Christ; *42. Lad. Carracci, Madonna with SS. Dominic, Francis,
Clara, and Mary Magdalene, being portraits of members of the
Bargellini family, at whose cost the picture was painted ; 206.
Domenichino, Martyrdom of St. Agnes; *36. Ann. Carracci, Ma-
donna with SS. Lewis, Alexis, John the Baptist, Francis, Clara,
and Catharine; 35. Ag. Carracci, Assumption; 47 Lod. Carracci,
Conversion of Paul; *45. Lod. Carracci, Birth of John the Baptist.

RoomH: i7b. ELisabetta Sirani, St. Anthony of Padua; 117.
Mazzolini, Mary and Joseph adoring the Child; 82. Francesco
Francia, Picture in three sections, on the left, the Adoration of
the Shepherds, in the centre the Madonna and Child, on the right
the Crucifixion in a beautiful landscape ; *142. O. Reni, Chalk
sketch for the Ecce Homo ; 74. Prospero Fontana, Entombment.
In the centre : 360. Niccolh Alunno da Foligno, Madonna ador-
ing the Child, with the Annunciation on the back, presented by
Pius IX. in 1856. — Rooms I, K, and L contain modern pictures.

Traversing the Borgo della Paglia, we next reach the Pal.
Bentivoylio (PI. 53 ; U, 3) , erected by this powerful family in the
16th cent, on the site of their ancient mansion which was destroyed
under Julius II. — A little to the S.W., in the Piazza S. Martino
(PI. G, 3), is situated the church of —

8. Michele in Bosco. BOLOGNA. 43. Route. 301

S. Martino Maggiore (PI. 26), a Carmelite church of 1313 in
the Gothic style.

Ist Chapel on the left: Enthroned Madonna with SS. Rochus, Sebastian,
and angels by Francia; 5th altar on the left. Assumption by Lor. Costa (?)-,
5th altar on the right, Madonna and saints by Aspertini; 4th altar on the
right, SS. Joachim and Anna by Giov. Taraschi (1558); 1st altar on the
right, Girol. Carpi, Adoration of the Magi.

On the N. side of the town , within the walls , and near the
Porta Galliera, which leads to the station, rises the slight eminence
of La Montagnola (PI. Ti, 1) , converted during the first French oc-
cupation into a promenade. Fine view of the town, with the villas
on the spurs of the Apennines in the foreground. The Giuoco di
Pallone (PI. 76, p. 287) is situated here. In 1848 the Austrians
■were attacked here by the Bolognese and compelled to evacuate the
town. On the S. is the Piazza d'Armi. — New public Pleasure
Grounds (Giardini Margherita) have been laid out between the
Porta Stefano [PI. K, 7) and the Porta Castiglione (PI. H, 7).

About i/o M. beyond the Pokta S. Mamolo (PI. E, 7) , on the
2nd road to the right, and near the Casa Minghetti , is situated the
church of S. Maria , called Mezzaratta , containing early Bolognese
frescoes of little importance. About 3/4 M. farther, on a height
to the left of the road, rises *S. Michele in Bosco (1437), once
an Olivetan monastery (suppressed in 1797), now a royal chateau
(Villa Reale). In the church are remains of frescoes by Bagna-
cavallo and others. The court is adorned with finely executed
*Frescoes by the Carracci and their pupils , from the history of St.
Benedict and St. Cecilia , but unfortunately much injured. Fine
view (cab, see p. 287) ; attendant 1 fr.

Outside the Porta S. Isaia (PI. B, C, 4) , at the W. end of the
town , is situated the *Certosa (formerly a Carthusian monastery),
erected in 1335, and consecrated in 1801 as a Campo Santo. The
route to it is by the principal road from the gate ; after 9 min. a
cross indicates the way to the cemetery, which is reached in 5 min.
more. — From the Porta Saragozza the Campo Santo is reached by
following the arcades of the Madonna di S. Luca to the point
■where they divide (see p. 302) and then turning to the right. —
The custodian of the cemetery is well-informed (fee 1/2-lfr.).

The church contains a few paintings by ElisaheUa Sirani and others.
At the beginning of the Cloistees are ancient tombstones from suppressed
churches, arranged according to centuries : at the entrance 13th cent.,
then 15th on the right, Mth on the right (including monuments of pro-
fessors with scenes from their lecture rooms), and 16th on the left; in
the arcades modern monuments, most of them in marble, including figures
of Faith by GalletH and Grief by Monari. In the centre are the ordinary
graves. Among many illustrious names on the former are those of the
philologist Gaspar Garatoni (d. 1817) and the talented Clotilda Tamhroni
(d. 1817; p. 288); the principal families of the town also possess vaults
here. Thus the monument of Letizia Murat Pepoli (d. 1859), with a statue
of her father King Murat ('propugnatore dell' italica indipenden/.a'), exe-
cuted by Vine. Vela. A rotunda here contains .the busts of celebrated

302 Route 44. IMOLA.

professors of the present century, Mezzo/anli, Oalvani, Costa, Schiassi,
Mallei (teacher of Rossini), etc.

In the Via di Saragozza, leading to the Porta Saragozza (PI.
B, C, 5, 6) in the S. W. corner of the town, stands, on the left,
the Palazzo Albergati (PI. 50), built by Peruzzi in 1540. Outside
the gate, on the Monte della Guardia, an eminence 3 M. to the
S. W. of Bologna, rises the handsome pilgrimage-church of the
*Madoniia di S. Luca, erected by Dotti in 1731, so called from an
ancient picture of the Virgin ascribed to St. Luke, and brought from
Constantinople in 1160. The hill is ascended by a series of Ar-
cades, consisting of 635 arches with numerous chapels, constructed
in 1676-1739, and I1/2 M- in length. They begin a short way
beyond the gate and send a branch to the Campo Santo (see above).
Remarkably fine *View from the summit, extending from the
Apennines to the Adriatic, particularly from below the portal of
tlie cliurch and from the new intrenchments. The roof of the church
is also an admirable point of view, but the narrow staircase without
railings requires a steady head. Cab to the foot of the hill 11/2^^.
(thence to the top a walk of 1/2 hr.); the charge for driving to the
top is 15-20fr. (two horses required). This excursion may be
combined with a visit to the Campo Santo.

44. From Bologna to Eavenna.

52V2 M. Railway (belonging to the Ferrovie Meridionale) in S-S'/a hrs.
(fares 9fr. 50, 6fr. 70, 4fr. 30c.). The train follows the main line to
Ancona and Brindisi as far as Castel Bolognese, whence Ravenna is reached
by a branch-line.

The train follows the direction of the ancient Via ^Emilia
(p. 264), and traverses a fertile plain. To the right in the distance
rise the Apennines. — 41/2 M. San Lazzaro; 7 M. Mirandola;
10'/2 M. Quaderna; 15 M. Castel S. Pietro, with a chateau built
by the Bolognese in the 13th cent., on the Sillaro.

211/2 M. Imola f-S. Marco), on the Santerno, an ancient town
with upwards of 10,000 inhab. and the seat of a bishop since 422,
was the Roman Forum Comelii, named after its founder L. Cornelius
Sulla, but is mentioned by Paulus Diaconus, the Lombard historian
of the period of Charlemagne, as Imolae. After many vicissitudes
the town was incorporated with tlie States of the Church by Pope
Julius II. in 1509. Imola was the birthplace of St. Petrus Chry-
sologus, archbishop of Ravenna (d. 449), whose tomb is in the
cathedral of S. Cassiano. The painter Innocenzo da Imola (Fran-
cucci, b. 1506; p. 289) was also a native of Imola. The train
tlien crosses the Santerno.

26 M. Castel Bolognese (poor restaurant), an ancient stronghold
of the Bolognese, constructed in 1380, where the Florentines under
NiccolO da Tolentino atid Gattamelata were defeated by the Mi-
lanese under Piooinino in 1434. — Railway journey hence to An-
cona, see Baedekers Central Italy.

RAYENiSA.

1 Airfulcnda.iiBiBe.lrH D.i

Qiifse

2 diS^ata D.6

3 <liSApoUmaremim-o TLi.5
•1 BnsilimtK S.(no1:ran(jelista F.l

C.3

D.6
C.2
C4
C.5
B3
D.5
D.S

B34
C.5
D.5
C.3
F6
1)4
Dl
D6

nE.l

5 - ■ -diS.VUnle
e BaHistm,

7 (Uaaase^ibhotcea)

8 diS'fCrore

9 <i' S.Donipjiico
ID ft«<mo

11 diSfEu/imia

12 ,li SJhanccsco

15 diGwMattista
11 Jci SSi&aeTaolo
li> S.Oiroitmta

16 di S"3£ttMaleno
U diS^M'tMayyiore
18 ./iiVAPfinPartv
U) diS"3tfdeiSu/rriyi

20 SMchele iuAfff-rcitro

21 <fi S.Xica>ld
21' Oratorio diS'^Ar in Cosnifdi.

23 dclloSpiritoSanio

24 diS.VUtore
25 ConnntotUS^Chi,
% JUimsoUodiGiJlfLPlaiidui

27 Jfcn/p (?c />irto

28 (kpedale Civile

Pa
21) ArarescovUe

30 (Zp/ Comune

.iL Gofrrntltii^o
Vl LurablU

31 - . -DalComo
35 Htuponi f''Krdriumtlo
Hi . . . CaKlmOio
37 . . .dellcTeste

/// -^ / \ %^ / ^ -i^ x^-^

CeogTufili AiiM'jlt

J ^ , „^&o^n^^

Wg^oTLf-T * Dfi'bf K .X^pziff-

CONTORNI Bi RkyfEHHk.

Scala. iiel l:8G.V00 k

f oi^ra|ih. insult vol

giicr * llrbcs. l,rij./.ig-

RAVENNA. 44. Route. 303

The branch-line to Ravenna diverges here to the E. , passing
Solarolo, Lugo; 31 M. Bagnacavallo (^birthplace of the painter
Ramenghi, p. 289, who is generally called after his native town),
Bus3i, Oodo. — 521/2 M. Ravenna.

Ravenna. — Hotels. Spada d'Oro (PI. a; D, 4), Strada del Monte,
R. 2-21/2, L. V2, A. 3/4 fr.; S. Marco (PI. b; E, 4), in the same street; Tee
Ferki, by the theatre, mediocre. — Caffi del Eisorgimento, in the Piazza
Vitt. Emanuele.

Cabs: per drive 1, at night I'^fr., two-horse IV2 or 2fr. ; first hour
l'/2-2V2fr. , each additional 1/2 hr. 75 c. or Ifr. 25 c.; beyond the town

2 or 4fr. per hour.

Photographs. "Ricei, at Byron's house, Strada Porta Sisi 296.

Principal Attractions: Baptistery (p. 305), S. Vitale (p. 307), S. Na-
zario e Celso (p. 30S), S. Maria in Cosmedin (p. 309), S. Apollinare Nuovo
(p. 309), S. Apollinare in Classe (p. 311). Both the old and new names
of the streets are given in our plan , and inscribed at the street corners.

Ravenna , a town of ancient origin , and formerly the capital of
a province, with 60,700 inhab. (including the adjoining villages),
is situated in the plain between the rivers Lamone and Ronco
(Rom. Bedesis), in a somewhat unhealthy locality. The town is

3 M. in circumference, but nearly one-half of the area is occupied
by gardens. It was originally a seaport, but is now nearly 6 M.
distant from the sea. After the Porto Candiano had become choked
up, the Canale Naviglio was constructed in 1737, in order to con-
nect Ravenna with the sea. The present harbour of Ravenna is
used for the coast-traffic only.

Ravenna is one of the most ancient towns in Italy , but under the
Republic was a place of little importance. Augustus constructed the
Porttts Classis and a canal, connected with the Po, round the S. side of
the town, and appointed Ravenna the headquarters of the Adriatic fleet.
The commerce of the place now improved , and a new quarter was
erected between the town and the harbour ( Ctesarea , a name per-
petuated by the ruined church of S. Lorenzo in Cesarea). The harbour,
however, having been gradually filled up by the deposits of the
Po, Classis and Csesarea fell to decay, while Ravenna continued to
be the capital of the province Flaminia. As early as A.D. 44 Ravenna
became an episcopal see , St. ApoUinaris , a disciple of St. Peter, being
the first bishop. The Emp. Honorius transferred his residence hither
from Rome in 402 on account of the great strength of the place, and in
438 Ravenna was erected into an archiepiscopal see. After the fall of
the Western Empire the town was taken by the Herulian Odoacer , king
of Italy, and again in 493 by Theodoric the Great, king of the Ostro-
goths, after which it regained much of its former splendour and was
the residence of the Gothic kings till 539. It then became the seat of the
exarch or governor of the Eastern Roman , or Greek Emperors , and
continued under their sway until 752, when the Lombard Aistulph banished
Eutychius the last e-xarch and took possession of the town. Shortly after-
wards, however, Ravenna was retaken by Pepin, king of the Franks, and
handed over to the pope, under whose rule it remained, excepting when
his authority was disputed on several occasions by the Guelphs and
Ghibellines. In 1275 the Polenta family, of whom favourable mention la
made by Dante , obtained the supreme power. In 1318 Ravenna began to
be governed by its own dukes ; in 1440 it came into possession of the
Venetians, under whom its prosperity materially increased; in 1509 it was
conq^uered by Pope Julius II., and It belonged to the States of the Church

304 Route 44. RAVENNA. Cathedral.

till the treaty of Tolenfino in 1797. It was , however, restored in 1815,
but again severed from the papal dominions in 1860.

In the History of Early Christian Art of the 5-8th century, Ravenna is
the most important place in Italy next to Eome. Being less under the
influence of the mighty traditions of the past here than at Rome, art was
in a position to develop itself more freely, and even to venture on inno-
vations. The connection of Roman and Byzantine art may best be studied
at Eavenna, where the traveller will observe how the capitals of the col-
umns were gradually remodelled, and a new style of ornamentation intro-
duced. Besides the basilicas there are also dome-structures, which form
a link between Byzantium and some of the churches of western Europe
(such as the cathedral at Aix-la-Chapelle). The ancient Buildings of Ea-
venna belong to two different periods , the first being that of Honorius
and his sister Galla Placidia, 404-450 (Cathedral, Baptistery, ArcMepiscopal
Chapel, S. Agata, S. Nazario e Celso, S. Giovanni Battista, and S. Oio-
vanni Evangelista), and the second a Gothic period from 493 to about 550
(S. Spirito, S. Maria in Cosmedin, S. Vitale, S. Apollinare in Classe, Mau-
soleum of Theodoric). The basilicas of Ravenna difter from the Roman in
having their porticoes converted into a closed anterior structure, in being
destitute of transepts, in possessing columns expressly designed for their
object instead of being brought from other buildings, and in showing
a consistent use of the round arch with corresponding articulation on
the external walls. The campanili moreover are detached and are circular
in form. Notwithstanding the alterations of subsequent ages, and the
raising of the pavements by several feet, which was rendered necessary
by the gradually increasing elevation of the surrounding soil, these noble
monuments of triumphant Christianity are profoundly impressive , and
their efl'ect is greatly enhanced by the stillness and solitude of the en-
virons. — Mosaic Painting was also extensively practised at Ravenna.
The earlier symbolism was gradually abandoned for the historical Christian
style , but at the same time the designs became stiff and conventional.
The traveller will also have an opportunity here of examining Sarco-
phagi, IvoRT Carving, and other works of the early Christian period,
and thus obtain a very comprehensive review of the art products of the
centuries preceding the Carlovingian era.

Lord Byron, who preferred Ravenna to all the other towns of Italy,
and was influenced in some measure by his intimacy with the Countess
Guiccioli, a member of the Gamba family of Ravenna, spent two years
here (June, 1819, to October, 1821), during which he wrote several of his
finest works, the 'Prophecy of Dante", 'Marino Faliero', the 'Two Foscari',
'Cain', 'Heaven and Earth", and the 'Vision of Judgment".

From the station, in front of which a statue to the Italian
patriot L. C. Farini, Dictator of Emilia in 1860, was erected in
1878, the Stradone delta Stazione and Strada del Monte lead straight
to the Piazza Maggiorb, now Vittorio Emanuele (PI. D, 4), in the
centre of the town, which is said to correspond with the ancient
Forum Senatorium. It is adorned with two lofty columns of granite
erected by the Venetians in 1483, and bearing statues of SS. Apol-
linaris and Vitalis , -with a statue of Pope Clement XII. (1738"),
and a colonnade of eight columns of granite , supposed to have be-
longed to a basilica erected or restored by Theodoric. Beyond this
Pia/.za is the —

Piazzetta delV Aquila (PI. I ; C, 4) , with a granite column
crowned with an eagle, erected in 1609 to Cardinal Gaotani.

The Strada del Duomo leads hence to the Cathedral (PI. 10;
C, f)) of iS. Orso, or Basilica llrsiana, almost entirely rebuilt by
Archb. Guiccioli in the 18th cent, on the site of a church of the

Baptistery. RAVENNA. 44. Route. 305

year 400, and consisting of nave and aisles with transept, sur-
mounted by a dome in the centre, and a round campanile.

Interior. 2nd Chapel on the right: sarcophagus of SS. Exuperantius and
Maximianus. In the S. Transept is the chapel of the Madonna del Sudore,
containing the marble sarcophagi of SS. Barbatian (r.) and Reginald (1.)
of the 6th century. The High Altar contains a marble sarcophagus with
the remains of nine bishops of early date ; to the right a silver crucifix
with figures of the Bishops of Ravenna, executed in the 6th century, and
reliefs in the centre of the 16th century. — In the Retro-Choir, on each
side, are several marble slabs with figures of animals, dating from the
6th cent., fragments of an ancient pulpit ('ambo'). — The Sacristy contains
the Easter Calendar from 532 to 626 and the '''Ivor!/ Throne of St. Maximian,
with basreliefs of the 5th and 6th cent, representing John the Baptist in
the centre in front, the four Evangelists on the right and left, and the
history of Joseph at the sides. The missing tablets are said to have been
carried off during the wars of the 16th cent., one of them, of which a
poor copy is shown, being now preserved at Florence. In the lunette
above the entrance to the sacristy, to the right, 'Elijah in the desert,
fed by the angel, a fresco by Guido Rent. The cliapel of the Holy
Sacrament in the N. Transept contains the -Falling of the Manna,
also by Ouido Reni; the frescoes on the ceiling, Christ in glory, are
by his pupils. In the N. Aisle is the monument of the above-mentioned
Archbishop OuiccioH.

The ^Baptistery (PI. 6; C, 5), S. Giovanni in Fonte, oxBattistero
degli Ortodossi, adjoining the cathedral, probably also founded by
St. Ursus (d. 396), and dedicated to John the Baptist, is an octa-
gonal structure, with two arcades in the interior, one above the other.
The cupola is decorated with remarkably fine *Mosaics of the 5th
cent., the most ancient at Ravenna, representing the Baptism of
Christ with the river-god of the Jordan and the twelve Apostles.
Under these runs a broad frieze, on which, between the groups of
light columns, are represented four altars with the open books of the
gospels, and thrones with crosses. The upper arcades of the wall
are adorned with figures of prophets , and enrichments in stucco.
On the lower section of the wall are admirable mosaics. The large
font in white marble is of the 5th century, with the original in-
scriptions of dedication inside. It is intended to raise the level of
the whole building considerably by means of machinery. The cus-
todian lives by the Cappella Qiustina (adjoining the Cathedral),
which contains a Bacchic vase.

The Archiepiscopal Palace (PL 29 ; C, 5), to the E. of the
cathedral, possesses a square vaulted *Chapel of the 5th century.
The vaulting is adorned with ancient mosaics representing saints,
completed in 547 ; in the centre, on the groining, four *Angels
holding the monogram of Christ ; under them the four Evangelists ;
in the centre of the arches, Christ. The Madonna and two saints
over the altar, originally in the cathedral, are of the 11th century.
The ante-room contains ancient inscriptions, chiefly of the Christian
period, the torso of a magistrate in porphyry, and a relief with
children from the temple of Neptune. The episcopal Archives
comprise about 25,000 documents on parchment.

On the right, at the beginning of the Strada di Classe leading

Baedeker. Italy I. 5th Edit. 20

306 Route U. RAVENNA. 8. Niccolb.

to the Porta S. Mamante, is the Accademia delle Belle Axti
(PI. 1 ; D, 5 ; open in the forenoon only; ring at the gate, 75 c).

The interesting Picture Gallery chiefly contains pictures by masters
of the place, such as a Crucifixion, Descent from the Cross, and several
portraits by Liica Longhi (d. 1580); pictures by his son Francesco; a
Descent from the Cross by Vasari; Madonna and saints by Cotignola; a
large ancient mosaic found near Classe. — On the Upper Floor a col-
lection of casts, among them a bust of St. Apollinaris by Thorvaldsen ;
''Tombstone with recumbent statue of Guidarello Guidarelli, 'guerrier Ra-
vennate", by Baldelli GiacomelU of Ravenna (about 1490). Several statues
from Canova's studio; Endymion, by Canova.

In the Strada di Classe, No. 192, is the secularised Camal-
dulensian Monastery of Classe (PI. 7; D, 6), now occupied hy the
Academy. T\\& Biblioteca Comunaie (first floor ; admission daily,
10-2, except on Sundays and holidays), founded in 1714 by the
Abbate Caneti, contains upwards of 50,000 vols, and 700 MSS.

At the entrance to the library several Roman and Christian inscriptions
and sculptures are built into the walls, such as a good female head, the
sarcophagus of a child, with interesting representations, perhaps Christian.

Among the Mandscripts, is the celebrated MS. of Aristophanes of the
10th cent., one of Dante of 1369, another by Pietro Dan'e; letters of
Cicero of the 15th cent.; commentary of Benvenuto da Imola; prayer-book
of Mary Sittart with miniatures; visitors^ book from the tomb of Dante
(p. 307); the wooden coffin which contained the remains of the great
poet, found in 1865 in the course of researches instituted on the 6;,b cen-
tenary of his birth; rare editions, such as the Decretals of Boniface VIII.,
printed by Fust at Strassburg in 1465, and a number of '■editiones prin-
cipes\ There is also a small collection of objects in ivory, bronzes, and
coins of the popes, the Medici, and the Malatesta, the golden ornaments of
the helmet of King Odoacer (?), etc. (all shown gratuitously).

The old Refectory of the Camaldulensians (shown by the
custodian , or by the sacristan of St. Romuald , door to the right
opposite the refectory") contains the Marriage at Cana in fresco, by
Luca and Francesco Longhi, and some fine carving on the door.
— The altars of the monastery-church of 5. Romualdo are richly
decorated with rare and beautiful marbles ; in the 2nd chapel on
the left St. Romuald by Ouercino ; 3rd chapel on the left, a beau-
tiful ciborium (with candelabrum and cross from the sacristy) in
lapis lazuli, frescoes by Longhi.

S. Niccolo (PI. 21; D, 6), built by Archb. Sergius in 760
(closed), contains numerous paintings by the Augustinian monk
Padre Cesare Pronti and by Francesco da Cotignola.

S. Agata (PI. 2 ; D, 6 ; entrance in the Via di Porta Sisi or
Mazzini, between Nos. 96 and 97), of the 5th cent., consisting of
nave and aisles with a vestibule, contains line columns of marble.
No. 295 in the same street, not far from the Piazza S. Francesco,
was once occupied by Lord Byron (p. 304), as the memorial tablet
records.

S. Francesco (PI. 12 ; D, 5) is said to have been founded by
St. Petrus Chrysologus about the year 450, on the site of a temple
of Neptune, but is now entirely modernised.

The Interior consists of nave and aisles, with 22 columns of coloured
marble. Unpleasing modern ceiling. At the entrance are several ancient

Dante's Tomb. RAVENNA. 44. Route. 307

tombstones; on the right that of Ostasio da Polenta of 1396; on the left
that of Enrico Alfieri , who died in 1405 as general of the Franciscans.
On the right the sarcophagus of the archbishop St. Liberius , of the 5th
century. The Cappella del Crocefisso, the 2nd on the right, contains two
"Columns of Greek marble with capitals and ornamentation by Pietro
Lombardi.

Adjoining the church is Dante's Tomb (PI. 41 ; D, 5 ; closed,
keys at the town-hall ; but it may be seen through the gate). The
poet died at Ravenna, where he enjoyed the protection of Guido da
Polenta, on 14th Sept., 1321, at the age of 56, and was interred
in the church of S. Francesco. In 1482 Bernardo Bembo, the
Venetian governor (father of the celebrated Cardinal Bembo),
caused the present mausoleum to be erected from designs by Pietro
Lombardi, and it was subsequently restored in 1592 and 1780. It
is a square structure with a dome, embellished with medallions of
Virgil, Brunetto Latini the poet's master. Can Grande della Scala,
and Guido da Polenta his patrons ; opposite the entrance is a half-
length relief of Dante, and below it a sarcophagus, a marble urn in
which now contains the poet's remains. It bears an epitaph attri-
buted to Dante himself : —

Jura Monarchiae, Svperos, Phlegethonta lacusque
Lustrando cecini, voluerunt fata quousque,
Sed quia pars cessit melioribus hospiia casiris,
A(u)ctoremque suum petiit felicior asiris,
Hie claudor Dantes, patriis sxtorris ab oris,
Quern genuit parvi Floreneia mater amoris.

The visitors' book formerly kept here, and now preserved at the
library (p. 306), contains the following beautiful lines (Purg. xi.,
100), written by Pope Pius IX. when here on a visit in 1857 :
Non & il mondan rumore altro che nn fiato
Di vento cK'or va quinci ed or va quindi,
E muta name, perc/ti muta lato.

A marble slab opposite the tomb indicates the site once occu-
pied by the palace of Guido da Polenta.

S. Michele in Affricisco (PI. 20; D, 4), erected in the 6th cent.,
but now destroyed with the exception of the apse and the clock-
tower, still contains fragments of old frescoes.

The Torre del Pubblico (PI. 44; D, 3), a little to the N., is a
square leaning tower, of which the history is obscure.

S. Domenico (PI. 9), a basilica in the vicinity, founded by the
exarchs and subsequently restored, is adorned with paintings of
Niccolb Rondinelli of Ravenna. — Near Porta Adriana is the pictur-
esque little church of <S. Giovanni e Paolo (PI. 14; B, 3, 4), with
an ancient tower , square below, and round above. An ambo in
the interior resembles that in the cathedral (p. 305).

*S. Vitale (PI. 5; C, 3) was erected in 1526 during the reign of
Justinian by Archb. Ecclesius on the spot where St. Vitalis suffered
martyrdom, and was consecrated by St. Maximian in 547. It served
as a model for the church of St. Sophia at Constantinople (begun
in 532), and also to Charlemagne for the cathedral of Aix-la-Cl a-

20*

308 Route 44. RAVENNA. S. Nazario e Celso.

pelle. The church is octagonal (371/2 yds. in diameter), with a
choir, three-sided on the exterior, and round in the interior, added
to it on the E. side.

The Interior, unfortunately marred by modern restoration, is divided
liy eight massive pillars into a central space with a passage around it.
Between the pillars are semicircular niches with pairs of columns and
arches, in two series, one above the other, over which rises the dome,
constructed of earthen vessels. Each of the windows in the dome is di-
vided by a muUion into two round-arched halves. The lower parts of the
pillars are still incrusted with their original coating of rare marble
('Africanone'). The pavement has been raised more than 3 ft., and the
street is 7 ft. above the former level.

The Choir is adorned with admirable "Mosaics, which are however
inferior in style to those of earlier date in the baptistery (p. 305) and to
those of S. Maria in Cosmedin (p. 309) : Christ enthroned on the globe,
angels on both sides; on the right St. Yitalis, and on the left Ecclesius with
the church itself. Below, (1.) Emp. Justinian with the bishop Maximian
and attendants , and (r.) the Empress Theodora with the ladies of her
court, both presenting ollerings. On the arch of the choir are represented
Jerusalem and Bethlehem. Above, at the sides, (1.) the four Evange-
lists sitting, and Isaiah and Jeremiah standing, (r.) Moses as a shepherd,
above which he is seen removing his sandals at the burning bush; (1.)
he receives the Tables of the Law ; on the right, in the central scene, an
altar with bread and wine ; at the sides the blood-sacrifice of Abel and
the bloodless offering of Melchisedech. On the left in the centre, a table
at which the three angels are entertained by Abraham, Sarah at the door,
and sacrifice of Isaac. In the archway busts of Christ (repainted), the
Apostles, and SS. Gervasius and Protasius, sons of S. Vitalis. On the right,
at the entrance to the choir, an admirable "Greek Relief from a temple of
Neptune, representing his throne with shells, trident, and genii; op-
posite to it a modern copy (or perhaps also antique). — In the portico of
the sacristy a '•Roman Relief, the Apotheosis of the emperor: the goddess
Roma is observed sitting on the left; next to her is Julius Csesar, with
Augustus and Claudius adjacent. On the left, a fragment of a procession
with victims, forming part of the same work. Opposite are early Christian
reliefs: Daniel in the lions' den, Christ imparting a blessing, and the
Raising of Lazarus (7th cent.).

To the N., at the hack of the church, is the Monument of the
Exarch Isaac (PL 42 ; C, 3 ; d. 641), consisting of a sarcophagus in
a small recess with a Greek inscription, erected by his wife Susanna.
Adjacent to it are several other ancient inscriptions. On the right
a Roman warrior in relief.

The custodian of S. Vitale also keeps the key of —

*S. Nazario e Celso (PI. 26 ; C, 2), the Mausoleum of Oalla
Placidia, founded about 440 by that Empress, daughter of Theo-
dosius the Great and mother of Valentinian III. The church is in
the form of a Latin cross, 49 ft. long, 41 ft. broad, with a dome.

The Interior is adorned with beautiful 'Mosaics, on a dark blue
ground, of the 5th cent.: in the dome the symbols of the four Evangelists;
in the four arches eight apostles (or perhaps prophets), between which
are doves drinking out of a vase (resembling the celebrated mosaic on
the Capitol); under the vaulting of the right and left transept are the
other four apostles (?) in gilded mosaic; between them are stags_ at a
spring. Over the door is Christ as a young shepherd; opposite is the
triumph of Christian faith , in which Christ (represented here with a
beard) is committing to the llames an open book, probably heretical; the
adjacent cabinet contains the gospels. — The Altar, constructed of trans-
parent Oriental alabaster and intended to be illuminated by inserted

S. Spirito. RAVENNA. 4J. Route. 309

lights, was formerly in S. Vitale; behind it is the large marble Sarco-
phagus of Oalla Placidia (d. 450), once enriched with plates of silver, in
which the Empress was interred in a sitting posture. On the right of
this monument is a marble sarcophagus decorated with Christian emblems,
containing the remains of the Emp. Honorius, brother of Galla Placidia;
on the left that of Constantius III., her second husband (417) and father
of Valentinian III. ; at the sides of the entrance are two small sarcophagi
containing the remains of the tutors of Valentinian and his sister Honoria.
These are the only monuments of the emperors of ancient Rome which
still remain in their original position.

S. Giovanni Battista (PI. 13; D, 3), with an ancient round tower,
erected by Galla Placidia in 438 for her confessor St. Barbatian,
was almost entirely remodelled in 1683. The columns of the in-
terior belong to the original church.

To the E. the Strada di Porta Serrata leads to the left through
a gate to the Rotonda (p. 310], and to the right to the basilica of —

S. Spirito (PI. 23), or S. Teodoro, erected by Theodoric for the
Arian bishops, with a vestibule at the W. entrance (portal, 16th
cent.) , and adorned with fourteen columns of coloured marble in
the interior. The sacristan also keeps the key of the adjacent —

*S. Maria in Cosmedin (PL 22), once an Arian baptistery.
The octagonal dome was adorned with *Mosaics in the 6th cent. ,
when it became a Rom. Cath. church. On the dome the Baptism of
Christ, on the left, the river-god of the Jordan, surrounded by the
twelve Apostles. The walls are covered with half obliterated fres-
coes of last century. The present pavement is about 7 ft. above the
original level. Several Arian crosses are built into the walls of the
entrance court on the left side.

S. Giovanni Evangelista, or S. Giovanni della Sagra(Vl. 4, F, 4;
if closed, knock at the door), near the railway-station, erected in 444
by the Empress Galla Placidia in consequence of a vow made dur-
ing a voyage from Constantinople, has also lost its ancient mosaics,
and much of its interest owing to alterations. Above the *Portal,
constructed at the end of the 13th or beginning of 14th cent., are
reliefs in allusion to the foundation of the church. Recent exca-
vations have shown that the court in front of the church once
formed the atrium of the edifice.

The Interior, with its unpleasing barrel-vaulting, consists of nave
and aisles borne by twenty-four antique columns. The vaulting of the 4th
chapel is adorned with frescoes of the four Evangelists, with their symbols
above them, and the four fathers of the church, SS. Gregory, Ambrose,
Augustine, and Jerome, by Giotto (who had come to Ravenna on a visit
to his friend Dance). In the closed chapel to the left of the choir are
some remains of old Mosaic Pavement , representing the storm to which
Galla Placidia was exposed, on the left, and figures of animals on the right.
*S. Apollinare Nuovo (PI. 3; E, 4, 5), a basilica erected about
500 by Theodoric the Great as an Arian cathedral (S. Martinus in
Coelo aureo), was afterwards converted (570) by the Archbishop S.
Agnello into a Roman Catholic church. It has borne its present
name since the 9th cent., when the relics of th.e saint were trans-
ferred hither from Classe.

310 Route 44. RAVENNA. S. Apollinare Nuovo.

The Interior contains twenty-four marble columns brought from
Constantinople. On the right is an ancient ambo. The walls of the nave
are adorned with interesting 'Mosaics of the 6th cent., partly of the Arian,
and partly of the Rom. Cath. period, with additions of the 9th cent.,
afterwards frequently restored: on the left the town of Classis with the
sea and ships, twenty-two virgins with the Magi (the upper half ar-
bitrarily restored in 1846); on the right is the city of Ravenna with the
church of S. Vitalis and the palace of Theodoric, and twenty-flve saints
with wreaths approaching Christ enthroned between angels (a group
which has also been freely restored). These last mosaics betray a ten-
dency to the showy style of the later period, but the single figures of the
teachers of the church above them, between the windows, are executed
in a more independent and pleasing manner. Above the windows, on the
upper part of the wall, on each side are thirteen interesting compositions
from the New Testament. On the left, the sayings and miracles of Christ
(without a beard); on the right, the history of the Passion from the Last
Supper to the Resurrection (Christ with a beard). The omission of the
Crucifixion itself points to the origin of these mosaics at an early period
when representations of the kind were abhorred. — In the last chapel
on the left, a portrait of Justinian in mosaic, formerly outside the
portal, and an ancient episcopal throne. The whole chapel is com-
posed of fragments of ancient edifices.

In the same street, a few paces to the S. of S. Apollinare, are a
few scanty remains of a wing of the Palace of Theodoric (PI. 39 ;
E, 5), in which the exarchs and the Lomhard kings subsequently
resided. These relics consist of a high wall crowned with eight
small columns of marble bearing round arches, with a simple gate-
way below. The columns and treasures of art of this palace were
removed to Germany by Charlemagne. To the right of the princi-
pal door, in the wall , is a porphyry vessel, probably once a bath,
brought here in 1564. The palace itself perhaps stood in the ad-
jacent Strada di Alberoni , excavations in which have brought to
light rich mosaic pavements of the 5th century.

Still farther on, near the Porta Nuova, is S. Maria in Porto
(PI. 18; F, 6), erected in 1553 from the remnants of the Basilica
S. Lorenzo in Cesarea, consisting of. nave and aisles with transept
and an octagonal dome , and borne by columns and pillars placed
alternately. The choir contains an ancient vase in porphyry. In
the N. transept is a very ancient marble figure of the Virgin in the
]5yzantine style (6th cent.), brought from the church of S. Maria
in Porto Fuori.

About 1/4 M. from the Porta Serrata is situated the *£otonda
(1*1. G, 1), the Mausoleum of Theodoric the Great, or S. Maria
delta Rotonda , as it was called after the remains of the heretic
were scattered and the church became a Rom. Catholic place of
worship. In order to reach it, we take the road to the right, almost
immediately after quitting the gate, and cross the railway, beyond
wliich the tomb is seen to the left, shaded by poplars (key at
the house, 30 c). It was probably erected by Amalasuntha, the
emperor's daughter (about 530). The substructure is of decagonal
t^hape, and the church is covered with a flat dome of 36 ft. in dia-
meter, consisting of a single huge block of Istrian rock, which is

S. ApoU. in Classe. EAVENNA. 44. Route. 3 1 1

said to weigh 470 tons. The substructure, with its ten arches, has
until recently been half under water ; the upper part is approached
by a double staircase of marble, added in 1780. — A pleasant walk
may be taken round the walls of the town, and partly upon them,
as they are now nearly level with the ground.

The Cimitei'o^ which lies within the precincts of the Pineta (p. 312),
la reached from the Rotunda in V2 hr. by following the Canal Naviglio.

About 21/2 M. from the Porta Nuova is the church of S. Maria
in Porto Fuori, a basilica with open roof, erected by Bishop Onesti
(known as 'II Peccatore') , in consequence of a vow made during
a storm at sea in 1096. The left aisle contains the sarcophagus of
the founder, of 1119. The choir and the two adjacent chapels
contain ancient Frescoes from the life of Mary and the Saviour,
erroneously attributed to Giotto , and now much damaged. It is
supposed that this spot was formerly the site of the old harbour,
and that the massive substructure of the clock-tower belonged to
the lighthouse (faro). (A visit to this church, which however is
of no great interest, and to S. Apollinare may conveniently be com-
bined.)

No traveller should quit Ravenna without visiting the church of
S. Apollinare in Classe, situated 21/2 M. from the Porta Nuova (carr.
see p. 303). About 3/4 M. from the gate a small marble column
surmounted by a Greek cross (La Crocetta) marks the site of the an-
cient basilica of <S. Lorenzo in Cesaria, the last relic of the vener-
able town of Caesarea (p. 303), which was removed in 1553.
About 1/4 M. farther, the Ponte Nuovo crosses the united rivers
Ronco and Montone , the confluence of which is higher up. (Be-
fore the bridge is crossed, a path leads to the left in 20 min. to
the church of S. Maria in Porto , the lofty tower of which is seen
from a distance.) The road then traverses marshy meadows to —

*S. ApolUnare in Classe, erected in 534 by Julianas Argentarius
on the site of a temple of Apollo, consecrated in 549, and restored
in 1779. This is the most imposing of the basilicas still existing at
Ravenna. It consists of a nave and aisles, with a vestibule at the
W. end, and a round campanile. The exterior exhibits traces of
an attempt to relieve the surfaces of the walls with pilasters and
arches.

The spacious Interior rests on twenty-four cipollino columns , and
has an open roof. The Walls are adorned with portraits of bishops and
archbishops of Ravenna, an unbroken series of 126, from the first bishop
St. Apollinaris, who sutYered martyrdom in 74 under Vespasian, to the
present archbishop. Each aisle contains four marble sarcophagi of arch-
bishops. — The Crypt, a species of corridor in which the remains of
St. Apollinaris once reposed, is in winter sometimes under water. — Above
it is the broad flight of steps leading to the 'Tribdna' with the high altar.
The canopy of the latter is borne by four columns of black and white
Oriental marble. The dome of the tribuna is adorned with well-preserved
~AIosaics of the 6th cent. : in the centre a large cross on a blue ground
with gilded stars , at the sides Moses and Elias , below whom is St.
Apollinaris preaching to his flock; below, on the right, are the sacrifices
of Abel and Melchisedech; on the left, Constantine and other Roman

312 Route 44. RAVENNA. La Pineta.

emperors, among whom are the four archbishops Ursicinus, St. Ursus, St.
Severus, and Ecclesius. — The Akch of the Choir is also embellished
with mosaics : in the centre a bust of Christ , at the sides the emblems
of the four evangelists, and below them two flocks of sheep hastening to
Christ from the towns of Jerusalem and Bethlehem.

The celebrated Pine-Forest of Ravenna, or La Pineta, probably
the most venerable and extensive in Italy, which has been extolled
hy Dante, Boccaccio, Dryden, Byron, and other poets, begins alittle
beyond the church of S. Apollinare, and extends for many miles
along the road to Rimini, as far as Cervia. If the traveller prolong
his excursion for IY2 hr. beyond S. Apollinare he may drive
through the nearer extremity of the forest. (^The whole drive to
S. Apollinare, the Pineta, and S. Maria Fuori occupies about
4 hrs.)

About 2 M. from Eavenna, on the bank of the Ronco. rises the Co-
lonna de" Francesi, a memorial of the victory gained on llth April, 1512,
by the united armies of Louis XII. of France and the Duke of Ferrara
(at which the poet Ariosto was present) over the Spanish troops and those
of Pope Julius II. At the moment when the victory was decided , the
brave Gaston de Foix fell, and 20,000 men were left dead on the field.

Fkom Ravenna to Rimini there is a good road traversing a monotonous,
flat district, and passing S. Apollinare in Classe, the pine-forest, the small
town of Cervia, Cesenatico, S. Martina, and Celle, altogether a drive of
41/2 hours.

45. From Bologna to Florence.

82 M. Railway in 41/2-6 hrs. (fares 14 fr. 95, 10 fr. 15, 7 fr. 30 c.). —
A boldly constructed line. Fine views of the valleys and ravines of the
Apennines (generally to the left) , and afterwards of the rich plains of
Tuscany.

Bologna, see p. 286. The train skirts the slopes of the Monte
della Guardia (p. 302), near the Reno, which it soon crosses. On
an island in the Reno, not far from Bologna, the Second Trium-
virate was concerted by Octavian, Antony, and Lepidus, B.C. 43.

41/2 M. Banjo Panigale; 6 M. Casalecchio, where the valley of
the Reno contracts. Here on 26th June, 1402, the army of Gio-
vanni Bentivoglio was defeated by Gian Galeazzo Visconti, and
on 21st May, 1511, that of Pope Julius II. under the Duke of Ur-
bino, by the French. — On the left, near (_12 M.) Sasso, the brook
Setta falls into the Reno, from which a subterranean aqueduct,
constructed by Augustus, leads to Bologna. The restoration of this
channel has recently been commenced with a view to supply the
town with better water. — 17 M. Marzahotto , with the spacious
Villa Aria. Etruscan antiquities have been frequently found near
the neighbouring village of .Misano. Between this point and Pracchia
there are 22 tunnels. At (241/2 M.) Veryato the valley expands.
291/.2 M. Riola; on the left rise the abrupt peaks of Monte Ovolo
and Monte Vitjese; a landslip from the latter destroyed the village
of Vigo in 1851. On the left bank of the Reno is the modernised
castle of Saviijnano , with picturesque environs. 37 M. Porretta
(*Albergo Cavour, unpretending; Palazzino, open in summer only),
a village of 8400 inhab , with mineral springs and baths, is much

BOSCOLUNGO. 45. Route. 313

frequented in summer. — Beyond Porretta the line enters a nar-
row and romantic ravine of the Reno , from the sides of which nu-
merous waterfalls are precipitated , particularly in spring , and is
then carried by a series of tunnels, cuttings, and viaducts to the cul-
minating point where it crosses the Apennines. — 451/2 M. Prac-
chia, the highest point on the line, is 20*24 ft. above the sea-level.

A diligence runs twice daily from Praccliia to S. Marcello (about
2130 ft.), via Pontepetri, wliere it reaches the old Apennine road connect-
ing Florence and Pistoja with Modena (p. 279). The road then continues
to ascend (no regular public conveyance) , partly by steep windings , to
Boscolungo (Pensione di Serrabassa and Locanda deW Abetoiie, well spoken
of), about 4430 ft. above the sea-level, situated in the midst of a magni-
ficent forest. This place has recently come into notice as a starting-point
for numeroxis excursions: Monte Majori, ^i hr. ; Libra Aperto, V/2-2 hrs.;
Tre Potenze, 2 hrs.; Gimone, 3-5 hrs. ; Rondinaja, Logo Santo, etc.) and as a
pleasant summer resort, and is much patronised by members of the Ita-
lian Alpine Club. — Boscolungo lies on the Passo deW Abetone, which
once formed the boundary between Modena and Tuscany, about S'/z
hours' drive from Pracchia, and 7 hrs. from Pistoja (via Pontepetri, see
above). A road also leads to it from Lucca, passing the baths (p. 334).
Fiumalbo (p. 279) is about 9 M. distant.

Beyond Pracchia the train crosses the watershed of the Adriatic
and the Tyrrhenian Sea by a tunnel about l^/g M. in length, and
then enters the valley of the Ombrone, which flows towards the S.,
and is traversed by a lofty viaduct. Between this point and Pistoja
there are numerous viaducts and no fewer than 22 tunnels. Beau-
tiful views. — Beyond (541/2 M.) Piteccio a view is at length re-
vealed of the lovely and populous plains of Tuscany, and of Pistoja
far below. The train then passes numerous charming villas.

61 M. Pistoja (p. 336). — From Pistoja to Florence, see p. 340.

The Old Road fkom Bologna to Floeence ascends the valley of the
Savena and passes S. Rujilo, Pianoj-o, Filigare, and Pietramala, which last
lies in a bleak district. About V2 hr. to the E. of Pietramala are / Fu-
ochi, or the burning mountain (Monte di Fo), the flames of which (pro-
duced by gas, as proved by Volta) produce a most striking effect,
especially at night. Similar, though less imposing, is the Acqiia Buja,
'A hr. W. of Pietramala, with inflammable water-bubbles. From Pie-
tramala the road ascends for 1 hr. at the base of Monte Beni and the
Sasso di Castro to Covigliajo , at a considerable elevation ; then IV4 hr.
more to La Futa, the culminating point of the route, about 3000 ft. above
the sea-level, occasionally obstructed by snow in winter. We next de-
scend to Monte Carelli ., beyond which another ridge of the Apennines is
traversed, and afterwards into the valley of the Sieve, known as the Val
di Mugello. The road to the right leads to Barberino and thence to Prato
(and Pistoja), that to the left to Florence. About 2 M. before Cafaggiolo
is reached , the road passes Le Masc/iere, now an inn , situated in the
midst of most picturesque scenery, and affording views of the Apennines
and the extensive valley of the Arno.

Cafaggiolo, on the right bank of the Sieve. Then Fontebtiona, beyond
which the road descends rapidly; a little to the left is Pratolino, for-
merly a villa of the grand-dukes, situated in the woods. A castle once
erected here by Buontalenti for Francesco de' Medici, son of Duke Cosimo I.,
for the reception of his mistress Bianca Capello , has long since been
destroyed. Almost the sole relic of its former splendour is the colossal
stooping statue of Apenninus , 60 ft. in height. The road now descends
between villas and gardens, passing Fiesole (p. 421), to Florence, which
it enters by the Porta S. Gallo.

VII. Tuscany.

Tuscany, which covers an area of 9287 sq. M. , and contains 2,209,500
inhab., is divided into eight provinces of very different sizes-, viz. Massa-
Carrara, 687 sq. M. in area, an independent duchy down to 1829; Lucca,
575 sq. M. in area, independent down to 1847; Florence, the largest pro-
vince, 2267 sq. M. in area; Leghorn, the smallest, about 126 sq. M. in
area; andPjs«, Arezzo , Siena, and Grosseto. The density of the popula-
tion, too, varies greatly in dilTerent parts of the country. In the province
of Lucca there are about 431 inhab. to the square mile, in Florence 295, in
Siena 127, and in Grosseto not more than 57. With the exception of the
coast districts and the valleys, the country is hilly, and intersected by
the spurs and ramifications of the Sub-Apennines. The N. part, adjoining
the Arno, is most fertile , the plains and slopes of the hills being richly
cultivated. A strong contrast to this smiling region is presented by the
marshy coast district below Leghorn, vi'here malignant fevers have wield-
ed their destructive sway since the depopulation which took place in
the middle ages. The soil of the inland hill country is also poor, but
some compensation is afforded for this by its copper and other mines.
Tuscany, indeed, possesses greater mineral wealth than any other part of
Italy, and to this circumstance is due the fact that it was earlier civilised
than the rest of the peninsula.

Tuscany still retains the name of its first inhabitants, the Tusci or
Etrusci (Greek Tyrrhenians). The excellent iron of Elba and the rich
copper mines of Volterra, afforded them materials for establishing thriv-
ing industries, the products of which were in demand far and wide at an
early period, as for example at Athens and in Germany, where numerous
discoveries of ancient Etruscan ironwork have been made. The art of
navigation was simultaneously developed. The earliest naval battle in
the western part of the Mediterranean handed down by tradition (about
B.C. 532), was fought between the Greeks and Etruscans for the possess-
ion <if Corsica, and resulted in the victory of the latter, who thus obtained
suiiremacy over the sea still known as the Tyrrhenian. The League
of the Etruscan Towns, which extended from the foot of the Alps to the
Bay of Naples, was also instrumental in promoting civilisation, as it was
the means of diffusing a knowledge of writing, as well as of the mechan-
ical arts , and to some extent influenced even Latium and Rome itself.
The Etruscan Museum at Florence first afl'ords us an opportunity of
becoming acquainted with the artistic products of this ancient people in
bronze and earthenware , and obtaining an insight into their gloomy and
realistic disposition. At Fiesole our attention will then be directed to
the huge stone structures erected by the Etruscans to defend their frontier
against the predatory Ligurians of the Apennines. The connection
between antiquity and modern times is not very apparent in this part of
the country, as the classic soil of Etruria lies somewhat to the S. of the
limits prescribed to the present Handbook. None of the twelve great
cities which divided among them the supremacy over the whole country
lay on the Arno; and the beautiful valleys which now delight the eye of
the traveller, being exposed to the continual incursions of the Ligurians,
were marshy and desolate down to the 3rd cent. B. C, and did not
prosper till the time of the Romans. The history of the ancient Etrus-
cans may nevertheless appropriately be kept in view. If Florence forcibly
reminds the visitor at every step that modern Italy owes its noblest
aspirations and richest intellectual inheritance to this city and this land,
the student of history will be interested in remembering that the same

VII. TUSCANY. 315

office of disseminating civilisation among their compatriots was performed
by the Etruscans two thonsand years before the modern development of
the country.

The power of the ancient Etruscans attained its zenith in the 6th
cent B.C.-, but owing to the want of political coherence in their widely
ramified confederation, they were unable permanently to maintain their
supremacy. As the whole of N. Italy had been conquered by the Celts,
and Campania by the Samnites (in 424}, so the Romans and Latins from
the lower Tiber gradually encroached on Etruria, and after protracted
struggles u rested city after city from the confederation. In the 3rd cent,
the entire country thus became subject to the authority of Rome. By
the establishment of numerous colonies, and abundant grants of the
Roman citizenship, the country was gradually Latinised, and the Etruscan
language , which has been handed down to us in several thousand still
undeciphered inscriptions , was superseded by Latin. Some of the
peculiarities of the Tuscan dialect, such as the slight aspiration of the c
before a (chasa for casa)^ are thought to be referable to the old language
of the country, but this is matter of mere conjecture. The traveller
acquainted with Italian will have little difficulty in understanding the
people of the country , as the modern written Italian language (lingua
vulgaris, vulgare laiinum, lingua toscana) is mainly derived from the
dialects of Central Italy, and particularly that of Tuscany. This language
is proved to have been used as early as the 10th cent, by the educated
classes, as well as Latin, but Dante and the great Tuscan poets and prose
writers were the first to give it grammatical regularity and precision.
Though closely allied with the popular dialect, it is by no means identical
with it.

During the later imperial epoch the country [formed the province of
Tusda, and was afterwards a Franconian county under the same name.
The extensive domains enjoyed by the countess Matilda, the friend of
Pope Gregory VII., were dismembered after her death (1115), even before
which municipal liberty had begun to spring up in the towns. Among
the rival communities Pisa, owing to its situation, attained the greatest
maritime power, and like Milan, Venice, and Genoa, seemed destined to
form the centre of a new state. In the 11th, 12th, and 13th centuries it
was by far the most important of the Tuscan cities, and while the citi-
zens were commemorating their victories by the erection of imposing
buildings, Florence had hardly begun to exist. Florence was first indebted
for its progress to the fact that it lay on the great route from the north
to Rome, and commanded the passage of the Arno. Under Otho the
Great many German knights settled here, and at a later period several
noble families traced their origin from German ancestors. The enter-
prising citizens soon conquered the central and upper part of the valley
of the Arno, which the situation of their town enabled them to do, and
their arms were afterwards attended with farther successes. 'While the
rest of Italy was gradually suffering dismemberment and throwing off the
trammels of its earlier traditions, Florence was still quietly developing her
resources, and was thus soon enabled to take possession of the inheritance
of the earlier culture achieved by other towns. After her extensive
commerce had in a great measure raised her above the narrow aims of
her ancient life, she began to suffer, like the rest of Italy, from the
dissensions of a number of wild factions , but the more earnest character
of the citizens enabled them more efl'ectually to grapple with these diffi-
culties. Florence may be said to resemble a man of unusual strength,
whose physical development has been but tardy; and thus it was that
she became the mistress of Tuscany'. (Leo). In 1350, among her other
acquisitions, Florence gained possession of Praia, in 1351 of Pistoja, in
1406 of Pisa, in 1410 of Cortona, and in 1424 of the harbour of Leghorn.
When at length the free constitutions of the greater part of Italy were
superseded by principalities, Florence did not escape the general fate,
but the change took place in the most favourable manner possible.
Among all the Italian dynasties by far the first in rank was that of the
Uedici, not only owing to their munificent patronage of art and science,

316 VII. TUSCANY.

but to their prudent administration, their endeavours to improve the
lower classes, and their care for agriculture, commerce, and the material
interests of their subjects. At a later period their example was followed
by the princes of Lorraine, and down to the present time Tuscany has
enjoyed the enviable lot of being the most enlightened and civilised, and
the best governed state in Italy. The fact that Tuscany unreservedly
participated in the national aspirations for unity and freedom, and
voluntarily recognised the hegemony of a comparatively distant and
unsympathetic section of the Italian race, affords the strongest possible
evidence of the earnestness of that remarkable revolution which led to
the unity of Italy.

In 1530, with the aid of the arms of Emperor Charles V., the dynasty
of the Medici was firmly established in the sovereignty of Florence. The
wise Duke Cosimo I. (1537-64) extended his dominions" considerably, par-
ticularly by the acquisition of Siena in 1557, which was ceded to him by
the emperor. He abdicated in favour of his son Francesco (1564-87), who,
instead of the coveted title of King obtained that of Grand Duke (gran-
ditc(i) of Florence, in 1569. Francesco was succeeded by his brother
Ferdinand I. (1587-1609), who had previously been a cardinal; Cosimo
II. (1609-21), the son of the latter, Ferdinand II. (1621-70), and Co-
simo III. (1676-1723) were the next princes. With Giovanni Gaston, who
died in 1737, the house of Medici became extinct. In the wars between
Austria and Spain , the two great powers to which Italy was subject,
Tuscany formed one of the principal objects of contention, but eventually
fell to the share of the former. The emperor annexed the country as a
vacant fief, and conferred it on the husband of his daughter Maria Theresa,
the Duke Francis Stephen of Lorraine (1737-65), who by the Peace of Vienna
(1735) renounced his native principality of Lorraine in return. In 1745 he
ascended the throne of Austria as Francis I. , and in 1763 established
Tuscany as an appanage of the second sons of the emperors , in order
to prevent its being governed in future as one of the immediate domi-
nions of Austria. He was succeeded in 1765 by the Grand Duke Leopold,
who reigned on the same enlightened principles as his brother Joseph II.,
and was an active reformer in the administrative, judicial, educational,
and ecclesiastical departments. In consequence of the death of Joseph II.
in 1790, Leopold was summoned to the throne of Austria, and his de-
parture proved a severe loss to the duchy. His son the Grand Duke Fer-
dinand III. was obliged to renounce Tuscany by the Peace of Luneville
(1801), for which he received by way of compensation the Archbishopric
of Salzburg, and afterwards Wiirzburg. Under the name of Republic,
and afterwards Kingdom of Etrnria, the country continued to enjoy osten-
sible independence down to 1807, when it was incorporated with France.
In 1814 Ferdinand II. was reinstated, and in 1824 he was succeeded by his
son Leopold II., who was first banished by the revolution of 1849, and
finally by that of 1859. By the plebiscite of 15th March 1860, Tuscany
was united to the Kingdom of Italy, then in course of formation.

46. From (Genoa) Leghorn to Florence by Pisa
and Empoli.

Steamboat kkom Genoa to Leghorn daily (Societd, Rtihallino on Mon.,
Wed., Frid., and Sat.-, Florio on Tues. and Frid. ; also the French com-
panies Valerij d- Co. and Fraissinet & Co.) in 9 hrs. (fares 32 fr. 50, 22 fr.
50 c). Most of the offices are near the quay , where the traveller should
take his ticket in person. — Embarkation or landing at Genoa 1 fr. for
each i)erson with luggage. At Leghorn to or from the Porto Nuovo 1 fr.,
or with ordinary luggage I'/zfr. ; to or from the Porto Vecchio ^/-zfT., or
with luggage 1 fr. (Payment should be made to the official in charge.) —
As the voyage is generally performed at night, the passenger loses the
charming retrospect of Genoa, and afterwards the view of the coast.

In the rever.sc direction a steamer also plies almost every day. — Other

■iPllliPPiUfMiilii!

s da a s a

2 S

LEGHORN. 46. Route. 317

steamers run from Leghorn to Oivitii Vecchia, Naples, the coast towns and
islands of the Tuscan archipelago (i76a, Portoferraio, Gorgona, Capraia:
Societa Rubattino) , Bastia in Corsica (Rubattino), Po}-to Torres and Cag-
liari in Sardinia, etc.

Railway from Genoa to Leghorn by Pisa, see R. 18; from Leghorn
to Rome, see Baedeker's Central Italy.

Leghorn. — Hotels. 'Hotel du Nord, Piazza del Cantiere 2, R.
3, D. 5, B. IVzfr. ; Hotel de New-York, Corso Vittorio Emanuele 19
near the quay, Hotel Anglo-Americano, pleasantly situated outside the
Porta a Mare, near the sea; Grande Bretagne & Pension Suisse, Corso
Vittorio Emanuele 17, also near the quay, externally unattractive, R.
and L. 3, A. 3/4, D. 41/2 fr. — In the Corso Vittorio Emanuele: Giappone
No. 59; Luna, No. 42; Pergola, Nos. 1, 2; Falcone, No. 62; all in the
Italian style with trattorie. — Those who make a prolonged stay will
easily obtain private apartments.

Cafes. Vittoria, in the Piazza d'Armi ; several others in the Corso Vitt
Emanuele. —Beer: Mayer, Via Ricasoli 6 and Via del Passeggio; Kieffer
Via Larderel 27; Birreria di Monaco, Corso Vitt. Emanuele 24; Birreria
di Slrashurgo, Corso Vitt. Emanuele 32, with good restaurant.

Post Office (PI. 16; E, 3) at the corner of the Corso Vitt. Emanuele
and Piazza Carlo Alberto. — Telegraph Office, Via del Telegrafo 2 to the
S.W. of the Piazza d'Armi.

Cabs. To or from the station 1, at night lV2fr. , small articles of
luggage 10, box 40 c.; per drive in the town 85 c., at night 1 fr. ; outside
the town Ifr. 70 c., at night 2fr.; per hr. 1 fr. 70 c., each additional 1/2 hr.
75 c. ; night fares are charged between one hour after sunset and 5. or
(from 1st Oct. to 31st March) 6 a.m. '

Sea Baths. Squarci, with cafe, outside the Porta a Mare , bath with
towels 1 fr. ; Romholini, Pancaldi, and "Palmieri, well fitted up, with cafe
and a terrace with view. — Warm Baths in the town. Via della Pace
Piazza S. Benedetto 15, etc. '

Consuls. American (Mr. Gavin'), next door to the Victoria Hotel ; Eng-
lish (Mr. Macbean), Via della Madonna 12; German (Herr Appelius) Piazza
Vitt. Emanuele. '

English Church, resident chaplain.

Leghorn (Ital. Livorno , French Livourne~) , which was a very
insignificant place in the 16th cent, (in 1551 only 749 inhab.), now
the capital of a province, and the most important commercial place
in Italy after Genoa, is indebted for its size and importance to the
Medici, who invited hither the oppressed and discontented from
all parts of the continent, as, for example Roman Catholics from
England, Jews and Moors from Spain and Portugal, and merchants
from Marseilles, who were anxious to escape from the perils of civil
war. Montesquieu consequently calls Leghorn 'the master-piece of
the dynasty of the Medici'. — The population amounts to upwards
of 80,000, or, including the suburbs, 97,800 souls (many of whom
are Jews), exclusive of a fluctuating sea-faring community of fully
3000. The town carries on a brisk trade with the Levant in cotton,
wool, and unbleached silk, and with the Black Sea in grain. The
most important Industries are the manufactures of coral ornaments
and oil.

Leghorn, which is a well built, thoroughly modern place, con-
tains little to detain the traveller. The Harbour is a very busy
spot. The inner harbour (Porto Vecchio, or MediceoJ is too shallow
to admit vessels of large tonnage ; the Porto Nuovo was therefore

318 Route 46. LEGHORN. From Oenoa

constructed during the present century, to the W. of the old har-
bour, and protected from the open sea by a semicircular mole.
Picturesque glimpses are obtained hence of the sea with the islands
of Elba , Gorgona , and Capraja. An excursion by boat will be
found pleasant in fine weather (I1/2 fr. per hr. , bargain necessary).
By the harbour is the Statue of the Grand Duke Ferdinand I. (PI.
10), by Giov. dell' Opera, with four Turkish slaves ('J quattro
Mori) in bronze by Pietro Tacca. On the pier, which Is 500 yds.
in length, rises the Lighthouse {^Faro or Lanterna; PL B, 3), the
platform of which affords a good survey of the town, harbour, and sea.

The town is intersected by canals, and connected by a navi-
gable canal with the Arno, the influx of which is 7 M. to the N.
The Corso Vittorio Emanuele, the principal street (PI. D, E, 3),
contains tempting shops, where objects in coral, scagliolo (an
imitation of mosaic). Oriental shawls, etc., may be purchased at
reasonable prices. It leads from the harbour to the spacious Piazza
d'Armi (PL D, 3), in which the cathedral, the town-hall (PI. 13),
and a small palace formerly owned by the royal family, are situated.
It proceeds thence to the Piazza Carlo Alberto (PL E, 3) , adorned
with colossal Statues of Ferdinand III. (d. 1824) and Leopold IL,
the last but one, and the last grand-duke of Tuscany respectively.
The original inscription on the latter was replaced in 1860 by
another to the effect that the 'dinastia Austro-Lorenese si e resa
assolutamente incompatibile con I'ordine e la felicitk della Tos-
cana'. — The large Synagogue (PL 22), founded in 1581, dates in
Its present form from 1603.

Walks. Pleasant grounds to the S., outside the Porta a Mare,
and along the coast by the road to Ardenza ; also in the Giardino
dei Bagni (adm. 50 c), in the same neighbourhood, where a band
plays every evening during the bathing-season (Gaffe). Farther on
are the sea-bathing establishments mentioned at p. 317, and beyond
them Ardenza, with numerous villas. Comp. Plan B, 4, 5.

Fkom Leghorn to Flobencb.

60 M. Railway in 23/4-31/2 hrs.5 fares 10 fr. 55, 7 fr. 20 c., 5fr. (express
11 fr. 10, and 7 fr. 80 c); to Pif?a, 11 M., in 25 min.; fares 2fr. 5, 1 fr.
90 c., Ifr.

The train crosses the Arno Canal and traverses flat meadow-
land, intersected by canals and occasionally relieved by pines.

11 M. Pisa, see p. 320.

The railway next traverses a beautiful and fertile district. To
the left are the Monti Pisani (p. 329) with the ruined castle on
the Verruca. — 16 M. Navacchio ; 191/.2 M. Cascina on the Arno,
where on the festival of S. Vittorio, 28th July, 1364, the Pisans
were defeated by the Florentines. — 2472 M. Pontedera, a small
town at the confluence of the Era and Arno, where the road

to Florence. EMPOLI. 46. Route. 319

through the beautiful valley of the Era to Volterra diverges (di-
ligence, see Baedeker's Central Italy").

26 M. La Rotta; 31 M. S. Romano. — 35 M. San Miniato al
Tedescho ; on the hill to the right lies the small town of that name,
once one of the residences of Frederick Barbarossa , visited also by
Henry VI., and appointed by Emp. Frederick II. in 1226 seat of the
imperial governor of Tuscany. The Cathedral, dating from the 10th
cent. , was remodelled in 1488 , and embellished with statues in
1775.

41 M. Empoli (Albergo del Sole) is a small town in a fertile
district. In 1260, after the defeat of the Florentines on the Arbia,
the Ghibellines proposed to transfer the seat of government hither
and to raze Florence to the ground. This project, however, was
strenuously opposed by the heroic Farinata degli Uberti, who was
himself a member of the Ghibelline party (Dante's Inferno, X, 48).
The town is a busy place with old houses and narrow streets, and a
Church of 1093, containing good pictures by Lorenzo Monaco, S.
Botticelli, Francesco di Giovanni, Cigoli, and others, and a fine
Baptistery of 1447.

Railway to Siena and Okvieto, towards the S., see Baedeker's Central
Italy.

The train then crosses the small river Pesa. On the left, before
reaching Montelupo, we perceive the Villa Ambrogiana, erected by
Ferdinand I. on the site of an ancient castle of the Ardinghelli,
and surmounted by towers and pinnacles. 45 M. Montelupo ; the
castle of this place was fortified by the Florentines in 1203 in
order to keep in check the hostile Capraja on the opposite side.
Hence the appellation Montelupo, 'mountain of the wolf, which
was desirous of devouring the goat (capra).

The train now crosses the Arno, and slowly winds through the
defile of the Gonfolina, through which the Arno flows. The heights
are clad with rock-pines, below which is quarried the j)ie<ra Sere-
na, a kind of sandstone frequently employed in the construction of
the palaces of Florence. The Ombrone, which falls into the Arno,
is next crossed. 52 M. Signa, with its grey towers and pinnacles,
founded in 1377 by the Florentines to command the road at this
point. This place, as well as the opposite village of Lastra, is
noted for its straw-plait. — Near (54 M.) S. Donnino is Brozzi,
with numerous villas which proclaim the proximity of the capital.
The train now approaches the Cascine, the park of Florence, and
enters the station near S. Maria Novella.

60 M. Florence, see p. 341. •

320

47. Pisa.

Arrival. The Statiaii (PI. D, 7, lower side) is on the S. side of
the town , and on the left bank of the Arno. Travellers intending to
visit the cathedral and its environs only , leave their luggage at the
tation, and, disregarding the importunities of the bystanders (guide quite
unnecessary), proceed on foot, or by fiacre (1 fr.) to the Piazza del
Duomo (shortest route across the new Ponte Solferino).

Hotels. Jfear the Station: La BXinerva, with garden, R. 3, D. 4fr. ;
'Hotel de Londres, between Via Manzoni and Via Fibonacci, with a
large garden, R. ^'/a, L- ^/t-, A. 1, D. 5, B. I'/z, omn. 1 fr.; Hotel de la
ViLLE and CoMMEECio, both with trattorie, less pretending; Hotel dell'
UssERO, with garden, R. i^/'z-S, L. and A. 1/2, pens. 4-6 fr. — On the Lung-
Arno, N. side: *Gkan Bretagna (PI. e; C, 5), by the Ponte Solferino, com-
fortable but somewhat expensive; *Grand Hotel de l'Akno (PI. a; I), 4);
*H6tel Royal Victoria (PI. b; L>, 4), R. 31/2, L. 3/4, B. IV2, D. 5fr.,
these two also of the first class, near the Ponte di Mezzo. — Europa
(PI. f; E, 4), Lung-Arno Mediceo 1, commercial; Roma, Via Vittorio
Emanuele, R. 1V2-3 fr. ; Nettuno with -Trattoria, in the Lung-Arno Regie.

Pensions : Pension Svizzerii, in the Lung-Arno Mediceo, well spoken
of; Sojia Ludwig, also in the Lung-Arno Mediceo, Palazzo Bagnoni, about
8 fr. per day.

Restaurants. Railway Restaurant; -Ristor. Cervia; also at the "Nettuno,
and most of the other hotels.

Cafes. Ciardelli , DelV Arno ^ Ussero , all in the Lung-Arno, N. side.

Cabs. With one horse: to or from the station 1 fr., trunk according
to size 10-30 c; per drive in the town 80 c.; first '/'.! hr. Ifr., each ad-
ditional V2 hr. 10 c. Outside the town (within a distance of 2 M.), per
drive Ifr. 60c., first 1/2 hr. Ifr. 40c., each additional '/a hr. 80c.; at
night 20 c. more for each '/s hr. With two horses, one-third more.

Post Office (PI. 51) on the left bank of the river, below the Ponte di Mezzo.

Physicians. Dr. Kmiitz, Dr. Ahrt, Dr. Hirschl (German).

Photographers. Huguel <£• Van Lint, Lung-Arno Regio (also sculptures
in marble) : Pfaff, Via del Prione 37.

Baths. Bagni Ceccherini, Lung-Arno, N. side; Bagni Lombard, Via
Manzoni 11, new.

English Church Service in vcinter and spring.

The Stanze Civiche, to which strangers provided with an introduction
are admitted, contain Italian and French newspapers. Balls and concerts
in winter.

The Climate is mild and humid, and Pisa is a well known win-
tering place for patients suflfering from asthma, pneumonia, pleurisy,
and other pulmonary complaints. The mean winter temperature is about
4'/2'' lower than that of the Riviera, and during the five winter months
there are on an average 02 days of rain, and one of snow. The best
apartments are on the N. side of the Lung-Arno, that part of which
between the Ponte di Mezzo and the Ponte Solferino, called Lung-Arno
Reale, is the sunniest. The Lung-Arno Mediceo is less favourably sit-
uated. The rents of furnished rooms are highest in October, after which
they gradually fall. The average rent of a single room is 2-2V2 fr. per
day, but many landlords decline to let their rooms except for the whole
winter. Living at an hotel is of course more expensive (pension 9-12 fr.
per day), but the visitor is more independent. The best situated hotels
are the Hotel de I'Arno, the Vittoria, and the Gran Bretagna. As the
Lung-Arno is the chief centre of society in winter, invalids are recom-
mended not to take rooms at a distance from it.

Pisa, a quiet towii with 25,900 inhab. (^incl. suburbs 50,400),
the capital of a province, is situated G M. from the sea, on both
banks of tlio Arno. It was the Pisae of the ancients , and once lay
at the confluence of the Arnus and Auser (^Serchio), which last
now has an estuary of its own.

e.^.^-r.}, An:,.d- ■^.. "^

13 S^AndreuL'
Ix S.AppoHanla
J5 -BccHxstero .

16 GtmposanXo

17 S.CateriTia

F.E4
D.2
B.l
B.l
E.2

US CamliiridiS.Ste/ano D.3

19 SreciUa Jl.S

illv O-CosimoeDcoTriano 1^.0

it Duomo e CcmiptmUe B.l

uO b.E'eiUanjo
Co o.HSiuI^alena

2G S

^7 S.JSarta.

28 SJIfirfino

29 SJBchele

30 SScuHoaWOrto ^.«

31 SMu)loiuBxpa.d:Amo B.6

32 SJ5iW>!« E.4

■33 S-SoTtterau. B.C.1

S-SebaetijoJlo D.5

35 S.&paJa-o . E.5

36 s.SMf« C 3

»Ji (riaramo'iotanicoi p n

^lonasteri

40 S^mc D.2

aSJt7«.rfe«o B.G

42 I^Cappzuxiiie E.6

43S.<7ito7.« B.2

^^ tr SJJomcnico . 1).7

-~-~ USJIatteo r.4.5

.<^ 4fi S.SiA-e^fro G;5

^ «...rS. 47 a7/« (ffarnafaCDA:

^"^ «i^rtoW« E.5

40 R^aU C.t

i0 7&eff; C.i

51 Porta delleXMin-o D.td
5- TccdroVtiimo C^l.

53 , .delRarrirad C.t
it-Tofve t/e7/rtiw/7!«.D.2.3

55 . . GuelfaeOtad.Ae

56 Trcwntdli C.2
PffhioddTossv D.5

BiblUrteccu . CD.l

History. PJSA. 47. Boute. 321

Pisa became a Roman colony in B.C. 180. Augustus gave it the name
of Colonia Julia Pisana^ and Hadrian and Antoninus Pius erected temples,
theatres, and triumphal arches here. At that period the town must have
been a place of considerable importance, but all its ancient monuments,
with the exception of a few scanty relics (p. 329) have disappeared. At
the beginning of the 11th cent. Pisa attained the rank of one of the
greatest commercial and seafaring towns on the Mediterranean, and became
a rival of Venice and Genoa. It was chiefly indebted for its power to the
zeal with which it took the lead in the wars against the Infidels. In
1025 the Pisans expelled the Saracens from Sardinia and took permanent
possession of the island. In 1030 and 1089 they again defeated the Saracens
at Tunis , and in 1063 destroyed their fleet near Palermo. In 1114 they
conquered the Balearic Islands , and soon afterwards took a prominent
part in the Crusades. In the 12th and 13th centuries their power had
reached its zenith; their trade extended over the entire Mediterranean,
and their supremacy embraced the Italian islands and the whole of the
coast from La Spezia to Civita Vecchia. In the intestine wars of the
peninsula Pisa was the most powerful adherent of the Ghibellines , and
therefore sustained a severe shock through the downfall of the Hohen-
staufen. The protracted wars which the citizens carried on with Genoa led
to their disastrous defeat at Meloria near Leghorn on 6th Aug. 1284 (p. 80),
and the peace concluded in 1300 compelled them to evacuate Corsica and
other possessions. In 1320 the pope invested the kings of Arragon with
Sardinia, and Pisa was thus deprived of this important island also. The
city was farther weakened by internal dissensions, and fell a victim to the
ambition of the condottieri. In 1406 it was sold to Florence, but on the
arrival of Charles VIII. endeavoured to shake off the yoke of its arrogant
neighbour. In 1509, however, it was besieged and again occupied by the
Florentines, to whom it thenceforth continued subject.

In the History of Art Pisa occupied an important position at an
early period, but was obliged to yield up its artistic precedence earlier
than its political to the more fortunate Florence. The progress of art at
Pisa was more rapid than in the rest of Tuscany, owing perhaps to the
influence of its numerous and handsome ancient monuments, as Roman
forms repeatedly recur in the buildings. With the foundation of the
Cathedral of Pisa began the dawn of mediaeval Italian art. This church
is in the old basilica style, but with the not unimportant innovation of
having a dome over the centre of the cross. The magnificent building
operations of the Pisans continued throughout the whole of the 12th
cent., and terminated with the erection of the charming church of S.
Maria della Spina (1230), and that of S. Caterina (1253). In the 13th
cent. Pisa was also important as a cradle of Sculptdre, and gave birth
to Niccolb Pisano, a precursor of the Renaissance. Under what influences
Niccolu was trained is uncertain, but there is a marked difference be-
tween his works with their somewhat antique cast, and those of his Pi-
san predecessors (such as the bronze door of the cathedral by Bonannus).
His successors Giovanni and Andrea Pisano adhered to his style, or at
least to the spirited character of his designs. Pisa also boasted of pos-
sessing Painters at an early period. The name of Giunta Pisano (first
half of the 12th cent.), for example, was known far beyond the limits of
the town, but his works are uninteresting, except to the student of art.
The fact that Cimabue was invited from Florence to embellish the apse
of the cathedral, indicates the decline of native art, the development of
which appears to have ceased entirely in the 14th century. The execution
of the frescoes in the Campo Santo was committed exclusively to foreign
artists, not indeed to Giotto himself, as Vasari asserts, but to his pu-
pils and to Sienese masters. Buffalmacco, the jester among the Italian
painters, who is not a merely mythical personage, as has been supposed,
is said to have assisted in executing the frescoes in the Campo Santo,
but to what extent is unknown. In the 15th cent. Benozzo GozzoU
(1420-97) of Florence, a pupil of Fra Angelico , spent 16 years at Pisa,
where the Campo Santo is graced by his most important work.

Baedeker. Italy I. 5th Edit. 21

322 Route 47. PISA. Cathedral.

The busiest part of the town and chief resort of visitors is the
Lung' Arno, a broad and handsome quay extending along both
banks of the river, throughout the whole length of the town. On
the N. and more sheltered side, and particularly on the Lung-
Arno Regie or Reale (PI. C , D , 4), are situated the principal
hotels and cafes. The far-famed illumination here (La Luminara)
takes place on 17th June, every three years, and the Carnival is
also celebrated here. The Lung- Arno, with its prolongation outside
the Porta alle Spiagge (Passeggiata Nuova), is much frequented
in the evening. Churches and buildings in the Lung-Arno worthy
of note , see p. 328. — The river is crossed by three bridges,
besides the railway -bridge. That in the centre is the Ponte di
Mezzo (PL D, E, 4) ; above it is the Ponte alia Fortezza (PL F, 5);
and below it the Ponte Solferino (PL B, C, 5), completed in 1875,
and forming the shortest route between the railway station and the
Piazza del Duomo.

The chief boast of Pisa is the **Piazza del Duomo (PL B, 1),
to which every visitor first directs his steps. The Cathedral, the
Leaning Tower, the Baptistery, and the Campo Santo situated
here, form a group of buildings without parallel, especially as it is
situated beyond the precincts of the town and therefore removed
from its disturbing influences.

The ** Cathedral (PL 22), erected after the great naval victory
of the Pisans near Palermo (1063) by Busketus and Rainaldus in
the Tuscan style, and consecrated by Pope Gelasius II. in 1118,
is a basilica with nave and double aisles, and transept flanked
with aisles, 104 yds. in length, and 351/2 yds. in breadth in the
interior, and covered with an elliptical dome over the centre. This
remarkably perfect edifice is constructed entirely of white marble,
with black and coloured ornamentation. The most magnificent part
is the facade, which in the lower story is adorned with columns
and arches attached to the wall, and in the upper parts with four
open galleries, gradually diminishing in length. The choir is also
imposing. The ancient bronze -gates were replaced in 1602 by
the present doors, with representations of scriptural subjects,
executed by Mocchi, Tacca, Mora, and others, from designs by
Giovanni da Bologna. The only one of the old doors now existing
is the Crociera di S. Ranieri in the S. aisle, by Bonannus (12th
cent.), representing 24 scriptural scenes.

The Interior (usually entered by the last mentioned door on the E.
side, opposite the Campanile) is borne by 68 ancient Roman and Greek
columns captured by the Pisans in war. (The capitals are now covered
with stucco.) The nave has a flat colTered ceiling, richly gilded, the
aisles are vaulted, and above them run triforia which cross the transept
to the choir. On 15th Oct., 15%, the dome and the whole church, with
the exception of the choir, were seriously injured by fire, but were sub-
sc(iucntly restored. Many traces of the restoration are observable in the
interior.

Navk. Most of the tombstones formerly here have been removed to the
Campo Santo. A few still remain by the W. Wall, on the right and left

Baptistery. PISA. 47. Route. 323

of the principal entrance, among them that of Archb. Einuccini (d. 1582),
by Tacca, and that of Archb. Giuliano de' Medici (d. 1660). On the pillar
to the right of the door an old fresco of Christ and the Maries by Bernardo
Falconi. The designs of the twelve altars are attributed to Mich. Angela^ the
execution to Stagi da Pietra Santa. The large altar-pieces are by Lomi,
Allori , Passignano , Salimbetii , and other masters of the 16th cent. ; the
intervening pictures are of the 17th and 18th centuries. The Pulpit, by
Giovanni JPisano (1311), is being restored. The swaying of the bronze
lamp which hangs in the nave is said first to have suggested to Galileo
the idea of the pendulum. On the last pillar of the nave on the right, St.
Agnes , by And. del Sarto. Opposite is a Madonna by Perino del Yaga.

Right Transept : 1st altar on the right, Madonna, by Perino del Yaga and
Sogliani. Above the "Cappella di S. Ranieri, which contains a sarcophagus
by Foggini, is a Madonna in mosaic, by a follower of Cimabue ; the relief
on the niche and the statues by Francesco Mosca (about 1600). A niche
adjoining the chapel on the right contains an ancient statue of Mars,
commonly revered as St. Ephesus. The Madonna and Child which adorn
the basin for holy water at the entrance were designed by Michael Angela.

The Choir contains finely carved stalls , with apostles , landscapes,
animals, etc., attributed to Giuliano da Majano. The two angels in bronze
on the right and left are by Giovanni da Bologna. The high altar, overladen
with marble and lapis lazuli, dating from 1774, was restored in 1825. Above
it, Christ on the Cross, by Giovanni da Bologna. The two episcopal thrones
are by Giov. Bait. Cervellesi (1536), the six reliefs by masters of the school of
Giovanni Pisano. On the arch of the choir, angels by Dom. Ghirlandajo,
unfortunately much retouched. The mosaics in the dome (Christ between
Mary and St. John) are by Cimabue (begun about 1302). Of the pictures
in the choir, SS. Margaret and Catharine on the right in front of the high
altar, and SS. Peter and John on the left, by A7id. del Sarlo, are worthy of
inspection ; beyond the high altar, "Abraham's Sacrifice, and Entombment
by Sodoma; the four Evangelists by Beccafumi. The capitals of the two
porphyry columns on the right and left, with figures of children , are
by Stagi, the designs being attributed to Michael Angelo.

Left Transept. Over the Cappella del SS. Sagramento, the Annuncia-
tion in mosaic by a follower of Cimabue. The altar, richly decorated
with silver by Foggini, was presented by Cosimo III. ; behind it, Adam and
Eve, a basrelief by Mosca, by whom the other statues were also executed.

The *Baptistery (PI. 15; Battistero), begun in 1153 hy Diotisalvi,
but according to the inscriptions not completed till 1278, and with
Gothic additions of the 14th cent., is also entirely of marble. It is
a beautiful circular structure (331/2 yds. in diameter), surrounded
by half-columns below, and a gallery of smaller detached columns
above, and covered with a conical dome (190 ft. high, restored in
1856]. It has four entrances ; at those on the N. and E. are
sculptures in marble of the 12th century.

The Interior rests on eight columns and four pillars , above which
there is a simple triforium (restored); in the centre, on a raised base,
are a marble octagonal Font, admirably adorned with rich sculpture and
mosaic by Guido Bigarelli of Como (1246), and the famous hexagonal "Pul-
pit, borne by seven columns, by Niccolb Pisano, Vl&); the reliefs (comp.
p. 326) on the pulpit are: (1) Annunciation and Nativity; (2) Adoration
of the Magi; ((3) Presentation in the Temple; (4) Crucifixion; (5) Last
Judgment; (6) Allegorical figures; in the corners the apostles. — Fine echo.

The *Campanile, or clock-tower, begun by the architects
Bonannus of Pisa and William of Innsbruck in 1174, and completed
by Tommaso Pisano in 1350, rises in eight different stories, which
like the Baptistery are surrounded with half-columns and six
colonnades. Owing to its remarkable oblique position, 13 ft. out

21*

3 24 Route 47. PISA. Campo Santo.

of the perpendicular (height 179 ft.), it is usually known as the
Leaning Tower. The question whether this peculiarity was
intentional or accidental has frequently been discussed. The most
probahle solution is that the foundations settled during the progress
of the structure, and that, to remedy the defect as much as pos-
sible, an attempt was made to give a vertical position to the upper
part. Galileo availed himself of the oblique position of the tower
in making his experiments regarding the laws of gravitation. The
*View from the platform, embracing the town and environs, the sea
to the W., and the mountains to the N.E., is very beautiful ; a good
staircase of 294 steps leads to the top. Permission is only accord-
ed to a party of not fewer than three, but if necessary the cus-
todian (50 c.) will provide a third person (15-20 c). The tower con-
tains seven bells, the heaviest of which, weighing 6 tons, hangs on
the side opposite the overhanging wall of the tower.

The **Canipo Santo (PI. 16), or Burial Ground, was founded
by Archb. Ubaldo, 1188-1200 (open daily from morning till
dusk; visitors knock at the door to the left; 1/2 fr- to t^e cus-
todian on leaving). After the loss of the Holy Land the archbish-
op conveyed 53 ship-loads of earth hither from Mt. Calvary, in or-
der that the dead might repose in holy ground. The structure
which surrounds the churchyard was begun in 1278 by order of
the senators of the city, and completed in 1283 by Giovanni
Pisano, in the Gothic-Tuscan style. It is 138 yds. in length, 57
yds. in width, and 48 ft. in height. Externally there are 43 flat
arcades resting on 44 pilasters, the capitals adorned with figures.
Over one of the two entrances is a marble canopy, with a Madonna
by Giovanni Pisano (?). In the interior there is a spacious hall, the
open, round-arched windows of which, with their beautiful tracery,
62 in number, look upon a green quadrangle. Three chapels adjoin
the Campo ; the oldest is to the right of the entrance, in the cen-
tre of the E. side, with dome of later date. The walls are covered
with *Frescoes by painters of the Tuscan school of the 14th and
15th centuries, below which is a collection of Roman, Etruscan,
and medieval sculptures, these last being important links in the
history of early Italian sculpture. The tombstones of persons
interred here form the pavement.

Paintings. To the right of the chapel, on the E. Wall: Ascension,, the
(loubtinf; Thoma.i, Resurrection, and Cruciti.xion , by a follower of Giotto,
supposed to tie Buffalmacco, end of 14th century.

On the S. Wall: "Triumph of Death, represented as Qlling with horror
those who are devoted to earthly joys, hut as welcome to the miserable and
self-denying (on the left an admirable equestrian group, who on their way
to the chase are suddenly reminded by three open coffins of the transitori-
ncss of human pleasures). The 'Last Judgment (attitude of the Judge
celebrated), attributed by Vasari to Andrea Orcagna, and Hell, the next
picture, attritiuted by the same authority to Bernardo, Andrea's brother,
have lioen pronounced by modern investigators not to be the works of
those masters. — Next is the life (temptations and miracles) of the holy
hermits in the Tlieban wilderness, by Pietro and Ambrogio Lorenzetti of

Campo Santo. PISA. i7. Route. 325

Siena (about 1340 •, the two preceding paintings perhaps by the same
masters). — Between the two entrances, the life of St. Ranieri, the tutelary-
saint of Pisa; the three upper scenes (conversion from a worldly life,
journey to Palestine, victory over temptation, retirement to a monastery)
completed by Andrea da Firenze in 1377 (erroneously attributed to Simone
Memmi and others); the three lower and better executed scenes (return
from Palestine, miracles, death, and removal of his body to the cathedral
of Pisa, the last much injured) were painled by Antonio Veneziano about
1386. — Then, above, scenes from the life of St. Ephesus (who as a
Roman general , fighting against the heathens , receives a flag of victory
from the Archangel Michael, but is afterwards condemned and executed);
below, scenes from the life of St. Potitus, admirably pourtrayed by Spinello
Aretino about 1390, but now almost obliterated. Next, the history of Job,
by Francesco da VoUerra (erroneously attributed to Oiotto), begun in 1371,
a vigorous work, but in bad preservation.

On the W. wall no paintings of importance.

On the N. Wall the history of the Genesis : first the Creation (God
the Father holding the world in both hands , 'il mappamondo") ; then in
the upper series, Creation of man, the Fall, Expulsion from Paradise,
Cain and Abel. Building of the ark , Deluge , and Noah's Sacrifice, by
Pietro di Puccio of Orvieto , about 1390 (erroneously attributed to Buflal-
macco). — The lower series and all the following paintings on the N. wall
are by Benozzo Oozzoli of Florence, 1469-85, twenty-three ''Representations
from the Old Testament, admirably executed 'a tempera' : Noah's vintage
and drunkenness (with the ' Vergognosa di Pisa\ or scandalised female
spectator), the Curse of Ham, the Tower of Babel (with portraits of
celebrities of that period, Cosimo de' Medici, his son Pietro, and his
grandsons Lorenzo and Giuliano) , the history of Abraham , Isaac , Jacob
and Esau, Joseph, Moses and Aaron, Fall of the walls of Jericho, history
of David, Solomon and the Queen of Sheba; this last much injured.
Benozzo himself was interred below the history of Joseph. The first of
these frescoes, the Vintage, is the most pleasing composition, and the
most striking one for the richness of its episodes, its architecture, and its
landscape. In the midst of the short-comings of the others, however, Be-
nozzo has moments of luck, and they reveal occasional pretty episodes
and fair bits of composition ( 0. d- C).

Sculptures and Monuments. S. Side. In the left corner 152, 153. Inscrip-
tions in honour of Caius and Lucius Csesar, grandsons of Augustus. — XL.
Roman sarcophagus with the rape of Proserpine, on which is placed a fine head
of M. Agrippa in basalt. — V. Early Christian sarcophagus with a represen-
tation of the Good Shepherd (2nd or 3rd cent.). — 14. Column with muti-
lated statue of the Madonna, of the later period of the School of Giovanni
Pisano. — VIII. Fragment of a sarcophagus with fine Bacchanalian represen-
tation. — To the right of the entrance, AA. "Monument of the oculist Andrea
Vacca (d. 1826) by Thorvaldsen , Tobias curing his father's blindness. —
33. Madonna and Child with six saints, below them the history of Christ
by Tommaso Pisano. CC. Tombstone of Count Algarotti (d. 1764), erected
by Frederick the Great. — In front of the last, 47. Caritas, above the
four cardinal virtues and the four Evangelists, by Oiovanni Pisano.

W. End. 7. Ancient palm frieze with dolphins and tridents. ^ XI.
Large ancient bath , latterly used as a sarcophagus. — 45. 'Virgin and
Child by Giovanni Pisano (mutilated). — 46. Monument of Count della
Gherardesca (14th cent.). — Memorial tablets of the Pisans who fell in
1848 in the battles for the independence of Italy. — Jlonument of Carlo
Matfeucci, the natural philosopher, hy Dupri (d. 1879); monument of
Giorgio Kegnoli, the surgeon, by Bilancini. — GG. Monument of Emp.
Henry VII. of Luxembourg, protector of Pisa as a partizan of the Ghi-
bellines (d. 1313 at Buonconvento), of the school of Giovanni Pisano,
the apostles on the sarcophagus by Tino di Camaino. — In front of it a
statue of Giovanni Pisano, by Salvini. — On the wall above , the chains of
the ancient harbour of Pisa, captured by the Genoese in 1632; parts of them
were given to the Florentines, who suspended them at the entrance of the

326 Eoute 47. PISA. S. Stefano.

Baptistery at Florence, but were restored to the Pisans in 1848; the second
chain was restored to them by the Genoese in 1860. — XII, XIII. Two
Roman sarcophagi with Etruscan cinerary urns placed on them. — Bust
of Cavour by DtiprL — LL. Sarcophagus of Bishop Ricci (d. 1418) , of
the earlier Pisan school. — 50. Madonna attributed to Orcagna. — 52. On a
broken column , a marble vase with fine Bacchanalian representation. —
QQ. Tomb of the fabulist Prof. Lor. Pignotti (d. 1812).

N. Side. 57. Large Greek *Relief from a tomb. — XIV. Roman sarco-
phagus. — 62. Virgin and Child by Giovanni Pisano. — 76. Madonna in terra-
cotta by the Robbia. — The chapel contains remains of a large fresco from
the church del Carmine at Florence, which was destroyed by fire, attrib-
uted to Oiotlo. — On the left the tombstone of Ligo degli Ammanati (d. 1359).

— Farther on , 78. Beautiful head of a young Greek , perhaps Achilles.

— 83. Head of Pluto. — XIX. Sarcophagus with Bacchanalian scene, upon
it the bust of Isotta of Rimini by Mitio da Fiesole. — XX. Sarcophagus
with the procession of Bacchus. — XXI. 'Sarcophagus with the myth of
Hippolytus and Phsedra, from which, according to Vasari, Niccolo Pisano
copied several figures for his pulpit; the remains of the Countess Beatrix
(d. 1076), mother of the celebrated Matilda, were subsequently deposited
here. — XXV. Sarcophagus with children gathering fruit. In the chapel
the tombstone of Cardinal Maricotti (d. 1345). — 98. Several Egyptian
antiquities. — XXIX. Bacchanalian sarcophagus with the myth of Actseon
on the cover. — 135. Sitting statue, supposed to be the Emp. Henry VII.,
surrounded by four of his counsellors. — XXX. Sarcophagus with the
hunt of Meleager. — XXXII. Sarcophagus with a battle of barbarians.

— XXXIII. Sarcophagus with a representation of the nine Muses.

E. End. 134. Griffin in bronze with Coptic inscriptions. — Sarcophagus
of Ph. Dezio (d. 1535) by Stagi. Statue of Leonardo Fibonacci by O.
Pagganucci. — 136. Pedestal with the seven arts , bearing a saint with a
pair of scales, by Giovanni Pisano. — Monument of Count Mastiani , with
the sitting statue of his inconsolable widow , by Bartolini , 1842. — Beyond
it the large monument of Gregory XIII. (d. 1585). 139, 141. Etruscan
altar with rams' heads at the corners. — Monument of the singer Angelica
Catalani (d. at Paris 1849), by CosioJ?:. — Statue of Niccolo Pisano by Salvini.

— Monument of the minister Salvagnoli by Fantacchiotli. — By the inner
wall of the passages are a number of Roman and rude early Christian
sarcophagi (e.g. LXXVI. and LXXVII.). — In the open space between
the arcades two antique fountain-spouts.

A visit to the Campo Santo by moonlight is very impressive (notice
must be given to the custodian previously).

The traveller will hardly care to devote much time to the other
works of art at Pisa , hut he will be amply rewarded hy taking a
short walk through the town in order to ohtain an idea of the
extent to which building enterprise was carried at Pisa in the
middle ages.

The central part of ancient Pisa, and the forum of the republic,
is now the Piazza dbi Cavalikri (PI. D, 3), formerly degli Anziani,
which was remodelled in the 16th and 17th centuries. In this
piazza rises —

S. Stefano ai Cavalieri (PI. 18), the church of the knights of
the Order of St. Stephen , begun from designs by Vasari in 1565;
interior completed 1596 ; facade designed hy Buontalenti. It contains
Turkish trophies on the right and left of the door, and ceiling-
paintings of the battle of Lepanto (1571) and other victories over
the Turks, by Vristoforo AUori, Jacopo da Empoli, and others.
On the 2nd altar to the left a Nativity by Alesaandro AUori: '(}uem
genuit adoravit', a finely conceived work, 1564. Excellent organ.

Academy. PISA. 47. Boute. 327

The Palazzo Conventuale dei Cavalieri, adjoining the church,
altered by Vasari, is now a school ; above the windows are busts of
six masters of the order ; in front of the building a marble Statue of
the Orand-Duke Cosimo, designed by Giov. da Bologna and executed
by Francavilla (1596). Opposite to it once stood (down to 1655) the
ill-famed 'Tower of Hunger', properly Torre dei Oualandi alle Sette
Vie, in which Archb. Ruggieri degli Ubaldini caused Count JJgolino
dei Gherardeschi with his sons and nephews to be starved to death
in 1288 as a punishment for treason, as described by Dante in the
33rd canto of his Inferno.

The neighbouring church of S. Sisto (PI. 36 ; C, 3) was founded
by the Pisans to commemorate several of their victories on the day
of S. Sisto, 6th Aug., 1089. It contains a number of ancient
columns of marble and granite. The church was frequently used
as a place of assembly by the Great Council of Pisa.

On the right, in the Via S. Fbediano (No. 972), leading from
the Piazza dei Cavalieri to the Arno , is the old Accademia delle
Belle Arti (PI. 1 ; D, 3), founded by Napoleon in 1812, and recently
transformed into a Scuola Tecnica-Industriale. The second floor
contains a chronologically arranged collection of pictures, chiefly of
the earlier Tuscan schools. It is, however, of little value to the
student of art, as Messrs. Crowe and Cavalcaselle and other au-
thorities deny the accuracy of most of the names attached to the
paintings.

Room II. Barnaba da Modena, Madonna in trono (1370); Francesco
Traini, St. Dominic; Simone Martine (?), Part of a large altar-piece. —
Room III. Old drawing after Benozzo GozzoWs fresco of the 'Queen of Sheba
visiting Solomon' in the Campo Santo (p. 325). In the centre, a Gothic
candelabrum. — Rooms IV., V., and VI. contain works by masters of the
end of the iSth and of the i6th century. Also in Room IV., a Madonna
by Sodoma; in Room VI., a St. Catharine, by a Flemish painter. —
Room VII. Sketches of the pictures in the cathedral, old missals and
breviaries, tapestry. — Room VIII. Portraits of the ladies of the old
grand-ducal court. — On the staircase : Portraits of the Grand-Dukes of
Tuscany.

Farther on are S. Frediano (PI. 23), with ancient columns in the
interior, and the University (p. 328).

In the N.E. Quarter of the town the churches of S. Caterina
and S. Francesco deserve notice.

S. Caterina (PI. 17; E, 2), which was erected about 1253,
possesses an interesting Pisan facade in the Gothic style.

Interior. To the left of the entrance the monument of Archbishop
Simone Saltarelli, by Nino Pisano, 1342. Altar-piece (3rd on the left) of
St. Thomas Aquinas, with his glory, by Francesco Traini, 1341. In the
ist chapel to the right of the choir, a Madonna with SS. Peter and Paul
by Fra Bartolommeo and Mariotto Albertinelli.

The church stands in a pleasant piazza, shaded with plane-
trees, and embellished with a Statue of the Grand Duke Leopold I.
(d. 1792), in Roman garb, by Pampaloni, erected in 1832.

S. Francesco (PI. 10 ; E, F, 3) contains frescoes in the choir

328 Route 47. PISA. S, Nicola.

by Taddeo Gaddi (1342). Its cloisters are richly embellished with
columns dating from the close of the 15th cent. Handsome cam-
panile.

In and near the Lung-Arno are several other interesting build-
ings with which we may terminate our walk. In the Via del Borgo,
close to the Ponte di Mezzo (p. 322), rises —

S. Michele in Borgo (PI. 29 ; E, 4), a church in the Gothic
style of the 13th cent., which is said to have been designed by
Niccolu Pisano (but more probably by his pupil Fra Guglielmo~),
with an ancient crypt, supposed to occupy the site of a heathen
temple.

The mosaic flooring in S. Pierino (PI. 32; E, 4) is of early
Christian origin, and some of the columns are antique.

In the Lung-Arno Mediceo (to the E. of the Ponte di Mezzo) is
the Palazzo Lanfranchi (now ToscaneUi) , attributed to Michael
Angelo, and occupied by Lord Byron in 1822.

In the Lung-Arno Regio (to the W. of the Ponte di Mezzo)
rises the *Palazzo Agostini , a fine Gothic brick edittce of the 15th
cent., on the ground-floor of which the Caffe dell' Ussero is now
established. — (Opposite to it, on the left bank of the river, is
the Loggia de' Banchi; p. 329.)

Farther on is the Palazzo Lanfreducci (PI. 47), now Uppezinghi,
designed by Cosimo Pagliani , with the fragment of a chain over
the entrance, with the motto 'alia giornata'. It contains a small
collection of pictures (including Quido Reni's 'Divine and Earthly
Love') which are offered for sale.

To the N. rises La Sapienza (PI. 58; D, 4), or the University,
a large edifice of 1493, extended in 1543, with a handsome Renais-
sance court. The Library contains 50,000 vols, and several
valuable MSS. (including the famous Statuto di Pisa, or funda-
mental law of the city).

The University, mentioned in history as early as the 12tli cent., and
extended by Cosimo I. in 1542, is now provided with a staff of about 60
professors , and attended by 6tX) students. The celebrated Oalileo was
appointed professor of mathematics here in 1610. — Connected with the
university are the Museum of Natural History, founded in 1590, chiefly
illustrative of the ornithology and geology of Tuscany, and the "Botanical
Garden (both in the Via S. JIaria, PI. 37; C, 3), one of the oldest in Italy,
founded in 1547, remodelled in 1563 by the celebrated Cesalpino, and
transferred in 1595 to the present site, which was laid out by Giuseppe
llenincasa.

S. Nicola (PI. 11; C, 4), founded about the year 1000 by Count
Hugo of Tuscia as a Benedictine Abbey, has an obliquely placed
Campanile, which contains an admirable winding staircase ascribed
to Niccolh Pisano. — The Piazza in front of the church is adorned
with a Statue of Ferdinand I., 1595, by a pupil of Giambologna.
On the Lni'T Hank of the Arno is situated —
*S. Maria della Spina (PL 26 ; C, 5), so called from* a fragment
of the veritable 'Crown of Thorns' preserved here, an elegant little

Environs. PISA. 47. Route. 329

church in the Pisan Gothic style, erected in 1230 by the senate
and the noble families Gualandi and Gattosi, for sailors about to
go to sea. It was enlarged in 1323, and adorned with sculptures by
pupils of Qiovanni Pisano and by Nino, the son of Andrea Pisano
(^key kept at the opposite house, No. 22). The church has re-
cently been skilfully restored.

Passing the new Fonte Solferino (p. 322), we proceed towards
the Porta a Mare, at the end of the town, near which rises —

*S. Paolo a Ripa d'Arno (^Pl. 31 ; B, 6), dating from the 12th
or 13th cent., with a fine facade embellished with three rows of
columns, the finest at Pisa after that of the cathedral. The interior
is adorned with badly preserved frescoes of 1400.

Near the Ponte di Mezzo (see above, and p. 322; PI. D, 4) are
situated the Loggia de' Banchi (PI. 39), erected in 1605 by Buon-
talenti, now the corn-exchange, and the handsome Palazzo del
Comune (PL 39 ; formerly Gambacorti). The latter contains the
newly arranged Archivio di State, or the city archives, which occupy
ten rooms, and comprise 15,994 parchment charters (one granted by
Frederick Barbarossa in 1162, one by Richard Goeur de Lion in
1192 , and others of very early date ; catalogue kept by the cus-
todian).

The octagonal church of S. Sepolcro (PL 35 ; E, 5), dating from
the 12th cent. , is now entirely restored. — A house on the Lung-
Arno Galileo , farther on , bears a tablet recording that the great
astronomer Galileo Oalilei was born there (in 1564, d. 1642).

The only relics of ancient Pisae are remains of baths (Bagni
di Nerone) near Porta Lucca (PL D, 1). The house where they
are to be seen is indicated by an inscription.

Environs. Outside the Porta Nuova, between the Maltraverso Canal
and the right bank of the Arno, about li/z M. in the direction of the sea, is
situated the Cascine S. Rossore, a farm founded by the Medici , with fine
plantations of pines, now a royal shooting-lodge.

On the coast, about IV2 M. farther, lies 11 Gombo, an unpretending sea-
bathing place, commanding a beautiful view. The poet Shelley was
drowned here on 7th July , 1822. His friend Byron afterwards caused his
remains to be burned, and the ashes deposited near the pyramid of Cestius
at Rome.

The Monti Pisani , a range of hills to the E., are very picturesque:
among them, about 5 M. from the town, in the Valle dei Calci, lies La
Certosa, or the Carthusian Abbey, a fine structure of the year 1367, with
church and cloisters, restored in 1814. — To the right above it is La
Verruca, a mountain 1765 ft. above the sea-level, crowned with ruins of
a castle of the 15th cent, and commanding a delightful prospect.

About 3 M. S.W. of Pisa, on the old post-road to Leghorn, to the right of
the railway, in the direction of theArno and opposite S. Rossore, is situated
the ancient basilica of *S. Pietro in Grado, erected before the year 1000,
containing beautiful antique columns and capitals , occupying the spot
according to tradition, where St. Peter first landed in Italy. It was
formerly much frequented as a pilgrimage-church. The faded paintings
in the interior are of the 14th century. The ancient estuary of the Arno,
with the harbour of Pisa, must once have been at this spot, before the
present coast was formed by alluvial deposits.

330
48. From Pisa to Florence by Lucca and Pistoja.

61 M. Railwai in 41/2 hrs. ; fares 8fr. 60, 5fr. 90, 4fr. 10 c.

The line intersects the fertile plain hetween the Arno and
Serchio. — 3^/4 M. Bagni di San Giuliano, at the base of the
Monti Pisani, known to the ancients as Aquae Calidae Pisanorum,
are much frequented in summer. II Pozzetto is the warmest spring
(104° Fahr.), Bagno degli Ehrei the coolest (82°). Many Roman
antiquities have been found here. At (51/2 M.) Rigoli the line ap-
proaches the Serchio, and beyond (8 M..') Ripafratta describes a com-
plete semicircle round the, beautifully formed Monte S. Oiuliano,
which, as Dante says (Inferno, xxxiii. 30), prevents the two towns
of Pisa and Lucca from seeing each other. — 13 M. Lucca.

Lucca. — *Croce di Malta (PI. a; C, 2, 3); *L'Universo (PI. b; D,
3); Campana, or Posta (PI. c; C, 3); Albergo & *Trattoria Corona, in
the Via Pozzotorelli, near the Piazza Grande; Alb. & Ristor. del Sole,
well spoken of.

Lucca , formerly the capital of the duchy of that name and
now of a province, with 21,300 inhab. (incl. suburbs, 68,600), is
an antiquated place situated in a fertile plain, with well-preserved
fortifications, and many interesting churches. 'Lucca Vindustriosa'
is noted for its silk factories, a branch of industry introduced from
Sicily in the 14th cent. , and also for its woollen goods. The
Oriental fez is largely manufactured here and exported to the Le-
vant. Lucca is one of the pleasantest provincial towns in Italy.

Lucca (Roman Luca) was founded at a very remote period. It
first belonged to Liguria, afterwards to Etruria, and became an im-
portant municipium. In B.C. 56, Jn/ius Caesar, who was then governor
of Gaul, held a conference here with Pompey and Crassus, with whom
he had been associated since B. C. (50, in order to discuss a plan for the ad-
ministration of the Roman empire for the ensuing five years. The splen-
dour of Lucca at that period is still indicated by the remains of the Ro-
man '■ Amphithealre near S. Frediano. After the fall of the Roman Empire,
Lucca belonged successively to the Goths, Lombards, and Franks, then
became a duchy , and in the 12th cent, a republic. The feuds of the
Guelphs and Ghibellines impaired the strength of the place so seriously
that in 1314 it was compelled to succumb to Vgucione della Faggiuola
of Arezzo, the warlike governor of Pisa. Dante resided with his friend
Uguccione at Lucca in 1314, and there became enamoured of the youth-
ful Oentucca (Purgatorio xxiv. 23), but he does not describe the inhabitants
in very flattering terms (Inferno xxi. 41). After the expulsion of Uguc-
cione , Lucca fell in 1325 into the hands of the powerful Castruccio
CaUrani degli InterminelU of Lucca , who was also master of Pisa and
Pistoja. On 23rd Sept. 1325 he defeated the Florentines at Altopascio, and
in 1327 was nominated imperial governor of Tuscany by Emp. Lewis the
Bavarian. On his death in 1328 the power of Lucca declined; its next
master was Marlino della Scala; it subsequently came into the possession
of Pisa, but in 1369 purchased its own freedom from Charles IV. for
3000(X) (I., and remained independent till the invasion of the French in
1799. In 1805 Napoleon gave Lucca as a principality to his sister Elisa
Bacciocchi; in 1814 it came into the possession of the dukes of Parma
of the house of Bourbon, who in 1847 ceded it to Tuscany.

In the Historv of Mediaival Architecture, Lucca, like Pisa, occu-
pied an imiiortant position at a very early period. The churches of

ill

-< RllillJiJII "III

LUCCA. 48. Route. 331

8. Frediano and 8. Michele were both founded upwards of a thousand
years ago, though probably little now remains of the original edifices.
The columns in S. Frediano, like those of the early Christian basilicas
of Rome, are antique. The taste for building, probably stimulated by
rivalry with Pisa, was again revived in the 12th cent., when the older
churches were altered and restored, doubtless in accordance with Pisan
models. — Towards the end of the 15th cent., Matteo Civitali (1435-1501),
one of the most pleasing sculptors of the early Renaissance, resided,
and produced numerous works, at Lucca. His style somewhat resembles
the best pictures of that period, and, though full of life, is of a graceful
and gentle character, contrasting especially with Donatello. — The
pictures of Fra Bartolommeo in the cathedral and S. Romano (the latter
now removed to the Palazzo Pubblico) are also worthy of notice.

Immediately on quitting the station , we perceive within the
ramparts, to the right, the handsome —

*Cathedral of S. Martina (PI. 1 ; D, 3), erected in 1060-70
in the Romanesque style by Bishop Anselmo Badagio (afterwards
Pope Alexander II.), but afterwards frequently restored, with
a sumptuous facade added by Ouidetto in 1204, and an im-
pressive choir. The vestibule contains sculptures of the begin-
ning of the 13th cent. representiTig the history of St. MartiTi. Over
the small door is St. Regulus on the right, and a ^Descent from the
Cross on the left by Niccolh Pisano (? 1233); below, Adoration of
the Magi, of Pisano's school. The church is entered by three doors
of carved wood , that in the centre being the finest.

The Interior, in the form of a Latin cross, with nave and aisles
91 yds. in length, transept 39, and nave 28 yds. in width, has a clerestory
(with large windows and rich tracery) over the aisles and carried across
the transept, which it also intersects longitudinally (transept apparent-
ly narrower than projected); and it received various Gothic additions in
the 14th cent., especially in the arches of the transept. Above the aisles
are galleries. The old frescoes on the vaulting were restored in 1858.

The stained glass in the side windows is modern, those in the choir
by Pandolfo di Ugolino da Pisa. — 1st Altar on the right, Nativity by Passi-
gnano; 2nd, Adoration of the Magi, F. Zucchero\ 3rd, Last Supper, Tinto-
retto; 4th, Crucifixion, Passignano; -Pulpit by Matteo Civitali (1498). — In
the Sacristy a -Madonna with SS. Clement, Peter, Paul, and Sebastian,
with predella by Dom. Ohirlandajo. — "La Croce dei Pisani, beautifully
executed in 1350 by Bettuccio Baroni, in silver, gilded, originally belonged
to the Pisans,»but was carried off by the inhabitants of Lucca (not shown
except by special permission, to be procured on the previous day).

The Right Tkansept contains the beautiful marble '-Monument of Pietro
a Noceto, secretary of PopeNicholas V.,by Matteo Civitali (1472); by the same
master, on the wall to the right, is the portrait of Count Domenico Bertini
(1479) ; also in the following Cappella del Sagramento (enclosed by a rail-
ing) two *Angels in an attitude of adoration and (adjoining the choir) the
*Altar of St. Regulus, with St. Sebastian and John the Baptist and beautiful
basreliefs (1484). To the left of the choir the 'Altar of Libertt', which
Lucca recovered in 1369 from Emp. Charles IV. (inscription : Christo
liberatori atque divis tutelaribus), with a Resurrection by Giov. da Bologna
(1579). On the wall St. Petronilla, by Daniele da VoUerra. In the
following Cappella del Santdario , a Madonna with SS. Stephen and
John by Fra Bartolommeo (1509): 'a noble picture this, full of gentle ele-
gance, Leonardesque in science and in execution , and graced with the
prettiest finesses of the brush, bathed in a warm and airy vapour, and
firm of outline and touch' (G. d- C). The decorations of the pilasters are
by Civitali. — The Left Transept contains the 'Sarcophagus of Ilaria del
Carretto (d. 1405) , by Jacopo della Querela , 'the earliest work that can
he unreservedly described as Renaissance'.

332 Route 48. LUCCA. From Pisa

In the Nave is 'II Tempietto , a small octagonal chapel of marble,
partially gilded, erected in 1484 by M. Civitali, and containing the Volto
Santo di Lucca, an ancient crucifix in cedar-wood, said by tradition to
have been made by Nicodemus , and to have been transferred in a mira-
culous manner from the Holy Land to Lucca in 782. It is shown publicly
three times a year only. The embroidery on the red curtain is a faith-
ful copy of the sacred relic behind it. In front of the entrance is suspend-
ed a candelabrum of solid gold, 24 lbs. in weight, presented by the inhab-
itants of Lucca in 1836, when the approach of the cholera was dreaded.
On the opposite side a statue of St. Sebastian, also by Civitali.

In the Left Aisle, 5lh altar (from the entrance), Visitation of the Virgin,
by Jacopo Ligozzi. — Over the 2nd altar, Presentation in the Temple, by
A. Allori. On the left of the entrance. Descent from the Cross , and St.
Nicodemus carving the Volto Santo, frescoes by Cosimo RosselU. On the
pavement of the nave, inlaid work of coloured stones, representing Solo-
mon's Judgment.

At the back of the cathedral is the Archiepiscopal Palace, and
beyond it the small Gothic chapel of Sta. Maria della Rosa (1333).

S. Giovanni (PI. 4 ; D, 3), near the cathedral, is a basilica of
the l'2thcent., with aisles and transept. The fa(^.ade is modern, with
the exception of the portal, over which there is a relief of the
Madonna with the Apostles of the 12th cent., and groups of animals
on the right and left. In the interior the flat coffered ceiling is
supported by ten columns, of which the shafts and some of the capi-
tals are probably ancient. In the left aisle a monument to Giov.
Farina (d. 1847). — Adjoining the left transept is a venerable Bapt/s-
tery, the roof of which was renewed during the Gothic period.

A few paces from this church is the Piazza Geande (PI. C,
D, 3), where a Monument by Bartolini was erected to the Duchess
Marie Louise in 1843, in recognition of the service rendered by her
to the town in constructing an aqueduct in 1823-32.

In this piazza is situated the Palazzo Pubblico (PI. 10 ; C, 3),
formerly JDucale, begun in 1578 from designs by Arnmanah', but
still incomplete. On the tirst floor is a Picture Gallery (open daily
10-2, closed on Sundays and festivals).

I. Room: 7. Guido Reni, Crucifixion; 20. Tintoretto, St. Mark releasing
a slave; 22. Tintoretto, Portrait; 29. Borgognone, Battle; 34. Marco di
Tiziano , JIadonna with Christ and St. Catharine. "39. Era Bartolommeo,
Madonna della Jlisericordia, with portraits of the Moncalieri family, of
1515 (formerly in S. Romano): — 'The classic movement of the principal
figure, the varied but always elegant attitudes and action of the remain-
der are almost matchless instances of the mode in which scientific cal-
culation gives nature as a result. In most of the minutiae unusual power
of observation is revealed. Nothing can be more pleasing than the man-
ner of dividing the fingers with their play suggesting unconsciousness.
Admirable are the draperies in which the folds are concentrated on the
bends" (C. <t C). — 44. Andrea del Sarto , Holy Family (replica in the
Palazzo Pitti); 50. Ligozzi, Madouna appearing to S. Uominicus. "59. Fra
Bartolommeo , God the Father with Mary Magdalene and St. Catharine of
Siena, 1509 (formerly in S. Romano): — 'In this most admirable pro-
duction for feeling as well as form, a special attractiveness is created by
colouring redolent of Venetian richness and brilliancy, and by atmosphere
successfully attained in gradations of landscape-tints, and by chiaroscuro
after the method of I>a Vinci in the Mona Lisa, or of Raphael in the
portrait of Leo the Tenth' (C. <t C). — 72. Sodoma, Christ. — II. Room:
1. Domenichino, Samson; 8. Bronzino, Portrait; 13. Tintoretto, Portrait —

to Florence. LUCCA. 48. Route. 333

III Room: 3 Becca/umi, Moderation of Scipio; Vasari, 6. St. Eustace,
t. Mary treading serpents under her feet, 8. St. Blaise. — The other
rooms contain modern pictures by Michele Ridolfi (of Lucca, d. 1853), Nocchi
(Aurora), Giovanneth, Camuccini, and others.

Not far from the Piazza Grande (in the Via della Rotonda the
first side-street to the right) is the church ot S. Alessandro, a simple
structure completed before 1080 , with fine antique columns —
Ahttle farther on, also in the Via della Rotonda, at the end of
the street diverging to the left opposite the 'Croce di Malta' hotel
IS situated —

S. Romano (PI. 8 ; C, 3), which existed as early as the 8th
cent., but was remodelled in bad taste in the 17th by Vincenzo
Buonamici. At the back of the high altar is the monument of St.
Romanus, with a Pietk above , and a recumbent figure of the saint
below, with painted armour, by Matteo Civitali.

We now return to the Piazza Grande, and proceed to the left to
the venerable church of —

S. Michele (PI. 6; D, 6)), founded in 764 by Teutprandus and
his wife Gumpranda, with an over-decorated facade of 1288, rising
high above the nave, and surmounted by a figure of the angel
with brazen wings. The row of columns on the S. side was added
in ld77. 1st Altar on the right: Madonna in Trono by i^ra i^iZippo
Lippi. — The Palazzo Pretoria, in the style of the 15th cent., is
also situated in the Piazza S. Michele. — Opposite the S. side of
the church rises the statue of F. Burlamacchi (d. 1548\ by Cambi
erected in 1833.

On the N. side of the town is situated —

*S. Frediano (PI. 2 ; D, 2), a basilica of the 7th cent., founded
by the Lombard kings Bertharic and Cunibert, in honour of St. Fri-
gidianus, an Irishman , who was bishop of Lucca in 560-78 The
present facade was erected in the 12th cent, on the site of the
former apse ; the Ascension in mosaic of the same period with which
It IS adorned was restored in 1827. The nave was originally flanked
with double aisles, the outer of which have been converted into
chapels. Most of the 22 columns are ancient.

hv I,n^ *Cappeli,a di S. Agostino (2nd to the left) contains two old ^Frescoes
^Lf/r ot'^r« r-'r^^T^.l^'"^""''' J"'^^"°"«^y retouched by Michele
ftflfi- On the celling God the Father, surrounded by angels , prophets
^n J^^'''/nl^? ^r***= *° ^^^ '"^ft t^e Entombment; below it, to the lef '
«v.r*f*i?^ *^VfL'^°i'"'^ '"^ *^« '^^ (^o"" -»««««> P- 332), drkwn by two
oxen to the right St. Augustine, baptised by St. Ambrosius 'at Milan. In the
nrP,pi^,-°" tli<^ ^^"'.0" the right, St. Augustine instructing his pupils, and
presenting them with the rules of his order; below, to the left the
fheS/"'^ Adoration of tlie Magi; on the right,'s. Frigidiano miraculously
rtth^n fhP , V'!r'^^*'°,^ "^ ^^.\"'''- - ^"^ ^^^ CappellI del S. Sagramento
(4th to the lefp an altar with a 'Madonna and four saints in relief by
Jacobus magislri Petri de Senis (? Jacopo della Quercia; 1422). Opposite
hilow .'' '',^-' ^V^e right behind the pulpit, is the 'Coronation of Mary ;'
^™ '^^'°^ ^''7"^ ^""^ Solomon, St. Anselm, and St. Augustine, by
^ra«c«co^ra»aa (covered). At the foot of the 'picture are four scenes
fX ^ '1^°'^ "^ *^® Augnstinian Order. The 2nd chapel on the right
from the entrance contains the tomb of St. Zita, the patroness of Lucca

334 Route 48. LUCCA. From Pisa

mentioned by Dante (Inferno xxi. 28) ; in the church, in front of the chapel,
is the ancient font, with unexplained representations by Magister Roberlus
(1151); by the wall is the more modern font by Matteo Civiiali or his
brother Niccolb; at the back of the first, Annunciation, heads of angels,
children , and rich garlands by the della Robbia. On the wall of the
entrance, to the right of the door, a Madonna and Child by Amico Asper-
tini; to the left, the Conception by Rid. Ghirlandajo, both al fresco.

We now cross the Piazza S. Frediano, ■which adjoins the
church on the E., and turning either to the right or left reach an
entrance to the Piazza del Mercato (PI. D, 2), the houses enclosing
which are built upon the foundations of a Koman Amphitheatre
dating from the early Imperial period. Two series of the arcades,
of 54 arches each, are still visible on the outside; length 135 yds.,
width 105 yds. ; the arena (the present market-place ) 87'/2 ^Y 58
yds. — Remains of an ancient theatre are also shown near the
church of S. Maria di Corte Landini.

To the E. is situated S. Francesco (PI. 3 ; E, 2), erected in
1442, containing the monuments of the poet Giov. Guidiccionl
(16th cent.} and the celebrated Castruccio Castracani (d. 1328).
It is now used as a military magazine.

Among the numerous charitable institutions of Lucca may be
mentioned the Deposito di Mendicith (poor-house), established in
the Italian - Gothic Palazzo Borghi, with a lofty tower, erected
in 1413 by Paolo Guinigi., chief of one of the most powerful
families of Lucca. — Of the Libraries the most interesting are the
Archiepiscopal, containing 20 valuable MSS. and 400 rare editions,
the Library of the Chapter with about 500 MSS., and the Bihlio-
teca Reale , in the Via S. Giorgio , with MSS. (including Latin
poems of Tasso , written by his own hand) and early specimens of
printing. The Archives are also very valuable.

A spare hour should be devoted to a *Wai.k on the Ramparts,
which afford a successioji of pleasant views of the town with its
numerous towers, and of the beautiful mountains in the vicinity.
In the grounds on the S. side is the monument of Charles III. of
Spain (PI. 15; B, 3), erected by his grand -daughter the Duchess
Marie Louise, in 1822. A little to the E. of it is a pleasant caf^
(PI. C, 4).

The Environs of Lucca are beautiful, and many of the pleasant villas
are comfortably furnished for the reception of strangers, but in summer
the country is hot and destitute of shade.

The traveller should visit the (3 M.) royal "Villa di Marlia, with
its beautiful grounds, tine points of view, and fountains, resembling Marly
at Paris (whence the name), and with a Greek chapel containing old
paintings, etc. (permission must be obtained at Lucca). The road thither
leads by the Porta S. Maria (see below).

On the road to Viareggio , about 6 M. to the W., near the Lake of
Massaciuccoli , are situated the Roman ruins known as the -Bagni di
Nerone, with beautiful environs. — The Aqueduct to the S. of Lucca, with
its 459 arches, recalling the Campagna of Rome, is worthy of notice.

About 151 2 M. to the N. of Lucca, in a hilly district, lie the Batus
OF Lu<,CA (diligence from June to September several times daily in 2'/s
hrs. , fare 3 fr. ; carr. in 2 hrs., fare 15 fr.)- We quit the town by the
Porta S. Maria (I'l. E, 1). The excellent road was constructed by the

to Florence. BAGNI DI LUCCA. 48. Route. 335

Princess Elisa. A road to the right diverges to the Villa Marlia (see above).
Farther on we reach the SercMo , a stream which is generally very low
in summer, but sometimes swells to a violent torrent, and is confined by
embankments for a long distance. The road ascends the left bank of
the stream , and passes the village of Moriano. We now traverse char-
ming hill country, passing the opposite villages of Val cVOiiavo, Diecimo,
and Borgo a Mozzano. Immediately above Borgo is the bridge delta Mad-
dalena, which is said to have been built in 1322 by Castruecio; it is
sometimes called the Ponte del Diavolo, from the peculiarity of its con-
struction, and is hardly practicable for carriages. About 1 M. beyond it
the road enters the valley of the Lima , another stream which is nearly
dry in summer, and which is crossed near Farnoli by a suspension bridge
constructed in 1860. Between this point and the baths there are roads
on both banks of the river.

The Bagni di Lucca, which were known in the middle ages, with
springs varying in temperature from 86° to 129° Fahr. , consist of several
different villages in the valley of the Lima., connected by shady walks,
and containing 9200 inhab. Ponte a Seeraglio, the chief of these villa-
ges , which we reach first , is picturesquely situated on the bend of the
rivulet, and contains the post-office, and the best hotels, baths, and lodg-
ing-houses. {'Pagnini's Hotel d''Europe et d'Am&riqtie, R. 3, D. 4, L. and
A. IV2, pension 8 fr. ; "Pera''s Hotel New York, and Grand Hdtel des Bains
de Lucques, formerly Croce di Malta, similar charges; charges lower in Sep-
tember. Ca/es Pasta and Italia, in the Piazza del Ponte. Casino, with bil-
liard, reading, and ball rooms. Physicians, Dr. Giorgi, and Dr. Marchi.
Chemist, Lencioni. Shops poor.) Adjoining the Hotel Pagnini on the
Lima, is the royal casino Ridotti. A little farther on, at the entrance to
the side valley, is the Nuovo Ospedale, built by Prince Demidoff.

Beautiful avenues ascend gradually from the Ponte a Serraglio to the
villages of Villa (1 M. ; Betti, English chemist), and Bagni Caldi (V4 M. ;
pleasant apartments; physician. Prof. Carina of Pisa). — To the baths of
Lucca belong also the establishments of £erna66 (comfortable; named after
an inhabitant of Pistoja cured here in the 16th cent.), Docce Bassi, and ;fii.
Giovanni. The quietest and pleasantest apartments are to be hired at the
Bagni alia Villa.

The valley of the Lima is cool and well shaded, chiefly with chest-
nut trees, and is a healthy summer residence, affording pleasant walks.
Beautiful excursions may also be taken among the mountains, such as to
the village of Lngliano, and to the watch-tower of Bargilio (on donkey-
back; fatiguing), which on clear days commands an extensive view over
land and sea. — Boscolungo (p. 313) may be reached hence in about 6 hrs

The Kail WAT to Pistoja at first traverses the plain to the E. ;
a little to the S. lies the Lago di Bientina. 19 M. Porcari; 22 M.
Altopascio ; 25 M. S. Salvatore.

271/2 M. Pescia (Posta), a small town, situated about II/2M. to
the N. on the river of that name, which the railway crosses, in a
beautiful district, with silk and paper manufactories. The Cathe-
dral has remains of a facade of 1306 and a fine monument of Bald-
assare Turrini hyRaffaeleda Montelupo, a pupil of Michael Angelo.

30 M. Borgo a Bugiano; 32 M. Monte Catini (*H6t. de la Paix ;
*Locanda Maggiore ; *Corona d'ltalia) , where Uguccione della
Faggiuola (p. 330) defeated the Florentines on 29th Aug., 1315,
The warm baths (Bagni di Monte Catini) in the vicinity attract
many visitors (numerous pensions).

The line intersects the rich valley of the Nievole. — 33 M,
Pieve a Nievole; to the right, Monsummano on a conical eminence,

336 Route 48. PISTOJA. From Pisa

with warm springs ; near it a Grotto with hot vapour, discovered
in 1852, famous for the cures of rheumatism, gout, and paralysis
which it has effected. (The arrangements are very primitive, and
patients are therefore recommended to take apartments at Monte
Catini, V/2M. distant, see ahove.) 361/2 M. Serravalle, which
was an important frontier-fortress during the wars between Lucca
and Pistoja. — 40 1/2 M. Pistoja.

Fistoja. — *Albekgo di Londra & DEL Globo, R. 2'/2, D. 4fr., with
tolerable trattoria; Alb. Regina d'Inghilterra; both in the Piazza Cine. —
Albekgo & Trattoria Rossini, Via Cavour, opposite the church of S.
Giovanni, unpretending. — Caffe del Globo.

Cab with one horse 60, with two horses 80 c. per drive; to or from
tlie station 1 fr. ; 1st hour Ifr. 40 or 1 fr. 70 c., each additional hour Ifr.
or Ifr. 30c.

Pistoja, an ancient town with 1'2,500 inhah., is loftily situated
in the vicinity of the Ombrone, a small tributary of the Arno , in a
fertile district. It has broad, well-built streets, and important man-
ufactories of guns and iron -wares. Pistols are said to have been
invented at Pistoja, and thence to derive their name.

Pistoja, the Roman Pistoria., near which Catiline was defeated and
slain, B.C. 62, was in the middle ages the centre of the fiercest struggles
between the Guelphs and Ghibellines. In the year 1300 the Caucellieri
and Panciatichi, or Black and White parties, mentioned by Dante (Inferno
xxiv. 143) , who afterwards extended their intrigues to Florence and in-
fluenced the fortunes of the poet himself, were formed here. Pistoja had
to surrender to Florence in 1351. It was the birthplace of the celebrated
jurist and poet Ciyio, a contemporary of Dante, and of the satirist Nicculb
Forteguerri (1674-35), author of the" Ricciardetto.

In the History of Art, Pistoja, which somewhat resembles Florence
in miniature , held an important rank in the early part of the middle
ages , and was foremost among the Tuscan republics in fostering artistic
progress. The older churches, such as the Cathedral and S. Andrea,
exhibit a leaning to the Pisan style, which was extensively in vogue in
the 12th century. At Pistoja we also meet with many of tlie earliest at-
tempts at sculpture in Tuscany, which are much ruder than contem-
poraneous German and French works of the same kind, and with several
of the names of the oldest artists (Gruamons and Adeodatus). After the
14th cent. Pistoja became dependent on Florence both politically and in
the province of art. The town continued to be wealthy and ambitious
enough to patronise artists, but thenceforth those of Florence were always
employed. Of the GoldsmWi's Art we have an important specimen in the
silver altar in the Cathedral.

We follow the Via Cino, leading from the station and intersect-
ing the Corso Vittorio Emanuele at a right angle, as far as the Piazza
Cino, and turning here to the right into the Via Cavour, soon reach
the old Koniaiiesque church of —

S. Giovanni Fuoricivitas (Evangelista; PI. 1), erected about
IIGO, with a somewhat overladen facade adorned in Pisan fashion
with rows of columns. Over the side entrance is a relief repre-
senting the Eucharist by Gruamons, as an inscription on the archi-
trave records (^12th cent.").

Interior. On the right is the "Pulpit, adorned with ten reliefs on the
three sides by Frn Giiglielmo, a pujiil of Niccolb Pinavo, about 1270, the
aeries beginning to the left with the Annunciation, Conception, etc. ; in

to Florence.

PISTOJA

48. Route. 337

front, the symbols of the evangelists; on the left, a handsome basin for
holy water by Oiovanni Pisano, with figures of the virtues at the four
corners. On the right, the 'Visitation of Mary, a life-size group in terra-
cotta, by Andrea della Robbia.

Opposite the church is the Pal. Panciatichi. — Following the
Via Cavour, and diverging from it by the Via S. Matteo, the third
side-street to the left, we reach the Piazza. On the right rises the —

*Cathedral of S. Jacopo (PI. 2) of the 12th cent. , remodelled
in the 13th from designs by Niccolh Pisano ('?), with a tribuna
added in 1599 by Jacopo Lafri. In the vestibule are faded frescoes
by Giovanni Cristiani da Pistoja (14th cent.). Over the principal
entrance a good bas-relief in terracotta (Madonna surrounded by
angels) by Andrea della Robbia. The barrel-vaulting was adorned
with coffering and rich garlands in terracotta by Luca della Robbia.
7^.'^ ^i^aPon "' ^^^^^ marred by alterations , and restored with little
taste in lbd8-39, consists of nave and aisles borne by sixteen columns and

Baedeker. Italy I. 5th Edit. 22

338 Route 48. PISTOJA. From Pisa

two buttresses. — By the wall of the entrance is the *Font, adorned with
a large relief (Baptism of Christ) and four smaller ones (History of the
Baptist) by Andrea Ferrvcci da Fiesole (d. 1526). — To the Right of the
entrance is the "Monument of the jurist and poet Cino da Pistoja (d.
1336), by the Sienese master Cinello (1337). The bas-relief represents
Cino lecturing to nine pupils , among them Petrarch , who afterwards
composed a sonnet on his death, exhorting the women to mourn for Cino
as the poet of love. — To the Left of the entrance the Monument of Car-
dinal Forteguerra, with bust and high reliefs, by Verrocchio (1474) and
Lorenzetto. — The Cappella del Sackamento (left of the choir) con-
tains a Madonna with St. Zeno by Lorenzo di Credi (d. 1513), the finest and
oldest of his altarpieces, the figures strongly reminiscent of Da Vinci fC. & C).
High relief bust of Bishop Donato de' Medici by A. Rossellino (1475). — Over
the High Altar a Resurrection by Angelo Bronzino. Beautifully inlaid choir
stalls. — In the Cappella S. Jacopo (right of the choir) a rich 'Silver
Altar executed in the 14th and 15th cent, (covered) ; in a niche above is a
sitting statue of St. James, surrounded by apostles and prophets, wrought
in silver, and gilded, by Simone di Ser Memmo and other masters, in the
middle of the 14th cent. ; below is a large silver tableau with wings ; in
the centre fifteen reliefs of subjects from the New Testament and apostles,
by Andrea di Jacopo d'Ognabene of Pistoja (1316); the wings consist of
ten reliefs on the left, from the Old and New Testament by Piero da
Firenze (1357) and on the right from the life of St. James by Leonardo di
Ser Oiovatmi, pupil of Orcagna (1371). About 446 lbs. of silver are said
to have been used in the execution of this work of art. — The Crypt,
borne by six columns, is also modernised.

The campanile was originally a fortified tower, called Torre
del Podestk, and still tears the arms of governors of the town.
The three series of arches were added in Pisan fashion when the
tower was adapted to its present purpose.

Opposite the cathedral is the octagonal *Battistero (San Gio-
vanni Battista; PI. 3), erected after 1339 by Cellino di Nese in the
Italian Gothic style, with a pulpit on the exterior. The large square
font (older than the huilding , and probably dating from 1256) is
embellished with richly decorated slabs (others of the same kind
on the wall to the right). The principal portal is also worthy of
notice.

Adjacent is the *Palazzo Pretorio (PI. 4), formerly del Podesth,
a building of the 14th cent. , now containing the courts of justice.
The quadrangle is enclosed by four round arches; the arcades are
adorned with numerous painted armorial bearings of the Podestil's,
remarkable for their admirable heraldic style, restored in 1844.
To the left of the entrance are the stone table and seats of the an-
cient tribunal, bearing the inscription of 1507 :

Ilic locus odil, ainat, punit, conservat, konorat,
Nequiiiam, leges, crimiria, jura, probos.

The piazza is adorned with a Statue of Cardinal Forteguerra (PI.
5) , erected in 1863. — Opposite the Pal. Pretorio is the Palazzo
del Comune (PI. 6; originally degli Anziani), erected in the Itali-
an Gothic style in 1294-1385, with a vestibule. In the interior are
frescoes by Uianicola and his pupils , and a relief in marble of the
school of Verrocchio, 1484, representing *Angels with armorial
bearings.

to Florence. PISTOJA. 48. Route. 339

Passing between the cathedral and the Pal. del Com una (by
the Via S. Bartolommeo), we next visit the church of S. Bartolom-
meo in Pantano (PI. 7} , a Lombard edifice with open roof, borne
by twelve columns, with very varied capitals , and two buttresses.
The sculptures on the facade by Rudolfinus represent Christ and
the Apostles, 1167; pulpit, borne by two lions, and the statue of
the sculptor, with eight reliefs from the history of Christ, by Guido
da Como, 1250. — The Via Porta Guidi to the right leads hence
to the —

Ospedale del Ceppo (PI. 8), erected in 1277, and afterwards
restored, with a long *Frieze consisting of reliefs in terracotta, col-
oured and glazed, representing the seven works of mercy, an en-
throned Madonna, and four virtues ; below, the Annunciation, Ma-
donna in glory, and Conception, in medallions, by Giovanni, Luca,
and Girolamo delta Robbia, 1525-35. — "We now pass the Ospe-
dale by the Via delle Pappe to the left , which leads to a small
planted piazza, follow the Via del Carmine to the left, and then the
first side-street to the right, to —

*S. Andrea (PI. 9) , a church of the 12th cent. , and probably
once the cathedral. On the architrave of the entrance are sculptures
of 1166, representing the Adoration of the Magi with the in-
scription : 'Fecit hoc opus Gruamons magister bon. et Adodat fratcr
eius' (^Gruamons and Adeodatus, 1160; see p. 336). Over the
door is a small statue of St. Andrew in Giov. Pisano's style.

Interior. The narrow nave and aisles are supported by twelve col-
umns and two pillars. The "Pulpit with its numerous figures by Giovanni
Pismio , 1298-1301, a copy of that executed by his father at Pisa, is a
hexagon with reliefs from the Old Testament on five sides: Cruci-
fixion, Last Judgment, Adoration of the Magi, Nativity, Slaughter of the
Innocents; below these are six figures of sibyls and prophets borne by
seven columns of red marble , a lion and lioness , a human figure , and
a winged lion with two eagles.

Turning to the right we enter the Via S. Prosper©, and turning
again to the right we reach the Piazza S. Francesco with —

S. Francesco at Prato (PL 10), an Italian Gothic church of
1294, with paintings by Margaritone and other masters. The
chapter -house is adorned with frescoes of scones from the life
of St. Francis, attributed by Vasari to Puccio Capanna (perhaps
by Giovanni Cristiani , 14th cent.). Keys at the Palazzo del
Comune. — We return by the Via Cancellieri (with the Pal.
Cancellieri on the right) to the Piazza Cino, and proceed by a
side-street to the right to —

S. Maria dell' Umiltk (PI. 11), with a bare facade, erected
about 1509 by Ventura Vitoni, a pupil of Bramante, the dome by
Vasari. A fine oblong vestibule , adorned with frescoes by Vasari
relating to the miracle-working Madonna in the church, leads to the
handsome octagonal interior, with its elegant Corinthian wall pil-
asters in several stories, and pictures by Gerino and others.

On the way back to the station is —

22*

340 Route 48. PRATO.

S. Somenico (PI. 12), in the Corso Vitt. Emanuele, erected
in 1380.

Interiok. 2n(l Altar on the right: Madonna and Child, al fresco, by
Fra Bartolommeo (?). Right Transept: Cappella Rospigliosi, with monu-
ments of the family, and the miracle of S. Carlo Borromeo , by Jiicopo da
EmpoU. To the left in the Choir, St. Sebastian by R. Ghirlandajo. 2nd
Altar on the left. Crucifixion with saints; 3rd Altar on the left, the Virgin
and Thomas Aquinas , by Fra Paolino da Pistoja. Between the 4th and
6th Altars on the left, monument of the jurist Filippo Lazari (d. 1412),
by Bernardo di Matieo Fiorentino, 1464. — The Cloisters were decorated
with paintings by Sebastiano Veronese and others, 159G.

Pistoja possesses two Libraries, the Fabbroniann (PI. 13), and the
Fortiguerra (PI. 14), founded by two cardinals who were born here.

The Villa Puccini, 1 M. to the N., has beautiful gardens and
works of art by Pampaloni and others.

Railway from Pistoja to Bologna, see R. 45.

The Railway to Florbnce intersects a rich tract at the base
of the Apennines. Mi/o M. S. Piero. On the left the picturesque
castle of Monte Murlo comes into view, near which the Floren-
tine republicans Baccio Valori and Filippo Strozzi were defeated
and taken prisoners by the troops of Cosimo I. in 1537.

50 '/2 M. Prato {Albergo del Giardino ; Cafe Ve$tri; both near
the cathedral), a well-built town of 42,300 inhab. (with sub-
urbs), on the Bisenzio, with beautiful environs, is a manufacturing
place, of which straw-plait is one of the staple commodities, and is
also noted for its excellent bread. It formerly belonged to Florence,
whose fortunes it shared throughout the middle ages. In 1512 it was
taken by storm by the Spaniards under Cardona.

In the 15th cent, this small provincial town attracted numerous artists
from Florence , so that a visit to it is indispensable to those who desire
to be thoroughly acquainted with the Early Renaissance style of Flor-
ence. An important work by Donatello and Michelozzo, an extensive
composition in the style of Robbia , and a superb bronze screen bear
testimony to the importance of Prato in the history of Renaissance sculp-
ture. Among the painters of the place were Filippo and Filippino Lippi,
BoUicelli, and Fra Diamante. The church of the Madonna delle Careen
at Prato also forms a very striking example of Renaissance archi-
tecture. This edifice (erected by Qiuliano da Sangallo) exhibits the
transition from early to high Renaissance, and shows how anxiously the
architects of the day directed their attention to the design of a Greek cross
covered with a dome.

*Il Duomo, begun in the 12th cent., and completed by Qio-
vanni Pisano in the 14th, is in the Tuscan Gothic style. On
the fa(;ade, which dates from 1450, is a pulpit, adorned by Dona-
tello and Michelozzo, after 1434, with *Bas-reliefs (dancing children).
From the pulpit the highly revered Sacra Cintola, or 'girdle of the
Virgin' preserved in the cathedral, is periodically exhibited to the
people. Over the principal entrance a *Madonna with SS. Stephen
and Lawrence In terracotta, by Andrea della Robbia.

Interior. Over the Principal Entrance the Virgin delivering the
pirdlc to St. Thomas, liy Ridolfo OInrlandajo. The Cappella della
Cintola is adorned with 'Mural Paintings by Agnolo Oaddi (1395), from
the life of the Virgin , and her statue on the altar by Giovanni Pisano ;

FLORENCE. 49. Route. 341

handaomo bronze "Screen executed in 1444-61 by Donatello''3 brother
Simone. — In the Choir, at the back of the high altar, are the *Histories
of John the Baptist and St. Stephen by Fra Filippo Lippi, the finest
work of this master (d. 1469) : on the right (above) Birth and Naming of
the Baptist 5 his Withdrawal to the wilderness and his Preaching; Dance
of the daughter of Herodias; by the window, on the right: Beheading
of St. John ; above it a saint. On the left wall of the choir (above) :
Birth of St. Stephen, his Ordination and care for the poor; Stoning and
Interment (among the admirable portrait figures are Cardinal Carlo de'
Medici, and, to the extreme right, the portrait of the painter himself).
The continuation of the scene of the Stoning is on the window wall;
above it a saint; on the ceiling Evangelists (best light in the forenoon).
On the right is the 'Death of St. Bernard, also by Filippo Lippi. The
side chapel on the left, and the second on the right, contain frescoes in
Giotto's style, but much retouched. — In the S. transept a *Statue of the
Madonna by ifino Pisano. — Handsome round 'Pulpit, resting on sphinxes
and snakes, by Mino da Fiesole and Rossellino, adorned with admirable
reliefs (1473).

The campanile, in the Lombard style, is by Nic. di Cecco (1340).

The Via dei Sarti leads from the cathedral to the Palazzo
CoMXJNALB, which contains a small picture-gallery on the first floor
(fee 1/2 fr.).

Fra Filippo Lippi, 11. Madonna with St. Thomas, etc., 12. Nativity,
21. Madonna with John the Baptist; 16. Filippino Lippi, Madonna with
John the Baptist and St. Stephen; *18. Giovanni da Milano, Madonna with
saints (14th cent.).

The Palazzo Pretoria opposite is of the 13th century.

The *Madonna dbllb Carceri, erected in 1492 by Giuliano da
Sangallo , is in the form of a Greek cross , with barrel-vaulting
and dome, and a fine altar by Antonio da Sangallo, brother of
the architect. — (S. Domenico, of the 13th cent., was restored in the
17th. — 8. Francesco contains mural paintings in the chapter-house
by Niccolb di Pietro Gerini and Lorenzo di Niccolb (14th cent.).

At Monte/ernito and Figline, 3 M. to the N.W. of Prato, are quarries
of serpentine, which is known as Verde di Prato , and has been much
used in Tuscany for decorative purposes.

54 M. Calenzano; 57 M. Sesto (to the left the villa of La
Doccia, p. 420) ; 59 M. Castello (near it La Petraja, see p. 420) ;
60 M. Rifredi. — 61 1/2 M. Florence.

49. Florence.

Arrival. There are two railway-stations at Florence : 1. Stazione
Centrale (PI. C, 3) for all the railways (approached from the Piazza
della Ferrovia; egress for the northern line in the Via Luigi Alamanni;
for the other lines, adjoining the Piazza Ferrovia), where omnibuses
from most of the hotels meet every train (3/4-li/2fr.) ; fiacre Ifr., at
jiight lV2fr., each box 50, travelling-bag 25 c., trifling gratuity to rail-
way porter. Travellers arriving in the evening should secure a cab in
good time, as there is often a scarcity of conveyances. — 2. Stazione
Porta Croce (PI. G, 4) on the E. side of the town; too far from the
middle of the town for most travellers.

Hotels. — On the Limg" Arno, best situation, from W. to E. : *Grand
Hotel Rotal de la Paix (PI. c; B, 3), with lift. Piazza Manin, pens.
10-25 fr.; *H6tel de la Ville (PI. f; B, 3), Piazza Blanin; Italia (PI. a;
B, 3), principal entrance Borgognissanti 19; New York (PI. b; C, 4),
Piazza Ponte alia Caraja 1; "Gran Bbetagna, Lung' Arno Acciajoli 8

342 Route 49. FLORENCE, Pensions.

(PI. C, 4, 5); Arno (PI. m; C, 5), Lung' Arno Acciajoli 4, well spoken
of. All these are of the first class: R. 3-4 fr. and upwards, B. 11/2, L. and
A. 2, D. 4'/2-5, omnibus I'^fr. ; pension, according to bargain, lOfr. and
upwards. — On a somewhat smaller scale, and a degree less expensive :
'Hotel Washington (Pl.l; B, C, 4), Lung' Arno 6; "Hotel de Russie,
Piazza Manin 2 (PI. B, 3), R. from 21/2, D. 41/2. L. V2, A. 3/4, pens, from
8 fr. — In the new Quarter near the Cascine: Universo (PL d; B, 2),
Corso Vitt. Emanuele ; *Vittoeia (PI. k; A, 2), Lung' Arno Nuovo 44;
Corona dItalia (also a pension). Via Palestro (PI. B, 3, 2), well spoken
of; Anglo-American (PI. t; B, 2), Via Garibaldi 7; Corona d'Inghil-
terka, Via Solferino 8 (PL B, 2), pension 8-10 fr.; Citta di Monaco {Stadl
Munchen; PL ,s, B 3), Via Montebello 32, R. 2-21/2, B. IV4, P. 31/2, L. 1/2, A.
'/2fr., omn. 60 c.; *Alleanza (with pension). Via Montebello 34; Hotel et
Pension de Londres, Via della Scala 48, well spoken of, R. 2, B. IV2,
dty. 2V2, D. 41/2, pens. 8fr. — In or near the Via Tornahuoni (PL C, 4) :
Hotel du Nord, Via Tornahuoni 8; Hotel de l'Europe, Piazza S. Trinita;
'Hotel-Pension Suisse (PL r), Via Tornahuoni 13, R. 2V2, L. 3/4, A. V^,
I). 4, B. l'/2, omn. Ifr.; Albeego e Pensione Inglese, Via del Sole 6;
Leone Bianco, Via Vigna Nuova, unpretending but good, pension 6-7 fr.
— Hear the Piazza della Signoria, between the Cathedral on the N. and
the Arno on the S. (PL D, 4, 5), most of them thoroughly Italian, with
trattorie, but conveniently situated: *H6tel Cavour, Via Proconsolo 5,
R. 2-31/2, L. V2, A. 1/2, dej. 2V2, table-d'hote 4, omn. 1, pens. 9fr.; Rossini,
formerly Luna (PL n; D, 4), Via Condotta; Hotel du Parlement, Via dei
Lconi 14, at the back of the Palazzo Vecchio; Porta Rossa, Via Porta
Bossa (PL C, D, 4), R. 21/2, A. V4, L- 'A, omn. 1, pension 7-8 fr. ; Albergo
DI Spagna, Via Calzajuoli 13. — Ifear S. Maria Novella and the RuiUoay-
Stalion (PL C, 3) : Minerva (PL q; C, 3), Piazza S. Maria Novella; Hotel
et Pension d'Angleterre , Via Panzani ; "'Roma (PL g ; C, 3), Piazza S.
Maria Novella 7, I). 4>/2 fr. ; "CittA di Milano (PL i ; D, 3), Via Cerretani
12, patronised by EnglLsh visitors, R. 2'/?-3, L. 2/4, D. 472 fr.; Albergo
Bonciani, Via Panzani 23, pens. 7fr.

Pensions (generally good). On the right bank of the Arno : Miss Earle,
Palazzo Corsi, Via Tornahuoni, pens. 12fr., in winter only; BIad. Rochat,
Via dei Fossi 16, 2nd floor, pens. 8fr., well spoken of; Rodolfo, Via della
Scala 2, pens. 7fr. ; Girard, Via Montebello 5, pens. 6-7 fr.; Pagliai, Via
Palestro 6, first floor, also furnished rooms; Mad. Brunnoro, Piazza del
DuoiTio 35, 2nd floor, pens. 6fr., also rooms; Pera {Pension Belvedere),
Via Alfani 39, pens. 6-7 fr., well spoken of; LucciiEsi, Corso dei Tintori 41
and Lung' Arno alle Grazie 16, pens. 6-8 fr., highly spoken of ; Mad. Paoli,
Lung' Arno della Zecca 12; Mad. Jennings, Lung' Arno <ille Grazie 4 and
Corso dei Tintori 65; Baccioni, Via S. Paolo 4, third floor, near the
Piazza dell' Indipendenza; Chapman, Via Pandolfini 21. — On (he left bank
of the Arno: Molini-Barbensi, Lung' Arno Guicciardini 15, pens. 8-lOfr. ;
Mad. Benoit, Lung' Arno Serristori 17, pens. 8fr. ; Mad. Giosti, Piazza
Soderini 1, pens. 8fr. ; Mad. Laurent, Via del Presto 11 (near S. Spirito),
pens. 5-6 fr. (also without board), well spoken of.

Furnished Apartments. Mad. Boronowskt, Casa Guidi, Piazza S.
Felice; Fraulein Dohler, Via S. Paolo 4, near the Piazza dell' Indi-
pendenza; Casa Nardini, Borgo SS. Apostoli 17, 2nd floor, unpretending,
frefiuentcd by artists and savants. Lodgings to let are generally indicated
by a placard, and may also be found by .ipplication to a house-agent;
but rooms are .sometimes difficult to procure in winter, which is the season
at Florence. The charges depend of course on the situation. Two fur-
nished rooms cost on an average 50-60 fr. per month , in .summer 40-
50 fr. ; attendance about 5 fr. The pleasantest situation in winter is the
sunny side of the hvng'' Arno. The other quarters of the town on the right
side of the Arno (environs of the Cathedral, Via dei Cerretani , Piazza S.
Maria Novella, Via Cavoirr,, Piazza deW liidipi lulciiza, etc.), as well as the
Piazza Pitii on the left side, may also bo iiK'nliouod as healthy and plea-
sant situations. The qxiarter of the town on the left bank of the Arno,
especially below the Porta S. Frediano, is considered less healthy. In
winter it is most important to secure rooms with a southern aspect, which

Cahs. FLORENCE. 49. Route. 343

is essential to health and comfort in Italy, where brilliant sunshine so
often contrasts with bitterly cold winds. The Lung' Arno is almost
deserted in summer on account of the exhalations and the mosquitoes
which infest it, and a N. aspect is then preferred (comp. p. 347 and p. xviii).

The Water at Florence is bad , and should not be drunk unless
boiled or mixed with wine. The best soda-water is manufactured at
Borgo S. Croce 7. — Andreas Mucke , a good valet-de-place, may be en-
quired for at the Hotel de la Ville.

Restaurants, most frequented at the dinner-hour, 5-7 o'clock,
generally closed after 8 o'clock (luncheon, see below): "Doney ti- Nipoti,
Via Tornabuoni 16, dear (dinner till 6 p.m. only, 7fr.); 'Oilli & Letta.,
Piazza Signoria, see below ; Cafi d'' Italia, Piazza S. Maria Maggiore, Via
Cerretani. — Tkattorie in the Italian style: "La Toscana, Via Calza-
juoli; '^Rossini (formerly Luna; PI. n). Via Condotta, see p. 342; Patria,
Stella, 'Etruria, all in the Via Calzajuoli, with a few unpretending
rooms to let; "Bonciani, Via Panzani 23 (p. 342), and in the Viale dei
Colli (p. 416; beautiful view); "Antiche Carrozze, Borgo SS. Apostoli,
near the Ponte Vecchio, and 'Leone Bianco (see p. 342) , D. at 5 o'clock,
both unpretending; Birreria Cornelia, with restaurant; Porta Rossa, Via
Porta Rossa; Bottegone, Via Martelli 2, near the Baptistery. — Dinners a la
carte (2-4 fr., bread 10, wine 50-80c.) are more in vogue than tables d'hote.

Cafes, less inviting than in many other Italian towns, a few only with
seats in the open air: ''Doney (best coffee, no newspapers), see above;
Cafi d'' Italia, Piazza S. M. Maggiore, Via Cerretani ; "Etruria, Via Calza-
juoli ; Flora, Via del Proconsolo ; Bottegone and Piccolo Elvetico, in the
Piazza del Duomo ; Ferriiccio and Wital, both Via Por S. Maria, N. of
the Ponte Vecchio. Cup of coffee 15-20c., ice 30c., light Florence beer
25c. per half-bottle, beefsteak for dejeuner 75 c. - Ifr., etc. — Visitors to the
cafes are frequently importuned by hawkers of photographs , etc. , who
often sell their wares at one-third or one-half of the price at first de-
manded , and by the well known '■FioraJe\ or flower-girls.

Co-af ectionera ( Confetturerie). "Gilli, Via Calzajuoli 10, and Via Cerre-
tani, also excellent white bread; *Castelmur, Stuppani, both in the Via
Calzajuoli; 'Doney, 'Giacosa, both in the Via Tornabuoni.

Wines. Good Italian at MellinVs, Via Calzajuoli 11; at the Fiaschel-
ieria, next door to the Cafe Bottegone, at the beginning of the Via Ca-
vour; Fiaschetteria Michelangelo, Via del Presto, near Dante's house.
A 'fiasco', a straw-covered flask, usually holding three ordinary bottles
(table-wine l'/2-2 fr. per fiasco), is generally ordered, but only the quantity
consumed is paid for. The best Tuscan wines are Chianti, Montepulciano, etc.

Beer. The Birrerie are also restaurants : ~Gilli d- Letta (also coffee
and wine-house), in the Piazza della Signoria, Gratz beer 30c. per glass;
Birreria Cornelio, with garden. Piazza de' Buoni, at the back of the
baptistery, music in the evenings, much frequented; Rest, et Brasserie des
Strangers, Piazza Manin, near the Hotel de Russie; Birreria di Monaco,
Porta Rossa 11 and Via delle Termc 14; Weiss & Mayer, Via Maggio
(brewery), in summer only.

Tobacco. The Spaccio Normale (or government shop), where imported
cigars are also sold, is at Via Tornabuoni 16, next door to Doney's.

Cabs are stationed in the Piazza S. Trinita, Piazza della Signoria,
near the cathedral, etc. The 'tariffa', which each driver is bound to
carry, is the same for one-horse and two-horse carriages. The night-fares
in summer are from 9 p.m. to 5 a.m., in winter from 7 p.m.
to 6 a.m.
Within, and including the New Boulevards ( Viale ; p. 351),

per drive

Within the Ointa Daziaria (line of municipal imposts), for

the first 1/2 hr

, each additional V2 hr

Outside the town, fir^ 1/2 hr

, each additional V2 hr

Each box 50, travelling bag 25 c.

Day

Night

-80

1. 30

1. 30
-70
2 —
1 —

1. 60
1 —

2. 30
1. 20

344 Route 49. FLORENCE. Baths.

Omnibuses from the Piazza della Signoria, some also from the Piazza del
Duomo , to all the gates of the city 10 c, on Sundays and holidays 15 c.

Facchini Pubblici, or Commissioiinaires, 20 c. per errand, if taking more
than 1/4 hr. 40c., per hr. 70c.

Consulates. American (Col. Schuyler Crosby), Borgognissanti \1; English
(Sig. ColnaghiJ, ViaTornabuonil4; German (Dr. Hoffmann), Via Lamarmora.

Post Office in the Uffizi, open daily from 8 a.m. to 10 p.m. (branch-
offices at the railway station and in the Via Romana, adjoining the
Specola, for letters only). — Telegraph Office in the Palazzo Riccardi,
Via dei Ginori 2. Branch office, Borgognissanti 15 (10-4).

Physicians (hour of consultation generally 2-3) : Dr. Wilson., Via Torna-
buoni 9; Dr. Young., Lung' Arno Nuovo 24; Dr. Dods, Corso Vitt. Ema-
nuele 4; Dr. Forri's/. (American); Dr. Dvffy, Via Rondinelli 10; Dr. Da-
vidson (homceopathist), Via della Scala 2; Dr. v. Coelln, Via del Sole 14,
2nd floor; Dr. Bergeesi, Via de' Serragli 3; Dr. Levier, Via S. Frediano 16;
Madame Ernestina Paper, Dr., Viale Principessa Margherita 52. — Oculist:
Dr. Metier, Piazza Pitti 11. — Dentists: Dunn, Piazza S. Maria Novella;
Slayton, Lung' Arno Nuovo ; Campani, Piazza della Signoria. — Protestant
Hospital (Maison de Santi) in the Villa Betania, outside the Porta Romana,
corner of the Viale del Poggio Imperiale and the Via Torricelli; phy-
sician, Dr. Bergeest (see above).

Chemists. English: Roberts, Via Tornabuoni 17 ; also. Piazza Manin 2 ;
Groves, Borgo Ognissanti 15. German : Janssen, Via dei Fossi 10 (mineral
water depot ; homoeopathic dispensary). — Nurses may be engaged through
the chemists. — Articles made of Pine-fibre, used as a remedy for gout,
rheumatism, etc., at C. F. 3fei/er''s, Piazza S. Maria IJovella 22.

Baths. Peppini , Via SS. Apostoli Uo. 16, near S. Trinita; Pnpini,
Via Vigna Nuova 19, and Via di Parione 28; also in the Corso Vitt.
Emanuele 17b, at the back of the Palazzo Corsini, and Via Maggio 30.

W. C. (10 c): Vicolo della Seta (S.W. comer of the Mercato Nuovo),
Via Calzajuoli, Borgo Ognissanti ; on the Viale dei Colli, in the Piazzalc
Michelangelo, and near the Tivoli, see p. 416.

Booksellers. Goodban, Via Tornabuoni 9, English , German, French,
and Italian books, also photographs and engravings ; Bocca, Via Cerretani ;
Bettini, Via Tornabuoni ; Loescher, Via Tornabuoni 20; Flor & Findel, Lung'
Arno Acciajoli 24, also photographs and engravings. — Music and pianos
may be hired of Brizzi <t Nicolai, Via Cerretani; Ducci, Piazza Antinori.

Reading Room. '■' Vieusseux, Palazzo Ferroni, Via Tornabuoni 2, with
a circulating library, open 8 a.m. to 10 p.m., admission 50 c, per week 3,
per month 7, quarter 14 fr.; Circolo Filologico in the Palazzo Ferroni (visit-
ors to which must subscribe for at least si-x months).

Circulating Libraries. BrecJcer, Via Maggio 17, English, Italian, Ger-
man , and French books ; Vanni, Via degli Strozzi 2, Italian and French
books ; Vieusseux, see above.

Photographs. Alinari , Via Nazionalo 8, and Via Tornabuoni; Brogi,*
Via Tornabuoni 1 ; Brecker, agent for Sommer's photographs. Via Maggio
15; Cole, Via della Vigna Nuova 17; etc. (comp. booksellers).

Shops. Alabaster & Marble: J?a2Ja«//, Lung' Arno Corsini; Becttcci,
Via dei Fossi; Mannaioni , Lung' Arno Guicciardini, also in the Via
dc' Fossi. — Galvanoplastic Casts: G. Pellas, Via Jacopo da Diac-
ceto 10. — Mosaics : Betti, Lung' Arno Nuovo ; Fratelli Montelatici, Lung'
Arno Corsini, and in the shops on the Ponte Vecchio. _— Picture
Framers (comparatively cheap ; the fine frames in the galleries are used
as patterns), in the Via dc' Fossi. — Straw Hats : Nannucci, Taddei, both
in the Via Porta Rossa. — Millinery : Emilia Bossi, Via Rondinelli ; Fierli,
Via Tornabuoni; Miss Baker, Via dei Fossi 4. — Art Dealers: Ilaut-
mann <{■ Metzger, Via della Scala 18, old and modern pictures, sculptures,
carved furniture, etc.

Artists. Painters: Boecklin (Gorman), ViaMugnone9; CassioU, Piazza
Pinti; Cav. Gordigiani, Viale Principe Kugenio 20; Prof. Vssi, Via Rica-
soli 54; Vinca, Viale Princ. Eugenio 18; Cav. Cise,iH, Via delle Belle
Donne 16; Conti, Via Romana 8. — Sculptors: Prof. Fedi, Via de' Ser-
ragli 99; Pro/. FanlacchioUi, Via Panicalc 39; Hildebrand (German), in

Diary. FLORENCE. 49. Route. 345

the monastery of S. Francesco di Paola (p. 419); Ball (English), outside
the Porta Romana.

Goods-Agents. R. KUntzel & Co. (German), Via dell' Orivolo 43; Bon-
cinelli, near Or San Michele, and others.

Bankers. Du Fresne, Piazza S. Firenze, Pal. Gondi (p. 376), 1st floor;
French d- Co., Via Tornabuoni; FenH & Co.., Piazza della Signoria4; Has-
kard & Son, Piazza dell' Annunziata, Pal. Antinori; Maquay & Hooker, Via
Tornabuoni 5; Wagniere d- Co., Via Martelli. — Money-changer: Fioravanti,
Via Cerretani 5.

Schools. Girls : Institution of the German Protestant sisters of Kaisers-
werth. — Boys : Peres de Famille , Via d'Ardiglione. — Academy of Art
for ladies : Mile. Fries , Villa Pellegrina, Lungo il Mugnone , within the
Porta S. Gallo. — Teachers of music: Cav. Kraiiss , Via Cerretani 10
(possesses an extensive collection of musical instruments, which may be
inspected on Sundays, 1-3); Del Bene, Via Maggio 3. — Teachers of Italian
may be enquired for at the chemists', or at the booksellers'.

English Church, Via Lamarmora, behind S. Marco, and Via Maggio 18.

— Presbyterian Service, Lung' Arno Guicciardini 11, services on Sundays
at 11 a.m. and 3 p.m. — American Union Church, Via dei Serragli. —

Waldensian Service (p. 66), on Sundays at 11 a.m. in the Palazzo Salviati,
Via dei Serragli.

Theatres (comp. Introd^ p. xxi). 'Delia Pergola (PI. 104; E, 4), erected
in 1638, remodelled in 1857, Via della Pergola 12, for operas and ballet,
seats for upwards ot 2000 pers., representations during a few months only
in the year, adm. 3fr. ; "Pagliano or Cheruhini (PI. 103; E, 5), Via Ghi-
bellina 81, adm. Ifr. ; Niccolini (PI. 101; D, 4), Italian and French comedy,
Via Ricasoli 8; Salvini, generally Frencli comedy. Via dei Neri (Logge
del Grano); Nazionale (PI. 100; D, 4), Via dei Cerchi; Alfieri (PI. 97; E, 5),
Via Pietra Plana; Rossini (PI. 98; C, 4), and several others. — Open-air
Theatres: Goldoni (PI. 99; B, 5); Politeama (PI. 105; B, 2), Corso Vitt.
Emanuele, near the Cascine, operas, ballet, farces, and sometimes a circus.

Popular Festivals. Saturday before Faster. 'Lo Scoppio del Carro',
a chariot laden with fireworks, is driven to the front of the cathedral,
and its contents ignited by a dove ('La Colombina'), which descends from
the high altar along a string. The course of the 'dove', which is made
to return to the altar, is watched with great interest by the thousands of
country people assembled in the piazza, as its regularity or irregularity
is supposed to presage a good or a bad harvest respectively. The remaining
fireworks are let off at the Canto de' Pazzi. — The celebrations at the
other ecclesiastical festivals are now confined to the interior of the churches.

— At the Fe.':ta dello Statuto, which takes place on the first Sunday in
June, there is a parade in the Cascine and an illumination after dark. —
The Festival of St. John on 24th June, which was discontinued when
Florence became the capital of Italy, has been recently again observed
by fireworks, etc. — Giuoco di Pallone (p. 287), outside the Porta S. Gallo;
adm. 20c. -Ifr.

Diary. Ch-iirches generally open the whole day, except from 12J/2 to 2
or 3 p.m. — Collections belonging to government are closed on the last
Sunday of each month. — Admission to the other sights, except on the public
holidays, as follows (see also the newspapers, and comp. Introd., p. xx): —

~Accademia delle Belle Arti , daily, 9-3, admission Ifr., Sun. (10-3),
and from April to November on Thurs. also gratis (see p. 387).

Biblioteca Laurenziana, daily, exc. Sun. and holidays, 9-3 , vacation
from 1st Oct. to 10th Nov. (p. 396; students may procure books and MSS.
during the vacation on application to the directors of the Biblioteca
Nazionale).

Bibl. Marwcelliana, daily, exc. Sun., 10-2 (p. 393).

Bibl. Nazionale, daily, exc. Sun. and festivals, 9-4 (p. 368).

Bibl. Riccardiana, daily, exc. Sun., 9-2; vacation from 1st Oct. to
10th Nov. (p. 393).

*Boboli Garden, open to the public on Sun. and Thurs. afternoons (p. 413).

Exhibitions of Art at the Societa Artistica, Viale Principe Eugenio, near
the Protestant cemetery (PI. G,4).

346 Route 49. FLORENCE. Situation.

•Qal. Buonarroti., Mon., .and Thurs., 9-3 (p. 383).

Gal. Corsini, Tues., Thurs., and Sat., 10-3 (p. 399).
"^Gal. Pitti, Sun. and from April to Nov. on Thurs. also, 10-3, gratis;
on other days, 9-3, adm. Ifr. (p. 403).

■'^Gal. degli Uffizi, Sun., and from April to Nov. on Thurs. also, 10-3,
gratis ; on other days, 9-3, adm. 1 fr. (p. 354).

-5. Lorenzo, new sacristy and chapel of the princes, dail}', 9-3 (Sun.
10, Mon. 12-3), pp. 394, 395.

S. Maria de' Pazzi (Perugino's fresco), Mon. and Thurs. 12-4 (p. 375).

Museum, Egyptian and Etruscan, daily, 9-3, adm. Ifr.; Sun. gratis
(p. 401).

"Museo di S. Marco, daily, 10-4; on Sun. gratis, at other times Ifr.
(p. 386).

■Museo Nazionale, daily 10-4, Ifr., on Sun. gratis (p. 376).

Museo di Sloria Natiirale , Tues., Thurs., and Sat., 10-4; strangers
admitted daily on application (p. 414).

Ospedale S. Maria Nuova (pictures), daily, 9-3, Sun. 10-2 (p. 375).

Chief Attractions : Piazza della SignoHa with the Palazzo Vecchio and
the Loggia dei Lanzi (pp. 351,352): Galleria degli Uffizi (p. 354); Piazza
del Duomo with the Baptistery and the Cathedral (p. 370) ; the churches of
S. Croce (p. 380), S. Lorenzo (p. 394), S. Maria Novella (p. 396), S. Marco
and the monastery (p. 386), jS. Annunziata (p. 384), S. Spirito (p. 402);
then the Pal. Pitti with the picture-gallery (p. 403) and the Boboli Garden
(p. 413); the Accademia (p. 387); the National Museum (p. 376); the Views
from S. Miniato (p. 417) and the Viale dei Colli (p. 416), from Bella
Sguardo (p. 419), and from the heights of Fiesole (p. 421). — A stay of
4-6 days will not suffice for more than a hasty glimpse at the sights of
Florence.

Florence, formerly the capital of the Grand Duchy of Tuscany,
in 1865-70 that of the Kingdom of Italy, and now that of the
province of its own name, ranks with Rome, Naples, and Venice
as one of the most attractive towns in Italy. While in ancient
times Rome was the grand centre of Italian development, Florence
has since the middle ages superseded it as the focus of intellectual
life. The modern Italian language and literattire have emanated
chiefly from Florence , and the fine arts also attained the zenith of
their glory here. An amazing profusion of treasures of art, such as
jio other locality possesses within so narrow limits, reminiscences
of a history which has influenced the whole of Europe, perpetuated
by numerous and imposing monuments, and lastly the delightful
environs of the city comhine to render Florence one of the most
interesting and attractive places in the world.

'Who can describe the enchanting view of this art-city of Tuscany
and the world, Florence, with its surrounding gardens? who paint the
distant horizon, from Fiesole smiling .at us with its fair towers, to the
bhie ridge of the Ijucchese Mountains standing out against the golden biick-
ground of the western sky? Here everything betr-ays the work of gen-
eration after generation of ingenious men. Like a water-lily rising on
the mirror of the lake, so rests on this lovely ground the still more lovely
Florence, with its everlasting works, and its inexhaustible riches. From
the bold airy tower of the palace, rising like a slender mast, to Brunel-
leschi's wondrous dome of the Cathedral, from the old house of the Spini
to the Pitti Palace, the most imposing the world has ever seen, from the
garden of the Franciscan convent to the beautiful environs of the Cascine,
all .are full of incomparable grace. Kach street of Florence cont.ains a world
of art; the walls of the city are the calyx containing the fairest flower.^
of the human mind; — and this is but the richest gem in the diadem
with which the Italian people have adorned the earth.' (Leo).

History. FLORENCE. 49. Route. 347

Florence, Italian Firenze, formerly Fiorenza, from the Latin
Florentia, justly entitled 'la bella', is situated in 43° 46' N. lati-
tude, and 11" 15' E. longitude, on totli banks of the Arno, an in-
significant river except in rainy weather, in a charming valley of
moderate width , picturesquely enclosed by the spurs of the Apen-
nines, the highest of which (^Monte Morello, about 3000 ft.) rises to
the N. On the S. the heights rise more immediately from the river,
on the N. they are 3-4 M. distant, while towards the N.W., in the
direction ofPrato andPistoja, the valley expands considerably. The
sudden transitions of temperature which frequently occur here are
trying to persons in delicate health. The pleasantest months are
April, May, and the first half of June, September, October, and No-
vember. In the depth of winter and the early spring bitterly cold
winds often prevail , while in July and August the heat is very op-
pressive. On the whole, however, Florence is considered a healthy
place.

In 1864, when Florence supplanted Turin as the capital of
Italy, the enterprise of the citizens received a powerful stimulus,
as was shown, for instance, in the rapid extension of its precincts ;
but it is well known that financial ruin was the price paid for
the short-lived honour. As early as the 15th cent. Florence con-
tained 90,000 inhab., in 1859 about 112,000, and now 123,000
(with the suburbs 169,300). The Florentines have ever been noted
for the vigour of their reasoning powers and for their pre-eminence
in artistic talent ; and even at the present day their superiority over
the Genoese and the inhabitants of other towns of Lombardy is ap-
parent from their manners and their dress.

History. Florence does not lay claim to very great antiquity. It was
probably founded by the Romans in the first century B.C. , under Sulla,
and, as ancient records and some scanty ruins indicate , must at an early
period have attained to considerable prosperity , owing to its highly
favourable situation. The town was devastated by the incursions of the
barbarian hordes during the dark ages, but revived about the beginning
of the 11th century. In 1010 the Florentines conquered the ancient town
of Fiesole, aided the Pisans in their contests with Lucca and Genoa, and
took an active part in the feud which broke out about this period be-
tween the Guelphs and Gliibellines, the town generally supporting the
cause of the pope against the imperial party. The most powerful families
in the town, such as the Buondelmonli , were on the side of the Guelphs,
in opposition to whom the Uberti for a brief period held the supremacy
under Emperor Frederick II. As in consequence of these conflicts the
sway of the nobility proved detrimental to the interests of the city, the
people in 1250 organised a kind of national guard of their own, commanded
by a 'Capitano del Popolo\ About the same time (1552) was first coined the
golden Florin, which soon became a general standard of value, and marks
the leading position taken by Florence in the commerce of Europe. The
seven greater Arts, or guilds, among which the Wool-weavers, Cloth-
dealers, Silk-workers, and Money-changers were the most important, soon
made their right to a share in the government unequivocal , and in 1282
the chief e.xecutive power was entrusted to their Priori.^ or presidents. The
nobles were held in check by strict regulations , the execution nf which
was committed to the Gonfaloniere della Giustizia, who after 1300 became
the president of the Signoria (or Priori). The party struggles now again
burst forth, under the new names of the Whites and the Blacks; the Guelphs

348 Route 49. FLORENCE. History.

(Neri) were eventually victorious, and many of the Bianchi, among
whom was the poet Dante Alighieri , were banished. In the meantime
various attempts had been made to secure peace and order by appointing
a foreign prince as lord of the city. Walter of Brienne, Duke of Athens.,
the last of these governors , abolished the constitution by force in 1342,
but in the following year he was expelled by the people. The Ciompi,
or lower classes , were now bent upon securing a share in the govern-
ment of the city, and a turbulent and lawless period ensued, during which
the power of the wealthy commercial family of the Iledici, who espoused
the popular side, gradually developed itself (see the Genealogy below).

The founder of the Medici dynasty was Giovanni de' Medici (d.
1423). His son Cosimo was overthrown by the Albizzi in 1433, but returned
after an exile of one year, and resumed the reins of government with
almost princely magnificence. He employed his wealth liberally in the
advancement of art and science, he was the patron of Brunellesco, Dona-
tello, Michelozzo, Blasaccio, and Lippi, and he founded the Platonic Aca-
demy and the Medici Library. Towards the close of his life he was not
undeservedly surnamed pater patriae by the Florentines. He was succeeded
by his son Pietro in 14(>4, and in 1469 by his grandson Lorenzo, surnamed
II Magnijico , who , as a statesman , poet , and patron of art and science,
attained a very high reputation. Florence now became the great centre of
the Renaissance , the object of which was to revive the poetry , the elo-
quence, and the art and science of antiquity. Contemporaneously with the
most eminent artists the brilliant court of the Medici was graced by the
earliest of modern philologists. The conspiracy of the Pazzi (1478), to which
Lorenzo's brother Giuliano fell a victim , did not avail to undermine the
power of this ruler, but brought the bloody revenge of the people on
his opponents. Lorenzo knew both how to defend himself against ex-
ternal dangers by prudent alliances (with Venice and Milan) , and to se-
cure his position at home by lavish expenditure and a magnificent style
of living, which, however, was partly maintained by the public treasury.
He died at Careggi on Ap. 8th, 1492, at the age of 43 years, an absolute
prince in all but the name.

Scarcely nine months after his death the Florentine love of liberty

Genealogy of the Medici.
Oiovannt d'Averardo, 1360-1429.
m. Piccarda Bueri.

(1.) Cosimo, Pater Patriw, 1389-14647 (2.) Lorenzo, 1395-1440. '

m. Contessina de' Bardi,d. 1473. m. Ginevra Cavalcanti;

progenitors of the later grand-
ducal line.

(1.) Piero, 1416-69. (2.) Giovanni, d. 1463. (3.) Carlo (natural son),'

m. Lua-ezia Tornabuoni, A. 1482. d. 1492.

(1.) Lorenzo il Magnijico, iiid-&2. (2.) (JmWano, 1453-78, whose (S.) Bianca. '

m. Clarice Orsini, d. 1488. son Giulio (1478-1534) (A.) Nannina.

became pope as Cle- (5.) Maria.
ment Vll. in 1523.

(1.) Piero , 1471- (2.) Giovanni (1475- (3.) Giuliano, 1479-1516, (4.) Lvcrezia.
1503. 1521), who be- Due de Ncmnurs,_ (5.) Luisa.

m. Alfonsina came pope as ra.FilibertaofSa- I (G.) Maddalena.

Oj'smi, d. 1520. Leo X. in 1513. voy. \ (1.) Contessina.

(1.) Lorenzo, 1492-1519, Duke of (2.) Clarice'. I /;>;)o/i('o"(natural son), "
Urliini). 111. Madeleine de la I d. 1535 as Cardinal.

Tour d\Uiverrjnr, d. 1510. |

(1.) Caterina, Queen of France, (2.) Alessandro (natxiTal son), first Duke
d. 1589. of Florence, d. 1537.

[ History. FLORENCE. 49. Route. 349

expelled Ms feeble son Piero, with his brothers Giovanni and OiuUano.
In 1494 Charles VIII. of France occupied Florence on his campaign
against Naples. On the king's departure Hieronymus Savonarola , the
celebrated prior of S. Marco, founded his theocratic republic at Florence,
but his career was terminated in 1498 by his death at the stake. The re-
public maintained its freedom under the Gonfaloniere Pietro Soderini till
1512, but in that year the party of the Medici regained the upper hand
and recalled the brothers OiuUano and Giovanni. The former soon resigned
his authority, the latter became pope, and they were followed by Lorenzo.,
son of Pietro II. and afterwards Duke of Urbino (d. 1519), OiuUo., the son
of the Giuliano who was murdered in 1478 (elected pope in 1523) , and
Alessandro, a natural son of the last-named Lorenzo. The family was
again banished in 1527, but Emp. Charles V., who had married his nat-
ural daughter to Alessandro, attacked the town and took it in 1530 after
a siege of eleven months , during which Michael Angelo , as engineer on
the side of the republic , and the brave partisan Ferruccio greatly distin-
guished themselves. The emperor then appointed Alessandro hereditary
sovereign of Florence. The assassination of the latter, perpetrated by
his own cousin Lorenzo, 7th Jan., 1537, did not conduce to the re-establish-
ment of the republic. He was succeeded by Cosimo I. (1536-64), who en-
tirely suppressed all political liberty in the city, but to some extent re-
vived the fame of the Medici by his liberal patronage of art of every
kind. (He was the founder of the Accademia delle Belle Arti.) Modern
history, see p. 316.

Art and Science. The proud position occupied by Florence in the
history of art and science was first established by Dante Aljghieri, born
here in 1265 , author of the 'Divine Comedy', and the great founder of
the modern Italian language. In 1302 he was banished with his party,
and in 1321 died at Ravenna. Giovanni Boccaccio , the first expounder of
the illustrious Dante, and celebrated for his 'Decamerone', which served
as a model for the 'Canterbury Tales' of Chaucer, also lived at Florence.
Florence, too, was the chief cradle of the school of the Humanists (15th
cent.), who aimed at a universal and harmonious development of the per-
sonal character, and whose contemplative life was far exalted above
every-day realities. This was the home of Saluiaio, Leonardo Bruni, and
Marsuppiin., the infidel, whose firmly moulded characters recall the per-
sonages of antiquity; it was here that the sources of classic literature were
re-discovered by Niccolb de'' JViccoli, Traversari, and other enthusiastic col-
lectors of books; it was here that the Platonic Academy developed the
study of the antique into a species of religious worship, and most of the
humanists, including Ficino, Poggio, Landini, and Pico delta Mirandola,
who resided here for longer or shorter periods, enjoyed promotion and
the highest distinction at Florence. Even after the decline of 'humanism'
Florence continued to surpass the rest of Italy in intellectual culture, as
the names of Macchiavelli, Varchi, Guicciardini, and Galileo testify.

In the development of the Fitte Arts Florence has played so im-
portant a part, that her art history is in many respects nearly coincident
with that of the whole of Italy. We therefore refer the reader to our
prefatory article on the subject, and shall now merely direct his atten-
tion to those points which more specially concern Florence. In the 13th
cent., when frequent changes of the constitution, and constantly recur-
ring dissensions of factions, began to take place, and when private citi-
zens for the first time manifested an interest in public life, a general
taste for art gradually sprang up at Florence. With characteristic pride
the Florentines proceeded to erect their cathedral, which was begun by
Arnol/o del Canibio (1240-1311), and in the form of their Palazzo Vecchio,
the restless aspect of their political life is distinctly reflected. The la-
bours of Cimabue (1240? -1302?), and particularly those of Giotto (1276
-1337) at length entitled Florence to be regarded as the headquarters of
the Italian painting of the 14th cent., while the journeys undertaken by
Giotto from Padua to Naples were the means of rendering his style
predominant throughout the peninsula. Among Giotto's most distin-
guished pupils we may mention Taddeo and Agnolo Oaddi , A7idrea di

350 Route 49. FLORENCE. History.

done (Orgagna, or Orcagna), who was also noted as an architect, Spi-
nello Aretino, Oiottino, and Slefcmo. After this school had flourished for
nearlv a century, the Renaissance began to dawn in the 3rd decade of
the 15th century. While Brunelleschi (1379-1416) had adhered to the nation-
al traditions in his palatial architecture (Palazzo Pitti) , he derived
numerous suggestions for his churches from a study of the antique, par-
ticularly in the execution of details. His successors were Leo Baltista
Alberli "(1405-72) , Michelozzo (1391-1472) , Benedetto da Majano, and Cro-
naca. Stimulated by the example of the humanists, the artists of this
period aimed at versatility, and were not content to confine their labours
to one sphere of art ; so that we frequently hear of architects who were
at the same time sculptors, and sculptors and goldsmiths who were also
painters. Among the most distinguished Florentine sculptors of the Re-
naissance were L^ica delta Robbia (1400-82) , who has given his name
to the glazed reliefs in terracotta, Lorenzo Ghiberti (1378-1455), and
above all Donatello (1386-1466), who exercised a great influence on the
development of Italian sculpture, and is justly regarded as the precursor
of Michael Angelo. The energetic life and strong individuality of his
figures are such, that their deficiency in gracefulness is well nigh for-
gotten. Beside these celebrated sculptors there were many of inferior
reputation, who were fully occupied both here and at Rome in the exe-
cution of tombstones.

The pioneers of painting in the Renaissance periodj were Paolo Uccelli
(139T-1475), and Masaccio (1401-28), whose immediate successors were
Filippo Lippi, the monk (1412-69), his son Filippino Lippi (1457-1504), and
Alessandro Botticelli (1447-1510). The chief aims of the school were to
master the technical intricacies of the art, to invest each figure with
beauty, to arrange the groups harmoniously, and to cultivate a faithful
portraiture of real life. The most famous representative of the school
was Domenico Ghirlandajo (1449-94), whose chief rivals were Cosimo Ros-
selli (1430-1507), Antonio and Fiero Pollajuolo (1441-89?), and Andrea Ver-
rocchio (1435-88). In fervency of religious sentiment Fra Angelico da
Fiesole (1337-1455), by whom Benozzo Gozzoli was afterwards influenced
(p. 321), stands pre-eminent. The history of Leonardo da Vinci, Michael
Angelo Buonarroti, and Raphael, the princes of Italian art, is not per-
manently associated with Florence, but their residence in this city exer-
cised a material influence on their respective careers. Leonardo and Michael
Angelo may be regarded as belonging to Florence owing to the completion
of their studies there, and it was at Florence that Raphael supplemented
his art education, and shook off the trammels of the Umbrian school.
About 1506 the art history of Florence attained its most glorious period.
Leonardo, Michael Angelo, and Raphael were then engaged here together,
and with them were associated Lorenzo di Credi (1469-1537), a master
closely allied to Leonardo, Fra Bartolommeo (1475-1517), an intimate friend
of Raphael, and the talented colourist Andrea del Sarlo (1487-1531), while
the two last were rivalled by Alberiinelli , Franciabigio, Pontormo , and
Ridolfo Ghirlandajo. The union of the greatest masters at Rome, effected
by Julius II. and Leo X., at length detracted from the reputation of
Florence, and the despotic sway of the Medici tended to check farther
development. After the middle of the 16th cent. Florence produced no
architecture worthy of note; among the sculptors the vulgar Baccio Ban-
dinelli (1493-1560) may be mentioned solely on account of his failures as
an imitator of Michael Angelo; and the province of painting, although
cultivated with more success, now proved destitute of depth and in-
dependence. Florence was the chief headquarters of the mannerist imitators
of Michael Angelo, the most eminent of whom were Giorgio Vasari, the
well known biographer of artists (1511-74), Angelo Bronzino, and Alessandro
Allori. In the 17th cent, the principal Florentine artists were Luigi Cardi,
surnamed Oigoli, Cristofano Allori (1577-1621), Furini, and the somewhat
insipid Carlo Bold (1616-86). — The most distinguished sculptors of the
present century are Ditpri (d. 1879), FanlaccMotti , and Zocchi, and the
most eminent painters are Stefano Ussi and Cassioli.

Bridges. FLORENCE. 49. Route. 351

Florence is situated on both banks of the Arno, but by far
the greater part of the city lies on the right bank. On the latter,
to the N. of the Ponte Vecchio , at some distance from the river,
was situated the Roman town of Florentia, which however was
extended at an early period in the middle ages to the opposite
bank of the Arno. The walls of the city, which have recently been
almost entirely removed, were constructed at the same time as the
cathedral, between 1285 and 1388. The ancient Gates however
have been spared, of which the following are the most interesting:
Porta alia Croce (PL G, 5), erected in 1284, with frescoes by
Ghirlandajo; Porta S. Gallo (PL F, 2), erected in 1330, once also
adorned with frescoes by Ghirlandajo ; Porta Romana (PL A, 6),
erected in 1328 by Jacopo Orcagna ; Porta S. Frediano (PL A, 3) ;
and Porta S. Miniato (PL D, 6). The New Quarters of the
town are at the W. end, on the right bank of the Arno, extending
as far as the Cascine (p. 419), and containing the best hotels
and the residences of most of the visitors, and also to the N. and
E. of the Porta S. Gallo. The broad Viale, which under various
names encircles the town on the right bank and occupies the site
of the old fortifications, is not yet entirely completed.

Bridges. The oldest of the six bridges which connect the
banks of the Arno is the Ponte alle Grazie (PL D, 5, 6), con-
structed in 1235, the scene of the union effected between the
Guelphs and Ghibellines in 1283. The Ponte Vecchio (PL C, 5 ;
p. 403), which is said to have existed as early as the Roman period,
and was reconstructed , after its repeated demolition , by Taddeo
Gaddi in 1362, consists of three arches. The Ponte S. Trinith (PL
C, 4 ; p. 402) , was originally erected in 1252 , and rebuilt soon
after 1567 by Bartolommeo Ammanati. The Ponte alia Carraja
(PL B, C, 4), originally built in 1218, destroyed together with the
Ponte Vecchio by an inundation in 1333, and restored in 1337, was
again erected in 1559 by Ammanati by order of Cosimo I. Besides
these, two Suspension-Bridges have recently been constructed, one
at each end of the town (toll 5 c., carriages 42 c.).

The river is bordered on both sides by broad and handsome
quays, called the Lung' Arno, of which the different parts are the
Lung'' Arno Corsini, the Lung' Arno Soderini, Lung' Arno Nuovo,
etc. The busiest streets are the Via Tornabuoni (PL C, 4) and
the Via Calzajuoli (PL D, 4). Many of the other streets also take
their names from old families, the guilds, public games, trades,
and the like. The streets were first paved with stone in the second
half of the 13th century.

The *Piazza della Signoria (PL D, 4, 5), with the Palazzo
Vecchio and the Loggia dei Lanzi, once the forum of the republic,
and the scene of its popular assemblies and tumults, is still an im-
portant centre of business and pit

352 Route 49. FLOEENCE. Palazzo Vecchio.

The * Palazzo Vecchio (PI. 88), originally the seat of the
Sk/noria, the governnieiit of the republic, suhsequently the resid-
ence of Cosimo I., and now used as a town-hall, was erected in 1298
by Arnolfo del Cambio, and afterwards considerably altered by
Fioravanti, Michelozzo, Cronaca, and Vasari. The tower, 308 ft.
in height , is by Arnolfo. The original inscription over the door
'Jesus Christus Rex Florentini populi s. p. decreto electus', was
altered by Cosimo I. to 'Rex regum et Dominus dominantium'.
From 1504 down to 1873 the famous statue of David by Michael
Angela^ which is now in the Academy (p. 391), stood to the left
of the entrance. On the right is Hercules and Cacus by Michael
Angelo's rival Baccio Bandinelli (p. li). The two insignificant
statues by Bandinelli and Rossi on each side of the entrance were
used as chain-bearers.

The CoDRT, by Michelozzo (1454), contains a *Boy with a fish as a
fountain figure, by Verrocchio., and stucco decorations and frescoes (view
of towns which formerly belonged to Austria) executed under the super-
vision of Vasari. At the back are Samson and a Philistine by Rossi (the
latter being a caricature of Michael Angelo).

Interior. On the Fikst Floor is the Great Hall (Snla del Consiglio,
or dei Cinquecento)., constructed in 1495 for the Council, which had been
enlarged by Savonarola's partisans. It was to have been decorated with
frescoes from the celebrated cartoons of the 'Cavalry Skirmish' by
Leonardo, and the 'Bathing Soldiers' by Michael Angelo (1504). The walls
and ceiling are now adorned with frescoes representing scenes from the
history of the town and the Medici by Vasari, Liica Giordano, Ligozzi,
Vigoli, and Passignano, and with stucco enrichments by Donalello. The
hall was for a time used for the sittings of the Italian Chamber. To
the left of the staircase is the Sala dei Dugento (1411) , with ceiling
by Michelozzo. — On the Second Floor is the Sala de' Gigli, with beauti-
Tul door-posts in marble by Benedetto da Majano , to whom the intarsias
of Dante and Petrarch on the wings of the door are also ascribed. The
frescoes are by Domenico Ohirlandajo (?) or by Sebast. Mainardi. The
Sala d'Udienza contains frescoes by SalviatL Then the Cappella de'
Priori S. Bernardo, with a ceiling painted in imitation of mosaic by Rid.
Ohirlandajo, and a crucifix over the altar attributed to Oiov. da Bologna.
— Lastly, six rooms which were formerly the Private Apartments op
THE Medici (Sala di Leone X., Cosimo il Vecchio, Lorenzo il Magnifico,
Clemente VII., Giovanni delle Bande Nere, and Cosimo I.), adorned with
frescoes of the school of Vasari. The paintings in the fifth room are of
a grotesque character; the sixth contains good frescoes by Bronzino (Passage
of the Red Sea, and the Brazen Serpent). A room beyond these is adorned
with grotesque scenes by Pocetli. We now return to the Sala de' Gigli,
to the E. of which lies the Sala delle Carle Oeografiche.

At the N. corner of the edifice is a lion in marble, a modem
copy of the original in bronze by Donatella, known as II Marzocco,
and now preserved in the Museo Nazionale. To the loft is the
* Great Fountain with Neptune and Tritons, erected by Barto-
lomrneo Arnmanati under Cosimo I. (1564-75). The fountain oc-
cupies the site of the stake at which Savonarola and two other
Dominican monks wore burned on 23rd May, 1498. Adjoining it
is the Eque.Htrian Statue of Cosimo in bronze, with bas-reliefs, by
Hiovanni da Bologna, 1594. — In the S. angle of the Piazza rises
tlie —

Portico deyli Vfftzi. FLORENCE. 49. Route. 353

*Loggia dei Lanzi (PI. 53 ; D, 5), originally called Loggia dei
Signori, an open hall of the kind with which it was usual to provide
both the public and private palaces of Florence, in order that the
Inmates might enjoy the open air , or participate in public
demonstrations, without being obliged to descend to the street.
This structure was projected in 1356, having perhaps been de-
signed by Andrea di Cione (Orcagna), but was not erected till
1376. Benci di Cione Dami and Simone di Talenti are said to
have been the architects. The style of the architecture shows a
falling off from the Gothic, while the sculptures (Faith, Hope,
Charity, Temperance, and Fortitude, by Agnolo Gaddi , 1383)
exhibit an incipient leaning to the Renaissance forms. The present
name of the loggia dates from the time of the Grand Duke Cosimol.,
when his spearsmen or 'lancers' were posted here as guards.

By the Steps are two lions; that on the right is antique, the other
by Flaminio Vacca. — Under the arches, to the right, is the *Rape of the
Sabines, a group in marble executed by Giovanni da Bologna in 1583; on
the left 'Perseus with the head of the Medusa, in bronze, by Benvenuto
Cellini (1553), who also executed the statuettes and basreliefs of the
pedestal ; behind it the Rape of Polyxena, a large group in marble by
Fedi, erected in 1866. To the left of the latter, Judith and Holofernes in
bronze, by Donatello. In the centre a ^Warrior supporting a dead man,
usually supposed to represent Ajax with the body of Patroclus or Achil-
les, an ancient copy of a Greek work , brought here from Rome in 1570.
To the right of it, Hercules slaying the centaur Nessus, in marble, by
Oiov. da Bologna; by the wall at the back are six large draped female
statues, of which the third from the left represents the so-called ''Thus-
nelda, from Trajan's Forum at Rome.

To the left, behind the equestrian statue of Cosimo, mentioned
at p. 352, is the *Palazzo Uguccioni (PI. 87), erected in 1550, from
designs variously attributed to Raphael , Michael Angela, and Pal-
ladia. — On the W. side of the piazza rises the Palazzo Fenzi,
built by Landi (1871) in the early Florentine style , which has
been adopted in many of the newer edifices.

Between the Pal. Vecchio and the Loggia de' Lanzi begins the
Portico degli TJffizi (PI. 86; D, 5), erected 1560-74 by Vasari,
the niches of which were adorned with ^Marble Statues of celebrated
Tuscans in 1842-56. The names of the persons represented and of
the respective sculptors are engraved on the bases.

They are as follows, beginning on the left: Andrea Orcagna (d. 1368)5
behind it, on each side of the first door, Cosimo, '■pater patria;'' (d. 1464),
and Lorenzo HI Magnifico^ (d. 1492); then Niccolb Pisano (d. about 1280);
Giotto (d. 1337) by Dupre, 1854; Donatello (d. 1466); Leon Batt. Alberti (d.
1472); Leonardo da Vinci (d. 1519); Michael Angela (d. 1564); Dante (d.
1321); Petrarch (d. 1374); Boccaccio (d. 1375): Macchiavelli (d. 1527), by
Bartolini, 1846; Gaica'arrfini (historian, d. 1540); Amerigo Vespucci (who
gave his name to America, d. 1514) ; Galileo (d. 1642) ; Pier Antonio Micheli
(botanist, d. 1737); Franc. Redi (poet and physician, d. 1698); Paolo Mas-
cagni (physiologist, d. 1815); Andrea Cesalpino (anatomist, d. 1604); S.
Antonino (Bishop of Florence, d. 1459), by Dupre, 1854; ^ccorso (jurist, d.
1260); Guido Aretino {mMsie,\a,n, 11th cent.); &aA Benvenuto Cellini (d. 1571).
— In the external niches, towards the Arno, Francesco Ferrucci (d. 1530),
Giovanni delle Bande Neve (d. 1526), Piero Capponi (d. 1496), and Farinata
degli Uberti (d. 1264); above is Cosimo I., by Giov. da Bologna, with
Justice and Power, on the side, by Danti.

Baedekek. Italy I. 5th Edit. 23

354 Rouie 49. FLORENCE. Gal. degli Vffizi.

Opposite the first mentioned statues is the Post Office, formerly
the Mint.

Approaching from the Piazza della Signoria, we enter by the
second door to the left under this portico, and ascend by a staircase
of 126 steps to the **Galleria degli XJffizi (open on Sun., and
from April to Nov. on Thurs. also, 11-3, gratis; on other days,
9-3, admission 1 fr.). The gallery originated with the Medici col-
lections, to which numerous additions were made by the Lorraine
family, and it is now one of the best in the world, both in extent
and value. A few of the finest objects only in this vast collection
are here enumerated. Those who have time for a brief visit only
should first walk through the corridors, in order to become
acquainted with their topography, and then return to the *Tri-
buna, the gem of the whole gallery. Permission to copy is easily
obtained by addressing a written application to the directors. The
position of many of the best pictures is occasionally altered, but is
sufficiently indicated by the number of copyists clustered round
them. The names of the painters are affixed to the pictures. (Ca-
talogues at the entrance, 31/2 fr.)

The pictures in the Tribuna are the choicest in the gallery , as
their position indicates, and are therefore all worthy of careful in-
spection. These are, however, by no means the only treasures of
the collection. Thus the predelle (No. 1294) of Fra Angelica's fre-
quently copied winged picture of the Madonna and angels (No. 17)
are more interesting than the principal picture itself. Among the
Florentine works of the 15th cent, we may first mention Filippo
Lippi's Madonna and two angels (1307), and four works of Sandro
Botticelli: a round picture of the Madonna (1267 bis), the Ador-
ation of the Magi (1286), so much extolled by Vasari, and, as spe-
cimens of other subjects, his Venus (39), and his Calumniation of
Apelles (1182 J. Filippino Lippi's Madonna and saints (1268) at-
tracts attention owing to its size and clear colouring, and his Ador-
ation of the Magi (1257), with its numerous figures, is interesting
on account of the portraits it contains. The best of the early
masters was Bomenico Ghirlandajo, whose beautiful round picture
of the Adoration of the Magi (1295), and the Madonna with saints
(1297), are remarkable for the excellence of the composition, and
the harmony of colouring. The mythological works of Pier di Co-
simo (21, 28, 38, 1246) betray a taste for fantastic subjects, from
which Leonardo himself was not entirely free. A very important
work, though unfinished, is Frd Bartolommeo's Madonna enthroned
(1265), with its masterly grouping. Another very effective picture,
ivotwithstanding its unfinished condition, is Leonardo's rich com-
position of the iVdoration of the Magi (1252). The gallery also
contains the Visitation of Mary (1259), the master-piece oiAlber-
tinelli, and several pictures by Ridolfo Ghirlandajo (1275, 1277),
which show that very able works were produced during the golden

Gal. degli Vffizi. FLORENCE. 49. Route. 355

era of art even by masters of second-rate importance. Sodoma's
St. Sebastian (1279) also ranks as one of the linest creations of
Italian art. — Among the works of the other Italian Schools the
most notable are MantegnasM.a.Aonna, among the rocks (1025), and
among the numerous Venetian works Titian's Flora (626) , three
works by Oiorgione (621, 630, 631), and a number of portraits.

The collection is also rich in works of northern origin, the
better of which , in spite of the proximity of the more studied
Italian pictures, maintain their peculiar charm owing to their
depth of colouring, and their unsophisticated realism. The linest
works of Van Eyck's School are a small Madonna by Memling
(703), and an Entombment by Roger van der Weyden (795). The
Man praying (769) is either by Memling or Hugo van der Goes,
and the two portraits (749) are variously attributed to the latter
and to Petrus CristuSo Among the principal German masters,
Diirer is represented by an Adoration of the Magi (in the Tribuna),
a portrait of his father (766), two heads of Apostles (768, 777),
and an unattractive Madonna (851). Holbein's portrait of Richard
Southwell, dating from 1537 (No. 765), is an admirable work, but
the portrait of himself, which was originally a slightly coloured
charcoal drawing only, has been painted over and much altered.
The Netherlands School of the 17th cent, is also represented by
several excellent works. Among those by Rubens are a small
picture of Venus and Adonis , with a landscape by J. Brueghel
(812), the portrait of his first wife (197), and two pictures of
scenes from the life of Henry IV. (140, 147). The best of Rem-
brandt's works preserved here are the two portraits of himself
(451, 452), and a small Holy Family (922). The Dutch genre-
painters have also enriched the gallery with several important and
well preserved works , such as Ger. Doiv's Apple-woman (926),
and the Schoolmaster (786), Fr. Mieris' Charlatan (854), and the
large family portrait (981), G. Metsu's Lady and hunter (972), and
Jan Steen's Family feast (977). Among the portraits of the pain-
ters those by the Netherlands masters unquestionably occupy the
highest rank. The modern portraits of the painters placed here
show how sadly this branch of art has fallen off since the 17th
century.

First Vestibule. Busts of members of the Medici family.
Bronze statues of Mars and Silenus , the latter with the infant
Bacchus, a copy of the original at Rome. Various Roman reliefs
with representations of processions and sacrifices (almost all the
heads modern).

Second Vestibule. Two pillars with trophies in relief; busts
of Cybele and Jupiter. A horse, two *Dogs, a *Wild Boar, and a
torso of Apollo, all antiques.

E. Corridor , 178 yds. in length, adorned with mythological
ceiling-paintings by Bernardino Pocetti (1581). On the upper

23*

356 Route 49.

FLORENCE.

Gal. degli Vffizi.

part of the walls are 53 i portraits of princes and great men. On
each side are arranged antique sculptures, above which are pictures.

K'^y

'. v,El^

' Taf canal

3Taesiitrt Tosoa/tm

:U3XJU^^^

(

•

rrimc

\\«

'^'BirfzlX il J>al.JPfttv

Statue/' neLFcrtico.

l.Cosiznol.

I.LM.ATherti/
S.Zcoruarlo dw T&ir?
O.MicftdMigelo

nJ'etrvTCto

fl.i

lo^Jmcr. Vtvpurcl

W.eatiUi

ll.F.AJIIuAdO

K.fycmo.Setti/

li/ ji/iLscnffTO/

W.CcsaJfjino

iU.S AnioTono

£iLAocor>so

SS Guuloylrctaio

i.t.Ilaa-en^ Ceiiatif

Proceeding to the right from the entrance, and beginning at the
Olid, we observe the following objects.

Ancient Sculptuues in Makble : *35. Agrippina sitting ; 39.

Oal. degli Vffizi. FLORENCE. 49. Route. 357

Sarcophagus with representations from the life of a Roman (from
which Raphael horrowed the sacriflcal scene for his tapestry) ; 38.
Hercules slaying Nessus (almost entirely modern); 41, 47, *48.
Busts of Caesar (with bronze head), Augustus, and Marcus Agrippa;
49. Julia, daughter of Augustus; 52. Athlete; 62. Sarcophagus
with the Dioscuri; 71. Portrait of a child (Nero?); 74. Pompona
(head and extremities restored in the early Renaissance period) ;
75. Beautiful statue of an athlete (the 4th of those so designated),
a copy of the celebrated Doryphorus of Polycletus ; *76. Julia,
daughter of Titus ; 80. Vitellius ; 85. Vespasian ; 90. Vestal Vir-
gin with portrait features; 103. Plotina, wife of Trajan; 108. Ha-
drian. Also a collection of Roman sarcophagi : 45. Rape of Pro-
serpine ; 56. Hippolytus; 68, 72. Labours of Hercules; 95-105.
Hunt of Meleager; 80. Apollo and the Muses; etc.

Pictures: 1. Andrea Rico (d. 1105), Madonna and Child; 2.
Cirnabue (? or rather School of Giotto^, St. Cecilia ; *6. Lorenzo Mo-
naco (erroneously attributed to Oiotto\ Christ on the Mt. of Olives;
7. Giottino, Descent from the Cross ; 9. Simone di Martina and
Lippo Memmi (of Siena), Annunciation with lateral pictures (10.
S. Giulietta, 8. S. Ansano); 12. School of Pietro Lorenzetti (of
Siena), Hermit saints of the wilderness of Thebes ; 14. Agnolo
Gaddi, Annunciation with predella; 15. Tuscan School of the 15th
Cent., Coronation of the Virgin; *17. Fra Angelica da Fiesole,
Tabernacle with gold ground , on the outer leaves St. Mark and
St. Peter, in the centre St. Mark, John the Baptist, and Madonna
with the Child , surrounded by angels playing on instruments
(1483); 18. Bicci di Lorenzo, SS. Cosmas and Damianus (1429);
20. Lorenzo Monaco, Adoration of the Magi; 21. Pier di Cosimo,
Marriage of Perseus, Phineus turned into stone on looking at the
head of Medusa ; *24. Lor. di Credi, Madonna, worshipping the
Child ; (no number) Alessio Baldovinetti, Annunciation ; 27. Vec-
chietta (School of Siena), Madonna and saints ; 28. Pier di Cosimo,
Sacrifice in the temple of Zeus for the liberation of Andromeda ;
29. Paolo Vccelli, Cavalry battle (1430); 23. S. Botticelli, Ma-
donna (ill-preserved); 30. S. Botticelli (not Pollnjuolo), Portrait;
31. Baldovinetti, Madonna and saints; 32. Piera di Cosimo, Por-
trait; 34. Lorenzo di Credi (?), Portrait; 36. Lucca Signorelli,
Madonna and Child, in the background nude shepherds ; 37. Ri-
dalfa Ghirlandajo (not Raffaellino del Garbo), Madonna with Christ
and St. John ; 38. Pier di Cosimo , Liberation of Andromeda. —
39. Botticelli, Birth of Venus; a convincing proof how little the
painters of the 15th cent, had mastered the ancient ideal of form,
and of how much more strongly they were possessed with the fan-
tastic conception of the middle ages. 55. Jacopa da Empoli,
Creation of Adam ; 62. Cigoli, Magdalene ; 64. Francesco Boschi,
Call of St. Andrew.

S. Connecting Passage , with similar decorations and con-

358 Route 49. FLORENCE. Gal. degli Uffizi.

tents, among which are the following fine antiques : 125 and 127.
Sleep; 129. Sarcophagus with the fall of Phaeton ; 132. Annius
Verus; 138. Thorn- extractor; 137. Round altar with has-reliefs,
representing the Sacrifice of Iphigenia, bearing the name of Cleo-
menes; 139. Marcus Aurelius ; *141. Pedestal of a candelabrum,
the upper part Greek ; 144. Lucius Verus; 145. Venus stooping
in the bath ; 146. Nymph loosening her sandal, restored as a coun-
terpart of No. 138, and called the Venere della Spina.

W. Corridor, of the same length as that on the E., adorned
with frescoes representing the rise of art , and with portraits of
celebrated Florentines. At the entrance, 155, 156. [Statues of
Marsyas, antique , both restored (the upper part of No. 156 by
Donatello); 167. Albinus (in alabaster); 168. Caracalla; 169.
Discobolus, after Myron , erroneously restored ; 208. Satyr, freely
restored by Michael Angelo ; 365. Altered copy of the Laocoon, by
Baccio Bandinelli. In front of it (no number), Sleeping Cupid in
basalt.

Returning hence , and passing through the second door to the
left of the entrance, we next reach the octagonal —

**Tribuna , containing a magnificent and almost unparalleled
collection of masterpieces of ancient sculpture and modern paint-
ing. The hall was constructed by Bernardo Biiontalenti ; the de-
corations are by Bernardino Pocetti. In the centre are placed five
very celebrated marble sculptures : *Satyr playing on the cymbal
and pressing the scahellum with his foot; the admirable head, the
arms, and part of the feet were restored by Michael Angelo (?"). Group
of the *Wrestlers, found with that of the Children of Niobe ; the
heafls do not" belong to the original, and the lower parts of the
thighs and parts of the arms are modern. *Medici Venus, found in
the 16th cent, in the Villa of Hadrian near Tivoli, and brought to
Florence in 1680, under Cosimo HI. : this statue is now'considered
to be a work of the new Attic school in the first cent. B. C. ; the
Greek inscription on the (restored) base, a reproduction of the
original one, designates Kleomenes, son of Apollodorus of Athens,
as the master. The *Grinder, supposed to be a Scythian from the
group of Marsyas who is being flayed, found at Rome in the 16th
century. The *Apollino, or young Apollo, of the school of Pra.riteles.

Paintings, beginning on the left: *1131. liaphael, Pope Ju-
lius II., a replica of the original in the Pitti Palace (p. 408);
1133. A. Carracci, Pan and Bacchante ; 1135. B. Luini, The
daughter of Herodias with the head of the Baptist.

**1129. Raphael, Madonna and Child with the cardinal (small
grey bird with red crest), painted in Florence about 1507.

The 'Bladcinna del Cardinollo', the 'Madonna al Verde' at Vienna,
and Mia helle .lardinicre' in Ihe Louvre form a group nearly allied in
point of conception. To the earlier .and simpler representations of the
Madonna, in wliich Mary and her Son alone appear, the child .lohn the
Baptist has been added. This not only admits of the delineation of ad-

Gal. degli Vffizi. FLORENCE. 49. Route. 359

ditional features of child-life , but also makes possible the construction
of a regjularly arranged group. The two children, standing at the feet of
the Madonna, form a broad base for the composition , which tapers up-
wards easily and naturally to the head of the Virgin. This arrangement
first found expression within the realms of sculpture, whence it was
eagerly adopted by the Florentine painters. — Springer.

1130. Fra Bartolommeo, Job. *1127. Raphael, The young St.
John, an oft repeated subject, painted during the master's Roman
period ; the comely youth rather suggests a Dionysos than a saint.
1128. Van Dyck , Emp. Charles V. ; *112o. Giuliano Bugiardini
(d. 1554), formerly attributed to Raphael, Madonna at the well;
1126. Fra Bartolommeo , Isaiah; *1123. Sebastiano del Piombo,
Portrait, formerly called the Fornarina, and attributed to .Rapftaei ;
*1124. Franc. Francia, Portrait of Evaugelista Scappi. Over the
door: 1122. Perugino , Madonna with SS. John and Sebastian
(1493). *1120. Raphael, Female portrait, an admirable work of
his Florentine period, the hands prettily posed. *1121. Mantegna
(?, or, according to Sign. Cavalcaselle probably Costa or Buon-
signori), Elizabeth of Mantua. *1118. Correggio, Repose on the
Flight to Egypt, an early and badly preserved work of Correggio's
Ferrara period. 1119. Baroccio, Duke Francis Maria II. ofUrbino.
— *1116. Titian, Portrait of Beccadelli , papal nuncio in Venice
(1552).

'A magnificent likeness, in which the true grain of what may be
called Churchman's flesh is reproduced in a form both clear and fair but
with the slight tendency to droop which is characteristic in priests'. —

C. d- C.

*1117. Titian, Venus of Urbino (probably the Duchess Eleo-
nora), painted for Francesco della Rovere, Duke of Urbino, about
1537.

'Not after the model of a Phryne, nor yet with the thought of rea-
lizing anything more sublime than woman in her fairest aspect , did
Titian conceive this picture. Nature as he presents it here is young and
lovely, not transfigured into ineffable noblesse, but conscious and trium-
phant without loss of modesty'. — C. & C.

1414. Guercino, Sibyl' of Samos ; 1115. Van Dyck, Jean de
Montfort; 1113. Guido Reni, Madonna. *1111. Mantegna, Altar-
piece, representing the Adoration of the Magi , the Circumcision,
and the Ascension , one of the master's finest and most care-
fully executed works. *1112. A. del Sarto , Madonna with SS.
John and Francis, a masterpiece of fusion and transparent gaiety
of colour (C. <J' C). 1110. Orazio Alfani, Holy Family; 1109.
Domenichino , Cardinal Agucchia; 1107. Daniele da Volterra,
Massacre of the Innocents. *1108. Titian, Venus, with the full
and rounded form of mature -womanhood , painted about 1547.
1106. G. Lanfranchi, St. Peter; 1104. Spngnoletto , St. Jerome;
1105. Schidone, Holy Family. Over the door : 1145. Lod. Carracci,
Rebecca and Eleazar; ii^i. Giulio Romano , Madonna. *1141.
A. Dilrer, Adoration of the Magi (1504), the first important easel-
painting by this master, carefully and minutely finished , and in
good preservation.

300 Route 49. FLORENCE. Gal. degli Vffizi.

Both the aerial and the linear perspective are faulty, but the tech-
nical handling is as perfect as in Diirer's latest and finest works. The
treatment and the colouring are both in the characteristic style of the
northern school of painting. The colours are fluent but sharply defined,
laid on at first a tempera and then glazed with oil-pigments. The tone
is extraordinarily lively and clear. — This gem of German art was form-
erly in the imperial gallery at Vienna, whence it came to Florence by
exchange in the 18th century. — Thaxising^s '■J)urer\

1142. Cranach, Adam. — *1139. Michael Angela, Holy Family
an early work, painted on the commission of Angelo Doni.

The Madonna, a large-framed woman, kneels on the ground and leans
to one side, as she hands the Infant over her shoulder to her husband,
who stands behind and finishes olT the group. In the deep hollow of
the middle distance walks the sturdy little John the Baptist, who looks
merrily back at the domestic scene. Naked figures , which have no ap-
parent connection with the subject of the picture, enliven the background,
in oliedience to the custom of the 15th cent. , when the artist was ex-
pected to show his skill in perspective or his mastery of the nude on every
opportunity. — Springer.

1140. JJuftens (copy ?) , Venus and Minerva contending for a
youth; 1137. Guercino, Endymion; 1138. Cranach, Eve; *1134.
Correggio, Madonna adoring the Child, in a cheerful southern land-
scape, painted about 1520; 1136. Paolo Veronese, Holy Family.

The door to the left (when approached from the corridor) leads
from the Tribuna to the —

Tuscan School. I. Saloon: 1146. Lor. di Credi, Annuncia-
tion; 1150. Lor. di Credi, Christ appearing to Mary Magdalene ;
1152. Fra Bartolommeo , God the Father (a sketch) ; 1153. ^Int.
Pollajuolo, Contests of Hercules with Antjeus and the Lernean
hydra; 1158. S. Botticelli, Death of Holophernes; 1156. S. Botti-
celli, Judith; 1157. Portrait, 1159. Head of the Medusa, both er-
roneously attributed to Leon, da Vinci , and the latter evidently
painted from Vasari's description of Leonardo's celebrated work
(now lost); 1161. Fra Bartolommeo, Nativity and Circumcision
of Christ (about 1500); 1162. Fra AngeUco da Fiesole, Birth
of John the Baptist; 1163. Lor. di Credi, Portrait of Verrocchio ;
*1167. Fra Filippo Lippi (?) , Portrait o£ an old man (fresco);
'^■HQQ. Andrea del Sarto, Portrait; *1176. A. del Sarto, Portrait
of himself (■?), 'full of bravura in the execution'; 1178. Fra An-
gelica, Sposalizio; 1179. Filippino Lippi, St. Augustine. 1182.
Sandra Botticelli, Calumny, from the description by Lucian of a
picture of Apelles ; on the basement a reminiscence of the Centaur
family of Zeuxis. 1184. Fra Angelica, Death of Mary; 1213. ^ies-
sandro Allari, Christ on the Cross (from a drawing by Michael
Angelo); 1217. Lor. di Credi (? Perugino), Portrait of a youth;
1224. Giuliano Bugiardini (not Ghirlandajo), Madonna; 1235.
Fra Bartolommeo , Madonna and Child (unfinished); 1246. Pier
di Casimo, Perseus releasing Andromeda; 1248. Baccio Bandinelli
(the sculptor), Portrait of himself.

II. Saloon: 1250. Pier di Casimo, Conception; *1252. Leo-
nardo da Vinci, Adoration of the Magi (in part only sketched);

Oal. degli Vffizi. FLORENCE. 49. Route. 3<3 1

1254. Andrea del Sarto , St. James and two children in monks'
cowls ; 1257. Filippino Lippi, Adoration of the Magi, with portraits
of the Medici (1496). *1259. AlbertineUi, Visit of Mary to Eliza-
beth, painted in 1503, resembling Fra Bartolommeo in tone, char-
acter, and handling, and for the period technically perfect.
*1265. Fra Bartolommeo, Virgin with the tutelary saints of Flor-
ence (unfinished); 1267. Pontormo, Portrait of Cosimo de' Medici
('pater patriae'); *1267bis. S. Botticelli, Madonna and Child with
four angels; *1268. Filippino Lippi, Madonna with saints (1485);
1271. Bronzino, Christ in Hades (1552); Ridolfo del Ghirlandajo,
*1275. St. Zenobius, Bishop of Florence, resuscitating a dead
child, and *1277. Transference of the remains of St. Zenobius to
the cathedral ; 1276. Cigoli , Martyrdom of St. Stephen ; *1279.
Sodoma, St. Sebastian ; 1280. Oranacci, Madonna delle Cintola ;
1284. Pontormo, Venus (from a design by Michael Angelo).

*Hall of the Ancient Masters, *1286. S. Botticelli, Adora-
tion of the Magi, with portraits of Cosimo de' Medici, his son Gio-
vanni, and his grandson Giuliano, marked by the animation per-
vading the well-arranged groups, and the great truth and indi-
viduality of the numerous portraits (C. <$' C).

1287. Lorenzo di Credi, Mary adoring the Child ; *1288. Leonardo
da Vinci, Annunciation (an early picture of the master; heads in-
ferior to those of his later works); 1289. S. Botticelli, Madonna;
1290. Fra Angelico, Coronation of the Virgin (generally placed in
the preceding room for the use of copyists); *1291. Luca Signo-
relli , Holy Family, in a broad and forcible style. * 1294. Fra
Angelico, Predella to No. 17, Adoration of the Magi, Preaching of
St. Peter, and Martyrdom of St. Mark, three little pictures which
rank among the finest examples we possess of the Friar's painting.
*1295. Dom. Ghirlandajo, Adoration of the Magi (replica in the
Pitti Gallery, No. 358). *1297. Dom. Ghirlandajo , Madonna en-
throned , a work of the master's best period, marked by power of
distribution and perfect keeping of tone. 1298. L. Signorelli,
Predella; 1299. S. Botticelli, Virtus,

*1300. Piero delta Francesca, Portraits of Federigo di Monte-
feltro, Duke of Urbino (d. 1482), and his Duchess, Battista Sforza
(on the back triumphal processions in a landscape).

'Neither (of the portraits) are agreeable types, but nothing can exceed
the Leonardesque precision of the drawing or the softness and fusion of
the impasto'. — C. & C.

*1301. A. Pollajuolo, SS. Eustace, James, and Vincent; *1303.
S. Botticelli , Madonna ; 1305. Dom. Veneziano , Madonna and
saints; *1306. Pollajuolo, Virtus; *1307. (over the door) Fra Fi-
lippo Lippi, Madonna adoring the Child. — We retrace our steps,
pass through the Tribuna, and enter the ■ —

Venetian and Lombari) School. On the right : 1043. Massari,
Madonna ; 1058. Trevisani, Holy Family ; 1060. Tintoretto, Por-
trait; 1064. Canaletto, Palace of the Doges at Venice (badly pre-

362 Route 49. FLORENCE. Gal. degli Uffizi.

served); 1068. P. Veronese, Head as a study; 1074. Francesco
Solimena, Diana and Calisto; 1077. Canaletto, The Grand Canal
at Venice; 1078. Parmegglanino , Portrait; 1095. Marco Pal-
7ne3S(m/ of Forli, Crucifixion; 990. Albano , Venus with Cupids ;
*995. Dosso Dossi, Murder of the Innocents ; 998. Ouido Rent,
Madonna with Jesus and John ; 1000. Alessandro Turchi, Allegory
from the haptism of Giovanni Cornaro of Verona; 1002. Titian
(?, or, as Morelli thinks, an early work of Correggio), Madonna;
1003, *1005. Salvator Rosa, Landscapes ; 1007. Annibale Carracci,
Madonna; 1012. Salvator Rosa, Landscape; 1013. Luini, Ma-
donna; 1015. Paolo Veronese, Madonna (a sketch); 1019. Palma
Vecchio (?), Madonna. — *1025. Mantegna , Madonna In a rocky
landscape.

The only specimen of Mantegna's Roman period (1488-89). In this
beautiful little canvas Andrea has compelled his usually hard and rugged
pencil to great softness. — C. <i- C.

1031. Caravaggio, Head of Medusa; 1037. Andrea Schiav one
(according to Mr. Crowe, and not Palma Vecchio), Jesus at Em-
niaus; 1038. Garofalo, Annunciation.

Dutch School. On the right : *922. Rembrandt, Holy Family
(a replica in the Louvre); 928. Pieter Brueghel, Landscape; *926.
Gerard Dou, Apple-woman ; 934. Schalken, Seamstress ; 945. Dirk
van den Bergen , Landscape with cattle; 941. F. Mieris, Woman
asleep; 945. Mieris, Supper; 950. C. Netscher, Portraits of the
painter and his family; 952. Mieris, Wooing; 954. Mieris, The
drinkers; 955. Brouwer, Tavern-scene; 958. Tcrburg, Lady drink-
ing ; 964. C. Netscher, Cook ; 965. Heemskerk, Card-players ; *972.
Metsu, Lady and huntsman; *976. F. Mieris, Portrait of himself ;
*977. Jan Steen, Family feast ; *979. Rembrandt, or Philip Koninck,
Landscape; 978. Ostade, Man with lantern ; *981. F. Mieris, Por-
trait of the painter and his family (1675); *854. Mieris, Quack;
871. Paul Brill, View of a chateau; *882. Jacob van Ruysdael,
Landscape with cloudy sky ; 885. Van der Neer, Landscape ; 888.
Slingeland, Children blowing soap-bubbles; 892. P. Brueghel,
Clirist bearing the Cross ; 895. Portrait of Emp. Ferdinand I. when
a young man, master unknown; 897. Berkheyden, Cathedral of
Haarlem ; 918. O. Metsu, Lute-player.

Flemish and German Schools. I. Saloon. To the right.
*812. Rubens, Venus and Adonis, the landscape by J. Brueghel;
845. Cranach, Electors John and Frederick of Saxony ; 847. Cra-
nach, Luther and Melanchthon ; 848. Claude Lorrain, Landscape;
851. mirer. Madonna, painted in 1526; *764. B. Denner, Por-
trait; *765. Holbein tJie Younger, Richard Southwell. *766. Durer,
Portrait of his father (1490); the clever face and hands are wonder-
fully lifelike, the style astonishingly broad and vigorous.

IHirer, 768. The Apostle Philip, and 777. (farther on), St.
James the Great.

'Both pictures were painted in water-colours upon linen in 1516. The

Qal. degli Vffizi. FLORENCE. 49. Route. 363

heads are of strongly marked individuality, yet it is at the same time
evident that they are not merely studies from life, but that a due regard
has been paid to the characters to be represented'. — Thavsing's '■Diirer'.

769. Memling, Man praying; 772. Adam Elzheimer, Landscape;
*774. Claude Lorrain, Sea-piece, with the Villa Medici at Rome;
778. Memling, St, Benedict ; 780. Roger van der Weyden (?), Por-
trait; 783. Van I)yck, Madonna; 784. Wrongly ascribed to i7oZ-
hein, Zwingli; *786. G. Dou, Schoolmaster; 793. Elzheimer,
Landscape with a scene from the myth of Cupid and Psyche.

*995. Roger van der Weyden, Entombment.

This is perhaps part of the triptych which Van der Weyden painted
at Ferrara in 1449, during his visit to Italy. ' The compositicm is well
ordered, and the Saviour is one of the most successful that the master
ever painted; the colour of full body, clear, and well preserved, and
some of the heads admirable in their realism'. — ^ The Early Flemish
Painters', by Crowe and Calvalcaselle.

799. Holbein (?), Sir Thomas More ; 800. Schalcken, Girl with
a candle.

In the II. Saloon eight good pictures from the lives of SS. Pe-
ter and Paul , by Johann Schduffelin of Nuremberg. To the
right : 744. Nic. Frumenti (perhaps the German Meister Korn),
Tabernacle with the Raising of Lazarus ; 749. Petrus Cristus, Two
portraits (the portrait of the woman damaged); *751. L. Cranach,
St. George; 761. Jan Brueghel, Landscape, forming the cover of
a green drawing of the *Cruciflxion relieved with white by A.
Dwrer (1505"), with a copy in colours by J. Brueghel; 698. Van
der Goes (?), Madonna; 700. Teniers the Younger, Love-scene.
*703. Memling, Madonna; the best of Memling's pieces at Florence,
remarkable for its chastened arrangement, tasteful shape , jewel-
like finish, and glow of tone (C. ^- C). 705. Teniers the Elder,
Physician; 706. Teniers the Younger, St. Peter weeping; 710.
Adr. Staelbent, Landscape; 738. Paul Bril, St. Paul in the wil-
derness.

Fkench School. This saloon contains numerous battle-pieces
by Bourguignon, Parrocel, and Gagneraux , and a beautifully in-
laid table. To the right : 679. and 689. Portraits of the poet
Vittorio Alfleri and the Countess of Albany (b. 1763, d. at Flor-
ence 1824), by Fabre de Montpellier , with two autographs by
Alfleri on the back ; 680. Nic. Poussin, Theseus at Troezene ; 674.
Larguilliere, Rousseau; 672. Grimoux , Young pilgrim; *667.
Ciowef, Francis I. on horseback; 671. Watteau, Garden-scene; 682.
Clouet, Portrait. — Then to the left in the corridor is the —

Cabinet of the Gems (when closed, apply to one of thecusto-
dians), a saloon borne by four columns of oriental alabaster and
four of verde antico, with six cabinets containing upwards of 400
gems and precious stones, once the property of the Medici.

The 1st, 3rd, 4th, and 6th cabinets each contain two small columns
of agate and rock crystal. In the 1st cabinet on the right a vessel of
lapis lazuli; two basreliefs in gold on a ground of jaspar, by Giovanni
da Bologna. 2nd: Two goblets of onyx, with the name of Lorenzo de'

361 Route 49. FLORENCE. Oal. degli Vffizi.

Sledici ; "Casket of rock-crystal with 24 scenes from the life of Christ,
executed by Valeria Belli for Pope Clement VII. ; "Portrait of the grand-
duke Cosimo III., in Florentine mosaic, of 1619; three basreliefs in gold
on a ground of .jasper, by Oiovanni da Bologna. Crystal vase, with cover
in enamelled gold, executed for Diana of Poitiers, with her cipher and half
moons. The' glass-cases by the window contain cameos of the 17th cen-
tury. 4th : Vase of jasper with lid, on which stands the figure of a warrior
in gold adorned with diamonds. Venus and Cupid in porphyry, by Maria
da Pescia. 5th: Basrelief in gold and jewels, representing the Piazza
della Signoria, by Gasparo Mala. Fantastic vase with a 'Hercules in
massive gold upon it, by Giov. da Bologna. 6th: Vase of rock-crystal,
by Benvenuto Cellini. In the centre of the room a table with a view of
the old harbour of Leghorn in Florentine mosaic.

*Venetian School. I. Saloon. Right: 571. O lor gione (J or
Fr. Caroto), Portrait; 576. Titian, Portrait of Sansovino (?"), sadly
damaged; 583. Oiov. Bellini, PietJl (unfinished); 584. Cima da
Conegliano, Madonna; *585. Pordenone (l), Portrait; 586. Moroni,
Portrait; 589. Paolo Veronese, Martyrdom of St. Justina (sketch);
596. P. Veronese, Esther in presence of Ahasuerus ; 595. Jacopo
da Ponte , surnamed Bassano , Portraits of the painter's family ;
607. Paris Bordone, Portrait.

*599, 605. Titian, Portraits of Francesco Maria della Rovere
and Eleonora Gonzaga, Duke and Duchess of Urbino.

These noble portraits were executed in 1637, when the Duke was
appointed Generalissimo of the League against the Turks. The Duke
has a martial bearing, the look of the Duchess is stately but subdued.
To make the difference apparent between the blanched complexion of a
dame accustomed to luxury and ea=e and the tanned face of a soldier
habitually exposed to the weather, Titian skilfully varied the details of
technical execution. Here he is minute and finished, there resolute and
broad. Here the tinted and throbbing flesh is pitted against a warm light
ground, there the sallow olive against a dark wall. — C. d- C.

II. Saloon. Right : *609. Reduced copy of Titian's 'Battle of
Cadore', destroyed in the hurning of the ducal palace at Venice in
1577; 613. Paris Bordone, Portrait; *614. Titian, Giovanni de'
Medici, leader of the 'Black Bands' (p. 39.3), painted in 1526 from
a cast taken after death; 615. Tintoretto, Portrait; 616. Por-
denone (?) , Conversion of S. Paul; 618. Copy of Titian's 'Pesaro
Madonna' (p. 249), begun only; 619. Paima Fecc/iio, Judith, finely
finished, l3ut damaged. *621. Oiorgione , Moses when a child
undergoes the fire ordeal, from a Rabbinic legend, an early work.

Of exquisite touch and minuteness of finish, with a clear exhilarating
sparkle suggesting those delightful hours of the warmer climes when
rain has cooled and filtered the air. — C. & C.

622. Giorgione{i), Maltese knight ; 623, Palma Vecchio, Ma-
donna with SS. Magdalene, Joseph, and John.

**626. Titian, The so-called 'Flora', painted after 1520.

There is nothing in this ethereal Flora to shock the sensitive eye.
The proportions and features are of surprising loveliness, reminding us
in their purity of some of the choicest antiques. The masterly and clear
light scale is attained by the thin dispo.sal of pigments, the broad plane
of tinting, and the delicate shade of all but imperceptible half-tones. —

C. A- C.

627. Portrait of a bearded man , erroneously ascribed to Seh.

6al. degli XJffizi. FLORENCE. 49. Route. 365

del Piombo ; 628. Bonifacio, Last Supper ; 630. Oiorgione, Judg-
ment of Solomon (damaged).

*631. Giorgione (attributed by Mr. Crowe to Giov. Bellini),
Madonna receiving the homage of saints in a landscape.

'The perfect ari-angeinent of the scene is as grateful as the purity and
selection of the forms, the grace of the movements and the mildness of
the faces. The colours are sweet and blended and swim in the sunny
haze of noon". — C. <fc C.

*633. Titian , Madonna and Child with the youthful St. John
and S. Antonio Eremita; this work, painted about 1507, excels all
Titian's previous paintings in sweetness of tone, freedom of mod-
elling, and clever appeal to nature (C. ^' C ). 636. P. Veronese,
Crucifixion ; 638. Tintoretto, Portrait of Sansovino ; 645. Savoldo,
Transfiguration ; 648, Titian, Catharina Cornaro, Queen of Cyprus
(a copy); *650. Palma Vecchio{i), Mathematician, dated 1555,
whereas Palma died in 1528.

Two short Corridors lead hence to the Cabinet op Engrav-
ings AND Drawings (Director , Professor Pinl) , and the Collec-
tion OF Coins, both shown only with a special permesso.

Engravings, Drawings, etc. (Passage to the Pitti Palace).

(The visitor is recommended to pass over this part of the gallery
at present, and to visit it when on his way to the Pitti Palace in connection
with the other collections. Those who have left their sticks or umbrellas
at the entrance to the Uffizi must of course return for them after visiting
the Pitti Palace on the other side of the Arno.)

A staircase descends to the I. Saloon, containing early Italian wood-
cuts (with and without colouring). — II. Saloon: Engravings down to
Marc Antonio, a Mantegna opposite the door worthy of notice (engraving
of the picture in the Tribuna). — A staircase descends hence to a long
Corridor which leads over the Ponte Vecchio to the Palazzo Pitti, a
walk of nearly 10 min. First, parallel with the Arno , left side : En-
gravings of Marc Antonio and his school, then Corneille Cort and his
pupils; right side (going back), Roman school of the 16th and i7th cent.,
Tuscan masters of the i6th-18th cent. , then N. Italian , German , and
Dutch masters down to the present time (each plate bears the name of
the painter and engraver). The passage turns to the left over the Ponte
Vecchio; on the right and left, and in stands in the middle, is an ad-
mirable collection of "Drawings, founded by Cardinal Leopold de" Me-
dici, and afterwards much extended, now numbering about 30,000. All
those which are exhibited to view bear the names of the masters. A few
of the most important only are here enumerated : Right wall : School of
Giotto (Taddeo Gaddi), Fra Angelica, Luca delta Rohbia, Masaccio , '-^ Fra
i^(7ip^o iy)i)j (sketch of the picture No. 1307 in the Uffizi), 'Bom. Oldrlandajo
Pollajuolo , "Mantegna (Madonna worshipping, Judith and Holofernes)'
"Perugino, Garofalo, " Leonardo da Vinci (24 drawings , admirable heads'
lion fighting with a dragon), * Fra Bartolommeo, Lorenzo di Credi, "Raphae''
(37 drawings. Entombment, sketch of the picture No. 1127 in the Tribuna,
the Plague, etc.), Francia, Giulio Romano, Sodoma, Giovanni BelUni,l
"Michael Angelo (21 drawings, sketch for the monument of Julius II.,
sketch for the cartoon of the soldiers bathing, etc.), Sebastiano del Piombo,
Andrea del Sarto. On the end-wall, Correggio and Giorgione. On the left
wall (going back): Bandinelli, yrtiaji (chiefly landscapes), P. Veronese,
Tintoretto, the Carracci, etc., down to Salvator Rosa. Then Burghmayer,
Swanevelt, Velazquez, Murillo, Poussin, Van der Weyden , "Albert Diirer
(No. 243-64). In the IsW Stand: Francia, Van Dyck, etc.; 2nd, Giulio Ro-
mano, Innoc. da Imola, Bagnacavallo , etc.; 3rd, ornaments of all
kinds. — Then follow portraits of the Medici, allegorical pictures by

366 Route 49. FLORENCE. Qal. degli Vffizi.

pupils of Vasari, the Triumph of Galathea by Luca Oiordano in the lar-
t;er room, embroidered tapestry from the Florentine manufactory; to the
left below them , a Descent from the Cross from a picture by Giulio
Clovio in the Palazzo Pitti (No. 241) ; also several pieces of Gobelins from
Paris. — We now ascend a short staircase to a collection of sketches in
grisaille and small pictures of animals and plants by Bart. Ligozzi (below
lies the Boboli Garden). — (In order to reach the gallery in the Pitti Pa-
lace, p. 405, two more flights of steps have to be ascended.)

The -walls of the *Two Saloons of the Painters are covered
with portraits of the most celebrated painters of all nations from
the loth cent, to the present time, most of them painted hy them-
selves and with their names attached.

The 1. Saloon contains the old masters; on the wall to the right of
the entrance are those of Central Italy (Florentines, Romans, etc.). The
most celebrated names here are : '292. Leonardo da Vinci (not by himself),
*288. Raphael, 290. Michael Angela (not by himself), "287. Pietro Perugino
(recently discovered not to be the portrait of the painter), 280. Andrea del
Sarto, *286. Masaccio (or probably Filippino Lippi), 289. Giulio Romano. On
the wall to the left of the entrance Venetians, Bolognese, etc. : 354. Oiov.
Bellini (probablv not a portrait of himself), *384. Titian, 385. Paolo
Veronese, 378. Tintoretto, 348, 368, 397. The Carracci, 396. Guercino,
403. Guido Reni. On the entrance wall German and Dutch masters :
237. Quentin Massijs , 434. Albert Diirer (1498, replica of the batter
picture at Madrid), 232. Holbein, 228. Rubens, 223. Van Dyck, *4jl, '452.
Rembrandt (that in the dressing -guwn probably alone original), 449.
Gerard Don. In the centre a large 'Marble Vase of Greek workmanship,
known as 'The Medici Vase", adorned with the Sacrifice of Iphigenia.
In a niche opposite the entrance , the statue of Card. Leopold de" Medici,
the founder of this collection of portraits. — In the II. Saloon, modern
masters: Angelica Kaufmann, Mad. le Brun , Raphael Mengs , Reynolds,
Overbeck, Canova, Winterhalter, Ingres, etc.

Cabinet of Inscriptions. The walls are covered with a
number of ancient Greek and Latin inscriptions , most of them
from Rome.

The inscriptions are arranged in twelve classes according to their
subjects (the gods and their priests, the consuls, dramas, military events,
private affairs, etc.). There are also some fine Statues: '268. Bacchus
and Ampelus; '263. Mercury; 266. Venus Urania; '265. Venus Qenetrix;
264. Priestess (head new). To the left of the door of the next room an inter-
esting relief representing earth, air, and water. On the right a large
relief: Departure for the chase. Also a number of cinerary urns and
busts with (sometimes conjectural) inscriptions.

Cabinet of the Hermaphrodite. 307. Torso of Bacchus in
basalt; 308. Ganymede, with the eagle, restored \>y Benvenuto
Cellini. ; 322. Bust of Seneca ; *315. Torso of a Faun ; above it,
331. Victories sacrificing bulls; *318. The celebrated 'Dying
Alexander', a marble head of the youthful hero , recalling the
Laocoon ; *306. Hermaphrodite reclining on a panther's skin, the
legs restored; 316. Antinous; 323. Cupid and Psyche.

A door in this cabinet leads to the —

Cabinet of the Cameos (when closed visitors apply to the
custodian).

Oases lst-4th contain the antique cameos, 5t)^ and 6th the modern;
7th-10lh the ancient cut stones (intaglias) , ilth and 12th the modern.
In the 1st Case, to the left of the entrance, the cameo No. 3. (red numbers),

Gal. degli Vffizi. FLORENCE. 49. Route. 367

with the Sacrifice of Antoninus Pius, is remarkable for its size"; 7. Cupid
riding on a lion , with the name of the artist (Protarchos) ; 9. Cupid
tormenting Pysche; 31. Nereid on a hippocampus. 2nd Case: 36. Judgment
of Paris; 51. Zeus of Dodona; 63. Hercules and Omphale. 3rd Case: 86.
Youthful Augustus; iOO, 101. Tiberius. 4th Case : 148. Wounded stag;
156. Fall of Phaeton ; 162. Bacchus and Ariadne. 7th Case (opposite the
door): 28. Apollo; *54. Hercules and Hebe, with the name of the artist
Teucros; 73. Satyr and child. 8th Case: 101. Mourning Cupid; 145. Apollo.
9th Case: 176. Bacchante; 185. Pluto; 190, 191. Leander(?). IOth Case:
chiefly portrait-heads. 11th Case : 4158. (black numbers), Sphinx , the
seal of Augustus. i2TH Case : (modern) : *371. Head of Savonarola ; 373.
Leo X., etc. — The next four cases contain the collection bequeathed by
Sir William Currie to the Ufiizi in 1863 : 5. Hermaphrodite ; 20. Dancing
Satyr; 35, 50. Fine heads; 106. Ajax and Achilles, etc. — Also six
works in niello (engraving on silver) , e.g. Coronation of the Virgin by
Maso Finiguerra ; then ivory carving and miniatures. By the wall opposite
the window: Face carved in wood, purporting to have been copied from
a cast of Dante's features taken after death , presented in 1865 by the
Marchese Torriani. In the corner are fragments of glass from the cata-
combs bearing early Christian representations.

Saloon of Barroccio. Four tables of Florentine mosaic. That
in the centre, executed in 1613-18 by Jacopo Antelli, from Li-
gozzo's design, cost 40,000 zecchlns or ducats.

Right: 154, 159. Bronzino, Portraits of Panciatichi and his wife;
155. Venetian portrait; 157. Honthorst. Infant Jesus adored by angels; 158.
Bronzino, Descent from the Cross; i62. Guido Rent, Sibyl; 163. Sitster-
mans, Galileo; 164. Povrbus , Portrait; 166. Sogliani, Madonna; 169.
Baroccio, The Virgin interceding with the Saviour (Madonna del Popolo,
1579); 171. A. Carracci, Man with an ape on his shoulder; 180. Rubens (?),
Helena Fourment, his second wife; 188. Andrea del Sarto(Oi Portrait; 190.
Honthorst., Adoration of the Shepherds; 191. Sassoferrato , Madonna dei
Dolori; 192. Sustermaiis, Portrait; 195. Caravaggio, The tribute-money;
196. Van Dyck, Margaret of Lorraine ; *197. Rubens , Elizabeth Brand , his
first wife; 203. Guido Rent, Bradamante and Fiordaspina (from Ariosto's
Orlando Furioso) ; 210. Velazquez , Philip IV. of Spain on horseback (a
copy by different hands); 211. Salaino , Copy of the Holy Family of Leo-
nardo da Vinci (in the Louvre); 213. Bugiardini, Madonna; 216. Rubens,
Bacchanalian (damaged); 220. Snyders, Boar-hunt.

*Saloon of Niobe, constructed in 1775, and so named from
the seventeen statues of the far-famed ancient **Group of Niobe
with her seven sons and seven daughters and their pedagogue, who
were slain by Apollo and Diana.

This group probably once adorned the pediment of a temple (per-
haps of Apollo) , the unhappy mother occupying the centre of the group,
with her slain and expiring children and their pedagogue on either
side. The statues , which appear to have been copied from a work
by Scopas or Praxiteles (4th cent. B. C.) , were found at Rome outside
the Porta S. Paolo in 1583 and placed by Cardinal Ferdinand de' Medici
in his villa on the Monte Pincio (now the property of the French Academy),
whence they were subsequently transferred to Florence. Opinions differ
regarding the proper arrangement of the group , especially as statues
belonging to the group were found elsewhere and some of those found
at Rome are in duplicate.

Then, 259. Replica of the so-called Zeus of Otricoli. Among the
paintings are: (r.) 139. Smtermans, the Florentine Senate swearing
allegiance to the young Grand-duke Ferdinand II. ; 140. Rubens, Henri IV.
at the battle of Ivry; 147. Rubens, Entry of Henri IV. into Paris; 148.
Honthorst, Supper; 152. Honthorst, Fortune-teller.

Ancient Bronzes. — I. Cabinet. By the walls, '"Bronze Heads

368 Route 49. FLORENCE. Biblioteca Nazhnate.

found in the sea near Leghorn, among them, on the right, Sophocles and
Homer ; list of the town council , on a bronze tablet of A.D. 223, from
Canossa. On the left: *426. Colossal horse's head ; a tripod. 11. Cabinet.
In the centre, "424. Bronze statuette of a naked youth ('L' Idolino"), found
at Pesaro, with handsome pedestal by Desiderio da Settignano (15th cent.).
The cases by the walls contain a number of small bronzes, some of them
statuettes, others articles of domestic use , candelabra, lamps, metal mir-
rors, helmets, spurs, horse-bits, etc. ; also Christian anticaglias (diptychon
of the consul Basilius; 2256. Ivory ring with the Adoration of the Magi,
of the 5th cent., in Cabinet xviii., to the left of the door).

Gall. Feroni (closed ; visitors apply to the custodian).

This collection was bequeathed to the city by Sign. Feroni in 1850,
and brought from the Palazzo Feroni (PI. 66) a few years ago. It contains
few objects of great merit. On the wall to the right of the entrance :
Tenters the Younger, Interior of a butcher's shop and tavern ; Carlo Dolci (?),
Madonna del dito ; "Carlo Dolci, Angel with the lily; Schidone , Madonna
and Child.

The first floor of the edifice contains the Biblioteca Nazionale
(admission, see p. 345 ; entrance by the 8th door from the piazza),
which has been formed since 1860 by the union of the grand-ducal
Biblioteca Palatina formerly in the Pitti Palace, and the still more
extensive Biblioteca Mayliabecchiana. The latter, founded by An-
tonio Magliabecchi , a jeweller of Florence, has been dedicated to
the use of the public since 1747. The present library coatains
about 300,000 vols, and 8000 MSS., comprising the most important
works of the literature of other nations. There are also several
very rare impressions : the first printed Homer, Florence 1488 ;
Cicero ad Familiares, Venice 1469; Dante, Florence 1481. Every
facility is afforded for the use of the library ; to the right , at the
end of the great reading-saloon, is the room containing the cata-
logues. — The staircase to the right of the library leads to the
* Central Archives of Tuscany (PL 96; D, 5), arranged by
Bonaini, one of the most imposing collections of this description
(140,000 documents).

To the E. of the Ufflzi, and to the S. of the Palazzo Vecchio,
at the beginning of the Via de' Neri , is situated the Loggia del
(irano (PL 52), which was erected by Cosimo II., and is adorned
with his bust. — To the W. of the Uffizi is the church of Sto. Ste-
fnno (PL 34; D, 5), which is said to have been founded as early as
790. The epithet 'ad portam ferream' is sometimes applied to it
from its door studded with large nails. It was here in 1373 that
IJoccaccio , by desire of the Signoria , publicly explained Dante's
Divine Comedy.

The Piazza S. Firenze, the Badia, and the Museo N&zionale,
see pp. 376-379 ; by the Ponte Vecchio to the Pal. Pitti, see p. 403.

From the Piazza della Signoria the busy Vla i>ei Calzajuoli
(PL D, 4) leads towards the N. to the Piazza del Duomo.

The Via di Porta liossa, the first side-street to the left, leads to
the Mercnto Nuovo , once the market for silks and jewelry, where

Or San Michele. FLORENCE. 49. Route. 369

straw and woollen wares are now sold. The market is adorned with
a good copy of the ancient boar in bronze, by Pietro Tacca ; the ar-
cades are by Bern. Tasso (1547). — In the third street diverging
to the right from the Via Calzajuoli , on the left side, beyond the
first cross-street, is the house in which Dante was born (Via S.
Martino 2 ; PI. 46). It has been recently restored , and provided
with a memorial tablet bearing the inscription 'in questa casa degli
Alighieri nacque il divino poeta'. (The traveller interested in his-
torical research should observe the numerous memorial-tablets in
various parts of the town, recording important events in the annals
of Florence.)

In the Via Calzajuoli , on the left, rises the church of *0r San
Michele (PI. 31 ; D, 4), or originally 5. Michele in Orto, as it was
called from a plot of grass once here, which was paved in 1284, and
flanked with an open colonnade. With a view to embellish the open
space, in which figures of the Madonna and St. Michael were
placed under canopies, it was resolved in 1336 to erect a 'Palatium',
containing an oratory below, and a corn-exchange above. The work
was at length begun in 1350, in the Gothic style, and progressed
rapidly under the supervision of Andrea Orcagna. The external
decoration of the edifice with statues was undertaken by the twelve
guilds, whose armorial bearings are placed below the niches.

On the E. side, towards the Via Calzajuoli, (r.) St. Luke, by Giovanni
da Bologna, 1562 (judges and notaries); "Christ and St. Thomas, by An-
drea del Verrocchio, 1483 (guild of the merchants); (1.) John the Baptist,
by Lor. Ghiberti, 1414 (guild of the cloth-dealers). — Then, farther to
the left, on the S. side (r.) St. John, by Baccio da Montebipo, 1515 (weav-
ers of silk). Beneath the adjacent canopy was formerly placed a Mar
donna by Mino da Fiesole (physicians and apothecaries; removed to the
interior of the church, see below), now a "St. George by Donatella, which
was Originally destined for the vacant niche to the N. (armourers); on
the left, St. James, by Nanni d'' Antonio di Banco (furriers); St. Mark, by
Donatello, 1453 (joiners). — On the W. facade , (r.) St. Eligius by Nanni
di Banco (farriers); "St. Stephen, by Lorenzo Ghiberti (weavers of wool),
(1.) St. Matthew, by Michelozzo, 1420 (money-changers). — On the N. side
(r.) an empty niche, below, a fine relief; then four saints by Nanni di
Banco (bricklayers, carpenters, smiths, and masons); (1.) St. Philip, by
the same (shoemakers); St. Peter, by Donatello (butchers). — The col-
oured medallions in bas-relief above the niches are by Luca della Roibia.

In the Interior, which consists of a double nave, divided by two pil-
lars, to the right, the fine "High Altar (Canopy), a celebrated work of ^w-
drea Orcagna, In marble and precious stones, with numerous reliefs from
sacred history, completed, according to the inscription, in 1359, and
erected over the miracle-working image of the Virgin. At the side-altar
under the organ, a marble group of the Holy Family, by Francesco da
Sangallo; N. side, Madonna and Child, by Mino da Fiesole.

Opposite (r.) is the Oratorio of S. Carlo Borromeo (PL 6), of
the 14th cent., also originally dedicated to the archangel Michael.

The Via del Calzajuoli, before its extension, contained the
ancient towers of the Adimari, Medici, and Visdomini , which
commanded the street in case of a riot, and were then joined by
heavy chains barring all passage. We next reach the (r.) entrance

Baedekkb. Italy I. 5th Edit. 24

370 Route 49. FLORENCE. Battistero.

to the Bazaar (PI. 40) , and pass a number of shops , etc. — The
next street to the left leads to the busy Mercato Vecchio (PI. D,
C, 4), the market for meat, vegetables, fish, etc., extending as far
as the Piazza Strozzi (p. 400). The Piazza del Mercato is one of
the oldest in the town , and was called by the Lombards 'Forura
Regis'. The column erected here to indicate the centre of the town
bears a statue of Abundance , by Foggini (1652-1737), which re-
places one by Donatello. On the N. side is tlie Loggia del Pesce,
by Vasari. — In the vicinity is the Ghetto, or Jewish quarter.

The Via Calzajuoli is terminated by the Piazza del Duomo
(PL D, 4), in which rise the Cathedral and the Baptistery, and of
which the W. part is called the Piazza di S. Giov. Battista after
the latter edifice.

On the left, at the end of the Via Calzajuoli, is the elegant
Bigallo (PL 45), an oratory begun in 1351, probably by Orcagna,
for the brotherhood della Misericordia, who afterwards made over
the building to the 'Capitani del Bigallo' ; it is now an orphan-
asylum. Over the arcades (N.) are three small statues (Virgin and
two saints), by Alberto di Arnoldo, and two almost obliterated fres-
coes from the legend of St. Peter the Martyr, 1444. The chapel,
now containing the archives of the asylum, contains a Madonna and
two angels, hy Alberto di Arnoldo, 1364. The room of the cashier
is adorned with a fresco representing charity , and a view of Flor-
ence by Giottino, 1342.

Opposite the Bigallo is the *Battistero (PL 5 ; D, 4), or church
of S. Giovanni Battista , an admirable octagonal structure, which
was once extolled by Dante ('mio bel S. Giovanni', Inf. xix., 17).
Several different accounts are given of the origin of the building
and the construction of the altar. The local tradition, which
recent investigations tend to confirm , is to the effect that the
baptistery was erected on the site of a temple of Mars in the early
Christian, or even in the Lombard period. As the building was not
used as a baptistery till after 1128 (previous to which it had been
the principal church of the Florentines), and as it possesses the
polygonal form usually employed for chapels of the kind, it is not
iuiprobable that it was not erected in the present form till after
1128; and the external decorations in marble would accord with
this hypothesis. On the other hand, the embellishment of the in-
terior, with its straight beams and galleries, is of a character un-
known in the 12th cent. , so that some authorities believe it to have
been erected in the 11th century. It is at all events certain that its
builder was well acquainted with ancient forms. The dome, which
is 90 ft. in diameter, afforded Brunelleschi a model for that of the
cathudral. — The three celebrated **Bronze Doors were added in
the 14th and 15th centuries.

The KiKST Dooit, the oldest of the three, on the S. side, opposite
tlic Hitrallo, was completed by Andrea Pisano in 1330 after 22 years of
l:ibour. The scenes are from the life of St. John. The bronze decorations

Cathedral. FLOKENCE. 49. Route. 371

at the sides are by Lorenzo Ohiberti and his son Vittorio (about 1452-62) ;
above is the Beheading of John the Baptist by Vincenzo Danti^ 1571.

The *Second Door, facing the cathedral, executed by Lorenzo Ghi-
berti (1425-52), is considered a marvel of art. It represents ten diflTerent
scenes from scripture history: (1.) 1. Creation and Expulsion from Para-
dise; (r.)2. Cain slaying his brother and Adam tilling the earth; 3. Noah
after the Flood , and his intoxication ; 4. Abraham and the angels, and
Sacrifice of Isaac ; 5. Esau and Jacob ; 6. Joseph and his brethren ; 7.
Promulgation of the Lavf on Mt. Sinai; 8. The Walls of Jericho; 9. Battle
against the Ammonites ; 10. The Queen of Sheba. This is the door which
Michael Angelo pronounced worthy of forming the entrance to Paradise.
The bronze decorations at the sides are also by Ghiberli; over the door
the -Baptism of Christ, hy Andrea Sansovino, 1529; the angels by Spinazzi
(18th cent.). The two porphyry columns were presented by the Pisans (in
1200) in recognition of the assistance rendered them by the Florentines
against Lucca in the expedition to Majorca in 1117. The chain of the
harbour of Pisa, carried off by the Florentines in 1362, was formerly
suspended here , but has been recently restored to the Pisans, and is
preserved in their Campo Santo (p. 325).

The Third Door (N.) is also by Ghiberli (1403-27). It represents in
28 sections the history of Christ, the Apostles, and Fathers down to St.
Augustine. Many rival artists are said to have competed for the honour
of undertaking this work, of whom the principal were Ghiberli^ Brunelleschi
(visitors should compare the works in the Bargello, p. 378), Jacopo delta
Fonte, Simone da Colle, and probably also Donatello, but the preference
was given to Ghiberti. Above the door, the -Preaching of St. John by Fr.
Rustici, 1511 (supposed to have been designed by Leonardo da Vinci).

In the Interior of the baptistery , below , are eight niches, each con-
taining two columns of Oriental granite with gilded Corinthian capitals.
The choir is probably part of the original building. The statues and pic-
tures are of subordinate importance. The dome and choir-bays are adorned
with 'Mosaics by Fra Jacopo (after 1225), Andrea Tafi (d. 1320), Apollonio
Greco, and others (restored by Baldovinetti, 1492), which however are not
visible except on very bright days. On the pavement are early mosaics,
with the zodiac and inscriptions , and niello with ornaments, 1371. The
font is enriched with reliefs by an imitator of Orcagna. To the right
of the high altar is the tomb of Pope John XXIII. (d. 1419), who was de-
posed by the Council of Constance , erected by the Medici (Cosimo de'
Medici had accompanied the pope to Constance) ; the recumbent bronze
statue by Donatella, the figure of Faith by Michelozzo. On an altar to the
right of Andrea Pisano's door is a statue of Mary Magdalene in wood, by
Donatello. — On the festival of St. John there is placed here an altar of
massive silver (325 lbs. in weight) with a cross of the same metal (141
lbs.), adorned with bas-reliefs from the life of the Baptist (kept in the
Opera del Duomo, p. 374).

Opposite the N. side of the church is a column of speckled
marble (cipollino), called the Colonna di S. Zanobi, erected in
1330 to commemorate the removal of the relics of St. Zenobius.
(From this point through the Borgo S. Lorenzo to S. Lorenzo, see
p. 393.)

The *Cathedral (PI. 8 ; D, 4), II Duomo, or La Cattedrale di S.
Maria del Fiore, so called from the lily -which figures in the arms
of Florence , was erected in 1294-1462 on the site of the earlier
church of St. Reparata. This imposing example of Italian Gothic
was designed by Arnolfo del Cambio, who superintended the works
down to his death in 1310. He was succeeded by Oiotto (who acted
as architect-in-chief for 33 months), Franceso Talenti, and Alberto
di Arnoldo. The nave and aisles were completed in 1355. On

24*

372 Route 4'J. FLORENCE. Cathedral.

19th Aug., 1418, was announced the puMic competition of models
for the dome, of which Vasari has given so racy an account, and
in which the genius of Filippo Brunelleschi secured the victory in
spite of the jealousy of rivals and the doubts of the cognoscenti.
The construction of the cupola lasted for fourteen years (1420-
1434). The church was finally consecrated in 1436, but the lantern
on the top of the dome , also designed by Brunelleschi , was not
completed till 1462. The building is 185Y2 yds. in length and
114 yds. (across the transepts) in breadth; the dome is 300 ft.
high, with the lantern 352 ft. (ascent, see p. 373). The fac^ade was
begun by Arnolfo, but in 1332 his successor Giotto designed a new
and more imposing plan (of which copies still exist, e.g. in the
cloisters of S. Marco, 5th lunette from the entrance on the right),
and executed one half of it himself. In 1588 this work was removed
with a view to replacing it by a new facade designed by Buontalenti,
Dosio, Cigoli, and others, but the project was not carried out. The
cathedral (like S. Croce, S. Lorenzo, etc.) was thus left without
a facade, and was then decorated with frescoes by way of supplying
the defect. In April, 1860, Victor Emmanuel laid the foundation-
stone of a new facade, but the work was not begun till the autumn
of 1875. The design is by De Fabris. — The first part of the col-
oured ornamentation of the building , which differs from the rest,
is due to Giotto, and that of the nave is attributed to Brunelleschi.

The decoration of the second S. door is by Pietro di Oiorantii, a North-
Italian ; the Madonna between two angels, in the lunette, is by Lorenzo
di Giovanni d''Ambrogio (1402). — The corresponding *N. Door was exe-
cuted by Giovanni d^Ambrogio , and Niccolb di Piero Lomberti, 140S. The
admirable ''Basrelief of the glorified Madonna, over the door, is ascribed
to Nanni d'' Antonio di Banco. The mosaic is by Domenico Orcagna , and
Davide G/iirlandaJo (1496).

The Interior, though somewhat bare, is very impressive owing to its
grand dimensions. The gallerj-, which detracts from the effect, was probably
a later addition. The choir, instead of being at the end of the church,
is appropriately placed under the dome.

On the entrance-wall to the right, an equestrian statue of John Hawks-
wood (d. 1394), commander of the troops of Gregory XI., by Paolo Uccello;
to the left, the monument of Nic. Marucci da Tolentino (d. 1434), by An-
drea del Castagno. Over the principal portal: Coronation of the Virgin
in mosaic, by Gaddo Gaddi; at the sides frescoes (angels) by Santi di Tito,
restored in lSi2. — The designs for the rose-windows were drawn by Lor.
Ohiberti; the design of the coloured mosaic pavement is attributed to
Baccio d'Agnolo and Francesco da Sungallo.

KiGHT Aisle. Monument of Filippo Brunelleschi, with his portrait in
marble, by his pupil Biiggiano. Monument of Giannozzo Manetti, by Oiiif-
fagni; (r.) Bust of Giotto by Benedetto da Majano (1490), with a fine
inscription by Angelo Poliziano ; (1.) on the pillar a fine receptacle for
holy water by Arnolfo or Giotto, (r.) Monument of Pietro Farnese (over
the door), by Agnolo Gaddi and Peseiio (13S5); farther on, King He/.e-
kiah, by Nanni d'Antonio di Banco. Bust of the learned Marsilius Ficinus,
Iiy A. Ferrucci (1521). Over the following door (r.) the Mausoleum of
Antonio Orso, Bishop of Florence, by Tino di Camaino of Siena, with the
figure of the deceased in a sitting posture. By the pillar of the dome,
towards the nave, St. Matthew, a statue by Vincenzo de" Bossi; opposite
to if, St. James, by Jacopo da Sansovino (1524).

Right Tkansept: (r.) St. Philip, (1.) St. James the Great, by Giovai.ni

Campanile. FLORENCE. 49. Route. 373

• Bandini. Each of the four side-chapels is adorned with two saints, painted
al fresco by Bicci di Lorenzo (1427). The stained glass windows are said
to have been executed at Liibeck in 1434 by the Florentine Domenico Livi
da Gambassi, from designs by Gfiiberti, P. Uccello, A. Gaddi, and Donatella.
— Over the door of the Sackistt a bas-relief ("Ascension) by Luca della
Rohbia. In the sacristy, St. Michael by Lor. di Credi (1523), and two
angels by Luca della Robbia.

In the Nave, E. branch, statues of (r.) St. John and (1.) St. Peter by Bene-
detto da Rovezzano. 1st Chapel: St. Luke, by Nanni di Banco (1415); in
the 2nd Chapel, St. John, by Donatello. Below the altar of the Tribuna is
the chapel of St. Zenobiua, with a reliquary containing the remains of the
saint, in bronze, by Lorenzo Ghiberti (1440). Last Supper on a golden ground,
painted 'a tempera' by Giovanni Balducci. On the right St. Matthew by
Niccolb d'Arezzo; on the left, St. Mark, by Bernardo di Pietro Ciuffagni (1416).

The marble screen of the octagonal Choir, designed by GiuUano di
Baccio d'Agnolo, and adorned with basreliefs by Bandinelli (with the initials
B. B. and date 1555) and his pupil Giovanni delV Opera , was erected to
replace the original wooden screen of Ghiberti. Behind the high altar
an unfinished group (Pieta) by Michael Angela. — The paintings in the
octagonal dome, begun in 1572 by Vasari^ and continued by Federigo
Zuccheri (prophets, etc.), diminish its impressive effect.

Bronze door of the N. Sacristy by Luca della Robbia and Maso di
Bartolommeo (1467). Above it a basrelief in terracotta (Resurrection) by
the Robbia. The intarsia cabinets in this sacristy were executed from
designs by Finiguerra and Baldovinetti. The 'Putti, or figures of children
on the cabinets, are by Donatello. In this sacristy Lorenzo de' Medici
sought refuge in 1478, on the outbreak of the conspiracy of the Pazzi, to
which his brother Julian fell a victim, while attending mass in the choir.

Left Transept. The Tribuna della S. Croce contains statues of St.
Andrew and St. Thomas by Andrea Ferrucci. In the chapels, frescoes by
Lorenzo di Bicci. The ten stained glass windows are by Lor. Ghiberti. In
the centre of the tribune is a round marble slab covered with wooden
planks, placed here about the year 1450 by the celebrated mathematician
Paolo Toscanelli of Florence for the purpose of making solar observations
through a corresponding aperture in the lantern. In 1755 P. Leonardo
Ximenes added a graduated dial in order to admit of more accurate
observations , as an inscription on one of the pillars of the dome
records.

Left Aisle. By the side-door is a *Portrait of Dante, with a view of
Florence and scene from the Divine Comedy , painted on wood by
Domenico di Michelino in 1465 by command of the republic. Statue of
David by Ciuffagni (1434). Then Arnolfo, with the design for the cathe-
dral , a medallion in high relief by Bartolini (1483). *Statue of Poggio
Bracciolini, secretary of state, by Donatello, admirably individualised.
Bust of the musician Antonio Squarcialupi by Benedetto da Majano. On
the first pillar, St. Zenoblus, a picture by Orcagna.

The Ascent of the Dome (p. 372) is very interesting, both for the
sake of obtaining an idea of its construction , and for the -View (more
extensive than from the Campanile, see below). Entrance by a door in
the right aisle (opened by the sacristan; attendant 1 fr.); easy ascent of 463
steps to the upper gallery , whence the adventurous visitor may clam-
ber up a ladder of 57 steps more to the cross on the summit.

The '''Campanile, or bell-tower, begun by Giotto iu 1334 and
completed after his death (1336) by Andrea Pisano, Fr. Talenti, and
by Neri di Fioravanti (who also executed the windows), a square
structure in the style of the cathedral, 292 ft. in height, recently
restored, is regarded as one of the finest existing works of the
kind. It consists of four stories, the lowest of which is richly
decorated with reliefs and statues. The windows, which increase
in size with the different stories, are enriched with beautiful

374 Route 49. FLORENCE. The Misericordia.

tracery in the Italian Gothic style. On the W. side are statues of
the four Evangelists, the three first of which are by Donatello (*St.
Matthew, the finest), and the fourth (St. John) by Nanni di Bar-
tolo, surnamed Boss i (1420). On the S., four prophets, three of
which are by Andrea Pisano and the fourth by Giottino ; on the E.
side are a prophet, and three patriarchs by Donatello (Abraham
and Isaac), and Niccolb di Piero Aretino ; on the N. side are four
sibyls by Luca delta Robbia (?) and Nanni di Bartolo (?). Below
these figures, on the sides of the tower, are bas-reliefs ; those on
the W. and S. sides having been designed by Giotto , those on the
E. side by Andrea Pisano, and those on the N. by Luca delta
Robbia: the Seven Cardinal Virtues , the Seven Works of Mercy,
the Seven Beatitudes , and the Seven Sacraments. In the lower
series is represented the development of mankind from the Crea-
tion to the climax of Greek science (Creation of Eve , Adam and
Eve at work. Dwellers in tents , Astronomer, Rider, Weaving,
Navigation, Agriculture, etc.).

The campanile is ascended by a good staircase of 414 steps (fee for
1-2 pers. 1 fr.). Beautiful View from the top , embracing the valley in
which the city lies, the neighbouring heights, studded with villas and
richly cultivated, and the mountains to the N., S., and E. At the summit
arc seen the pillars on which, according to Giotto's plan, it was proposed
to raise a spire of 100 ft., but the project was abandoned by Gaddi.

Opposite the S. side of the Campanile is the Church, of the
Misericordia (PI. 27; D, 4), founded in 1244, belonging to the
long established order of brothers of charity, who are frequently seen
in the streets garbed in their black robes, with cowls covering the
head and leaving apertures for the eyes only, while engaged in their
missions of mercy. It contains a Madonna and St. Sebastian by
Benedetto da Majano, the Plague of 1348 by Lodovico da Cigoli,
and other pictures.

Adjacent to the E. is the Canonry ( Casa dei Canonici),
erected in 1827 by Gaetano Baccani ; at the portal are the statues
of Arnolfo del Cambio and Filippo Brunelleschi , both by Luigi
Pampaloni (1830). — Into the wall of one of the following houses
(No. 29) is built the Sasso di Dante, a stone on which the great
poet is said to have been wont to sit on summer evenings.

The Via Proconsolo then leads to the S. to the Piazza S. Firenze
(Museo Nazionale ; see p. 376). — In the piazza of the Cathedral,
farther on, at the corner of the Via dell' Orivolo , is the Palazzo
Riccardi, formerly Guadagni. — [In the Via Orivolo, immediately
to the right, is the handsome new National Bank by Cipolla.]

Opposite the choir is situated the Opera del Duomo , which
contains the *Silver Altar mentioned at p. 371. The principal
reliefs with which it is adorned are the Nativity of Christ by A.
Pollajuolo (below, to the left), and Herod (above, to the right) and
the Beheading of John the Baptist (below, to the right), by An-
drea Verrocchio; in the centre is a statuette of the Baptist, by

Osp. di S. Maria. FLORENCE. 49. Route. 375

Michelozzo. Here, too, are kept the silver cross , mentioned at
p. 371, the lower part of which is hy A. Pollajuolo, and two tablets
with Byzantine representations in enamel.

The Via dei Servi and Annunziata, see p. 384 ; the Via Ricasoli,
the Accademia delle Belle Arti, and S. Marco, see pp. 386-391 ;
the Via Cavour, and the Palazzo Ricardi, see p. 392.

The Via Bufalini (formerly S. Egidio ; PI. E, 4), which lies a
little to the E. of the Piazza del Duomo , passes the small piazza
of -S. Maria Nuova, with the large Ospedale di S. Maria Nuova
(PI. 94), founded by Folco Portinari, the father of Dante's Bea-
trice, and the church of S. Egidio (PI. 9), the fagade of which is
embellished with frescoes of the time of Fra Bartolommeo. At the
back of the high altar of the church are a Madonna by Luca della
Robbia, and a ciborium by Ghiberti. — Opposite the church, on the
ground-floor of No. 29 , which once contained Lorenzo Ghiberti's
studio, is exhibited the small Picture Gallery of the hospital (ad-
mission daily, 9-3 ; on Sundays, 10-2).

Vestibule: A. Verrocc/iio , Madonna in relief (terracotta). — Large
Room : "48-50. Buffo van der Goes (d. 1485), Adoration of the Child, and
four saints, with the portraits of the donor, Tommaso Portinari, agent of
the Medici in the Flemish trading city of Bruges, and his wife; 20. A.
Orcagna, St. Matthew; 22. Raffaellino del Garbo, Madonna and saints. —
II. Room: *71. Fra Bartolommeo, Last Judgment (damaged; the adjoining
copy shows the details); 63. Sogliani, Assumption; 65. Cosimo Rosselli,
Madonna and Christ ; 72. Alberti/ielli, Annunciation.

The house at the corner of the Via Bufalini (S. Egidio) and the
Via della Pergola , opposite the hospital , was once inhabited by
Galileo. Adjoining it, in the Via della Pergola , is the house of
Benvenuto Cellini.

To the S.E. of the Via della Pergola, and parallel to it, runs
the Via di Pinti (PL F, 4), in which is situated the church of S.
Maria Maddalena de' Fazzi (PL 23). The cloisters in front of
the church were designed by Giuliano da Sangallo. In the 2nd
chapel, on the left, is a Coronation of the Madonna by Cosimo Ros-
selli; in the 4th chapel, two saints, by Raffaellino del Garbo. —
In the adjacent Via della Colonna, No. 1, is the entrance to the
chapter-house of the monastery belonging to the church , which
contains a large *Fresco by Perugino (Christ on the Cross , date
about 1500, the most worthy representation of the Saviour by this
master), and is open on Mon. and Thurs., 12-4. — In the same
street , No. 31 , is the exhibition of the Societh d' Incoraggia-
mento delle Belle Arti (open daily, 10-4; admission 60 c). — In
the Via di Pinti, No. 62, farther N., is the Palazzo Panciatichi-
Ximenes, erected by Giuliano da Sangallo in 1490, and restored in
the i7th cent, by Silvani. It contains a valuable picture gallery.

The Via della Colonna connects the Piazza dell' Annunziata
(p. 384) and the new Piazza d'Azeglio (PL F, 4), which is laid
out in promenades. — To the S. of the latter are a handsome new
Synagogue, and, farther on, the church of S. Ambrogio (PL 1 ; F, 5).

376 Route 49. FLORENCE. U Bargello.

On the right, 1st chapel, Cosimo RosseUi, Madonna with saints and
angels ; 2nd and 3rd chapels, pictures of the school of Spinello Aretino.
To the left in the choir, a "Canopy by Mino da Fiesole (1482), and a
large fresco by Cosimo Rosselli.

The Galleria Buonarroti, sec p. 383 ; S. Croce, see p. 380.

Quitting the Piazza della Signoria (p. 351), we follow the Via
de Gondi to the right, which leads us to the Piazza S. Firenzb
(PI. D, 5), with the church of that name. No 1 in this Piazza is
the Palazzo Gondi, begun in 1490 by Giuliano da Sangallo, and
completed in 1874 by Poggi, containing a handsome court. From
this point the Via del Proconsolo (PL D, E, 4) diverges to the
Piazza del Duomo.

Immediately on the right in the Via Proconsolo rises the Palazzo
del Podesth, commonly known as *I1 Bargello (PL 39 ; D, 4, 5), the
oldest palace in the city, begun in 1255, and from 1290 the resi-
dence of the Podesth, or chief magistrate of Florence. The build-
ing was repeatedly damaged by lire and water during the riots of
the 14th cent., but was afterwards restored and strengthened. From
the end of the 16th cent, down to 1859 it served as a prison. On
the occasion of the Dante Exhibition in 1865, the imposing struc-
ture was judiciously restored and litted up for the new *NatioiiaI
Museum, illustrative of the mediaeval and modern history of Italian
(culture and art. Part of the collection, which is still in course of
formation, belongs to the state, and part to private individuals, and
it is therefore by no means uniformly valuable. It contains several
admirable works, such as the Renaissance bronzes formerly in the
Ufflzi and the Palazzo Vecchio (comp. p. xlvi). Entrance in the
Via Ghibellina, daily 10-4, Ifr.; on Sundays, 11-21/.2, gratis. No
catalogue has yet been published. The most important works are
labelled with the masters' names.

"We first enter the picturesque Couet , embellished with the
armorial bearings of former Podesta's , in which lie a number of
Gothic architectural fragments. A second court (closed on Sun-
days) contains sculptures of the High Renaissance, including gro-
tesque fountain figures

The Ground Floor contains (to the right) a valuable collection
of weapons, comprising an interesting monster cannon in bronze
of the 16th cent, with the arms of the Medici. — A handsome
fiight of steps ascends to the —

First Floor. The VESTIBULE contains a bell cast by Bartolom-
meo Pisano in 1228. — I. Saloon. Vincenzo de' Rossi (end of 16th
cent.), a series of sculptures representing the combats of Hercu-
les; IJonatello, David: Vine. Danti (d. 1576), Deceit conquered
by Honour; * Michael Angela's 'Victory', an old man fettered by a
youth, unfinished, perhaps destined for the monument of Julius II.
at Rome; * Michael Anyelo, Dying Adonis with the boar, probably

National Museum. FLORENCE. 49. Route. 377

a work of the master's early period, which ended in 1509; Giov.
da Bologna [Giambologna, d. 1608), Virtue triumphant. *Michael
Angela , Drunken Bacchus , with his head crowned with vine-
leaves, raising the gohlet in his right hand, while his left holds a
bunch of grapes, at which a satyr furtively gnaws ; this work was
executed for Jacopo Galli during Michael Angelo's first residence
in Rome (1496-98), probably before the celebrated Pieta in S.
Peter's. Baccio BandinelU, Adam and Eve ; V. Danti, Grand Duke
Cosimo I. On the walls : Ten *Basreliefs of singing and dancing
boys and girls, originally intended for the decoration of the organ
In the cathedral, by Luea delta Robbia; four basreliefs represent-
ing dancing genii, intended for the same purpose, by Donatello.

II. Saloon: ancient furniture and crystal, dating from the
16th and 17th centuries.

III. Saloon : fine collection of fayence, formerly in the Uffizi ;
the objects specially worthy of notice are in the glass-cabinets in
the middle, many of them from paintings by Raphael , and once
the property of the della Rovere family.

IV. Saloon, originally a chapel, but for centuries a dingy
prison, adorned with *Frescoes by Giotto.

Opposite us : Paradise, with a 'Portrait of Dante as a youth •, the two
heads behind Dante are said to be portraits of Corso Donati and Brunetto
Latini; the figure behind the cardinal (to the left, by the window), a
young man in a yellowish robe, is possibly Giotto himself. The work,
which was painted about 1302 in allusion to the peace of 1301, has suffered
terribly, and has been restored with little care since 1850, when the white-
wash which covered it was removed. On the right and left below it, a
Madonna and St. Jerome by Rid. Ohirlandajo; on the entrance-wall, al-
most obliterated, the Infernal regions; at the side, the history of St.
Maria jEgyptiaca and Mary Magdalene, much damaged.

This saloon also contains mediaeval crosses, goblets, episcopal
rings, reliquaries, and an inlaid choir desk.

V. Saloon : carving in ivory (Christ and St. Sebastian, by Giov.
da Bologna; two triptychs by Andrea Orcagna), statuettes (in-
cluding a *Madonna in the style of Orcagna), etc. ; in the centre,
cabinets with fine crystal of the 16th cent. ; (r.) a very artistic
piece of modern wood-carving. (The door to the left in this sa-
loon leads to the second floor, see below.)

VI. Saloon (and the 7th contain) : bronzes. In the centre :
*Donatello, David. By the walls : 19. Portrait head by Donatello ;
25. Portrait head of a woman , probably from a cast taken after
death ; anatomical statuettes in wax and bronze by Luigi Cigoli ;
the other statuettes are of the time of Giov. da Bologna; a cabinet
with bronze *Statuettes from antique and Renaissance works ;
figures of animals, including a dog in relief by -Benu. Cellini;
Apollo, Juno, school of Oiov. da Bologna.

VII. Saloon : In the centre : Donatello, a Cupid treading on a
snake: *Giov. da Bologna, a celebrated Mercury ; Andr. Verrocchio,
David. By the walls, to the left of the entrance : Crucifixion, a

378 Route 49. FLORENCE. National Museum.

basrelief (partly gilded), by Donatella (?) ; lid of a box by a Dutch
imitator of Michael Angelo ; two cabinets with imitations of an-
cient and Renaissance sculpture; bet-ween these a colossal bust of
the Grand Duke Cosimo I. in bronze, by Benvenuto Cellini; the
model in wax and bronze for that master's Perseus (somewhat
differing from it ; p. 3531 is also placed here ; V. Danti, Raising
of the brazen serpent; Bertoldo (pupil of Donatello), Ancient
battle scene. Among the small adjacent tablets the finest are :
267. Descent from the Cross, after Donatello; 271. Pollajuolo,
Wrestling match. — End Wall : Abraham's Sacrifice by Lor. 6hi-
berti, and the same by Fil. Brunelleschi, specimens produced in
their competition for the execution of the gates of the baptistery
(p. 371). Between these, a *Crucifixion, by Pollajuolo (?), and a
Frieze of children by Danese ; below, a recumbent figure of Ma-
riano Soccino in bronze, by Lor. Vecchietta (d. 1482). In the next
frames: 147, 148, 151. Good portraits; above, 186. Pollajuolo,
Wrestling match. — Window wall : Francis Xavler, Death of Jo-
seph, and St. Theresa, reliefs by Soldani. — By the exit: *Bust
of Michael Angelo in bronze (once the property of his servant). —
We now return through the 5th Saloon and ascend to the —

Second Floor. I. Room. On the walls , interesting frescoes by
Andr. del Castagno (about 1450), transferred to canvas, the finest
being eight portrait-figures (Farinata degli Uberti, Niccolo Accia-
juoli, Dante, Petrarch, Boccaccio, etc.), formerly in the Villa
Pandolflni at Legnaia; a Pietk by D. Ghirlandajo ; a Fresco by
Giottino, etc. The glass cabinets contain articles of clothing dat-
ing from the 16th and 17th cent., altar-cloths, and ecclesiastical
vestments. The two *Stained-glass windows, representing the
Nativity, and the Adoration of the Magi, the latter with the ar-
morial-bearings of Leo X., from designs by Luca Signorelli or one
of his pupils (beginning of the 16th cent.), were formerly in the
cathedral at Cortona, and have been described by Vasari.

IL Room (right): Beautiful *Terracottas by Luca della Robbia
and his school; marble statue of the school otGhiberti; to the left,
by the windows, two portrait busts by Ant. and Piero Pollajuolo ;
furniture of the 16th century.

III. Room. Flemish tapestry of the 17th and 18th cent. ; to
the left. Bust of St. John, by Donatello.

IV. Room. In the centre : Donatello, John the Baptist; on the
walls, to the right of the entrance, *Mino da Fiesole, Bust of Ri-
naldo dolla Luna; Bencdclto da Rovezzano , five basreliefs in
marble, representing the history of S. Giovanni Gualberto, from
the monastery of S. Salvi , outside the Porta Santa Croce ; And.
del Verrocchio , tomb-relief of the wife of Fr. Tornabuoni, who
died in her confinement; a beautiful 'angel musician', of the
school of Niccolb Pisano ; Bust of Pietro Mellini, by Benedetto da
Majano (1474); *Biist of Matteo Palmieri (1468), by Antonio Ros-

LaBadia. FLORENCE. 49. Route. 379

sellino. Octagonal medallions in relief: Galeazzo (Francesco?)
Sforza, and Federigo di Montefeltro, Duke of Urbino. Atove, Pie-
rino da Vinci., Madonna; *Mino da Fiesole, Madonna; Donatello,
Young St. John.

V. Room. In the centre : Benedetto da Majano, John the Bap-
tist; Sansovino, Bacchus; Michael Angela, Statue of Apollo, ahout
to take an arrow out of his quiver, unfinished; Bened. da Majano,
Bacchus. On the wall , to the left of the entrance : Andr. Ver-
rocchio, Madonna and Child, and a ^Portrait bust; *Matteo Civi-
tali, Faith ; Rossellino, Mary adoring the Child, a large medallion.
Below these : Jacopo della Quercia, Boys hearing garlands (a frieze
from Lucca) ; Ant. Ros.sellino , John the Baptist. — End wall :
Luca della Robbia, Crucifixion of St. Peter; Michael Angela, *Bust
of Brutus, a very late work of the master, unfinished (for the rea-
son given in the inscription alluding to the suppression of liberty
at Florence) ; Michael Angela, Madonna with the Child Christ and
John the Baptist, an unfinished relief of the period 1501-1505;
Michael Angelo('i), Martyrdom of St. Andrew. The Mask of a Sa-
tyr is probably only a copy of that executed by Michael Angela
when in his 15th year; the gap among the teeth was made on the
jesting advice of Lorenzo 11 Magnifico. Above, on the right and
left, are two fine busts of children. — Window wall: Coronation
of an emperor, a relief of the 13th cent, (the crown and the hands
of the bishop restored in plaster). — End wall : Bust of Piero de'
Medici (1453), by Mino da Fiesale, and a *Relief of 'the Madonna
and Child by the same master. Below these, Leda, erroneously
attributed to Michael Angelo. Bust of Macchiavelli.

From the 4th Room we proceed in a straight direction to the
VI. Room, which contains a collection of coins from 1200 to 1850,
a valuable assortment of seals , and French Gobelins of the time
of Louis XIV.

On the opposite side of the Via Proconsolo is the church of La
Badia(P1.4; D, 4, entrance in the passage, to the left), founded by
Willa, the mother of the Tuscan Margrave Hugo of (Br) ande (n)
burg(?), who died about 1000 A.D. The present building was
chiefly erected by Segaloni (1625), who left nothing of the original
edifice (built hy Amolfa del Cambio in 1285) except the termination
of the choir, and thus destroyed a number of frescoes by Giotto,
Masaccio, and others.

The door is by Benedetto da Ravezzano, 1495. In the Interior a
* Madonna and saints, by Mino da Fiesole; ''Monument of Bernardo Giugni
fl466) and to the left that of the Margrave Hugo (1481), both by Mino da
Fiesole ; then, *Madonna appearing to St. Bernard, by Filippino Lippi, 1480.
The beautiful wooden ceiling is by Segaloni. — The graceful Campanile
(1330) also deserves inspection. — The Monastery Codrt contains remains
of monuments of the old noblesse (with whom this was a favourite church
in Dante's time) and unimportant frescoes of the 15th century.

Following the Via Ghibellina from the Bargello, we reach a
building on the right, part of which is occupied by the Teatro

380 Route 49. FLORENCE. S. Croce.

Pagliano (PI. 103). At the entrance to it (No. 83 in the street),
a lunette of the first flight of steps is adorned with a Fresco of the
middle of the i4th cent., representing the 'Expulsion of the Duke
of Athens (p. 348) from Florence on the festival of St. Anne, 1343',
interesting on account of the view it contains of the Palazzo Vec-
chio. The lunette, which is closed, is opened on application to the
custodian of the theatre (50 c).

The BoRGO DEGLi Albizzi (pi. E, 4), the second parallel street
to the N., contains several handsome palaces. At the corner of the
Via delProconsolo is the Palazzo nonFinito (PI. 90), in the baroque
style, by Buontalenti, 1592; No. 10, on the opposite side, is the
*Palazzo Quaratesi (PI. 59), by Brunelleschi , with a handsome
court; the armorial bearings of the Pazzi, to which it once belonged,
are by Donatello. Beyond it, on the left. No. 18, is the Palazzo
Altoviti (PI. 57), adorned with the busts of sixteen celebrated Flor-
entines ('I Visaed', i.e. 'the caricatures'), 1570. The Palazzo
Albizzi (PI. 56) is of the 17th century.

In the spacious *Piazza S. Croce (PI. E, 5), to which many re-
miniscences from the earlier history of the city attach, and the
scene of numerous popular assemblies and pageants, rises *Dante's
Monument (PI. 95), by Pazzi, inaugurated with great solemnity on
the 600th anniversary of the birth of the great poet (b. 1265), 14th
May, 1865, a white marble statue 19 ft. in height, on a pedestal
23 ft. high , the corners of which are adorned with four shield-
bearing lions with the names of his four most important works after
the Divina Commedia: the Convito, Vita Nuova, De Vulgari Elo-
quentia, De Monarchia. Round the pedestal below are the arms of
the principal cities of Italy. — To the right is the Palazzo deW
Antella (now del Borgo'], with a facade decorated with frescoes
which were executed in 1620 within the short space of 27 days by
Giovanni da S. Giovanni and other masters. To the W. is the *Pa~
lazzo Serristori, by Baccio d'Agnolo.

The church of *S, Croce (PI. 7; E, 5), a cruciform edifice borne
by columns, was begun in 1294, from a design by Amolfo del
Cambio, on the site of a church of the Franciscans, completed in
1442, and consecrated by Cardinal Bessarion in presence of Pope
Eugene IV. The front alone remained uncompleted, but the old
design of Simone Pollajuolo, surnamed Cronaca, was at length
rescued from oblivion, and the foundation-stone of the new facade
laid by Pope Pius IX. in 1857. The work was skilfully executed
by the architect Nicolo Matas, and consecrated in 1863. The tower
has also been well restored. Over the central door is a basrelief
(Raising of Christ), by Dupre.

The Interior, consisting of nave and aisles 163 yiis. in length, and
each 9 yds. in width and Go ft. in height, with a transept 14 yds. in
width, and open roof, rests on 14 octagonal pillars at considerable inter-
vals, and produces an impressive effect, enhanced by its niimerous monu-
ments of celebrated men. This church may be called the I'antheon of

8. Croce. FLORENCE. 49. Route. 381

modern Italy, and its interest is greatly increased by the frescoes of
Giotto which were discovered within the last twenty years under the
whitewash (best light in the morning). In 1566 Giorgio Vasari, by order
of Cosimo I., made several alterations on the altars, which however hardly
accord with the simple dignity of the interior and are therefore to be
removed.

Entrakce Wall. Over the central door is a window filled with
stained glass from drawings by Lorenzo Ghiberti.

Right Aisle. At the entrance, small honorary monument to Daniele
Manin, with portrait-medallion (his tomb at Venice, p. 224). — On the right,
farther on, "Tomb of Michael Angelo, whose remains repose below it (d.
at Rome, 1564), erected in 1570, the bust by Battista Lorenzi, the painting
and sculptures by Giovanni delV Opera, Lorenzi., and Valeria Cioli. — On
the pillar opposite, a Madonna in relief, by RosselUno. — Monument to Dante
(interred atRavenna,p. 307), with the inscription 'OnorateTaltissimopoeta!',
by Ste/ano Eicd, erected in 1829. — Alfieri (d. 1810), by Canova (erected
by his friend the Countess of Albany). — -Marble pulpit, by the pillar
to the left, with five reliefs , and five allegorical figures by Benedetto da
Majano. — Macchiavelli (d. 1527), by Innocenzo Spinazzi, erected in 1787,
with inscription, 'Tanto nomini nullum par elogium". — The learned Lanzi
(d. 1810). — Benedetto de' Cavalcanti ; above it is a fresco by Domenico
Veneziano, representing John the Baptist and St. Francis. — Adjacent is
an Annunciation, an early relief by Donatella. — Leonardo Bruni (d. 1444),
sumamed Aretino from his birth-place, by Bernardo Eassellino; above it
a Madonna, basrelief by Andr. del Verrocchia (?). — The naturalist
Micheli. — Leopoldo Nobili. — Opposite, in front of the last pillar towards
the nave , Vincenzo degli Alberti (minister of Leopold I.), by Emilia San-
tarelli.

Right Transept. At the corner: Monument of Principe Neri Corsini
(d. 1859) by Fantacchiotti. — The Chapel of the Castellani, or del S.
Sacramento (1st on the right) is adorned with frescoes on the right from
the life of St. Nicholas and John the Baptist , on the left from that of
SS. John and Antony by Agnolo Gaddi; on the right and left two monks,
life-size, by the della Robbia; altar-piece. Last Supper by Vasari (1540);
on the left, the 'Monument of the Countess of Albany (d. 1824) , widow
of the young Pretender, by Luigi Giovannozzi , the two angels and bas-
relief by Santarelli. — Farther on, Cappella Baronzelli, now Giugni,
with; frescoes by Taddeo Gaddi. Over the altar a Pieta in marble by Ban-
dinelli. Altar-piece, 'Coronation of the Virgin, with saints and angels,
by Giotto. On the right a statue of the Madonna by Vincenzo Perugino.
Above these is the Madonna della Cintola, a fresco by Bastiano Mainardi
(a pupil of Dom. Ghirlandajo).

The door of the corridor leading to the sacristy is next reached. To
the left, in the corner, is a large crucifix, perhaps by Cimabue. At the
end of the corridor is the Cappella Medici, erected by Michelozzo for
Cosimo Pater Patriae, with bas-reliefs by Luca della Robbia, and marble
ciborium by Mi7io da Fiesole. This chapel also contains a "Coronation
of the Virgin by Giotto : — Kote the calm kindliness , the tender solici-
tude in the action of the Saviour, the deep humility in the attitude and
expression of the slender Virgin .... Let the student mark also how
admirably the idea of a heavenly choir is rendered ; how intent the chor-
isters on their canticles, the players on their melody, how quiet, yet
how full of purpose , how characteristic and expressive are the faces ;
how appropriate the grave intentness and tender sentiment of some angels ;
how correct the action and movements of others ; how grave yet how ar-
dent are the saints, how admirably balanced the groups (C. <t- C'.J. — The
Sacristy (first door to the left in the corridor) contains frescoes (on the
wall to the right, scenes from the Passion, by Niccolb di Fietro Gerini),
and missals with ancient miniatures. The Cappella Rinuccimi (sepa-
rated from the sacristy by a beautifully executed iron railing) is adorned
with altar, ceiling, and mural paintings (scenes from the life of Mary
Magdalene and Mary) by Giovanni da Milano (1379). — (The cloisters, which
adjoin this chapel, are entered from the Piazza, p. 382.) — The chapel td

382 Route 49. FLORENCE. S. Croce.

the right in the church on leaving the corridor contains frescoes of the
School of Giotto , representing the Contest of the Archangel Michael. —
The 3rd chapel belongs to the Buonaparte family; monument (1.) of Car-
lotta Buonaparte (d. 1830) and (r.) that of Julia Ciary-Buonaparte (d. 1845),
by BartoUrd.

We now come to the chapels of the Peruzzi and the Bardi, containing
''Giotto's principal paintings, which are perhaps the most excellent works
of the 14th century. In the Cappella Perczzi Giotto has pourtrayed the
life of the two St. Johns: (to the left) Zacharias at the altar; -Nativity
of the Baptist (with a very fine figure of Elizabeth); 'Dancing of the
daughter of Uerod, a spirited aud graceful figure; (on the right) Vision of
the Evangelist in Patmos, from the Apocalypse; Resuscitation of Drusiana,
and 'Ascension of the Evangelist, whose tomb his disciples find empty.
The altar-piece, a Madonna with SS. Rochus and Sebastian, is ascribed
to Andrea del Surto. — In the Cappella Bakdi (the next) Giotto depicts
scenes from the life of St. Francis of Assisi : (to the right, above), Con-
firmation of the rules of his order by the Pope, St. Francis before the
Sultan challenging the Magi to the ordeal of fire, St. Francis blessing
Assisi on his deathbed, and St. Francis appearing in a vision to the Bishop
of Assisi; (on the left), St. Francis flees from Rome, He appears to St.
Anthony at Aries, and his 'Burial (a masterpiece, distinguished by variety
of character and harmony of composition). On the ceiling are figures re-
presenting Poverty, Chastity, and Obedience, the three chief virtues of
the Order, and the saint in glory. — The altarpiece, a portrait of St.
Francis, with eight lateral pictures, is by Margaritone (I3th cent.).

The Choik is adorned with ' frescoes by Agnolo Gaddi (middle of the
14th cent.), representing the legend of the Finding of the Cross, and on
the ceiling the four Evangelists and saints. The high altar was executed
from a design by Vasari.

Left Transept. The 3kd Chapel contains modern frescoes in the
lunette , and oil-paintings at the sides , by Luigi Sabatelli and his sons,
representing the Miracles of St. Antony, etc. — In the 4th Chapel: fres-
coes by Bernardo Daddi; over the altar Madonna with saints, of the
school of Luca delta Mobbia. — The 5th Chapel (S. Silvestro) contains
frescoes by Giottino , Conversion of the Emp. Constantine and Miracles
of St. Sylvester ; monument of Uberto de' Bardi, with frescoes (Last Judg-
ment and Entombment) by Giottino or Taddeo Gaddi. — The Cappella
NiccoLiNi, in the N.E. corner of the transept (closed), constructed by
Antonio Dosio, contains no objects of interest. — In the following Chapel:
Monument of the architect Alessandro Galilei, by Ticciati; crucifix by
Donatella (executed in competition with Brunelleschi, see p. 397). — In the
side-chapel the monument of Princess Sophia Czartoryska (d. 1857) by
Bartolini , with a copy of Rossellino's relief of the Madonna in the Bar-
gello (p. 379). — Farther on , monument of the composer L. Cherubini
(born at Florence 1760, d. 1842) by Fantacchiotti, erected in 1869.

Left Aisle. Tomb of the engraver Raphael MorgUen (d. 1833), by Fan-
tacchiotti. On the opposite pillar the monument of the celebrated archi-
tect Leon Battista Alberti, erected by the last of his family, a group by
Bartolini .^ the master's last work , and unfinished. '■'' Carlo Marzuppini
(d. 1450), by Desiderio da Settignano. Vittorio Fossombroni (minister, d.
1844), by Bartolini. Angelo Tavanti (minister, d. 1781). Giovanni Lami
(d. 1770), by Spinazzi. On the pillar a Pieta, painted by Angelo Bron-
zino. Monument of the jurist Pompoo Signorini (d. 1812) , by Slefano
Ricci. "Galileo Galilei (d. 1612), by Giulio Foggini. Adjoining the
entrance is the monument of the naturalist Targioni Tozzetti. — In the
middle of the nave, near the choir, the marble tomb of John Catrick,
Bishop of Exeter, who died at Florence in 1419 when on an embassy from
King Henry V. to Pope Martin V.

The Cloisters, erected by Amolfo del Cambio, are now usually
entered from the Piazza S. Croce, through a gate adjoining the
church. They contain old monuments of the Alaiuanni, Pazzi, and

jl^

Galleria Buonarroti. FLORENCE. 49. Route. 383

della Torre families, as well as modern works by Costoli, Santa-
relli, BarloUni^ etc. ; in the centre God the Father, a statue by
Bandinelli. Opposite the entrance from the Piazza is the *Cap-
PELLA OF THE Pazzi (the family which afterwards gave name to
the famous conspiracy against the Medici), erected by Brunelleschi
about 1420, with a handsome portal, the entablature of which,
borne by six ancient columns, is interrupted by an arch; the in-r
terior, in the shape of a Greek cross with a flat dome, forms one of
the earliest examples of the principle of architectural centrali-
sation, which is so characteristic of the Renaissance. The terra-
cottas , representing the twelve Apostles and four Evangelists,
are by Luca della Robbia. — To the right we observe the second
row of cloisters , by Brunelleschi , one of the finest Renaissance
works of the kind. To the right (on entering), on the other side
of the cloisters, is the old Refectory, containing a Last Supper
attributed by Vasari to Giotto, and by Mr. Crowe to Taddeo Gaddi;
the Crucifixion, with a genealogical tree of the Franciscans,
and the legend of St. Francis, by pupils of Giotto (according
to Mr. Crowe, by Niccolb di Pietro Gerini). The Tribunal of the
Inquisition, which was abolished by Grand-duke Peter Leopold,
once held its sittings here. An adjoining room (to which a few
steps ascend opposite the door) contains a *Miracle of St. Francis
(multiplication of the loaves), a fresco by Giovanni da S. Giovanni,
with a portrait of the painter. This large apartment also contains
at present a Madonna suckling the Child, and an angel from the
monastery of the Ognissanti, attributed to Giotto, but more prob-
ably by Taddeo Gaddi; the frescoes of the Porta S. Gallo, by
Domenico Ghirlandajo, etc.

Leaving the Piazza S. Croce , we proceed to the S. through the
Via de' Benci, at the end of which, on the right, No. 1, is the Pa-
lazzo Alberti (once the residence of Leon Batt. Alberti ; restored
in 1850), and reach the Ponte alle Grazie, see p. 415.

A little to the N. of S. Croce, at the corner of the Via Buonar-
roti , Via Ghibellina 64, is the House of Michael Angelo (Pi. 49 ;
E, 5). In the 17th cent, a descendant of his family founded here
a collection of pictures and antiquities , which the last of the
Buonarroti bequeathed to the city. This * Galleria Buonarroti
merits a visit chiefly on account of the designs and other reminis-
cences of Michael Angelo (admission , Mon. and Thurs. , 9-3,
festivals excepted; fee 50c., catalogue 50c.).

Ante-Chamber: *14. Battle of the Lapithse and Centaurs, in relief,
an early work by Michael Angelo, whose delight in bold movements, de-
fiant attitudes, and the representation of vehement passion, is already
apparent. Adjoining it, 12. the arm of a Discus-thrower (ancient); 5. a
predella representing the 'Legend of St. Nicholas by Pesellino. Above
these are two portraits of Michael Angelo; on the right, 2., by his pupil
Marcello VentisH; on the left, 3., a later work, representing Michael Angelo
as a young man.

To THE Left of the ante-chamber is the Room of the Drawings: Im-

r {

R E

9SBy^_

14 ™7«
141 w»
lb A /

18 / <,

19 ;/

n «

' "'

2S r»».tfa

c-(

s 1 ,,;»

J>4.

D rS

i Vylal«3ua

Vt Sj^a Jam,

48 Ua«l anil

bWo^a^a IC -m la IkAal

,ily,U.J.lan^

Ml I r If™ „

»• 1

__ Jazma/eTS<^,M,

R P,,/ r.r.0 Mi f «

N Z E

— C.a.

Galleria Buonarroti. FLORENCE. 49. Route. 383

della Torre families, as well as modern works by Costoli, Santa'
relli, Bartolini, etc. ; in the centre God the Father, a statue by
BandineUi. Opposite the entrance from the Piazza is the *Cap-
PELLA OF THE Pazzi (the family which afterwards gave name to
the famous conspiracy against the Medici), erected by BruneUeschi
about 1420, with a handsome portal, the entablature of which,
borne by six. ancient columns, is interrupted by an arch; the in^-
terior, in the shape of a Greek cross with a flat dome, forms one of
the earliest examples of the principle of architectural centrali-
sation, which is so characteristic of the Renaissance. The terra-
cottas, representing the twelve Apostles and four Evangelists,
are by Luca della Robbia. — To the right we observe the second
row of cloisters , by BruneUeschi , one of the finest Renaissance
works of the kind. To the right (on entering), on the other side
of the cloisters, is the old Refectory, containing a Last Supper
attributed by Vasari to Giotto, and by Mr. Crowe to Taddeo Gaddi-
the Crucifixion, with a genealogical tree of the Franciscans,
and the legend of St. Francis , by pupils of Giotto (according
to Mr. Crowe, by Niccolb di Pietro Gerini'). The Tribunal of the
Inquisition, which was abolished by Grand-duke Peter Leopold,
once held its sittings here. An adjoining room (to which a few
steps ascend opposite the door) contains a ^Miracle of St. Francis
(multiplication of the loaves), a fresco by Giovanni da S. Giovanni,
with a portrait of the painter. This large apartment also contains
at present a Madonna suckling the Child, and an angel from the
monastery of the Ognissanti, attributed to Giotto, but more prob-
ably by Taddeo Gaddi; the frescoes of the Porta S. Gallo, by
Domenico Ghirlandajo, etc.

A little to the N. of S. Croce, at the corner of the Via Buonar-
roti , Via Ghibellina 64 , is the House of Michael Angela (PI. 49 ;
E, 5). In the 17th cent, a descendant of his family founded here
a collection of pictures and antiquities , which the last of the
Buonarroti bequeathed to the city. This * Galleria Buonarroti
merits a visit chiefly on account of the designs and other reminis-
cences of Michael Angelo (admission , Mon. and Thurs. , 9-3,
festivals excepted; fee 50c., catalogue 50c.).

Ante-Chamber: *14. Battle of the Lapithee and Centaurs, in relief,
an early work by Michael Angelo, whose delight in bold movements, de-
fiant attitudes, and the representation of vehement passion, is already
apparent. Adjoining it, 12. the arm of a Discus-thrower (ancient); 5. a
predella representing the 'Legend of St. ^Nicholas by Pesellino. Above
these are two portraits of Michael Angelo; on the right, 2., by his pupil
Marcello Venusti; on the left, 3., a later work, representing Michael Angelo
as a young man.

To THE Left of the ante-chamber is the Room of the Drawings: Im-

384 Route 49 . FLORENCE. 55. Annunziata.

mediately to the left is a Head of Cleopatra; then the first design of the
monument of the Medici in S. Lorenzo ; varions studies for the Last Judg-
ment in the Sistine Chapel, and also the first design for that work. In
the centre of the end wall, a *Madonna with the Infant Christ (executed
in colours) ; Architectural sketches , including the first design for the
facade of S.^Lorenzo. On the, tables in the centre are drawings for the
construction of the fortress near S. Miniato (p. 416).

To THE Bight of the ante-chamber is the — I. Room: 57. Statue of
Michael Angelo in a sitting posture, executed by Ant. NovelU^ in 1620; on
the walls are eigh.teen scenes from the great master's life, some of them
in colours and others in grisaille, by painters of the 16th and 17th centuries.
On the ceiling are similar scenes and, allegories by the same artists. Op-
posite the statue is a large oil-painting of the Madonna and Christ, St. John,
and other saints by Jacopo da EmpoU., of which Michael Angelo is said to
have drawn the design. — II. Room (chapel): 74. Madonna and Child, a
basrelief in marble, another early work of Michael Angelo ; 77. Same sub-
ject, afterwards reproduced in bronze; 73. Cast of the Descent from the
Cross by Michael Angelo (?); 80. Small copy of Michael Angelo's Pieta in
the cathedral; *81. Bronze bust of Michael Angelo, by Ricciarelli. —
III. Room (Archives of MSS. of Michael Angelo). The cabinets contain
models: IV. 1. David; 3. Hercules slaying Cacus (a fragment); 4. Nude
woman; V. 10. David, the first design for the statue; autographs of the
master. — Adjacent is a small museum of Etruscan and other antiquities.

The Piazza d'Azeglio and S. Maria de' Pazzi, see p. 375.

Leaving the Piazza del Duomo (p. 370) by the Via de' Servi,
we pass the handsome Palazzo Manelli {Riccardi ; PL 59 a), erected
by Buontalenti in 1565, and reach the —

*Piazza dell' Annunziata (PI. E, 3), embellished with two
singular fountains by Pietro Tacca, and the equestrian statue of
the grand-duke Ferdinand I., by Giovanni da Bologna (his last,
but not best work), erected in 1608, and cast of metal captured
from the Turks. The pedestal was adorned in 1640, in the reign of
Ferdinand II.

On the S.W. side of the piazza rises the *SpedaIe degli Inno-
cent!, or Foundling Hospital (PI. 92), begun in 1421 from the
designs of Brunelleschi by his pupil Francesco della Luna, at the
expense of the Guild of Silk-workers. The medallions with charm-
ing infants in swaddling clothes, between the arches, are by Andr.
della Robbia. Frescoes under the portico by Pocetti; the busts of
the four Medici, Cosimo L, Francesco I., Ferdinando I., and Cosi-
mo II., by Sermei, pupil of Giovanni da Bologna. To the left in
the court, over the door leading to the church of S. Maria degli
Innocenti, is an *Annunciation by Andrea della Robbia. The In-
terior (restored in 1786) contains an altar-piece (covered), the
*Adoration of the Magi, which, according to Mr. Crowe, is the best
easel-painting of Domenico Qhirlandajo (1488). — Opposite the
Spedale is the hall of the Servi di S. Maria brotherhood , erected
by Antonio da Sangallo (1519), and designed by Brunelleschi.

The church of *SS. Annunziata (PL 2 ; E, F, 3) was founded
in 1250, but has since been frequently altered and redecorated.
The handsome portico with its three doors is probably by Antonio
da Sangallo ; that on the W. leads to the old Servite monastery

SS. Annunziata. FLORENCE. 49. Route. 385

and the cloisters, that in the centre to the church, the third to
the chapel of the Pucci, founded in 1300, and restored in 1615,
which contains a St. Sehastian by Antonio da Pollajuolo (shown
only by special permission of the family). Over the. central door a
mosaic by Davide del Ghirlandajo, representing the Annunciation.

A kind of Anterior Court, which is first entered, begun by Ant.
Sangallo , and completed by Caccini shortly after 1600, was adorned in
1509-14 with "Frescoes by Andrea del Sarto and his pupils. (The frescoes
are now protected from the weather by a glass colonnade,, which may be
entered.) On the right the Assumption, by Rosso Fiorentino ; 'Visitation, one
of Pontormo's master-pieces; 'Nuptials of Mary, by Francmbigio, damaged
by the painter himself in his choler at its premature uncovering by some o
the monks; *Nativity of Mary, by Andrea del Sarto, painted in 1512, and
'on the highest level ever reached in fresco'; 'Arrival of the Magi, by
the same master, executed with a still more running hand but with less
chastened sentiment, the figures characterised by a self-confident swing
(C. tt C; in the left foreground, portrait of the painter, in the right
Sansovino). Farther on, left of the entrance, Nativity, by Alessio Baldo-
vinetti; Investiture of S. Filippo, by Cosimo RosselU. *S. Filippo giving
his garment to a sick man, by Andrea del Sarto; monument and bust of
Andrea, by G. Caccini; *Gambler struck by lightning, and S. Filippo, by
Andrea del Sarto ; *Cure of a man possessed of an evil spirit, *Death of
S. Filippo, and Miracles wrought by his robes, both by Andrea del Sarto.
'Carried away by his feeling for harmony of colour, and charmed
whenever he cnnld realize a vague and vaporous twilight of tone (see
especially the Death of the Saint), Andrea was unable to combine that
appearance with absolute neutral contrasts .... but the balance was
almost restored by the facility with which he obtained transparence, gay
colours, and smoothness in the melting of tints into each other'. — C. & C.

The Interior, consisting of nave with transepts and two series of
chapels, and covered with a dome, is adorned with a large ceiling-paint-
ing of the Assumption by Ciro Ferri (1670). Chapels on the Right: 1st,
frescoes by Motteo RosselU; 4th, on the left the monument of the engraver
Giovita Garavaglia (d. 1835), by Lorenzo Nencini. Over an altar to the left,
in the S. transept, a Pieta by Baccio Baridinelli, who with his wife is bur-
ied under it. The large Rotunda of the Choir, designed by Leon Battisla
Alberti, and adorned with frescoes by VoUerrano ^i()83) SLDd Ulivelli, is pe-
culiar. To the left at the entrance is the monument of Angelo Marzi-Medici
by Francesco Sangallo (1546). In the 2nd chapel on the right the Kuptials
of St. Catharine by Biliverfe (1606). The 5th chapel contains a crucifix and
six reliefs from the Passion by Giovanni da Bologna and his pupil Franca-
villa, with the monument of the former; in the 6th chapel a Resurrection
by Bronzino; in the 7th a ''Madonna with saints, by Pietro Perugino. In
the 1st chapel of the nave , after the choir is quitted : Assumption , by
Pietro Perugino. In the 4th chapel, the Last Judgment, copied from
Michael Angelo's picture in the Sistina by Alessandro Allori. Frescoes
by the same. The Cappella delta Vergine Anniinziata in the nave to
the left of the entrance, covered with a kind of canopy, erected in 1448
by Pagno di Capo Portigiani from Michelozzo's design, and sumptuously
decorated with silver and gold by subsequent princes (reliefs in silver
by Rigetti), contains a 'miraculous' and highly revered picture of the
Virgin behind the altar, a fresco of the 13th century. Over the altar a
bust of the Saviour by Andrea del Sarto.

A door in the N. transept leads to the Cloisters ; over it, on the outside,
is a '-Fresco by Andrea del Sarto., the Madonna del Sacco (1525), perhaps
the finest work of this master, and of most imposing effect. Below it is
the monument of the Falconieri, the founders of the church. On the same
side is the entrance to the chapel of the guild of painters (Cappella di
/S._ Lnca), adorned with paintings by G. Vasari, Poniormo, and others (keys
with the custodian, who also opens the glass arcade in the anterior court).
Baedeker. Italy I. 5th Edit. 25

386 Route 49. FLORENCE. S. Marco.

The Via della Colonna, in whicli is the church of S. M. Madda-
lena de' Pazzi, leads hence to the Piazza Azeglio (see p. 375).

To the N.W. of the Piazza dell' Annunziata the Via della Sa-
pienza leads to the Piazza S. Makco (PI. E, 3), which is adorned
with a hronze statue of General Fanti, hy Fedi, erected in 1872. —
On the N. side of this piazza rises S. Marco (PI. 19), a church
without aisles, with a flat ceiling and a dome over the choir,
erected in 1290.

Interior. Over the central door Christ , painted 'a tempera' on a
gold ground, by Giotto. Right Wall: 1st altar; St. Thomas Aquinas be-
fore the Crucified , by Santi di Tito. 2nd altar : Madonna with saints,
by Fra Bartolommeo. 3rd altar: Madonna and two saints, a mosaic of the
Roman school. — In the vestibule of the sacristy a statue of the Risen
Christ, by Antonio Novelli. In the sacristy (erected by Michelozzo., 1437)
a recumbent statue of St. Antoninus in bronze, by Portigiani. Annuncia-
tion by Fra Bartolommeo (?). — Adjoining the choir on the left is the
chapel of Prince Stanislaus Poniatowsky (d. 1833). — Then the Chapel of
St. Antoninus (who was once a monk in this monastery) ; architecture and
statue of the saint by Giovanni da Bologna. Frescoes on each side of the
entrance with the funeral obsequies of St. Antoninus, by Passignani. In
the picture on the left, members of the Medici family are represented as
supporting the Canopy in the procession ; statues of SS. Philip , John,
Thomas Aquinas, Anthony the Abbot, Eberhard, and Dominicus , by Fran-
cavilla , the basreliefs by Portigiani; over the altar, Conversion of Mat-
thew by Poppi (r.), and Healing of the leper by Naldini (1.). — This
church contains the tombs of the celebrated scholar Johannes Picas de
Miratidola, who died in 1494 at the age of 31, and of the equally eminent
Angelus Politianus (d. 1494), who, having been a monk, was buried iu the
monastery of S. Marco (between the 2nd and 3rd altars of the left wall).

Adjacent to the church is the entrance to the once far-famed
*Monastery of S. Marco (PI. 58; E, 3), now suppressed, and fitted
up as the Museo Fiorentino di S. Marco (open daily, from 1st Oct.
to 31st March, 9-3; from 1st Apr. to 30th Sept., 10-4 o'clock; on
Sun. no adm. after 2.30, shut at 3 p.m. ; Sun. gratis, at other
times Ifr.). The huilding was originally occupied by 'Silvestrine'
monks, but was transferred under Cosimo 'pater patriae' to the
Dominicans, who were favoured by the Medicis. In 1436-43 it
was restored in a handsome style from designs by Micheloszo, and
shortly afterwards decorated by Fra Giovanni Angelico da Fiesole
(b. 1387, d. 1455) with those charming frescoes which to this day
are unrivalled in their pourtrayal of profound and devoted piety.
The painter Fra Bartolommeo della Porta (1469-1517) and the
powerful preacher Girolamo Savonarola (burned at the stake in
1498, see p. 352) were also once inmates of this monastery.

The Cloisters, which are entered immediately from the street, are
partially decorated with frescoes of the 18th cent., but these are far sur-
passed by the numerous and excellent works of the earlier masters,
among which the following deserve special notice : opposite the entrance,
"Christ on the Cross, with St. Dominic ; left, over the door to the sacristy,
*St. Peter the Martyr, indicating the rule of silence peculiar to the order
by placing his hand on his mouth; over the door to the chapter-house
(see below) St. Dominic with the scourge of nine thongs; over the door
of the refectory a Pieta; over the entrance to the 'foresteria' , or apart-
ments devoted to hospitality, 'Christ as a pilgrim welcomed by two Do-
minican monks ('No scene more true , more noble , or more exquisitely

8. Marco. FLORENCE. 49. Route. 387

rendered than this, can be imagined". — C. d; C). Over the door Christ
with the wound-prints, all by Fra Angelica. The second door in the wall
opposite the entrance leads to the Chapter House, which contains a large
*Cruciflxion, Christ between the thieves, surrounded by a group of twenty
saints, all life-size, with busts of seventeen Dominicans below, by Fra An-
gelica. The door in the corner of the cloisters leads to the Great Re-
fectory, one of the walls of which is adorned with the so-called *Provi-
denza (the brothers seated at a table and fed by two angels), by Fra Bar-
tolommea, and a Crucifixion. The door next to the chapter-house leads to the
second monastery court, in the passage to which, on the right, is the stair-
case to the upper floor. On the left, before the staircase is reached, is the
Small Refectort, containing a *Last Supper by Dam. del Ghirlandajo.

Upper Floor. The corridor and the adjacent cells are adorned with
a succession of frescoes by Fra Angelica , and partly by his pupils. In
the Corridor : "Annunciation, Christ on the Cross with St. Dominic , and
an Enthroned Madonna with saints. — In the Cells (the 9th) : *Corona-
tion of the Madonna by Christ. The other cells contain the two Maries
at the Sepulchre , Christ opening the gates of Paradise, Transfiguration,
Entombment, etc. Opposite the staircase is a cell containing reminiscen-
ces of St. Antonine. The last cells on the left side of the passage were once
occupied by Savanarola , and now contain his portrait by Fra Bartolom-
meo , a copy of an old picture representing his execution (original at
the Pal. Corsini , p. 399) , autographs , a marble monument erected in
1873, with a relief (Savonarola addressing his judges), and his bust. On
the right of the staircase is the Library : the glass-cases in the middle
contain a number of ritual books from S. Marco and other convents and
churches, with miniatures by Fra Benedetto^ the brother of Angelico, and
other celebrated artists of the 15th century. On the other side of this
passage are Two Cells , adjoining those of St. Antonine , and containing
three small easel '-Pictures by Fra Angelica., which formerly adorned
reliquaries in S. Maria Novella, representing an allegory, the Presentation
in the Temple, and Christ teaching. The Last Cell on the right, em-
bellished with an ^Adoration of the Magi, al fresco, by Fra Angelico, is
said to be that which Cosimo Pater Patrise caused to be fitted up for
himself, and where he received the Abbot Antonius and Fra Angelico.
An inscription informs us that Pope Eugene IV. slept here in 1442. — An
adjacent room contains the flags and colours of all the towns and cor-
porations which were represented at the Dante festival in 1865.

The Accademia delta Crusca , founded in 1582 to maintain the
purity of the Italian language , and established in part of this
huilding, is now publishing a large dictionary of the language, and
occasionally holds public sittings.

Leaving the Via della Sapienza, and turning to the left into
the Via Ricasoli , we reach , beyond No. 54 , the entrance to the
*Accademia di Belle Arti (PL 37 ; E, 3 ; open daily, 9-3, adm. 1 fr.;
on Sun. , 10-3, and in summer on Thurs., gratis ; catalogue 1 fr.). —
This collection contains few pictures to strike the eye or imagination
of the amateur, but it is a most important collection for students of
the development of Italian art during the 14th-16th centuries. "We
have the advantage here of being able to concentrate our attention
on the characteristic features of the Tuscan and Umbrian schools,
to the productions of which this collection is restricted. The
small pictures of Giotto [large paintings, Nos. 18-29) and Fra
Angelico' s Life of Christ (small pictures, Nos. 11 and 24) are,
however, merely to be regarded as supplementary to the much
more important labours of these two great masters in the depart-

25*

388 Route 49. FLORENCE. Academy.

ment of fresco painting. The Last Judgment (small pictures, No.
41), and the Descent from the Cross (large pictures, 34), afford a
good idea of Fra Angelico's works. This collection also possesses
one of the chief works of Gentile da Fabriano, an Umhrian master,
closely allied to Fra Angelico (Adoration of the Magi, large pictures,
32). This work affords distinct evidence of the unity of sentiment
which existed between the Schools of the North and South in the
15th cent., notwithstanding their external independence. The col-
lection is chiefly important for the study of the Florentine art of
the 15th century. We may mention as one of Filippo Lippo's earliest
works the Nativity of Christ (small pictures, 26), whereas the Cor-
onation of the Virgin (large pictures, 41), with a portrait of him-
self, belongs to his latest period. In these works the master ob-
viously aims at sensuous beauty in his female forms, he departs
from the strictly ecclesiastical style, and borrows various effects
from the province of sculpture. The want of repose caused by the
desire to introduce technical novelties is very apparent in Sandro
Botticelli's Coronation of Mary (large pictures, 47) ; and Verrocchio's
Baptism (large pictures, 43) shows the same tendency in a higher
degree, distantly recalling Leonardo's technical skill and sense of
form. Domenico Ghirlandajo, another master of this school, was
thoroughly conversant with traditional forms, and with their aid
he has been enabled to produce majestic and spirited figures, and
to unite in them the result of the labour of two generations. His
Madonna and angels (old pictures, 17) is better preserved than the
Nativity of Christ (large pictures, 50). A comparison of Ghirlan-
dajo's simplicity of style, the outcome of a mature imagination,
with the elaborate and exaggerated manner of the old masters, is
most instructive. Lorenzo di Credits Nativity (large pictures, 51)
is not only a carefully executed, but also an impressive picture
on account of its beauty of expression and symmetry of composition.
Among Fra Bartolommeo' s pictures, Mary appearing to St. Bernard
is particularly worthy of notice (large pictures, 66), as it affords an
insight into the master's method of painting; his St. Vincent
(large pictures, 69) is also a fine work. Marietta Albertinelli, who
is closely allied to Fra Bartolommeo, is well represented by a
Madonna (large pictures, 72) and a Trinity (large pictures, 70); his
Annunciation ( No. 73) is no longer in its original condition. Peru-
gino's pictures are greatly above the average merit of his works :
in his Pietk (large pictures, 58) an admirable individuality of
character is exhibited ; his skill as a colourist is shown in his
Mount of Olives (53); and his Assumption (55), admirable both
in composition and execution, shows him at the zenith of hispower.
The Entrance Hall contains four bas-reliefs in terracotta,
by Luca della liohbia^ and busts of great painters, in plaster.
Passing to the right through a room with casts of modern sculp-
tures, we enter the —

Academy. FLORENCE. 49. Route. 389

*Hall of the Large Pictures. 1, Mary Magdalene, 13tli
cent. ; 2. Cimabue, Madonna ; 3. Buffalmacco, St. Humilitas of
Faenza, 1316 ; 4-13. Giotto, Ten scenes from the life of St. Francis
(executed by Taddeo Gaddi); 15. Giotto, Madonna with angels;
18-29. Giotto, Twelve small scenes from the life of Christ ; 30.
Don Lorenzo di Firenze, Annunciation, with SS. Catharine, An-
thony, Proculus, and Francis. Above: 31. Niccolb di Pietro Gerini,
Entombment; *32. Gentile da Fabriano, Adoration of the Magi,
the painter's master-piece, 1423; *34. Fra Angelica, Descent from
the Cross; 36. Masaccio, Madonna with angels; 39. John the
Baptist, by a pupil of Filippino Lippi; *40. Filippo Lippi, Ma-
donna with saints. *41. Filippo Lippi, Coronation of Mary, with
(42) predella, one of the master's best works ; the monk in the fore-
ground to the left, below, is a portrait of the painter himself. *43.
Andrea del Verrocchio, Baptism of Christ, in which the first angel on
the left was painted by Leonardo da Vinci, a pupil of this master.

This painting, unfinished and injured though it be, otTers to us a
picture of calm and composure, of reverent and tender worship, which
carries %vith it a special charm. The resigned consciousness of the Saviour
receiving the water which St. John pours on his head, the questioning
tender air of the two beautiful angels, the brook itself running in its bed
of pebbles, the mixture of the mysteries of solitude and worship are all
calculated to aflfect the senses of the beholder. — C. <i- C.

Alessandro Botticelli, 46. Madonna with several saints, and
47. Coronation of the Virgin; *48. Pesellino, SS. Cosmas and
Damianus, predella ; 49. S. Botticelli, St. John in Patmos, pre-
della; 50. Domenico Ghirlandajo, Nativity; *ol. Lorenzo di Credi,
Nativity ; 52. Sandro Botticelli. Madonna and saints ; *53. Pietro
Perugino, Christ on the Mt. of Olives, in excellent preservation ;
*55. Perugino, Assumption of the Virgin, with SS. Michael,
Giovanni Gualberto, Dominicus, and Bernard, brought from Val-
lombrosa, 1500 ; 56. Perugino, Christ on the Cross ; 57. Descent
from the Cross, the upper half by Filippino Lippi, the lower by
Pietro Perugino; *58. Perugino, Pietk, an early work; 59. An-
drea del Sarto, Four saints ; 62. Two angels, by the same ; 63.
History of four saints, by the same; 64. Fra Bartolommeo ('i). Ma-
donna, al fresco ; 65. Fra Bartolommeo (?}, Madonna with Jesus,
St. Catharine, and other saints ; *66. Mary appearing to St. Bernard,
by the same ; 67. Raffaellino del Garbo, Resurrection ; 68. Dead
Christ, Madonna, Mary Magdalene, and other saints, designed by
Fra Bartolommeo, and painted by his pupil FraPaolino da Pistoja;
*69. Fra Bartolommeo, St, Vincent; *70. Mariotto Albertinelli,
The Trinity, painted after his separation from Fra Bartolommeo
(1500), but still under his influence; 71. Fra Paolino da Pistoja,
Madonna presenting St. Thomas with her girdle; *72. Mariotto
Albertinelli, Madonna with Jesus and four saints; 73. Annun-
ciation, by the same, 1510 ; 75. Francesco Granacci, Madonna and
four saints ; 78. Fra Bartolommeo, Head of Christ, and four saints
(that in the centre supposed to be Savonarola , next to him a

390 Route 49. FLORENCE. Academy.

Carthusian monk with his finger on Ms lips); 82. Fra Bartolom-
meo, Christ, and four saints ; 86. Giovanni Antonio Sogliani, Ma-
donna enthroned; 88. Angela Bronzino, Portrait of Cosimo de'
Medici; 89. Alessandro Allori, A lady of the Medici family; 90.
Michele di Ridolfo del Ghirlandajo, The thousand martyrs; 92.
Angela Bronzino. The two Maries with the hody of Christ; 93.
Alessandra Allori, Annunciation ; 97. Francesco Morandini, Cru-
cifixion; 100. Santi di Tito, Pietk.

We now return through the Entrance Hall, proceed to the left
through the Library of the Academy into another vestibule, and
thence reach the —

Hall of the Ancient Pictures, containing 60 works by mas-
ters of the Tuscan school of the i4th and 15th cent., less interest-
ing than the above to the ordinary visitor. Among them may be
mentioned: *6. Luca Signorelli, Mary Magdalene at the foot of
the Cross; 11. Giacomo Francia (son of Francesco), Madonna with
saints; 17. Dam. Ghirlandajo, Madonna and four saints; 19, 22.
Fra Angelica, Two Madonnas. *24. S. Botticelli, The three Graces :
the plastic modelling reveals the influence of Verrocchio, and
illustrates the characteristic treatment of half-heathen subjects in
the 15th century. The plaster casts are destined for the Michael
Angelo Museum (p. 391). Adjacent is the —

Hall of the Small Pictures, containing 71 works of the
14th-17th cent., most of them excellent : 1. Luca Signorelli, Pre-
della, Last Supper, the Mount of Olives, and the Scourging of
Christ; 3. Ascension and Annunciation, attributed to Giotto; 8.
Fra Angelica, Miracle wrought by SS. Cosmas and Damianus;
*11, 24. Fra Angelica, Life of Christ in 8 pictures and 35 sections;
12. Fra Filippo Lippi, Madonna adoring the Child; 13. Lorenzo
di Credi, Nativity; 16. Fra Angelica, History of five martyrs; *18.
Perugino (or Raphael?^, Two portraits of monks; 19. Fra Angelica,
Six representations from the legends of the saints ; 20. -Fra An-
gelica, Madonna with the Infant Jesus, above it the Trinity; 25.
Pallajualo, Tobias and three angels; *26. Fra Filippo Lippi, Ma-
donna adoring the Infant Christ ; 27. Carlo Dolci, Portrait of Fra
Angelico ; 28. Fra Bartalommeo, Hieronymus Savonarola in the
character of S. Pietro Martire^ Fra Angelica, 36. Coronation of the
Virgin, 37. Crucifixion, 38. Passion, below it the Adoration of the
Magi, 40. Entombment, *41. Last Judgment, with numerous
figures, testifying to the painter's study of Orcagna, 49. St. Thomas
Aquinas with his pupils, 50. Albertus Magnus teaching theology.
In the Sala dei Cartoni are preserved a number of the original de-
signs of the most celebrated masters: 1. Fra Bartolommeo , St. Peter;
2. Madonna (dellaGatta), copy from Raphael; 4. Fra Bartolommeo, St. Paul ;
5. Madonna, after Raphael; 6. Correggio, Madonna; 9. Mary Magdalene, 10.
St. Jerome, 11. St. Catharine of Siena, all by Fra Bartolommeo; 17. An-
drea del Sarto , Madonna (in the Palazzo Panciatichi, p. 393) ; Madonna
(del vclo), after Raphael; 18. Madonna, 22. St. Dominicus, by Fra Bar-
tolommeo.

Academy. FLORENCE. 49. Route. 391

The Fikst Flook contains the Galleria dei Qoadki Modekni (cata-
logue 20 c. ; admission gratis), few of whicli are worthy of mention.
2nd R. : C. Vogel, 9. Scenes from the Divine Comedy, 12. Scenes from
Faust; 10. Ussi, Expulsion of the Duke of Athens from Florence. —
3rd R. : Castagnola, Filippino Lippi and his mistress ; 10. BezziioU, Entry
of Charles VIII. into Florence. — 4th R. : 3. Marko, Harvest; 21. Marko,
Return of Tobias. — 5th R. : 8. C. Vogel, Jesus and the little children;
17. Buzzi, Reading lesson. — 6th R. : 19. Marko, Landscape; 28. Bezzuoli,
Portrait of Marie Antoinette.

In a straight direction from the entrance (No. 40) a Court is
reached, where several bas-reliefs hy Luca delta Bobbia are pre-
served ; cast of a colossal horse's head from the Monte Cavallo in
Rome ; original model of the Rape of the Sabine women, by Gio-
vanni da Bologna; St. Matthew, just begun, by Michael Angelo,
one of the Twelve Apostles he was to supply for the cathedral
(1503) ; etc. — Then to the right through a passage with reliefs in
plaster, at the end of which is the Gallery of Statues, a rich
collection of casts of the most celebrated sculptures in Europe.
The Architecture Saloon contains architectural designs , and in
other rooms are sketches, drawings, etc., by modern architects.

In the Second Court stands the celebrated *David ('II Gigante')
by Michael Angelo, shaped by the youthful artist in 1501-1504
from a gigantic block of marble, which had been abandoned as
spoiled. The statue, which is placed under a glass building
covered with a dome, formerly stood in front of the Palazzo Vecchio
(p. 352).

'No plastic work of Michael Angelo earned such a harvest of laudation
among his contemporaries as the 'David'. Vasari sings the praises of the
miracle-worker, who raised the dead, spoiled block to new life, and
assures us that Michael Angelo's David is vastly superior to all ancient and
modern statues whatever. The boldness and assured touch of the great
sculptor certainly awake our admiring astonishment. Not only the sub-
ject was prescribed to him, but also its size and proportions, added to
which he was confined to the narrowest limits for the development of the
attitude and motion. Yet this constraint is not perceptible, and the history
of the statue could by no means be divined from its appearance. Out-
wardly the demeanour of the young hero is composed and quiet ; but
each limb is animated by a common impulse from within, and the whole
body is braced up for one action. The raised left arm holds the sling in
readiness, the right hand hanging at his side conceals the pebble; next
instant he will make the attack'. — Springer.

This court is also destined for the reception of the 'Michael
Angelo Museum', in which a complete collection of casts and
photographs of the great master's works is to be exhibited.

The same building (entrance in the Via Alfani) contains the
celebrated manufactory of Florentine Mosaics (a branch of in-
dustry founded in the middle of the 16th cent.), containing a col-
lection of the materials used and of finished works, open daily
except Sundays.

The custodian of the Academy also keeps the keys of the
Cloisters of the Recollets, or barefooted monks (Chiostro della
Compagnia dello Scalzo), Via Cavour 69, adorned with admirable

392 Route 49. FLORENCE. Palazzo Riccardi.

*Frescoes in grisaille from the history of John the Baptist, with
allegorical figures and rich ornamentation, executed by Andrea
del Sarto, with the assistance of Franciabigio.

1. Allegorical figure of Faith (1520); 2. The Angel appearing to Za-
charias (1526J; 6. Visitation (1524); 4. Nativity of the Baptist (1526);
5. Departure of John from his father's house, and 6. His meeting with
Christ (these two by Franciabigio, 1518-19). — 7. Baptism of Christ (the
earliest and weakest of all, perhaps painted by the two artists in com-
mon, 1509) ; 8. Allegorical figure of Love (1520) ; 9. Allegorical figure of
Justice (1515); 10. John preaching in the desert (1515); 11. John baptising
(1517); 12. John made prisoner (1517); 13. Dance of Salome; 14. Death of
John; 15. His head brought in on a charger; 16. Allegorical figure of
Hope (the last four painted in 1523). — It is interesting to remark in several
of these frescoes the influence of Albert Dilrer , whose downright truth-
fulness early impressed the Italian artists (Raphael among them), in spite
of the contrast between them and him in form and conception. For
example, in the Sermon of John , the Pharisee in the long robe to the
right and the woman with the child are borrowed from the engravings of
the German master.

Adjacent is the Casino Medic eo (No. 63 ; PI. 51), erected in 1576
by Buontalenti, on the site of the famous Medici gardens, where
Lorenzo 11 Magniflco preserved a number of treasures of art for
which no place could be found in the neighbouring palace of the
Medici (see below). Bertoldo , the heir and pupil of Donatello,
was appointed keeper , and round him clustered a troop of eager
students. No other school ever attained so great celebrity.
Leonardo da Vinci, Lorenzo di Credi, Giovanni Francesco Rustici,
Francesco Granacci, Giuliano Bugiardini, A. Sansovino, P. Torri-
giaui, and, last but not least, Michael Angelo, all owe their artistic
education to the garden of the Medici. Duke Cosimo I. afterwards
transferred the collection to the gallery of the Uffizi. ■ — Proceeding
farther to the N., we traverse tlie Via Salvestrina to the left, and
enter the Via S. Gallo, No. 74 in which, a corner house, is the
* Palazzo Pandolfini, now Nencini (PL 74; F, 2), designed by
Raphael, but not erected till ten years after his death.

At the beginning of the Via Cavotjr, formerly named the Via
Larga, is the *Palazzo Riccardi (PL 83 ; D, 3), formerly Medici,
which has been in possession of the government since 1814. It was
erected about 1440 under Cosimo Pater Patri£e by Michelozzo, who
here introduceil the practice of tapering the rustica in the different
stories. The unsymmetrical fai,'ade is surmounted by a rich and
heavy cornice. Here Cosimo's grandson Lorenzo 11 Magniflco was
born on 1. Jan., 1449, and here he maintained his brilliant estab-
lishment. Lorenzo's sons Piero, Giovanni, and Giuliano also flrst
saw the light within its walls. Giulio, Ippolito, and Alessandro
de Medici (comp. p. 349) subsequently resided here, and the
family continued in possession of the palace until it was sold in
1659 by the grand-duke Ferdinand II. to the Marchese Riccardi,
who extended it considerably, enclosing within its precincts the
Strada del Traditore, where on 7th Jan., 1537, Duke Alexander
was assassinated by Lorenzino de' Medici. The original structure,

8. Oiovannino. FLORENCE. 49. Route. 393

however, is still in great part recognisable, particularly its beautiful
court and the staircases.

An imposing gateway leads to a Court surrounded by arcades, where
ancient busts, statues, sarcophagi, Greek and Latin inscriptions from Rome,
etc. were placed by the Marchese Riccardi in 1719. The sarcophagus in
the corner to the left, with the representation of the Calydonian Hunt,
formerly contained the remains of Guccio de' Medici, an ancestor of the
family, who lived at the beginning of the 14th cent. ; the cover, bearing
the arms of the Medici and of the guild of the workers in wool, is modern.
Four of the frames for inscriptions resembling windows were designed by
Michael Angela. — The passage to the Second Court contains ancient busts;
the Third Court contains a fountain and the statue of Duke Alexander.

Three flights of steps ascend to the Upper Floor, occupied by the
Biblioteca Riccardiana and the archives. The Library, founded by the
Riccardi, and purchased by the state in 1812, comprises 23,000 vols, and
3500 MSS., including several by Dante, Petrarch, Macehiavelli, Galileo,
ancient diptychs , etc. Admission, see p. 345.

The private Chapel of the Medici , constructed and decorated by
Michelozzo, also on the upper floor (shown 11-3 daily by the house-steward,
who lights the chapel with a lamp) is embellished with 'Frescoes hy Benozzo
Oozzoli, painted about 1457-60, representing the journey of the Magi, with
numerous portraits of the Medici. Benozzo 'shaped the various episodes of
a pompous progress into one long series filling the walls of the body of
the building. The kings, in gorgeous state, are accompanied on their march
by knights and pages in sumptuous dresses, by hunters and followers of
all kinds, and the spectator glances by turns at the forms of crowned
kings, of squires, and attendants with hunting leopards, all winding their
solemn way through a rich landscape country'. — C. & G. In the Gallery
adjoining the library are frescoes (in honour of the Medici family) and
good paintings on the mirrors by Luca Giordano, 1683.

On the corner house opposite the Palazzo Riccardi , in the Via
Cavour, is a relief of the Madonna by Des. da Settignano. On the
other side , towards the Baptistery, is a similar work by Donatella.

In the Via Cavour are also the palaces of the Panciatichi (PI.
76; E, 3), erected by Carlo Fontana about 1700; Covoni (formerly
Capponi, by G. Silvani, about 1660); PesteZimi (formerly Naldini);
Poniatowski (1740 ; PI. 81 ; F, 2), and others. — The Biblioteca
Marucelliana (PI. 43, E 4; adm. see p. 345), founded in 1703 by
Francesco Marucelli, and containing a fine collection of engravings,
is also situated in tlie Via Cavour near S. Marco (catalogue).

Opposite the palace of the Medici, in the Via delle Cantonelle,
is situated the church of S. Oiovannino degli Scolopi (belonging
to the Padri delle Scuole Pie; PI. 50; D, 3), erected in 1352,
remodelled in 1580 by B. Ammanati, completed in 1661 hy Alfonso
Parigi, and in the possession of the Jesuits from 1557 to 1775. The
scientific institutions of the city , comprising a library , observa-
tory, etc. , are established here. The church contains frescoes and
pictures by Allori, Bronzino, Santi di Tito, etc.

In the Piazza S. Lorenzo (PI. D, 3), with the church of that
name, is the Base di S. Lorenzo, adorned with reliefs by Baccio
Bandinelli, representing the victories of Giovanni delle Bands
Nere (d. 1526 ; father of Duke Cosimo I.). In 1850 the monument
was restored and furnished with the unpleasing and unfinished
statue of Giovanni, executed by the same master.

394 Route 49. FLORENCE. S. Lorenzo.

*S. Lorenzo (PI. 17 ; D, 3), founded in 390, consecrated by
St. Ambrose in 393 , is one of the most ancient cburcbes in Italy.
In 1423 it was burned down, and in 1425 re-erected by the Medici
and seven other families from the designs of Filippo Brunelleschi,
who restored the form of the early Christian basilica, consisting of
a nave and aisles terminated by a transept, the nave being covered
with a flat ceiling, and the aisles with groined vaulting. He then
added chapels resembling niches on each side. Over the columns
(14 in number, and two pillars) he replaced the ancient beams which
had been removed in the middle ages, and which now support the
projecting arches. The cupola, which rests upon the cross without
the interposition of a drum, is not part of Brunelleschi's work. —
The high altar was consecrated in 1461. The inner wall of the
fa(;ade is by Michael Angela, who also added the new sacristy (see
below), and the Laurentian Library. His design for the outside of
the facade (1516) was iinfortunately never executed, but is pre-
served in the Galleria Buonarroti (p. 384). The church has been
handsomely restored within the last few years.

At the end of the Right Aisle is the 'Monument of the painter Ben-
venuti (d. 1844) , by Thorvaldsen. *Basreliefs on the two pulpits by
Donatello and his pupil Bertoldo. — Right Transept , side chapel on
the right, (r.) Nativity, by Cosimo Rosselli. Over the altar of the chapel
a figure of the Virgin , erected in 1856 to commemorate the cessation
of the cholera in 1855. Also a marble altar by Desiderio da Settignano.
— At the foot of the steps leading to the Choik is the simple tomb of
Cosimo the Elder, selected by himself, in which he was laid on Aug. 2nd,
1464, according to bis own request without any funereal pomp. The
Signoria honoured his memory by passing a decree which gave him the
title of 'Pater Patrije". — In the 2nd chapel to the left of the choir the
monument of a Countess Moltke Ferrari-Corbelli, by Dupri, 1864. — The
*Old Sacristt, erected by Filippo Brunelleschi, is covered with a polygonal
dome ; the bronze doors , bas-reliefs , and statues of the four Evangelists
(below the dome), are by Donatello:, fountain probably by Brunelleschi;
Adoration of the Infant Christ, a painting by Ridolfo Ohirlandajo; to the
left of the entrance, the simple and tasteful monument of Piero de'
Medici (father of Lorenzo il Magniflco) and his brother Giovanni, by
Andrea del Verrocchio. In the centre the marble monument of Giovanni
Averardo de" Medici and Piccarda Bueri , the parents of Cosimo, by Dona-
tello. — In the 2nd chapel, an Annunciation, by Fra Filippo Lippi. — In
the Left Aisle the Martyrdom of St. Lawrence, a large fresco by Angela
Bronzino. — The adjoining door leads to the cloisters and the library (see
p. 396). In the following chapel, the Martyrdom of St. Peter by Sogliani.

To S. Lorenzo belong also the new Sacristy and the Chapel of
the Princes, the entrance to which, however, is now in the Piazza
della Madonna at the back of the church, nearly opposite the Via
Faenza. From the vestibule we ascend a flight of steps to the left,
and reach the new sacristy on the left, and the chapel of the prin-
ces on the right.

The **New Saceisty (^Sagrestia Nuova; admission, see p. 346 ;
fee), built by Michael Angela for Pope Clement VII. (Giulio de'
Medici) in 1523-29, as a mausoleum for the house of the Medici,
is a simple quadrangular edifice surmounted by a dome and arti-
culated by pilasters, niches, and recesses. In form it corresponds

S. Lorenzo. FLORENCE. 49. Route. 395

•with the old sacristy hy Brunelleschi. The sculptures with which
it was to have been filled have been confined to the monuments of
the two members of the family who had last died, Giuliano de'
Medici, created Due de Nemours by the King of France (d. 1516),
and Lorenzo de" Medici, who became Duke of Urbino under Leo X.
(d. 1519}. The great master worked at his task full of bitter
feelings at the abolition of the republic by Alessandro de' Medici,
and in 1534 left it unfinished, as he feared the tyrant's hate after
the death of the Pope. In spite of these unfavourable circum-
stances Michael Angelo has here produced a congruous whole of
the greatest beauty. Architecture and sculpture are as harmonious
as if the master had modelled sarcophagi and statues, cornices and
niches, doors and windows out of one and the same clay.

On the right is the Madsoleum op Giuliano de' Medici, who is re-
presented as the General of the Church, holding the commander's baton
in his hand. Full of proud confidence and energy he gazes before hijn,
ready to start up at the approach of danger. Below is the sarcophagus,
containing the remains of the deceased and adorned by the "Statues of
Day and Night, the latter especially admired. A contemporary poet, Gio-
vanni Battista Strozzi, wrote upon it the lines :

La Notte, che tu vedi in si dolci atti

Dormire, fu da un Angelo scolpita

In questo sasso, e percM dorme ha vita ;

Destala, se no'l credi, e parleratti.
Michael Angelo, in allusion to the suppression of political liberty
(see above), answered:

Grato m' i 7 sonno e piit Vesser di sasso ;

Menlre che "I danno e la vergogna dura

Non veder, non sentir nC h gran ventura;

Perb non mi desiar ; deh ! parla basso !
Opposite is the Statue of Lokenzo de' Medici, who in contrast to
Giuliano is represented in profound meditation (hence called il pensiero) ;
below it his tomb with -Statues of Evening and Dawn ( Crepusculo e Aurora),
also by Michael Angelo. The significance which Michael Angelo meant
to convey by the allegorical figures is somewhat obscure and artificial.
The periods of the day represent as it were the various members of the
universe, which are sunk in grief at the death of the heroes. The statues
are not portraits, but ideal forms, in which are reflected the two chief
sides of a heroic nature, — self-devoted absorption in noble designs, and
confident energy. It is certain, as already mentioned, that sorrow at the
fate of his country exercised a great influence on the master's chisel, even
if the theory that Michael Angelo was bent upon producing a purely
political monument cannot stand the test. — The remaining statues in
the chapel, consisting of an unfinished Madonna, by Michael Angelo, and
the two patron saints of the Medici, St. Damianus (1.) by Raffaello da
Montelupo, and St. Cosnias (r.) by Fra Giovanni Angiolo da Montorsoli, were
also sculptured for the mausoleum, but have never occupied the positions
for which they were destined.

The Chapel of the Princes (Cappella deiPrincipi), the burial-
chapel of the grand-dukes of the Medici family, was constructed in
1604 by Matteo Nigetti, from the designs of Giovanni de' Medici.

It is octagonal in form, covered by a dome, and gorgeously decorated
with marble and valuable 'Mosaics in stone. The paintings in the dome
(Creation, Fall, Death of Adam, Sacrifice of Noah, Nativity, Death and
Resurrection, Last Judgment) are by Pietro Benvenuti. In six niches below
are the granite sarcophagi of the princes, some of them with gilded bronze
statues, from Cosimo I. (d. 1564) to Cosimo III. (d. 1723; comp. p. 316).

396 Route 49. FLORENCE. S. Maria Novella.

On the coping round the chapel are placed the armorial bearings of
16 Tuscan towns in stone-mosaic. — A sum of 22 million lire (about
8S0,000i.) was expended by the Medici family from their private resources
on the construction and decoration of this chapel.

In the Cloisters, which are attributed to Brunelleschi, immed-
iately adjoining the church, is the entrance to the Bihlioteca Lau-
renziana (PI. 41; D, 3 ; adm. see p. 345; custodian i/o-ift.), a
library founded by Cosimo in 1444, and gradually enlarged by the
Medici. Its chief treasure consists of about 8000 MSS. of Greek
and Latin classical authors. The building was begun in 1524
from the design of Michael Angela, the portico was built by him,
and the staircase (which was also designed by Michael Angelo)
was completed in 1571 by Vasari; the rotunda containing the Bibl.
Delciana, was erected in 1841, from Pasq. Poccianti's design.

The wooden ceiling of the Library was executed by Tasso and Carota,
from Michael Angela'' s designs (soon after 1529?). The latter also furnished
the design for the 88 'plutei' to which the MSS. are attached. Among
these is a number of codices of rare value: Virgil of the 4th or 5th cent.;
Tacitus, two MSS. of the 10th and 11th cent., the older brought from
Germany, and the sole copy containing the first five books of the Annals.
The Pandects, of the 6th or 7th cent., carried oil' from Amalfi by the Pisans
in 1135, the oldest existing MS. of this collection, on which the study of
Roman Law almost entirely hinges. Most important MS. of iEschylus.
Cicero's Epistolee ad Familiares, written by Petrarch. Petrarch's Canzone,
with portraits of Petrarch and Laura. MSS. and letters of Dante. Deca-
merone of Boccaccio. MSS. of Alfieri. Document of the Council of Florence,
1439 ; Codex Amiatinus ; Syrian gospels ; maps of Ptolemy ; miniatures,
etc. Catalogues of Oriental MSS. by Lewis Assemann and Bandini, con-
tinued by Furia.

To the N. of S. Lorenzo stands the Mercato Centrale (PI. D, 3),
constructed from a design by Mengoni (p. 121). — The Via Faenza,
and the Egyptian and Etruscan Museum, see p. 401.

We now proceed by the Via del Giglio to the Piazza S. Maria
Novella (PL C, 3), where festivals and games were frequently cele-
brated in former times. The principal of these, instituted in the
reign of Cosimo I. in 1563, took place on the eve of the festival of
St. John, and consisted of a race of four four-horse chariots, called
Prasina (green), Russata (red), Venetn (blue), and Alba, (white),
resembling those of the ancients. Two obelisks of marble of 1608,
standing on brazen tortoises, perhaps by Giov. da Bologna, served
as goals. — The Loggia di S. Paolo, an arcade opposite the church,
erected in 1451 from Brunelleschi's design, is adorned with terra-
cottas by Andrea della Robbia. — The canopy at the corner of the
Via della Scala is by Francesco Fiorentino, a pupil of Don Lorenzo
Monaco (14th cent.).

The church of *S. Maria Novella (PI. 25; C, 3), begun in 1278
on the site of an earlier editice, from designs by the Dominican
monks Fra Sisto and Fra Ristoro, and completed in 1357, is 'per-
haps the purest and most elegant example of Tuscan Gothic'. In
1456-70 it was furnished with a beautiful marble facade, designed
by Leon Battista Alberti, who first employed volutes here to con-
nect the nave and aisles. A quadrant and two concentric meridians

S. Maria Novella. FLOKENCE. 49. Route. 397

on the right and left were constructed by P. Ignazio Danti in 1572,
(The visitor is warned not to overlook the two steps halfway up the
church.) — The closed pointed arcades ('avelli') of black and white
marble which adjoin the church on the right, were originally con-
structed from designs by Brunelleschl, but were frequently altered
at subsequent periods, and have recently been restored.

The spacious Interior, a Latin cross with pointed vaulting, consists of
nave and aisles resting on twelve slender pillars, to which chapels were
afterwards added by Vasari and others. The unequal distances between
the pillars, varying from 37 ft. to 49 ft., are an unexplained peculiarity.

Entrance Wall : over the central door , a crucifix in the style of
Giotto; on the right the Trinity with the Virgin and St. John, one of the
best works of Masacdo. — The altar-pieces in the Eight Aisle are of the
17th cent. ; 6th altar to the right. Resuscitation of a child, by Ligozzi. —
In the Right Transept, to the right by the steps, is the Gothic monument
of the Patriarch Joseph of Constantinople (d. IMOj, who died while attend-
ing the great Council of 1439, which was first held at Ferrara in 1438, and
afterwards at Florence , with a view to the union of the Western and
Eastern churches. Above the monument is a Madonna by Nivo Pisano.
Farther on, the monument of bishop Aliotti (d. 1336) by Tino di Camaino. —
We now ascend the steps to the Cappella Rdcellai, which contains a large
'Madonna, one of Cimabue's best productions, and a Martyrdom of St. Ca-
tharine by Bugiardini after a cartoon of Michael Angelo ; on the right. An-
nunciation, by Neri di Bicci, and St. Catharine, by a pupil of Ghirlandajo.
— Immediately to the right of the choir is the Chapel of Filippo
Stkozzi, with his monument by Benedetto da Majano^ and frescoes by Fi-
Uppino Lippi (1486), the Miracles and martyrdom of SS. John and Philip.

The Choik contains '''Frescoes by Domenico Ghirlandajo (1490), which
form that master's most popular work, and are also the finest specimens
of Florentine art before Leonardo, Michael Angelo, and Raphael. On the upper
part of the wall of the altar is a Coronation of the Madonna; adjoining the
windows are SS. Francis and Peter the Martyr, the Annunciation, and
John the Baptist, and below all these, Giovanni Tornabuoni and his wife,
at whose expense these works were executed. — On the left wall , in
seven sections, is represented the life of Mary: Expulsion of Joachim from
the Temple, Nativity of Mary (the architecture of the interior beautifully
enriched) , Presentation in the Temple, and Nuptials , Adoration of the
Magi and Blassacre of the Innocents, and Her Death and Assumption. —
The right wall is devoted to the life of John the Baptist. The first scene,
Zacharias in the Temple, is celebrated for the number of portraits which
are introduced in a remarkably easy and life-like manner. The figures
to the right in the foreground are said to be portraits of Francesco Sas-
setti, Andrea Medici, and Gianfrancesco Ridolfl, three famous merchants,
while to the left are Cristoforo Landini , Angelo Poliziano , Marsilio Fi-
cino, and Gentile de' Becchi, distinguished scholars and humanists-, the
five men at the back, and to the right of Zacharias , are members of the
Tornabuoni family; the four figures by the angel are also said to be fa-
mily portraits. The other scenes are the Visitation , Nativity of John,
the Naming of the child, the Baptist preaching repentance (in which the
master shows his art in grouping and individualising the figures) , Birth
of Christ, and Dancing of the daughter of Herod. Several of these paint-
ings are unfortunately nearly obliterated. — The choir-stalls are by Baccio
d^Agnolo, altered by Vasari. At the back of the altar is a 'Slab to the
memory of Lionardo Dati by Ghiberti.

The Chapel to the left of the choir, by Giuliano da Sangallo, contains
the celebrated wooden crucifix of BrunellescM^ which gave rise to the rivalry
between him and his friend Donatello (p. 382). — The following Gaddi
Chapel , by Antonio Bosio, is adorned with the Raising of the daughter
of Jairus, by A. Bronzino, and basreliefs by Bandini. — The Strozzi Cha-
pel in the left transept, to which steps ascend, contains 'Frescoes with
numerous figures ; opposite the entrance the 'Last Judgment, (1.) 'Paradise,

398 Route 49. FLORENCE. Ognissanti.

over the figures in which broods a truly celestial repose, by Andrea Or-
cagna; Hell (r.), by his brother Bernardo ; altar-piece, Christ with saints,
completed in 1357 , by Andrea. — The next door, in the corner, leads to
the sacristy, the most interesting object in which is a "Fountain by Luca
della Robbia, a magnificent work of its kind. — The altar-pieces in the
N. Aisle are of the 17th and 18th centuries. — In the Nave a pulpit by
Buggiano ; stained glass by Alessandro Fiorentino (Botticelli ?), from draw-
ings by Filippino Lippi.

On the W. side of the church are the ancient Cloisters, called II
Chiostro Vecchio , or Verde, the older adorned with frescoes by Orcagna,
the more recent by Paolo Uccello, in terra verde (difierent shades of green) ;
the best preserved is the Deluge , in which the artist has depicted with
great power the helplessness of man in presence of the fury of the ele-
ments. — To the right in the cloisters is the Cappella degli Spagnuoli
(best light, 10-12), formerly the chapter-house, begun in 1320, with fres-
coes of Giotto's school (attributed by Vasari to Taddeo Gaddi and Simone
di Marlino, but, according to Mr. Crowe, most of them probably by An-
drea da Firenze, a few by Antonio Veneziano) ; on the wall of the altar
the Passion, and below it, Christ in Hades; on the ceiling the Resur-
rection , Ascension, Descent of the Holy Ghost , Christ and the doubting
Peter on the water. On the E. side (r.) the Church militant and trium-
phant , the pope and emperor on the throne , surrounded by their coun-
sellors and illustrious men , such as Petrarch with Laura , Boccaccio,
Cimabue, etc. On the W. side (1.) Thomas Aquinas in his professorial
capacity, surrounded by angels, prophets, and saints, in his hand an
open book ; at his feet the discomfited heretics Arius , Sabellius , and
Averrhoes. In the niches 28 figures representing virtues and sciences.
On the wall of the door , History of St. Dominic and Martyrdom of
St. Peter. — The Great Cloisters, the largest at Florence, with frescoes
by Cigoli, Allori , Santi di Tito, Pocetti, and others, are adjacent to the
above.

The Labokatoey of the monastery (Spezeria, entrance by the
large door in the Via della Scala, No. 14; attendant 1/2 f^-)' cele-
brated for the perfumes and liqueurs prepared in it, especially
'Alkermes', a speciality of Florence, flavoured with cinnamon and
cloves, contains a room (formerly a chapel) decorated with frescoes
of the 14th cent, (the Passion) by Spinello Aretino.

The Railway Station (PI. C, 2, 3) is situated near the back of
S. Maria Novella.

The Via de' Fossi (PI. C, 4), leads from the Piazza S. Maria
Novella to the Piazza del Ponte alia Carraja, then to the right to
the broad street of Borgo Ognissanti, and, a little farther, to the
Piazza Manin (PI. B, 3), M-here there are several large hotels. On
the W. side of the piazza are the suppressed monastery of the Mi-
norites and the church of S. Salvadore d' Ognissanti (PI. 30),
erected in 1554, remodelled in 1627, the facade by Matteo Nigetti,
with lunette by the della Robbia, representing the Coronation of Mary.

The Interior, consisting of a nave and transept with flat ceiling, con-
tains, over the 3rd altar to the right, a Madonna and saints by JSaiiti di
Tito; between the 2nd and 3rd altar St. Augustine, a fresco, by A. Bot-
ticelli; opposite to it St. Jerome, a fresco, by Domenico Ghirlandajo. A cha-
pel in the left transept approached by steps contains a crucifi.x by Oiotto.
Opposite is the entrance to the sacristy , which contains a fresco of the
Crucified, with angels, monks , and saints, of the school of Giotto. — Ad-
jacent is the entrance to the Cloisters, in the style of Michelozzo, adorned
with frescoes by Giovanni da S. Giovanni (in the corner obliquely oppos-
ite the entrance from the church), Ligozzi, and Ferrucci. — The old Re-

Palazzo Corsini. FLORENCE. 49. Route. 399

FECTORT (for adm. apply to the keeper of the Uffizi Gallery) is adorned
with a large fresco of the -'Last Supper, by Dom. Ghirlandajo, 1490.

We now proceed through the "Via del Prato and the Porta al
Prato (PI. B, 2), turn to the left, and reach the Cascine (p. 419) ;
or they may he reached by entering the Lung' Arno Nuovo near the
Piazza Manin, and either following this street, or the Corso Vittorio
Emanuele, which passes the Politeama (p. 345) and leads to the
Nuova Barriera (near the Piazza Vittorio Emanuele, PL A, 2).

Turning to the left from the Borgo Ognissanti, crossing the
Piazza in front of the Ponte Carraja (PL C, 4), which is embel-
lished with a statue of Goldoni, and proceeding towards the Ponte
S. Trinitcl, we perceive, on the left (Lung' Arno Corsini , No. 10)
the Palazzo Corsini (PL 65 ; C, 4), erected, or at least remodelled,
in 1656, from designs by Silvani and Ferri (magnificent staircase
by the latter). It contains a valuable Picture Gallery (open on
Tues., Thurs., and Sat., 10-3; entrance at the back. Via di
Parione 7 ; porter 1/2 fr. ; the catalogues are not always trustworthy) .

Ante-Room : Two chiaroscuri by Andrea del Sario. — I. Room : 5.
Oessi, Vision of St. Andrew; portraits by Sustermans (the finest Nos. 21
and 24) , Van Dyck, and Tintoretto (35). In a straight direction is the —
II. Room : Battle-pieces by Borgognone (4, 11) and Salvator Rosa (6, 8, 31,
33,39,41), and sea-pieces by the same master (12, ""20). The marble vase,
with Lycurgus suppressing the Bacchanalian thyasus, appears to be spur-
ious. Bronze vase. — III. (Large) Room: Madonna and Child, with SS.
Anna , Joseph, and the young Baptist, and angels' heads above, with the
date 1516, from the Pal. Rinuccini, attributed to Raphael^ but probably
a copy of the original at Munich ; 13. Dolci, Madonna (in crayons) ; 19, 21.
Portraits by Seybold; 23. Giulio Roinano, Copy of the violinist from the Pal.
Sciarra at Rome; 16. Caravaggio, Portrait; 39. Madonna and Child, after a
lost fresco, by A. del Sarto ; 40. Copy of Titian's Madonna in the Belvedere at
Vienna. On the side next the Arno — IV. Room : A number of Carlo Dol-
cfs (7. Peace; 40. Poetry); 38. Copy of G. Romano's Madonna and Child
at Dresden; 37. Filippino Lippi (?), Madonna and Child; 28. S. Botticelli^
Madonna with Christ and angels ; 18. Luca Signorelli, Madonna and saints ;
21. Fra Bartolommeo a,nd Mariotto Albertinelli, Madonna adoring the Child;
9. Raphael (?), Cartoon for the portrait of Julius II. in the Palazzo Pitti.
We now pass through the 5th Room and enter the — VI. Room : 8. Se-
bastiano del Piombo (?), Bearing of the Cross; 22. Ligozzi , Flute player;
23. Guido Reni^ Lucretia; 25. Caravaggio , Study of a head; *6. A. Polla-
Juolo, Portrait; 5. Portrait in the style of Roger v. d. Weyden. — Turn-
ing to the left, we next enter the — VII. Room, containing copies from Sal-
vator Rosa. — We then pass through two dark rooms into the — X. Room,
with pictures from Ariosto's Orlando Furioso by Guido Rem. In the centre,
an altar-piece of the 14th century. — XI. Room: 19. View of the Piazza
delta Signoria of 1498, with the burning of Savonarola. In the centre a
good Netherlandish copy of Michael Angelo's Holy Family in the Tribuna
(p. 360), somewhat altered, and with the addition of a landscape. — We
return to the hall and to the right enter the — XII. Room : 2. Raffaellino
del Garbo (?), Holy Family; 9. AlbertineUi , Holy Family; 33. iSc?wol of
Perugino , Madonna and Child. — XIII. Room : Nothing of importance.

The Ponte S. Trinitct, see p. 351 ; the left bank of the Arno,
see p. 402.

By the Ponte S. Trinitk is the Palazzo Fontebuoni (Lung' Arno,
No. 2; PL 67), formerly Gianfigliazzi, where the dramatist Alfleri
resided and died (9th Oct., 1803). — At the comer opposite rises

400 Route 49. FLORENCE. Palazzo Strozzi.

the imposing Palazzo Spini (PI. 64 ; C, 4), once the seat of this
family, for some time town-hall, and now known as the Pal. Fer-
roni, a structure of the 14th cent., still preserving the character
of a strong castle-like dwelling.

In the Borgo SS. Apostoli, at the hack of the Palazzo Spini,
is the residence (No. 5) of Mrs. Kennedy Laurie, containing one
of the hest existing copies of Raphael's Madonna of Loreto. Some
authorities believe that this is the original work (formerly at Lo-
reto), of which all traces were lost at the end of last century.

Opposite the Pal. Spini is the church of S. Trinity (PI. 35 ;
C, 4), erected about 1250 by Niccolb Pisano, but altered by Buon-
talenti in 1570.

The Interior consists of nave and aisles with transept, and is flanked
with chapels at the sides and adjoining the high altar. To the right of
the central door are altar enrichments by Benedetto da Rovezzcino; to the
left, Mary Magdalene, a statne in wood by Desiderio da Settignano; the
4th Chapel on the right contains the Annunciation by the Camaldulensian
monk Do/i Lorenzo. The 'Cappella de" Sassetti, the second on the right
from the high altar, is adorned with frescoes from the life of St. Francis
by Dom. Ghirlandajo , dating from 1485 , and presents a model of con-
sistent ornamentation. The frescoes are in double rows. We begin with
the upper row, to the left: 1. St. Francis banished from his father's
house; 2. Pope Honorius confirms the rules of the order; 3. St. Francis
in presence of the Sultan. On the right: 1. St. Francis receiving the
stigmata; 2. Resuscitation of a child of the Spini family; 3. Interment of
the saint. It is interesting to compare the last of these scenes with
Giotto's rendering of the same subject in S. Croce (p. 382). The sibyls
on the ceiling are also by Ghirlandajo. 'Tombs of the Sassetti by Giul. da
San Gallo (?). Above the altar, Pi'eta by Barhieri (18th cent.). — Left
Aisle : 3rd Chapel, early Christian sarcophagus. — In the Sacristy, form-
erly the Chapel of the Strozzi, is a monument of 1417, in the style of
Donatello.

In front of the church lies the Piazza S. Tkinita, adorned with
a column of granite from the Baths of Caracalla at Rome, erected
here in 1563, and furnished in 1570 with an inscription in honour
of CosimoL, who had just been made grand-duke by the pope.
On the summit is placed a statue of Justice in porphyry, by Fr.
Taddi, added in 1581. The figure was afterwards considered too
slender, and consequently draped with a robe of bronze. — To the
right is the Hotel du Nord (PL e) , formerly the Palazzo Bartolini-
Salimbeni, erected by Baccio d'Agnolo in 1520.

Farther on in the busy Via Tornabuoni (PL C, 4), with its
handsome palaces and tempting shops, is situated the * Palazzo
Strozzi (PL 84) , begun in 1489 by Benedetto da Majano for the
celebrated Filippo Strozzi, but not reaching its present state of
completion till 1553. Lighter and more buoyant than the Pal.
Pitti, it presents an example of the Florentine palatial style in its
most perfect development. It possesses three imposing facades
(that towards the Via Tornabuoni is 42 yds. in width , and 105 ft.
in height) , constructed in huge 'bossages', and a handsome court
added by Cronaca. Celebrated cornice by Cronaca. The corner

Egyptian Museum. FLORENCE. 49. Route. 401

lanterns (by Caparra), the link-holders, and the rings are among
the finest specimens of Italian ironwork of the period. The works
of art formerly contained here were sold in 1878 and removed to
Berlin.

No. 20, in the same street on the right, is the Palazzo Corsi
(PI. 78), formerly Tornabuoni, originally hy Michelozzo, but re-
modelled in 1840 when the street was widened. — No. 19, on the
left, is the Palazzo Larderel by Giov. Ant. Dosio, a pupil of Baccio
d'Agnolo.

In the vicinity. Via Vigna Nuova 20, is the Palazzo Rucellai
(PL 80a), erected about 1460 by Leon Battista Alberti, who for the
first time here employed a combination of rustica and pilasters.
The three-arched loggia opposite is also by him. — In the Via della
Spada is the Oratorio de' Rucellai or S. Pancrazio (keys at the
shoemaker's opposite), which contains an exact imitation in marble
of the Holy Sepulchre at Jerusalem, by Leo Batt. Alberti, 1467.

The Via Fabnza (PL D ; 3, 2), leads from the centre of the city
to the fortress of S. Giovanni Battista , erected by Cosimo I. in
1534. The suppressed monastery of S. 'Onofrio in this street
(No. 57) contains the Egyptian and Etruscan Museum {Museo
Egizio ed Etrusco ; PL 54; D, 2), the former having been col-
lected by Rossellini in 1828 and 1829, and the latter embracing
numerous Etruscan antiquities which had been scattered through-
out different collections down to 1870 (open daily 9-3 ; admission
Ifr., Sundays gratis).

Etruscan Collection. I. Room: Black vases from Chiusi, with and
without reliefs ; on the left, 'Etruscan tomb from Volsinii with cinerary-
urns, mural paintings (mythological, e.g. Pluto and Proserpine, and
scenes from life), and numerous inscriptions (the custodian lights visitors).
— II. Room: In the centre the celebrated "Francois Vase (named after
its finder), unrivalled in size and in the number of subjects with which
it is decorated (Calydonian hunt, Return of Theseus from Crete, Battle
of Centaurs and Lapithse, Marriage of Peleus, Achilles and Troilus, etc.),
bearing several ancient Greek names, including those of the artists Klitias
and Ergotimos. To the right of the door, and opposite, are Greek vases
in the early style (black figures) : Judgment of Paris ; opposite, Hercules
and the Cercopes •, then vases in the later style (red figures) : Hercules in
the Bacchanalian thyasus , Battle of Centaurs and Lapithse, etc. — III.
Room: Reliefs and small figures in terracotta, tomb- vases with head and
arms (similar objects in the small cabinet to the left). — IV. Rotonda:
Crystal and trinkets, coins, implements in bronze and flint. — V. Passage.
Etruscan inscriptions. — VI. Rotunda: Bronzes, 'Athena found at Arezzo,
Etruscan mirrors, statuettes. — VII. Room: In the centre, Chimsera, from
Homers description, with Etruscan inscription on the right leg in front,
found at Arezzo. By the walls, Etruscan cinerary urns (bearing the names
of the subjects represented, but not always quite correctly). — To the
right is the — VIII. Room : Ancient armour and bronze vases found at Or-
vieto; two bronze handles, Perseus and Medusa, Peleus and Thetis;
mirror, once the property of the Strozzi. By the window, under glass, a
bronze vase with Bacchic reliefs, found near Bolsena. — Traversing the
7th Room in a straight direction, we next enter the — IX. Room: 'Life-
si'ze statue of a magistrate ('the orator'), with an Etruscan inscription on
the edge of the toga, found by the Trasimene lake. In front of it, a
painted Sarcophagus (heroic battles) , with an Etruscan inscription. By

Baedeker. Italy I. 5th Edit. 26

402 Boute 49. FLORENCE. Carmine.

the walls , cinerary urns similar to those in the 7th Room , and also in
the following passage. — The Egyptian Museum is next entered. —
Taming to the left in the passage we reach the old Refectort, contain-
ing a large fresco of the -Last Supper, dating from 1505, rediscovered in
1845, a work of the school of Perugino, by Pinturicchio or Gerini da Pistoja,
once attributed to Raphael. On the walls a number of representations of
the Eucharist by different masters.

Left Bank of the Aeno. About one-fourth part of the city
lies on this bank. We cross the Ponte della Triniti (PI. C, 4 ;
pp. 351, 399), adorned with allegorical statues of the four seasons,
and proceed in a straight direction to the Via Maggio (PI. C, B, 5),
No. 26 in which is the house of Bianca Capello, wife of Francis I.,
and well known for the romantic vicissitudes of her history, erected
in 1566.

We next follow the second side-street to the right and reach
the piazza and church of *S. Spirito (PI. 33 ; B, 5), an edifice in
the form of a Latin cross, covered with a dome, and flanked with 38
chapels, designed by Filippo Brunelleschi in 1433('?), but not begun
until after his death (1470), and finally completed in 1487. The
noble proportions of the interior, which is borne by 31 Corinthian
columns and 4 pillars, render it one of the most attractive structures
in Florence. — The Campanile, erected by Baccio cCAgnolo (d.
1543) in 1512, also deserves inspection.

Right Aisle. 2nd Chapel: Pieta, a group in marble, after Michael
Angelo (original in S. Peter's at Rome) , by Nanni di Baccio Bigio. 7th
Chapel: Archangel Raphael with Tobias, group by P. Baratta. — Right
Transept. 3rd Chapel: Madonna by Donatello (covered). 5th Chapel:
"Madonna with SS. Nicholas and Catharine, by Filippvio Lippi or his pupil
Raffaellino del Oarbo. 6th Chapel : Madonna appearing to St. Bernhard, an
early copy from Perugino (original at Munich). — The Choir has a screen
of marble and bronze; high altar with canopy and statues by Caccini,
about 1600. At the back of the choir, in the 2nd chapel on the right, a
Madonna and four saints on a gold ground. School of Giotto •, in the follow-
ing chapel a Madonna and saints by Botticelli or Lorenzo di Credi. — 5th
Chapel: (1.) The advilteress before Christ by Alesscindro Allori; 7th Chapel,
(r.) -'Madonna enthroned and saints (1505) by Raffaellino del Garbo (ac-
cording to Mr. Crowe). — Left Aisle : 1st chapel, Madonna with four saints,
copy from Eid. del Ghirlandajo (original in Paris). — The *Sacristy,
a noble and graceful octagonal structure, with four corner-niches, erected
by Giul. da Sangallo and Ant. PoUaJi/olo in 1489-97, contains a saint heal-
ing the sick, by Allori. Farther on, St. Anna, Madonna, and saints, by
Ridolfo or Domenico Ghirlandajo. — Left Transept. 2nd chapel from the
entrance, statue of Christ, a copy from Michael Angelo (in S. Maria sopra
Minerva at Rome), by Taddeo Landini.

The First Cloisters, erected by Alfonso Parigi (entrance by the sac-
risty , see above), are adorned with frescoes by Perugino, Ulivelli, Baldi,
and Cascetti, representing saints of the Augustinian order. — The Second
Cloisters are by Ammanati (1564) , the paintings by Pocetti. — The
monastery is now in part a barrack, in part still occupied by monks.

In the Piazza S. Spirito (No. 11) rises the handsome Palazzo
Dufour-Berte, formerly Guadagni (PI. 71), erected by Cronaca. —
Leaving the piazza by the opposite Via S. Agostino, and then
following the Via S. Monaca, we reach the piazza and the church
del Carmine (PI. 22; E, 4), formerly in the possession of the ad-

Palazzo Pitti. FLORENCE. 49. Route. 403

joining Carmelite monastery, consecrated in 1422 , 'burned down
in 1771, and re-erected within the following ten years. Among the
parts which escaped destruction is the Brancacd Chapel in the
right transept, embellished in 1423-28 by Masaccio, and after him
by Filippino Lippi, with celebrated **Frescoes from the traditions
regarding the Apostles, especially St. Peter, which became of the
highest importance in the education of succeeding artists (recently
restored; best light about 4 p.m.).

Those by Masaccio are : on the pillars of the Entrance, above, on the
right the Fall, on the left the 'Expulsion from Paradise, imitated by
Raphael in the Logge of the Vatican. Left Wall : above, '-Peter taking
the piece of money from the fish's mouth, a masterpiece of composition;
below. Raising of Eutychus , and Peter enthroned , with numerous por-
traits of painters and others (the latter finished by Lippi). Wall op the
Altar: above, *Peter preaching ('combines, more than any other fresco
in the Brancacci, the grandeur of style which marks the group of philo-
sophers in the School of Athens at Rome, and the high principle which
presided over the creation of the Vision of Ezekiel in the Pitti gallery".
— C. & P.), and Peter baptising; below, Peter healing the sick, and
distributing alms. Right Wall : above. Healing the cripples , and Rais-
ing of Tabitha. The following are by Filippino Lippi: on the right wall,
below, the Crucifixion of Peter, and Peter and Paul before the proconsul ;
on the entrance pillars, below, on the left Peter in prison, on the right his
release (comp. Introduction, p. xlvii).

The Choir of the church contains the tomb of Pietro Soderini , by
Benedetto da Rovezzano, 1513, restored in 1780. — The Corsini Chapel, to the
left in the transept, contains the tomb of St. Andrea Corsini, Bishop of
Fiesole, and three large reliefs in marble by Foggini, in celebration of
the praises of the saint; painting in the dome by Ziica Giordano. In the
sacristy (entered from the right transept) frescoes from the history of St.
Urban (discovered in 1858) , by Spinello Aretino.

The Cloisters of the monastery (entrance to the right, adjoining the
church , or from the sacristy) contain a *Madonna with the Child and
the four Evangelists, attributed by Mr. Crowe to Giovanni da Milano, and
remains of early frescoes by Masaccio. In the Refectory is hung a Last
Supper by Al. Allori.

From the Piazza del Carmine the Via del Orto [PI. A, 4) leads
to the Porta S. Frediano (see p. 419).

The Ponte Vecchio (PI. C, 5 ; p. 351), over which the covered
passage mentioned at p. 365 is carried, forms the most direct com-
munication between the Piazza della Signoria and the Uffizi , and
the Palazzo Pitti. The bridge is flanked with shops, which have
belonged to the goldsmiths since 1593. — It terminates in the
Via Guicciardini (PL C, 5), at the end of which, to the left (No.
17), is situated the Palazzo Guicciardini (PI. 72), where the his-
torian Francesco Guicciardini lived from 1482 to 1541 ; opposite
to it, on the right (No. 16), is the house of Macchiavelli (PI. 48).

The *Palazzo Pitti (PL 80; B, C, 5), conspicuously situated
on an eminence, was designed and begun by Brunelleschi in 1440,
by order of Luca Pitti, the powerful opponent of the Medici, whom
he hoped to excel in external grandeur by the erection of the most
imposing palace yet built by a private citizen. The failure of the
conspiracy against Piero de' Medici in 1466 cost Luca the loss of
his power and influence, and the building remained unfinished till

26*

404 Route 49. FLORENCE. Palazzo Pitii.

the middle of the following cent., when it had come, through a
great-grandson of Luca, into the possession of Eleonora , wife of
Duke Cosimo I. (1549). The palace, which somewhat resembles a
castle or a prison , is remarkable for its bold simplicity , and the
unadorned blocks of stone are hewn smooth at the joints only. The
central part has a third story. The effectiveness of the building is
entirely produced by its fine proportions (comp. p. xl). The
length of the central part is 118 yds., its height 121 ft. ; the whole
facade is 220 yds. long. About the year 1568 Bartolommeo Am-
rnanati introduced round-arched windows on the ground floor, where
the two portals, and the small rectangular windows, at a consider-
able height from the ground, were originally the only openings.
At the same time he began to construct the large court, which is
adjoined by a grotto with niches and fountains, and the Boboli Gar-
den beyond them. The wings of the palace were completed in
1620-31. - Since the 16th cent, the Pitti Palace has been the
residence of the reigning sovereign, and is now that of King Hum-
bert when at Florence. The upper floor of the left wing contains
the far-famed **Picture Gallery, which was formerly the property
of Cardinal Leopold and Carlo de' Medici , and of the Grand-duke
Ferdinand II.

The Pitti Gallery, which contains about 500 works, may be re-
garded as an extension of the Tribuna (p. 358) in the Ufflzi gallery.
No collection in Italy can boast of such an array of master-pieces,
interspersed with so few works of subordinate merit. The most
conspicuous work of the earlier Florentine period is the round
Madonna by Filippo Lippi (No. 338). The Adoration of the Magi,
by Dam. Ohirlandajo (358), is a replica of the picture No. 1295
in the Ufflzi. Fillppino Lippi' s Holy Family (347) is of somewhat
doubtful authenticity. Perugino's Pietk(164), in which the treat-
ment of the landscape deserves notice , is one of his principal
works. To Fra Bartolommeo' s later period belong the Resurrection
(159), the Holy Family (256), St. Mark (125), and the Pieta (64),
the master's last work, a model of composition, ennobled by depth
of sentiment and purity of forms , and certainly one of the most
beautiful products of Italian art. Andrea del Sarto is admirably
represented by an Annunciation (124) ; by the so-called Disputa
(172), a picture without action , but of an imposing and dignified
character ; John the Baptist (265) ; a Pieta, (58), more dramatically
treated than is the master's wont; and the Madonna in clouds
with saints (307), all of which show his diff'erent excellencies, and
particularly the soft blending of his colours. — The treasures of
the gallery culminate in no fewer than a dozen of Raphael's works.
The exquisite 'Madonna del Granduca' (266), in which a pure type
of simple female beauty is but slightly veiled by the religious
character of the work, and the 'Madonna della Sedia' (79), a most
beautiful work of purely human character, in which intense ma-

Palazzo Pitti. FLORENCE. 49. Route. 405

ternal happiness is expressed by the attitude of the group, hoth
captivate every heholder. The 'Madonna del Baldacchino' (165),
on the other hand , painted at different times and certainly not
entirely by Raphael's own hand , and the 'Madonna dell' Impan-
nata' (No. 94, being an extension of an originally simpler com-
position) are of inferior interest. The finest of the portraits is that
of Leo X. with the two cardinals (63) , in which the delicate and
harmonious blending of the four shades of red should be noticed.
Whether the portrait of Julius II. (151) exhibited here, or that in
the Tribuna is the original, has long been a matter of controversy,
but if the two pictures were placed in juxtaposition, the question
might perhaps be settled. The portraits of the 'Velata' (245) and
the 'Gravida' (229) are now generally admitted to be genuine
works of Raphael. The portraits of Angiolo and Maddalena Doni
(61,69), of the master's Florentine period , are of unquestioned
authenticity; but those of Inghirami (171) and of Cardinal Bib-
biena (158) are not free from doubt. The Vision of Ezekiel (174),
which transports us into an entirely different sphere, is a mediseval
symbolical subject, treated by Raphael in his own manner. —
The Goldsmith (207), once attributed to Leonardo, baa long since
been allotted to Lorenzo di Credi. The Three Fates (113) can
hardly claim , even in its composition , to be a work of Michael
Angelo. — The Venetian School also occupies an important place
in the Pitti Gallery. Thus Giorgione's Concert (185) , and Lor.
Lotto's Three Ages (157), a work hardly inferior in conception to
that of Giorgione. Then Sebastian del Piombo's St. Agatha (179);
Titian's portraits of Cardinal Ippolito de' Medici (201) and Aretino
(54), his Bella (18) , and his Mary Magdalene (67) ; Bonifacio's
Repose in Egypt (89 ; erroneously attributed to Paris Bordone),
and his Sibyl (257); Tintoretto's Portrait (65), and his Vulcan
with Venus and Cupid (3). An excellent work of a later period is
Cristoforo Allori's Judith (96). — Among the non-Italian pictures
we must mention two landscapes (9, 14), four portraits (85), and
the Allegory of War (86), by Rubens ; Cardinal Bentivoglio (82)
and the Repose in Egypt, by Van Dyck ; two portraits (1660) by
Rembrandt ; and lastly the equestrian portrait of Philip IV. (243),
by Velazquez.

The Entrance is In the E. angle of the Piazza Pitti, in the
colonnade adjoining the entrance to the Boboli garden. (Or we
may approach the gallery by the connecting passage from the Uffizi,
in which case sticks and umbrellas must be left at the entrance to
that building, see p. 865.) The gallery is open on Sundays , and
in summer on Thurdays also, 11-3, gratis, and on other days, 9-3,
admission 1 fr. ; catalogue 31/2 fr-

An insignificant staircase (passing on the 1st floor the ingress
from the Uffizi ; see above) leads to a corridor containing a beau-
tiful vase of porphyry, a copy of that preserved in the Museum at

406 Route 49. FLORENCE. Palazzo Pitti.

Berlin, aud a large porcelain vase from Sevres. This corridor leads
to the gallery, which extends through a suite of splendid saloons,
adorned with allegorical ceiling -paintings whence their names
are derived. They are sumptuously fitted up with marhle and
mosaic tables and velvet-covered seats , and heated in winter.
In each saloon is a list of the pictures it contains. Permission
to copy is readily granted, on written application to the director.

The six principal saloons are iirst visited ; the entrance was
formerly at the opposite extremity, so that the numhers of the
pictures, as enumerated below, are now in the reverse order.

Saloon of the Iliad, so named from the subject of the fres-
coes by Luigi Sabatelli. It contains four tables of lapis lazuli,
granite, and jasper, and four vases of nero antico ; in the centre a
Caritas in marble by Bartolini.

To the right of the entrance door : 235. Rubens, Holy Family
(copy?) ; above the door, 230. Parmeggianino, Madonna with angels
(Madonna del collo lungo) ; *229. Portrait of a lady, attributed to
Raphael (known as 'La Gravida'; comp. No. 59 in the Apollo
saloon); 228. Titian, Half-length of the Saviour, a youthful work,
painted apparently without a model ; 227. Carlo Dolci, St. Mar-
garet. — *225. A. del Sarto, Assumption.

Thi3 picture shows with what versatility Del Sarto was gifted. It
is marked by quiet and orderly distribution , and something reminiscent
of Fra Bartolommeo. The Virgin is raised up towards heaven most grace-
fully, and there is an atmosphere almost like Correggio's in the glory. —

224. Rid. Ohirlandajo, Portrait; 223. Holbein junr. (?), Por-
trait; 222. Oiorgione(?), Portrait of a lady ; *219. Pietro Perugino,
Mary and John adoring the Child, freely retouched ; 218. Salvator
Rosa, A warrior; 216. Paolo Veronese, Daniel Barbaro; 214.
F. Baroccio, Copy of the Madonna del S. Girolamo, of Correggio;
213. Carlo Dolci, Moses; 212. Bronzino, Cosimol.,

*208. Fra Bartolommeo, Nuptials of St. Catharine (1512).

'Incomparably the grandest of the creations by the friar in company
of Mariotto is that completed before the close of 1512 for S. Marco with
a variation of the old theme, the marriage of St. Catharine of Siena. . . .
In composition, drawing, and relief, it was beyond his own power to
come nearer perfection'. The light of the gallery is very unfavourable
to this work. — C. & C.

207. Leonardo da Vinci (?, or probably by Lorenzo di Credi),
Portrait of a goldsmith ; 206. Bronzino, Francesco I. de' Medici.

*201. Titian, Cardinal Ippolito de' Medici in Hungarian
costume, painted in 1532, after the campaign against the Turks,
in which the cardinal had taken part.

'Nothing shows Titian's versatility and his cleverness in varying tech-
nical means with his subject better than this likeness at the Pitti. . . . There
is something grandly entire in the whole head, to which Titian gives life
and elevation by a broad and general rendering of the lineaments, without
any research of minutiee. Smooth rounding and tone were essential to
the production of this eft'ect , and these Titian gives with a warmth and
softness of fusion truly admirable". — C. ct C.

Palazzo Pitti. FLORENCE. 49. Route. 407

200. Titian, Philip II. of Spain (copy of the original at Naples) ;
198. Velazquez, Portrait; 197. Ouido Reni, Caritas ; 196. Paolo
Veronese, St. Benedict and other saints; 195. Giacomo Francia,
Portrait; 191. A. delSarto, Assumption of the Virgin (unfinished);
i^Q. Sustermans, Portrait of the son of Frederick III. of Denmark;
188. Salvator Rosa, Portrait of himself; 186. Paolo Veronese,
Baptism of Christ.

**185. Oiorgione, 'The Concert', representing an Augustinian
monk who has struck a chord , another monk with a lute , and a
youth in a hat and plume listening.

'In one of the simplest arrangements of half lengths which it is
possible to conceive, movement, gesture, and expression tell an entire
tale. . . . The subtlety with which the tones are broken is extreme, but
the soberness of the general intonation is magical. Warm and spacious
lights, strong shadows, delicate reflections , gay varieties of tints, yield a
perfect harmony . . . How fresh and clean are the extremities, and with
what masterly ease they are done at the finish? "What sleight of hand
in the furs, what pearly delicacy in the lawn of the white sleeves?' —

C. d: C.

184. Andrea del Sarto (?), Portrait of himself.

Saloon of Saturn. Ceiling-painting by Pietro da Cortona.
To the right of the entrance-door : 182. Pontormo, Martyrdom of
40 Saints; 181. Salvator Rosa, Portrait of a poet; above the door,
md.Sebastiano del Piombo, Martyrdom of St. Agatha, 1520; 178.
Quido Reni, Cleopatra; 177. Leandro Bassano, Rustic scenes;
176. Domenichino, Mary Magdalene ; 175. Albano, Holy Family.

*174. Raphael, Vision of Ezekiel : God the Father, enthroned
on the living creatures of three of the Evangelists , is adored by
the angel of St. Matthew.

'Even in his imitation of Michaelangelesque types Raphael exhibits
great freedom and the clearest consciousness of what is best adapted to
his natural gifts and of where his true strength lies. This remark applies
to the small picture of Ezekiel in the Pitti Gallery, so miniature-like in its
fineness of execution, though less striking in the colouring. In the arrange-
ment of the two smaller angels who support the arms of the Almighty,
the example of Michaelangelo was followed. From the testimony of Va-
sari, however, we know that in portraying Jehovah, Raphael sought in-
spiration in the classical Jupiter, and certainly the features strongly recal
the types of the antique divinity'. — Springer.

*172. A. del Sarto , Conference of the Fathers of the Church
regarding the doctrine of the Trinity (the 'Disputa'). — *171. Ra-
phael, Tommaso Fedra Inghirami (a replica in Volterra).

'The fact that the man is represented at a moment of wrapt suspense
and inward concentration diverts the attention from the unpleasing fea-
tures, and ennobles and idealises the head, which, while certainly not
handsome, cannot be denied the possession of intellect and a nameless
power of attraction'. — Springer.

168. Ouercino, St. Peter; 166. Ann. Carracci, Study of ahead;
167. Giulio Romano, Dance of Apollo and the Muses.

**165. Raphael, Madonna del Baldacchino (completed by a
different hand after 1514, by which the bishop on the right and
the angels were probably added, and finally provided with the ca-
nopy by Agostino Cassano about 1700.

408 Route 49. FLORENCE. Palazzo Pitti.

'The general arrangement of the Madonna upon the elevated throne
relegates the picture with almost perfect certainty to the master's Flor-
entine period. This composition was familiar both to Fra Bartolommeo
and Andrea del Sarto. The figures of the Apostle Peter and the canonised
monk are closely allied to the style of Fra Bartolommeo, and may be re-
garded jis part of the fruits of his friendly co-operation with Raphael'. —

Springer.

*164. Pietro Perugino, Entombment (Piet?i), painted in 1495
during the master's residence in Florence.

'In this arrangement Perugino leaves nothing to desire , balancing
and harmonizing everything with a sobriety and fitness only to be found
in the best composers. ... In thus modifying the intensity and form of
pain in each person , as in transmitting individuality to the features,
Perugino's merit is undeniable. Softness of expression and select grace
give it the impress of its originality; an originality well calculated to
temper the rugged grandeur of the nobler, or the realism of the more na-
turalistic, Florentines, and prepare the way for Raphael'. — C. & C.

163. A. del Sarto, Annunciation (retouched); 161. Bonifacio
(according to Mr. Crowe ; formerly attributed to Giorgione), Find-
ing of Moses; *160. Van Dyck, Virgin; *159. Fra Bartolommeo,
Risen Christ among the four Evangelists, 1516; *158. Raphael,
Cardinal Bibbiena, 1515-16 (perhaps a copy of the original at Ma-
drid); *157. Lorenzo Lotto, Three periods of life ; 156. Guercino,
Madonna with the swallow; 154. Carlo Bold, John the Baptist
asleep; 152. Schiavone, Cain slaying his brother.

**151. Raphael, Pope Julius II.

'This striking figure, with the arms resting lightly on the chair, the
deep-set eyes directed with keen scrutiny on the beholder, the compressed
lips, the large nose, and the long white beard descending to the breast,
vividly recalls the descriptions of this powerful pope, left us by his con-
temporaries'. — Springer.

150. Van X>ycfc('?), Charles I. of England and his queen Hen-
rietta of France ; 149. Pontormo, Portrait of Cardinal Ippolito de'
Medici; 148. Dosso Dossi, Bambocciata ; 147. Giorgione{f}, Nymph
pursued by a satyr.

Saloon of Jupiteb. Ceiling-painting by Pietro da Cortona.
— To the right of the entrance : *140. L. da Vinci (? Raffaellino
del Garho"), Portrait of a lady ; *139. Rubens, Holy Family ; over
the door, 137. Giov. da S. Giovanni, Sportsmen returning home ;
136. Paolo Veronese, The Saviour parting from his mother; 135.
Salvator Rosa, Battle; 134. Paolo Veronese, The women at the
Sepulchre; *133. Salvator Rosa , Battle (the figure on the left,
above the shield , with the word Saro , is the painter's portrait) ;
132. Cres;)i, Holy Family ; 131. TmioreJio, Vincenzo Zeno ; 130.
Bassano , Portrait of a woman; 129. Mazzolini, The adulteress;
12S, 127. Morone, Portraits ; *125. Fra Bartolommeo , St. Mark ;
*124. Andrea del Sarto, Annunciation ; *123. A. del Sarto, Ma-
donna in glory with four saints ; 122. Gnrofalo, Sibyl divulging
to Augustus the mystery of the Incarnation; 119. Sustermans,
Portrait; *118. A. del Sarto, Portraits of himself and his wife(?);
113. The Three Fates, groundlessly ascribed to Michael Angelo ;
112. Borgognone, Battle-piece; 111. Salvator Rosa, Conspiracy of

Palazzo Pitti. FLORENCE. 49. Route. 409

Catiline; 110. Titian{f), Bacchanalian; 109. Paris Bordone, Fe-
male portrait; 108. Paolo Veronese, Portrait. 4tli-"^all: 141. Ru-
bens, Nymphs attacked by Satyrs.

Saloon of Maes. Ceiling-painting hy Pietro da Cortona. — To
the right of the entrance : 103. Guercino, Moses ; 102. Luini, Magda-
lene ; over the door, 97. And. (Zei-Sarfo, Annunciation (retouched") ;
*96. Cristoforo Allori, Judith ; 95. Allori, Abraham's Sacrifice ;
*94. Raphael, Holy Family, called Madonna dell' Impannata (not
entirely finished by Raphael, or perhaps only from a drawing by
him; the St. John is a later addition); 93. Rubens ('>), St. Fran-
cis; *92. Titian, Portrait; 91. Carlo Dolci, Peter weeping ; 90.
CigoU, EcceHomo; *89. Paris BordoneQ'), Repose during the
Flight to Egypt ; 87, 88. A. del Sarto, History of Joseph ; *86.
Rubens, Mars going forth to war, one of the master's best and most
mature works, painted about 1625; *85. Rubens, Rubens with his
brother and (r.) the scholars Lipsius and Grotius : 84. Palma
Vecchioil'), Holy Family, *83. Titian {1 Tintoretto), Luigi Cor-
naro ; *82. Van Dyck, Cardinal Giulio Bentivoglio, aristocratic and
easy; *81. A. del Sarto, Holy Family; 80. Titian, Andreas Ve-
salius, the physician (damaged).

**79. Raphael, Madonna della Sedia, painted while Raphael
was employed on the Stanza d'Eliodoro in the Vatican (1511-16).

'In this picture Kaphael returns to the early and simple subjects of
representation, breathing nothing but serene happiness, which gladden
the artist and charm the beholder , which say little and yet possess so
deep a significance. Florentine forms have been supplanted by Boman
ones, and tender and clear beauty of colouring has given place to a broad
and picturesque style of laying on the pigments. ... At least fifty en-
gravers have tried "their skill upon the Madonna della Sedia, and photo-
graphic copies have been disseminated by thousands. I^o other picture
of Raphael is so popular, no other work of modern art so well known'. —

Spririffer.

78. Guido Reni, Peter weeping ; 76. Adr. van der Werff, Duke
of Marlborough. On the 4th wall : 106. Portrait of Galileo, school
of Sustermans ; 104. Luca Giordano, Conception.

Saloon of Apollo. Ceiling-paintings by Pietro da Cortona and
Giro Ferri. To the right of the entrance : *67. Titian, Magdalene.

'It is clear that Titian had no other view than to represent a hand-
some girl. He displays all his art in giving prominence to her shape. In
spite of the obvious marks of haste which it bears , it displays a beauty
of such uncommon order as to deserve all the encomiums which can be
given to it'. — C. & C.

66. Andrea del Sarto, Portrait of himself (replica of No. 1176
in the Uffizi) ; *65. Tintoretto, Portrait.

*64. Fra Bartolommeo , Pietk (said to have been finished by
Bugiardini).

'It is admitted that the composition is one of those that Fra Barto-
lommeo carried out most completely. . . . The group realizes at once all
the precepts considered as final in the sixteenth century. It is a modifi-
cation and an advance upon Perugino's (comp. No. 164 in this gallery),
combining all the tenderness of the TJmbrian with greater selection, as-
tonishing individuality, pure nature, and refined feeling'. — C. dk C.

410 Route 49. FLORENCE. Palazzo Pitti.

**63. Raphael , Leo X. and the cardinals de' Medici and de'
Rossi, not undamaged, but still justifying Vasari's enthusiastic
praise : 'No master has ever produced, or ever will produce, any-
thing better'. Giulio Romano shared the execution, the cardinal to
the right of the pope being probably by him. ■ — 62. A. del Sarto,
Madonna.

*61. Raphael, Angiolo Doni, a friend of the master (Nos. 59
and 61 belonged to the family down to 1758, when they were
transferred to Avignon, where they were purchased for the Gallery
in 1826 for the sum of 25,000 fr.). *60. Rembrandt, Portrait of
himself, beardless (about 1634).

**59. Raphael, Portrait of Maddalena Strozzi Doni.

This portrait and its companion, No. 61, were painted during the
Florentine period of the artist (about 1505). The poise of the head, the
arrangement of the hands, and the whole style of the work resemble
those of Leonardo's Gioconda in the Louvre. The subject, though by no
means richly endowed with natural charms, is made extremely attractive,
while the portrait of the husband, in which Raphael had no Da Vinci to
follow, is much less so.

*58. A. del Sario, Descent from the Cross ; 57. Oiulio Romano,
Copy of Raphael's Madonna della Lucertola ; 56. Murillo, Holy Fa-
mily. *54. Titian, Pietro Aretino, the celebrated verse-writer and
pamphleteerist, a work described by Aretino himself as a 'hideous
marvel' (1545). 52. Pordenone{'>), Holy Family; 51. ttpo^i. Descent
from the Cross ; 50. Guercino, Peter raising Tabitha ; 49. Tiberio
Titi, Leopoldo de' Medici when a child, 1617; 47. Guido Rent,
Bacchus ; 44. Giac. Francia, Portrait ; *42. P. Perugino , Mary
Magdalene, painted about 1500; 41. Cristoforo Allori, Hospitality
of St. Julian; *40. Murillo, Madonna; 39. Angelo Bronzino, Holy
Family; *38. PalmaVecchioCi), Christ at Emmaus; 37. Paolo Ver-
onese, Portrait of his wife ; 36. Girolamino da Carpi, Archbishop
Bartolini Salimbeni ; 35. Bishop Girolamo Argentino, school of
Morone. 4th wall: 71. Carlo Maratta, S. Filippo Neri.

Saloon of Venus. Ceiling-painting by Pietro da Cortona. —
To the right of the entrance : 24. Guido Reni, Portrait of an
old man; 21. Pietro da Cortona, Saint entranced. *20. A. Durer,
Adam, probably painted in 1507, at the same time as Eve (No. 1,
see below), after the master's second stay at Venice : 'the most
perfect treatment of the nude yet produced by northern art'
(Thausing). 19. Ribera, Martyrdom of St. Bartholomew.

To the left of the door, **18. Titian, 'La Bella di Tiziano',
painted about 1535, probably the Eleonora, Duchess of Urbino,
represented in No. 1117 in the Tribuna.

'La Bella di Titiano' at the Pitti is one of Titian's likenesses in which
every feature tells of high lineage and distinction. The pose, the look,
the dress are all noble. We may presume that the name was accepted for
want of a better. The face was so winning that it lurked in Titian's
memory, and passed as a type into numerous canvases in which the
painter tried to realize an ideal of loveliness. . . . The tones are har-
monised and thrown into keeping by a most varied use and application of
glazings and scumblings. — C. d- C.

Palazzo Pitti. FLORENCE. 49. Route. 411

*17. Titian (school-piece), Betrothal of St. Catharine; 16.
Rembrandt, Portrait of himself in 1668; ib. Salvator Rosa, Sea-
piece; *14. Rubens, Hay-harvest at Malines; *9. Rubens, Land-
scape, Ulysses on the island of the Phseaci ; 8. Guercino, Apollo
and Marsyas ; 6. Bartolommeo Manfredi, Gipsy ; 5. Garofalo, St.
James ; 4. ^alvator Rosa, Harbour at sunrise ; *3. Tintoretto, Cupid,
Venus, and Vulcan ; 2. Salvator Rosa, Falsehood with a mask ;
*1, A. Dilrer, Eve, counterpart of No. 20.

"We return hence to the Saloon of the Hiad, and thence enter
the —

Saloon of the Education of Jupiter. Ceiling-painting by
Catani. — 241. Clovio, Descent from the Cross (in water-colours);
*243. Velazquez, Philip IV. of Spain ; 244. Fr. Pourbus, Portrait.

*245. Raphael, 'La Donna Velata' (the lady with the veil),
painted in 1515-17, recalling the Fornarina in the Pal. Barberini
at Rome, but much more attractive ; similar features recur in the
Magdalene of the St. Cecilia at Bologna (p. 299) and in the Sistine
Madonna at Dresden.

'A long veil depending from the head gives the whole figure the ap-
pearance of being enveloped in clear and shining light. A dim but
strangely fascinating lustre also emanates from the face, which is painted
in yellowish tints, tenderly shaded with gray. The large, dark eyes shine
through these softer tones with doubled brilliancy. The finely modelled
neck is in a similar way set oif by the necklet of swarthy stones. The
pigments are laid on the canvas lightly atid firmly with a broad brush,
and are of a clear transparency found only in a few of Raphael's paint-
ings." — Springer.

246. Garofalo (? more likely Boccaccino), Gipsy ; *248. Tin-
toretto, Descent from the Cross ; 252. Claude de Lorraine, Due de
Guise, probably by an imitator of Holbein ; 254. Palma Vecchio (?),
Holy Family ; 255. Van der Heist, Portrait ; *256. Fra Bartolom-
meo, Holy Family, resembling Raphael's Madonna Carnigiani at
Munich ; 257. Paris Bordone (?), Sibyl prophesying to Augustus ;
259. Correggio, Christ (a copy); 262. Clouet, Henry II. of France;
264. Tintoretto, Resurrection; *265. And. del Sarto, John the
Baptist.

**266. Raphael, 'Madonna del Granduca', a work of the master's
Florentine period, formerly in the palace of the Grand-duke of
Tuscany.

'Painted in light colours and modelled with extraordinary delicacy,
the picture captivates us chiefly by the half concealed beauty of the Ma-
donna, who, scarcely daring to raise her eyes, rejoices over the Child
with tender bashfulness. The Infant, held by the mother with both hands,
gazes straight out of the picture and possesses all the charming grace
which characterises Raphael's later representations of children.' — Springer.

267, 268. Paolo Veronese, Portraits of children; 269. Paolo
Veronese, Presentation in the Temple ; 270. Carlo Dolci, Martyr-
dom of St. Andrew ; 277. Bronzino, Lucrezia de' Medici ; 279.
Bronzino, Don Garzia de' Medici.

We now turn to the left into the Sala della Stufa. — The frescoes
illustrating the golden, silver, brazen, and iron ages are by Pietro da

412 Route 49. FLORENCE. Palazzo Pitti.

Cortona \ ceiling-paintings by Matteo RosseUi, 1622. This room contains four
small antique statues in marble , and a column of green porphyry,
bearing a small porcelain vase with a portrait of Napoleon I., and two
statues in bronze (Cain and Abel), after Dupri.

Returning hence and traversing a passage, we observe on the left a
small Bath-room^ most tastefully fitted up, with pavement of modern
Florentine mosaic, and four small statues of Venus by Oiovanni Insom
and Salvatore Bongiovanni.

Saloon of Ulysses. Ceiling-painting ty Gaspero Martellini,
representing the return of Odysseus, an allusion to the restoration
of the grand-duke Ferdinand III. after the revolution. Handsome
cahinet (stipo) of ehony, inlaid with coloured wood and ivory; in
the centre a large porcelain vase. — 288. Carlo Dolci, Jesus on
the Mount of Olives ; 289. Ligozzi, Madonna appearing to St.
Francis; 297. Paris Bordone (? 17th cent.), Pope Paul III., a copy
of the portrait by Titian at Naples ; 304. Schidone, Holy Family ;
305. C. Allori, St. John in the wilderness ; 306. Salvator Rosa,
Landscape; *307. A. del Sarto, Madonna and saints; 311. Titian,
Charles V (or perhaps Duke Alphonso I. of Ferrara, by Dosso
Dossi); 312. Salvator Rosa, Landscape on the coast; 313. Tin-
toretto, Madonna; 316. Carlo Dolci, Portrait; *320. A. Carracci,
Small landscape; 334. Rubens (copy?), Duke of Buckingham;
325. Carlo Dolci, Madonna and the Infant Jesus, two miniatures ;
332. Gennari, Madonna and Child.

Saloon of Prometheus, with paintings by Giuseppe Colignon.
In the centre a magnificent round table of modern mosaic, executed
for the London Exhibition of 1851, but not sent thither, valued
at 30,000;. — 334. German School , Portrait; 336. Venetian School
(i5th cent.), Allegory ; 237. Scip. Gaetano, Ferdinand I. de' Medici.

*338. Fra Filippo Lippi, Madonna with saints ; in the back-
ground SS. Joachim and Anna, and the Nativity of Mary.

'The drawing and the modelling of the flesh remind us that the age
was one in which the laws of bas-relief were followed in painting.' — C. & C.

339. Tintoretto, Portrait of a doge; 340. Madonna with two
saints after Perugino (the original is in Vienna); 341. School of
Pinturicchio, Adoration of the Magi; 345. Baldassare Peruzzi,
Holy Family; 346. F. Zuccheri, Mary Magdalene, on marble;
*347. Filippino Lippi, Holy Family ; 348. Botticelli, Holy Family ;
353. Botticelli, Portrait of the 'Beautiful Simonetta', the mistress
of Giuliano de' Medici, who died at an early age, and whose praises
were sung by the poets Pulci and Poliziano; 354. L. di Credi,
Holy Family; 355. Luca Signorelli, Holy Family; 357. S. Botti-
celli, Holy Family ; 358. Dom. Ghirlandajo, Adoration of the Magi
(replica of the picture in the Ufflzi, No. 1295); 362. Jacopo Boat-
teri. Holy Family; 363. Garofalo, Holy Family ; 365. Albertinelli,
Holy Family; 369. Ant. Pollajuolo , Ecce Homo; 370. Saint
looking upwards, perhaps by Signorelli (?) ; 371. Piero delta Fran-
cesca (or Franc. Buonsignori), Portrait ; 372. Andrea del Castagno,
Portrait; *373. Fra Angelica da Fiesole, Madonna with saints, a

Palazzo Pitti. FLORENCE. 49. Route. 413

winged picture over the door; 376. Lorenzo Costa, Portrait; 377.
Fra Bartolommeo, Ecce Homo ; 379. J. da Pontormo, Adoration
of the Magi ; 374. A. Pollajuolo, St. Sehastian ; 388. Filippino
Lippi, Death of Lucretia.

The Galleria Pocetti, which we next enter, derives its name from
the ceiling-paintings by Bernardino Pocetti. Two tables of oriental alabaster
and one of malachite. *Bust of Napoleon I., by Canova. — 483. Polidoro
Veneziano, Adoration of the Child; 484. Marco VecelUo (nephew of Titian),
Madonna della Misericordia; 490. Guercino, St. Sebastian; 494, 495. Titian,
Portraits. Also a number of miniature portraits, as well as in the follow-
ing corridor.

Returning to the Prometheus Saloon , we next enter a Cokeidok , on
the walls of which are six marble mosaics, a number of *Miniature
Portraits, and valuable drinking cups, objects in ivory, etc.

Saloon of Justice. Ceiling-painting by Fedi. In "the centre a hand-
some cabinet, purchased in Germany by Ferdinand II. — 389. Tintoretto,
A sculptor; 398. Artemisia Gentileschi, Judith.; 399. Salviati, Patience, said
to be copied from a composition by Michael Angelo; 400. M. Hondekoeter,
Poultry; 401. Sustermans , The canon Pandolfo Ricasoli; 403. Bronzino,
Grand-duke Cosimo I. ; 404. Carlo Dolci, Vittoria della Kovere; 405. Boni-
fazio Bembo, Christ in the Temple ; 406. Carlo Dolci, St. Dominicus praying ;
408. Peter Lely, Oliver Cromwell (a genuine portrait, sent by the Protector
to the grand-duke Ferdinand II.) ; *409. Sebastian del Piombo , Bust of a
bearded man.

Saloon op Flora. Ceiling-paintings by Marini. In the centre *Venus
by Canova. 415. Sustermans, Grand-duke Ferdinand II. de' Medici ; 416, 421.
Gaspard Poussin, Landscapes; 423. Titian, Adoration of the Shepherds,
retouched; 430. Cigoli, Madonna; 436. Gaspard Poussin, Landscape; 437.
Van Dyck, Repose during the Flight into Egypt; 438. RiUhard, Stag at-
tacked by tigers.

Saloon of the Children (Sala de'' Putti). Frescoes by Marini, de-
corations by Rabbujati. *451. Rachel Ruysch, Fruit; *453. Salvator Rosa,
Landscape, with an allegorical figure of peace burning weapons; 455.
Rachel Ruysch, Fruit and flowers; *465. Jac. van Ruysdael, Landscape; *470.
Salvator Rosa, Landscape, with Diogenes throwing away his drinking-cup
Cla foresta dei filosofi"); ili. Domenichino, Landscape, with Diana surprised
by Actseon ; 476. Andrea del Sarto, Holy Family ; 478. Van Domoen, Mas-
querade; 480. A. Carracci, Nymph and satyr, a replica of the picture in
the Tribuna, No. 1133.

The ground-floor of the palace contains several rooms with good
Modern Works of Art, historical pictures 'by Bezzuoli a,ii(i. Sabatelli,
statues hy Bartolini (Caritk), Ricei (Innocence), etc. (apply for
admission to the porter at the entrance), and the treasury (to the left
in the second court, open 10-3, fee 1/2 fr.), containing the royal plate,
and interesting specimens of ancient and modern goldsmiths' work.
In the cases to the left are several works hy Benvenuto Cellini. To
the right a crucifix in bronze by Giovanni da Bologna, opposite to
it a crucifixion by Tacca. Cruet-stand of lapis-lazuli, etc.

The *Boboli Garden (entrance through the Palazzo Pitti, in the
left corner; open to the public on Sundays and Thursdays from
noon till dusk; comp. PI. C, 5), at the back of the palace, extends
in terraces up the hill. It was laid out by Tribolo in 1550, under
Cosimo I., and extended by Buontalenti, and commands a succes-
sion of charming *Views of Florence with its palaces and churches,
among which the Palazzo Vecchio, the dome and campanile of
the cathedral, and the tower of the Badia are most conspicuous.

414 Route 49. FLORENCE. Nat. History Museum.

The long walks, bordered with evergreens, and the terraces,
adorned with vases and statues, attract crowds of pleasure-seekers
on Sundays.

On entering we first observe, in a straight direction , a Gkotto with
four statues, modelled by Michael Angela for the monument of Pope Ju-
lius II. ; in the centre the Eape of Helen, a group by Vincenzo de'' Rossi.
At the entrance to the grotto, Apollo and Ceres, statues by Bandinelli.
— The Main Path leads straight from the back of the palace to an open
space called the Amphitheatre , formerly employed for festivities of the
court; on the right, a handsome fountain, on the left, an Egyptian obelisk
(brought hither from Rome) and an ancient basin of grey granite. We
then ascend to the Basin of Neptune, adorned with a statue of the god
by Stoldo Lorenzi; then, higher up, the statue of Abbondanza, begun by
Giovanni da Bologna (for a different purpose), and finished by Tacca., and
erected in 1636 to commemorate the fact that during the general distress
in Italy occasioned by war, Tuscany alone, under Ferdinand II., revelled
in plenty (fine view hence). To the right, in the vicinity, a small casino
(30c.), commanding a charming and uninterrupted -View.

To the W. of the Abbondanza we reach an open grass-plot, also afi'ord-
ing a fine view , whence the visitor about to leave the garden may de-
scend direct. "We follow a beautiful avenue to the S., adorned with nu-
merous statues (copies of old works , as well as modern originals), and,
passing the gardeners house , reach a charming Basin (la vasca delV iso-
loita), enlivened by swans and other water-fowl. In the centre, on an
island planted with flowers, rises a fountain surmounted by a colossal
statue of Oceanus , by Giovanni da Bologna. The surrounding walks are
chiefly embellished with 'genre' works. A path leads from this basin in
a straight direction to a grass-plot with two columns of granite, and thence
to the Porta Romana, which however is usually closed ; in the vicinity
several ancient sarcophagi. To the right of the Oceanus basin a broad
path, parallel with the palace, is reached, by which the principal en-
trance may be regained. Another exit, near a fountain with Bacchus on
the lion, leads into the Via Romana. — To the left is the Botanic Gar-
den, which, on public days, the custodian invites visitors to inspect (fee) ;
a permesso for other days is obtained at the Museo di Storia Naturale.

Above the Boboli garden is the Fortezza di Belvedere, constructed
in 1590 by Buontalenti by command of Ferdinand I. Near it is the
closed Porta S. Giorgio.

At Via Romana 19 , to the W. of the Pitti Palace, is the Mu-
seum of the Natural Sciences (^Museo di Fisica e di Storia Natu-
rale; PI. 55, B5; open Tues., Thurs., Sat., 10-3; to strangers
daily by permission of the secretary), founded by Leopold I. , and
greatly augmented at subsequent periods.

The public museum is on the Second Flooe; the mineralogical, geo-
logical, and palseontological collections occupy 9, the zoological 13 rooms.
There is also an admirable anatomical collection in 12 rooms, consisting
chiefly of preparations in wax, by Clemente Susini and his successors Ca-
lenzvoU and Calamai.

On the First Floor (r.) is situated the *TRiBnNA of Galileo, inaugu-
rated in 1840, on the occasion of the assembly at Florence of the principal
scholars of Italy, constructed by Giuseppe Martelli, and adorned with
paintings by Giuseppe Bezzuoli, Luigi Sabatelli, etc., illustrating the history
of Galileo, Volta, and other naturalists; also a statue of Galileo by
Costoli, numerous busts of celebrated men, and mosaics in the pavement,
designed by Sabatelli, and executed by Giov. Salt. Silvestri. Along the
walls are six cabinets containing instruments from the time of Gali-
leo downwards. There is also an Observatory here.

No. 13 Via della Costa is the house of Galileo (PI. 47*; C, 5).

Palazzo Torrigiani. FLORENCE. 49. Route. 415

Immediately adjoining the Ponte alle Grazie (recently widened ;
PI. D, 5, 6 ; p. 351) is the Piazza de' Mozzi, to the right in which
rises the Palazzo Torrigiani (PL 85}, containing a valuable picture-
gallery on the first floor (generally shown on application to the por-
ter ; written catalogues for the use of visitors).

Ante-Chamber: "Lvca della iJoSftm, Portrait of himself, a fine work in
terracotta. — To the left: I. Room: -11. Signorelli, Portrait of a man in
a red cap ; Filippino Lippi (_Masaccio ?), Portrait ; 20. PoUaJuolo (? Baldo-
vinetti), Portrait; *33. Domenichino, Landscape with bathers; 1. Beccafuvii,
Madonna; 6. Lorenzo di Credi, Madonna. — To the right: Cabinet: 5,7.
Triumph of David, by Pesellino; 22, 24. Procession of Argonauts, and
Starting for the hunt, by Paolo Uccelli (these four being 'cassoni', or lids
of chests). To the left of the 1st Room is the — II. Room : *7. Madonna
and Child, a 16th cent, copy from Raphael (original in the Bridgewater
Gallery); 3. Venetian School, Entombment; *8, 11,21,22. and another pic-
ture between the windows, Filippino Lippi. History of Esther; 13, 23.
Pinturicchio , Legend; 10. Andrea del Sarto (?) , Holy Family; 15. Bron-
zino, Eleonora of Toledo. — III. Room : 9. Tintoretto, Resurrection. — On
the other side of the ante-chamber (to the right of the entrance) are three
rooms with unimportant contents. In the last (IV.) Room: 9. Hobbema,
Landscape; 13. Teniers, Players; 14, 16. Cranach (?) , St. John and the
Infant Christ. — The secretary also grants permission to visit the beau-
tiful Giardino Torrigiani, Via dei Serragli (PI. A, 5).

The small church of S. Lucia (PL 18) in the adjoining Via de'
Bardi contains an *Annunciation by Fra Filippo Lippi (1st Altar on
the left).

In the Lung' Abno Sekristoei, between the Ponte alle Grazie
and the Porta S. Niccolo , rises the monument of Prince Demidoff,
to whose philanthropy Florence was much indebted, erected by
Bartolini in 1870.

Farther on is the church of S. Niccol6 (PL 28 ; D, 6) , founded
about the year 1000. At the back of the high altar are four saints
by Gentile da Fabriano. The sacristy contains a Madonna della Cin-
tola by A. Pollajuolo, 1450 (lunette); below it a Madonna and
saints by Neri di Bicci. In 1530, after the capitulation of the town
to the Medici (p. 416), Michael Angelo lay concealed for a time
in the tower of this church.

50. Environs of Florence.

Compare Map. The small numbers , which are marked on it round
the town , designate the boundary of the local imposts (Cinta daziaria) :

I. Barriera di Lung' Amo Nuovo; 2. B. delle Cascine; 3. B. Pistojese;
4. B. S. Donato; 5. B. del Mercato; 6. B. del Romito; 7. B. del Ponte
Rosso; 8. B. delle Cure; 9. B. delle Forbici; 10. B. della Fonte air Erba ;

II. B. deir Affrico; 12. B. Settignanese ; 13. B. Aretina; 14. B. Ponte di
Ferro di S. Kiccolo; 15. B. Porta S. Niccolo; 16. B. Porta S. Miniato; 17.
B. Porta S. Giorgio; 18. B. Porta Romana; 19. B. Porta S. Frediano.

The heights surrounding Florence afford many charming views
of the city and neighbourhood, and some of the edifices erected on
them also deserve notice. Those who make some stay at Florence will
find ample scope for excursions in every direction. The afternoon

416 Route 50. YIALE DEI COLLI. Environs

is the most favourable time, as the city and environs are often
veiled in haze in the forenoon.

(A.) One of the finest promenades in Italy, a hilly road recently
constructed from plans by the engineer Poygrio, called the **Viale dei
Colli, ascends the heights in windings from the Porta Romana (PL
A, 6), the S. gate of Florence, leads along the slopes to S. Miniato,
and descends in a long curve to the river, where it terminates at
the upper Ponte di Ferro , near the Porta S. Niccolo (PL F, E, 6).
This road, which is 19 yds. wide and nearly 8^/4 M. in length, is
bordered with beautiful pleasure grounds , containing bays , elms,
sycamores, and hedges of roses, over which delightful views are ob-
tained. The road is called the Viale MacchiavelU from the Porta
Romana to the large circular Piazzale Galilei, beyond which it bears
the name of Viale Galilei. At the beginning of the latter is the
Tivoli (adm. Ifr. ; restaurant; music in the evening), and farther
on is the new Restaurant Bonciani. Below S. Miniato the road
passes the large ^Piazzale Michelangelo , forming a kind of pro-
jecting terrace immediately above the Porta S. Niccolo (PL E, 6),
to which footpaths and roads descend. In the centre of the Piazza
rises a bronze copy of Michael Angelo's David (p. 391), the pedestal
of which is surrounded by the four day-times (p. 395). Charming
**ViEW hence of the town and the valley of the Arno : to the right,
on the hill, lies Fiesole; then the city with S. Croce, the Cathedral,
S. Lorenzo, the Palazzo Vecchio, S. Maria Novella, and the Lung'
Arno ; to the left are the villa-covered heights, the Fortezza del
Belvedere, Bello Sguardo, and the Villa Giramonte. — A drive by
the Viale dei Colli, from one gate to the other, occupies 1-1 V2 ^"^^
(carriages, see p. 343; comp. also p. 417).

(B.) San Miniato, with its marble facade, on the hill to
the S.E. of Florence, is a conspicuous object from many different
points. It may be reached by carriage (p. 343) or on foot in less
than 1/2 hr. The route from the Porta S. Niccolo by the Piazzale
Michelangelo (see above) cannot be mistaken. A little beyond the
gate we reach the Franciscan monastery of S. Salvatore del Monte,
with a church erected by Cronaca in 1504, the simple and chaste
proportions of which were deservedly praised by Michael Angelo,
who called it 'la bella villanella'. — We now turn to the left to-
wards the gateway of the old fortifications , constructed by Michael
Angelo in 1529 as engineer to the republic, and which were de-
fended by him during an eleven months' siege of the city by the
Imperial troops. Visitors knock at the gate, and on leaving give the
gate-keeper a few soldi. The church and the whole hill of S.
Miniato are now used as a burial-ground (fine views). The mon-
uments show the taste of the modern Florentine sculptors, who
lay the greatest stress upon an accurate rendering of clothes, lace,
ornaments, and the like, and whose skill in this department finds
numerous admirers.

S/<y^- i.'^^^^

I H P'^A I i/*P

i^i

^.^

of Florence. S. MINIATO AL MONTE. 50. Route. 417

The church of *S. Miniato al Monte, like the Battistero (p. 370),
is one of the few existing examples of the Pisan Florentine style
which preceded the Gothic, and probahly dates mainly from the
12th century. It is a structure of admirable proportions, with nave
and aisles, without a transept, and is in many respects a truly
classical edifice. The elegantly incrusted facade dates from the
12th, the mosaics with which it is adorned from the 13th century.
The tower was restored by Baccio d'Agnolo in 1519.

The Interior, recently restored, rests on 12 columns (some of them
antique) of white , and 4 handsome pillars of greenish grey marble , and
has an open roof, tastefully re-decorated in the original style. The choir
with its simple apse is raised by a spacious crypt beneath.

Aisles. On the wall on the right. Enthroned Madonna and six saints
by Paolo degli Stefani (14th cent.); on the left a Madonna with saints and
a Crucifixion, of the beginning of the 15th century. In the Nave , be-
tween the flights of steps (16) ascending to the choir, is a chapel con-
structed in 1446 by Piero de' Medici from a design by Michelozzo. Over
the altar is the small crucifix which is said to have nodded approvingly
to S. Giovanni Gualberto when he forgave the murderer of his brother
(p. 423). In the Left Aisle is the Chapel of S. Giacomo, constructed soon
after 1459 by Antonio Rossellhio and ornamented by the Bella Roibia and
Antonio PoUajuolo, containing the monument of Cardinal Jacopo of Portu-
gal (d. 1459); above the monument a 'Madonna and Child in a medallion
held by two angels; on the ceiling the Four Virtues by Luca della
Robbia. — The 'Crypt , to which a flight of seven steps descends, does
not rest on the four columns and two pillars which are prolonged in
the choir above, but on 28 smaller columns of graceful form, some of
them ancient. Beneath the altar here is the tomb of S. Miniato. — The
front-wall of the crypt, the screen of the choir, the apse, the whole wall
of the nave, and the pulpit present beautiful specimens of incrusted
marble-work. The upper part of the Apse is adorned with a mosaic of
S. Miniato before the Saviour, executed in 1297, recently restored. The
five windows under the arches are closed with semi-transparent slabs of
marble. Over an altar on the right, the portrait of S. Giovanni Gualberto
(see above). — On the S. side of the choir is the Sacristy (closed), erect-
ed in 13S7 in the Gothic style, adorned with sixteen "'Frescoes from the
life of St. Benedict (his youth, ordination at Subiaco, miracles, etc.) by
Spinello Aretino (d. 1410), a clever pupil of Giotto, vi^hose style is studied
to advantage here. Below them, admirable inlaid work in wood. — The
beautiful mosaic pavement (niello, executed, according to an inscription,
in 1207) also deserves inspection.

A visit to S. Miniato may be conveniently combined with a
drive on the Viale del Colli. A walk to the Piazzale Michelangelo,
S. Salvatore del Monte , S. Miniato , and thence to the Torre del
Gallo (see below) , and back by the Poggio Imperiale to the Porta
Romana (p. 416), will take about 3 hrs. in all.

(C.) Poggio Imperiale. Immediately to the left, outside the
Porta Romana (PI. A, 6), begins the Viale dei Colli, mentioned at
p. 416. To the right of it a fine avenue of lofty cypresses, evergreen
oaks, and larches, embellished with a few statues, leads in 20 min.
to the Villa Poggio Imperiale. It was thus named and almost en-
tirely fitted up by Magdalene of Austria, wife of Cosimo II., and
afterwards adorned with various works of art, which were removed
in 1860. The handsome edifice is now occupied by the Instituto
della SS. Annunziata, a girls' school, and is not accessible.

Baedeker. Italy I. 5th Edit. 27

418 Route 50. LA CERTOSA. Environs

The road now divides : that to the right leads to Galluzzo and
the Certosa (see helow) ; that to the left (soon passing a group of
houses , following the Via del Plan GiuUari , and ascending the
height, where at a bifurcation of the road, a bye-road in a straight
direction is to be followed) leads to the Torre del Gallo, so called
after a family of that name, and containing various reminiscences
of Galileo^ who from this tower is said to have made several im-
portant astronomical observations. Fine *Panorama (fee). — S.
Miniato is about 1 M. from this point (comp. Map).

The road to the right passes (1/4 hr.) several houses and villas, among
which is the Villa of Galileo, marked by a bust and inscription, where
the great astronomer passed the last years of his life (163i-42j, surrounded
by a few faithful friends and latterly deprived of sight, and where he
was visited by his illustrious contemporary Milton. — A short distance
hence, near the church of S. Mavghenta a Afontici, stands the villa where
Francesco Guicciardini wrote his history of Italy. Here too, on 12th Aug.,
1530, the Florentines, who had been betrayed by their general Malatesta,
signed the articles by which the city was surrendered to the .Imperial
troops and thus became subject to the rule of the Medici. From that
event the house derives its name Villa delle Bugie ('villa of lies').

(D.) La Ceetosa in the Val d'Ema is 3 M. distant by the
high road from the Porta Romana (PI. A, 6 ; carr. 6 fr. ; omnibus
from Porta Romana every hour from 8 a.m. to 8 p.m., 50 c). To
the right, as the height beyond the gate is ascended, rises the
church of S. Gaggio ; farther on is the village of Galluzzo, beyond
which the brook Ema is soon reached. On the hill of Montaguto,
which is clothed with cypresses and olive-trees, at the confluence
of the Ema with the Greve, rises the imposing *Certosa di Val
d'Ema, in appearance resembling a mediaeval fortress. The mon-
astery, which is approaching dissolution and contains a few inmates
only, was founded in 1341 by Niccolb Acciajuoli, a Florentine who
had settled at Naples and there amassed a fortune by trading, with-
out, however, losing his affection for his fatherland. The porter
(1-2 pers., 50 c.) shows the church, or rather the series of chapels
of which it consists, and the monastery with its various cloisters.

CnnKCH. Magnificent pavement and fine carved stalls (of 1590) ; over
the altar. Death of St. Bruno, a fresco by Pocetti. — *Right Side-
Chapel, in the form of a Greek cross, erected by Orcagna: to the left St.
Francis by Cigoli; SS. Peter the Martyr, George, Jerome, Francis, two
Madonnas, and the 'Trinity, of the School of Giotto. A staircase to the left
descends to a chapel with the 'Tombs of the Acciajuoli; monument of the
founder Niccolb by Orcagna (1366); three monumental slabs, that of a
'Young Warrior by Donatello; tombstone of a cardinal of the family by
the same, the ornamentation by Giuliano da San Gallo. — We then return
through the church and enter the Cloisters, with stained glass by Gio-
vanni da Udine-i and a fountain, perhaps by Brunelleschi. — To the right is
the Chaptek House: "Mariotto Albertinelli , Crucifixion (fresco of 1505);
opposite , a Madonna and Child by Periigino (?) ; monument of Bishop
Buonafide by Giuliano da San Gallo. — We next enter the monastery gar-
den, which also serves as a burial-ground, and is surrounded by handsome
cloisters. Some of the empty cells, which enclose the building like pin-
nacles, command picturesque views, especially through the valley of the
Ema towards Prato and the Apennines. — At the Spezeria of the monastery
good Chartreuse and various perfumes may be purchased.

of Florence. BELLO SGUARDO. 50. Route. 419

(E.) *Bello Sguardo, to the S.W. of Florence, Is celebrated for
the delightful prospect it commands, which the traveller should on
no account fail to visit. From Porta Romana (PL A, 6) the town-
wall must he followed to the right and the second road to the
left taken. This first leads to an open space with the small
church of S. Francesco di Paola, which contains the monument
of Benozzo Federighi, Bishop of Fiesole, hy Luca della Rabbin.
The carriage-road is then followed in a straight direction, and on
the height, where it divides, the road to the left is taken (a few
paces beyond this point the road to the Monte Oliveto diverges
to the right, see helow). At the next bifurcation a side -path
to the left is followed, which in a few minutes leads to the
**BeUo Sguardo (visitors ring; fee 2-3 soldi on leaving). The
view embraces Florence, with the Pitti Palace, S. Croce, the
Palazzo Vecchio, Or S. Michele, the cathedral, S. Lorenzo, S.
Maria Novella, etc. ; to the right, on the height, S. Miniato, op-
posite the spectator lies Fiesole; to the left, the populous valley of
the Arno, over which tower the distant Apennines. The view is
seen to the best advantage towards sunset. — In the vicinity is the
Villa degli Albizzi, with a bust of Galileo and an inscription to the
memory of that illustrious astronomer, who frequently resided here
and cultivated the garden with his own hands.

Those who wish to visit the Bello Sguardo from the Porta S. Frediano
follow the city-wall to the left and take the first road to the right, leading
to ttie above-mentioned church of St. Francesco.

(F.) Monte Oliveto. About 1/3 M. beyond the Porta S. Frediano
(PL A, 3) the 'Via di Monte Oliveto' diverges to the left from the
Leghorn road, and reaches the entrance to the garden of the mon-
astery after 1/2 ^- (^^Y to obtain access to the point of view, next
door, No. 6, 10-15 c). A slight eminence here planted with cy-
presses commands an admirable *Prospect: N.W. the beautiful
valley of Florence, with Prato and Pistoja, enclosed by mountains,
over which rises one of the peaks of the marble-mountains of Car-
rara; N.E. lies Florence, then Fiesole with its numerous villas;
E. the Fortezza di Belvedere and S. Miniato; in the background
the barren mountain-chain of the Casentino. Towards the S. the
view is excluded by the intervening heights. The monastery-
buildings are now used as a military hospital.

The Badia di S. Bartolommeo di Monte Oliveto, erected in
1334, possesses frescoes by Pocetti ; in the refectory an Annuncia-
tion by Dom. Ghirlandajo. — From the suburb of S. Frediano a
suspension-bridge (5 c. ; PL A, 2) leads to the Cascine.

(O.) The *Cascme, or park of Florence, lies to theW., beginning
near the Barriera Nuova (in the Piazza Vitt. Emanuele, PL A, 2),
and is about 2 M. in length, but of moderate breadth, being bounded
by the Arno and the Mugnone. It affords delightful and refreshing

27*

420 Route 50. VILLA CAREGGI, Environs

-svalks to the traveller fatigued witlv sight-seeing. The name is
derived from a farm to vrhich it once belonged (cascina, 1. e. dairy).
It is a fashionable rendezvous in the afternoon. — Outside the town,
immediately to the left, is a small Cafe. — About the middle of the
Cascine is a large open space (where a military band plays several
times a week), surrounded by several country-houses {Casino
delle Cascine^ a cafe'-restaurant like Doney's, p. 343), a gay and
favourite resort towards sunset. Beyond this spot the park is com-
paratively deserted, and it terminates about 1 M. farther, where
the monument of the Rajah of Kohlapore, who died at Florence in
1870, and whose body was burnt at this spot, is situated. — Tram-
way from Piazza S. Maria Novella to the Cascine every 5 min.

On the road to Pistoja, about 3/4 M. from the Porta del Prato (PI. B, 2),
is situated the Villa Demidoff, founded by the prince of that name (d.
1870), with gardens and hot-houses (admission l)y permesso, 5fr. ; the pro-
ceeds devoted to the building fund for the cathedral facade).

About IV2 M. from the Villa Demidoff, to the right beyond Ponte a
Rifredi (railway-station, ^ee p. 341), and near the ancient church of 8.
Stefano in Pane, lies the Villa Careggi, the property of the grand-dukes
down to 1780, afterwards that of the Orsi family, and now owned by
Count Buturlin. The villa was erected by Michelozzo for the first Cosimo,
who terminated his brilliant career at this house in 1464. This was also
once the seat of the Platonic Academy (p. 349). Lorenzo il Magnifico,
grandson of Cosimo, also died at Careggi (1492). Fine view of the en-
virons. A few frescoes by Pontormo and Broiizino and a series of portraits
are reminiscences of the history of this edifice.

Farther W. is the Villa della Petraia, with delightful gardens, erected
by Buontalenti, and adorned with paintings by Andrea del Sarto and
Daniele da Volterra. The villa, which is now fitted up as a royal resi-
dence , is most conveniently reached from the railway-station Castello
(p. 341). Near it is the Villa Quarto, with beautiful gardens, formerly
the property of the Medici, now that of Countess Stroganoff.

From railway-stat. Sesto (p. 341) a visit may be paid to the great
porcelain-manufactory delta Soccia, the property of Marchese Ginori, who
possesses a villa here. The proprietor has successfully revived the ancient
majolica manufacture, and produces excellent copies of Della Robbia
work. Visitors are not always admitted.

(H.) FiEsoLE, on the height to the N. of Florence, is 3 M.
distant (omnibus, starting from the vi(nnity of the Piazza delDuomo,
three times daily, 1 fr. ; carr. 7-8 fr., see p. 343). We leave the
town by the Porta S. Gallo (PL F, 2), where a Triumphal Arch of
no artistic merit, erected in 1738, commemorates the entry of the
grand-duke Francis II. Outside the gate rises a handsome new
colonnade. — We follow the Viale Militare (PI. G, 2) , cross the
Piazza delle Cure , and then ascend the left bank of the Mugnone
(Via Boccaccio), an insigniflcant stream, which however in rainy
weather sometimes causes great devastation, to the (1 M.) Villa
Palmieri, the property of the ex-ducal family, which remains on
the right. Boccaccio makes this the residence of the narrators in
his Decamerone during the plague in 1348. The road then ascends
rapidly between garden-walls, and reaches (1 M.) the church of
S. DoMENico Di FiESOLE , iu the former monastery of which the
pious Fro Giovanni Angelico lived before his removal to S. Marco

of Florence. FIESOLE. 50. Route. 421

at Florence ; the choir of the church coiitaius a Madonna with saints,
painted by him. (Opposite the church the 'Via della Badia' diverges
to the left, see p. 422.) — The road divides here: the old road to
the left leads past the Villa Mozzi, once a favourite residence of
Lorenzo il Magniflco, reaching the height in 20 min. ; the new
road to the right winds gradually upwards, passing several pretty
villas, and finally skirting the S. side of the ancient Etruscan wall
of Fiesole. Fine, open views. This excellent road is principally
indebted for its construction to the Golden Book of Fiesole. This
venerable volume enjoys the privilege of ennobling those whose
names are inscribed on its pages, and, when the Fiesolans were
desirous of constructing the road, their 'golden book' distributed
its favours extensively among the Florentines and others in return
for a substantial equivalent.

Fiesole (Trattoria V Aurora, fine view; Locanda Firenze), Lat.
Faesulae, is an ancient Etruscan town, the Cyclopean walls of
which are still partially preserved. It was for a long period more
powerful than its rival Florence, to the jealousy of which it at
last fell a victim in 1010 (p. 347). The town, the seat of a
bishop, but now of no importance, contains 2800 inhab. , who
like most of the natives of this district are engaged in straw-
plaiting (purchasers of their wares should as a rule give only half
the price demanded).

On the height we enter the spacious Piazza of Fiesole, and
perceive immediately opposite us the Cathedral, one of the earliest
and simplest examples of the Tuscan style, begun in 1028 by
Bishop Jacopo Bavaro, shortly after the destruction of the ancient
Fsesulffi by the Florentines, but not completed till much later. It
is a basilica of poor exterior, consisting of nave and aisles with a
transept, and a spacious crypt beneath the lofty choir.

Over the altar, statues by Andrea Fevrucci. The chapel to the right
of the choir contains the "Monument of Bishop Salutati (d. 1465), by
Mino da Fiesole , opposite which is a "Basrelief by the same master,
representing the Madonna with St. Remigius and St. Leonhard, in the
foreground the Infant Christ, and John the Baptist with a beggar. On
the entrance-wall, over the door: ''St. Romulus, with rich frame \>y Luca
della Robbia.

Opposite the cathedral , on the W. side of the piazza are the
Episcopal Palace and the Seminary. — On the E. side of the piazza
is the Palazzo Pretoria, of the 13th cent. , bearing the arms of the
magistrates (podesta) ; on the ground-floor is the Museo Fiesolano,
founded in 1874 and containing the yield of the excavations men-
tioned below. Adjacent to it is the venerable church of S. Maria
Primerana, dating from the 10th cent., containing a tabernacle in
terracotta of the school of the della Robbia ; on the right a portrait
head of Giuliano da San Gallo by himself.

Beyond the cathedral, and descending the first side street to the
right, we come to a well preserved fragment of an Ancient Etruscan
Wall, situated among modern terrace walls. — Passing along this

422 Route 50. FIESOLE. Environs

and at the top returning towards the town , we soon reach (on the
right) the entrance to an Ancient Theatre, hrought to light since
the resumption of the excavations in 1873 (adm. 50 c., and a
trifling fee). Sixteen tiers of seats, in a semicircle (37 yds. in dia-
meter), are now visible ; the stage was open towards the S.

The site of the old Acropolis of Fsesulse is occupied by a
Franciscan Monastery, to which the street ascending to the W.
opposite the cathedral leads. On the right, a little below the
monastery, rises the venerable church of S. Alessandro, with
15 antique columns of cipollino, probably occupying the site of a
heathen temple. The plateau in front of it commands a beautiful
and extensive *View of the valley of Florence, bounded on the S.
by several ranges of hills, on the E. by the mountain- chain of the
Casentino, and on the W. by the heights of Monte Albano, be-
yond which the mountains of Carrara stand prominently forth.

Those who have time should ascend the eminence a little to
the E. of Fiesole, which is higher than the Franciscan monastery
and commands an uninterrupted panorama.

On the way back we may visit the Badia di Fiesole, 1/4 M.
to the W. of S. Domenico (p. 420), a monastery founded in 1028,
occupied first by Benedictine, afterwards by Augustinian monks.
It was re-erected by Brunelleschi in 1462, by order of Cosimo the
Elder, and forms a remarkably attractive pile of buildings.

The Chdrch, with a transept, but destitute of aisles, is covered with
circular vaulting, and is of noble proportions throughout. The part of
the facade which is decorated with black and white marble belongs to
the older structure , and is coeval with S. Miniato (p. 417). In the in-
terior are several tombstones of the celebrated families of the Salviati,
Marucelli, Doni, etc. — The Refectory is adorned with a quaint fresco
by Giovanni da San Oiovanni (d. 1636), representing angels ministering to
Christ in the wilderness; the reading-desk is by Brunelleschi.

The monastery , which was highly favoured by the Medici , was fre-
quently the residence of members of the 'Platonic Academy'. Picus of
Mirandola here worked at his exposition of Genesis. After the sup-
pression of the monastery (1778), the printing-office of the learned Fran-
cesco Inghirami, where a number of important works were published, was
established here. It is now occupied by a farm.

(I.) About 3/4 M. from the Porta alia Croce (PI. G, 5), on the
left of the railway to Arezzo, are situated the remains of the mon-
astery of S. Salvi, of the order of Vallombrosa, and mentioned as
early as 1084, where in 1312 Emp. Henry VII. established his
head-quarters during the siege of Florence. The former refectory
contains a well-preserved and finely coloured *Fresco by Andrea
del Sarto (1526-27), representing the Last Supper (Christ is about
to take a piece of bread to dip in the dish ; Judas already has the
sop in his hand).

The painting 'is calculated to be seen at a burst on entering the door.
... It is marvellous how the shadows cast by the figures, and the parts
in them turned away from the light, keep their value-, how the varie-
gated tints preserve their harmony'. — C. <£• C.

The traveller may prolong his walk hence in the valley of the

of Florence VALLOMBROSA. 50. Route. 423

Arno as far as Compiobbi (see below), and return to Florence by
the last train.

(K.) Vallombrosa. a visit to this celebrated monastery may
be accomplished from Florence in one day ; it is advisable, however,
to start on the previous evening and pass the night at Pelago.
If the traveller intends to include the Casentino Valley and the
monasteries of Camaldoli and Alvernia in the excursion , three or
four days will be required.

The train from Florence to Arezzo should be taken as far as
Pontassieve (in 55 min. ; fares 2 fr. 15, 1 fr. 50, 1 fr. 5 c.). From
the central station near S. Maria Novella the train performs the
circuit of the city, and stops at the station near Porta Croce, which
may be more conveniently situated for some travellers than the
principal station. It then skirts the right bank of the Arno. The
valley soon contracts. 8 M. Compiobbi, a small village, lies in a
richly cultivated district, above which rise barren heights.

13 M. Pontassieve (Italia, Vapore, both very poor inns ; one-
horse carriage to Pelago 5-6 fr. , to Vallombrosa 10-12 fr., two-horse
20 fr.), a small village at the confluence of the Sieve and Arno, form-
erly derived some importance from its situation on the high road lead-
ing through the valley of the Sieve and over the Apennines toForli.

Quitting the railway-station , we follow the broad road to the
right, which after a few hundred paces crosses the Sieve. At
(3 M.) the point where the road divides for the third time, we
descend to the right, and proceed to (21/4 M.) the village of Pelago
(Locanda al Buon Cuore, previous agreement necessary ; mule to
Vallombrosa 5fr.). The road next leads by Patemo (3^/4 M. from
Pelago, one-horse carr. 5fr.), formerly the monastery-farm, now a
royal agricultural institution, to the village of Tosi, 11/2^- farther.
Those who make the excursion in one day need not go by Pelago,
but may proceed direct from Pontassieve to Paterno and Tosi. The
road ascends hence to the left, traverses meadows, underwood, and
pine forest, and about halfway up the Pratomagno mountain
reaches —

Vallombrosa (2980 ft.), situated in a shaded and sequestered
spot. The monastery was founded about 1050 , and the present
buildings date from 1637. It was suppressed in 1869 , and has
since been occupied by the R. Instituto Forestale , or forest school.
Outside the walls is a small inn, the old Foresteria (unpretending
but comfortable quarters).

The monastery of Vallombrosa was founded by S. Giovanni Gualherto,
the scion of a wealthy and powerful family of Florence, who after a
career of youthful profligacy resolved to devote the remainder of his life
to the most austere acts of penance. His brother Hugo having fallen by
the knife of an assassin, Gualberto was bound by the customs of the age
to follow the bloody law of retaliation. Descending one Good Friday
from the church of S. Miniato near Florence, accompanied by armed fol-
lowers, he suddenly encountered the assassin at a narrow part of the
road. The latter fell at his feet and implored for mercy. The knight,

424 Route 50. PRATOMAGNO. Environs

suddenly moved by a generous impulse, forgave his enemy, and resolved
for ever to renounce the world and its passions. He accordingly retired
to the cloister of S. Miniato ; but finding the discipline there too lax, he
betook himself to this lonely spot and founded Vallombrosa.

II Paradisino, or Le Cette, a small hermitage situated on a rock,
1/4 hr. to the left above the monastery, and now uninhabited, com-
mands an admirable survey of the latter, -which lies 266 ft. below,
and of the broad valley of the Arno as far as Florence, half of the
dome of which is visible behind a hill. The horizon is bounded
by the marble-hills of Carrara.

Another good point of vievf^ is situated 1 M. to the S. of the
monastery. The path leads to the left of the inn, and immediate-
ly beyond it passes a spring (to the right below the path), then tra-
verses the wood, and reaches a projecting rock commanding an ex-
tensive view of the valley of the Arno.

The ascent of the Pratomagno from Vallombrosa occupies 1 hr. (guide
2fr.). The path traverses dense pine-forest, then dwarfed beech-under-
wood, and finally green pastures. ' The view from the summit, which is
5323 ft. above the sea-level, is obstructed on the N. and S. by peaks of
equal elevation. To the E. lies the green Casentino Valley, bounded on
the N.E. by the lofty Monte Falterona, where the Arno rises; W. the
fertile and richly cultivated valley of the Arno stretches as far as the
dome of the cathedral of Florence, beyond which the blue Mediterranean
is visible in the extreme distance.

From the Pratomagno a steep path descends through woods and
ravines (l>/2 hr.), skirting the brook Solano, passing Cetica and several
other mountain-villages , and leading to the picturesque market-town of
S. Niccold, commanded by the ancient fort of that name , and situated
at the confluence of the Solano and Arno, where the fertile Casentino
expands. The river is crossed by a wooden bridge, beyond which a good
road leads to the right, passing the ancient church of Campoldino, where
in a sanguinary conflict, on 11th June, 1289, Dante distinguished himself
by his bravery as a horseman, and aided his Guelph countrymen to crush
the might of Arezzo and the Tuscan Ghibellines. The next place of im-
portance is Poppi (see below).

(L.) Camaldoli and Alvernia. (This excursion requires three
days : 1st Day, from Pontassieve or Vallombrosa to Camaldoli via
Pratovecchio ; 2nd Day, by Alvernia to Bibbiena ; 3rd Day, to
Arezzo.) The carriage-road from Pontassieve (p. 423) to the Casen-
tino crosses the Consuma Pass, about 9 M. distant, which may also
be reached from Vallombrosa by a bridle-path (guide necessary,
2 hrs.). The Osteria della Consuma, the inn of a small mountain-
village, is tolerable. The road traverses the lonely height of the
Monte Consuma for 3 M. , after which a view of the valley of the
Arno is gradually disclosed. About 6 M. farther, near the extensive
ruins of the castle of Romena, the road divides ; that to the left
leads to Pratovecchio , a short distance farther, and beyond it to
Stia. From Pratovecchio pedestrians may proceed by Moggiona
to Camaldoli in 3 hours. The road to the right leads by Castel
S. Niccolb to Poppi (12 M. from Consuma), the capital of the Ca-
sentino Valley, situated on a hill rising above the Arno. Its old
castle with its lofty tower, erected in 1274, is conspicuous far
and wide. Passing Ponte a Poppi, a few houses at the foot of the

of Florence. CAMALDOLI. 50. Route. 425

hill, we next reach Bibbiena, 41/2 M. farther (diligence in the after-
noon, in 1 hr.) the birthplace (in 1470) of Bernardo Divizio, after-
wards Cardinal Bibbiena, the patron of Raphael. — From Bibbient
Camaldoli is reached by Soci and Partina in 5-6 hrs. , and Alvernia
by the valley of the Corsalone in 2 hrs. The direct footpath be-
tween the monasteries may be traversed in 4 hrs.

The ancient abbey of Camaldoli lies in a grassy valley surrounded by
forest. It was founded soon after the year 1000 by St. Romuald, but fre-
quently destroyed by fire and devastated by war, in consequence of which
the church was re-erected in 1523, and again in 1772. It has recently
been suppressed by the Italian government, like all the other monasteries
in Italy. The environs are wild and beautiful. A zigzag path ascends
rapidly (3/4 hr.) to the Sacro ISremo, a second monastery with hermitages,
founded by St. Romuald in 1046. The name of the place is said to be
derived from Campus Maldoli, in consequence of a certain pious Count
Maldolus, the last proprietor, having presented it to his friend St. Ro-
muald. From this spot the reputation of the order for austere discipline,
sanctity, and erudition extended throughout the whole of Italy, although
the number of their cloisters was never great. Camaldoli, as well as
Vallombrosa, lost its valuable library and many treasures of art through
the rapacity of the French in 1808.

The *Views from the narrow mountain-ridge at the back of Camal-
doli, especially from the summit which is not planted with trees, called
the Prato al Soglio , are very extensive and beautiful. To the N.E. the
houses of Forli may be distinguished, still farther off the site of Ra-
venna, and in the extreme distance the glittering Adriatic ; W. the chain
of the Pratomagno and the green dales of Vallombrosa, the lower valley
of the Arno as far as the Maremme of Pisa and Leghorn , and beyond
them the Mediterranean. The spectator here stands on one of the sum-
mits of the 'back -bone of Italy', whence innumerable mountains and
valleys, as well as the two different seas, are visible.

The source of the Arno (4250 ft.) on the Falterona may be visited
hence, and the excursion may be extended to the summit of the moun-
tain by those who have energy for the ascent. Dante , who in the 14th
canto of the Purgatorio describes the course of the Arno , accompanying
it from its source to its mouth with bitter complaints of the swine of
the Casentino, the dogs of Arezzo, the wolves of Florence, and the foxes
of Pisa, perhaps visited the Monte Falterona in person. — Travellers
generally proceed from Camaldoli to Alvernia (sometimes called La
Vernia), a rough walk of 5-6 hours. The S. height is ascended as far as
the chapel of St. Romuald; then to the right a descent to Moggiona,
beyond which the path turns to the left , traversing a long and fatiguing
succession of gorges and slopes ; the path at the base of the mountains is
therefore preferable. The market-town of Soci in the valley of the Arch-
iano is first reached, then the profound valley of the Corsalone; beyond
it rises a blunted cone, on which the path ascends in windings to a stony
plain with marshy meadows. Above this rises the abrupt sandstone mass
of the Vernia., to a height of 850 ft. On its S.W. slope , one-third of the
way up, and 3906 ft. above the sea-level, is seen a wall with small win-
dows, the oldest part of the monastery, built in 1218 by St. Francis of
Assisi. The church dates from 1264. In 1472 the monastery was entirely
destroyed by fire. Beautiful forests are situated in the vicinity, from the
openings in which imposing mountain-views are often enjoyed. One of
the grandest points is the '-Penna della Vernia (4796 ft.), or ridge of the
Vernia, also known simply as VApennino, 'the rugged rock between the
sources of the Tiber and Arno', as it is called by Dante (Paradiso ii.,
106). To the E. are seen the lofty Sassi di Simone, the mountains which
bound the Tuscan Romagna in the direction of the republic of San Ma-
rino; N.E. the sources of the Tiber are situated behind the Fumajolo.

Near the monastery are the Luoghi Santi., a number of grottoes and
rock-hewn chambers in which St. Francis once lived. The church con-

426 Route 50. AREZZO.

tains no pictures worthy of mention, but several excellent reliefs in terra-
cotta, especially an '■''Annunciation by Luca della Robhia.

To the S. , not far from the monastery, is situated the ruined castle
of Chiusi, occupying the site of the ancient Clusium Novum, where Ludo-
vico Buonarroti, father of Michael Angelo, once held the office of Podesta.
The great master himself was born on 6th March, 1475, at Caprese, in the
valley of the Singorna in the vicinity, but in 1476 his parents removed
to Settignano, in the vicinity of the quarries.

The traveller is recommended to return from Bibtiena to
Florence by Arezzo (diligence every afternoon in 3^/4 lirs. ; one-
horse carr. 10 fr.). The road follows the left bank of the Arno, pass-
ing several small villages, quits the river at Oiovi, and entering the
rich Val di Chiana leads to —

Arezzo (Inghilterra; Vittoria), a town with 39,300 inhab. (in-
cluding the adjoining villages), a provincial capital, and possess-
ing several interesting churches. That of S. Francesco contains
frescoes by Piero della Francesca in the choir. S. Maria della Pieve,
of the 9th cent. , has a facade of 1216. The Cathedral, in the
Italian Gothic style, begun in 1177, is embellished vnth several
well-sculptured monuments. S. Annunziata, a Renaissance edifice,
was built by Ant. da Sangallo. The Museum, in the Piazza Grande,
containing Etruscan antiquities , and the Pinacoteca Bartolini in
the Palazzo Capel di Ferro, also merit a visit. — Arezzo is a station
on the line Florence-Perugia-Rome (railway to Florence in 2'/2-
31/2 hrs. ; fares 9fr. 60, 6fr. 55, 4fr. 55c.). Arezzo, and thence
to Perugia, etc. , see Baedeker's Central Italy.

Oa«n.^<0*o

Kj ipnph Anfitixli

■gTier * Debea, Leipaig.

ym. Corsica.

Steamboats. — I. From Makseilles: Comp. Fraissinei and Comp. Va-
Ury^ twice weekly (Wed. and Frid.) to Ajaccio, and once weekly (Sun.)
to Bastia, in 30 hrs., fares 38 and 26 fr.; once weekly (Tues.) alternately
to Calvi and Isola Rossa, in 24 hrs. (returning to Marseilles : from Ajaccio
on Tuesday morning, from Bastia on Thursday morning, and from Calvi
or Isola Rossa on Saturday afternoon).

II. Fkom Nice (same fares as from Marseilles) every Wed. afternoon
to Bastia (12 hrs.) or to Ajaccio.

III. From Leghorn: Societa Rubattino, to Bastia, once weekly in 7 hrs.
Also once weekly from Ajaccio to Porto Torres in Sardinia in 7 hrs.
Embarkation Ifr. — Diligences run from Ajaccio and Bastia to all

the principal places in the island.

Corsica (French La Corse), situated between 43" and 41° 21' N. latitude,
56 M. distant from Italy and 111 M. from France, and separated from Sar-
dinia by the Strait of Bonifacio, which is 9 M. in width, possesses an area of
3386 sq. M. , and a population of 258,000 souls (census of 1872). A broad
mountain-chain, terminating towards the N. in the Capo Corso, consisting
of grey granite and limestone formations, occupies almost the entire is-
land. On the W. it rises abruptly from the sea , forming a number of bold
promontories and deeply indented bays. On the E. side, towards Italy,
the alluvial deposits have been more abundant, and have formed a level
coast of some breadth. The vast height to which the mountains rise
within a comparatively small space (e.g. Monte d'Oro 8690 ft., Monte
Rotondo 9053 ft.) imparts a wild and imposing character to the scenery.
Nine-tenths of the area of the island are uncultivated, while the moun-
tains for the most part are clothed with magnificent forests. The Flora
of the island is remarkable for its rare luxuriance and diversity , com-
prising specimens of almost every species of plant found on the shores
of the Mediterranean. The timber of Corsica was highly esteemed by the
ancients, and still supplies most of the French and Italian dockyards.
Its mineral wealth, however, is far inferior to that of Sardinia.

The character of the natives, notwithstanding the levelling and equal-
ising effects of advancing civilisation, corresponds with the wild aspect
of their country, and, at least in the more remote districts, still retains
many of those peculiar features described by ancient writers. Their in-
satiable thirst for revenge (vendetta), formerly one of the chief causes
of the depopulation of the island , has never been thoroughly eradicated,
although the authorities have adopted the most rigorous measures to
counteract the evil. The perpetrators of these dark deeds withdraw
themselves from the arm of justice and retire as outlaws (banditi) to the
mountains, where, hunted like wild beasts by a corps of gensdarmes
constituted for this express purpose , they frequently protract their mis-
erable existence for many years. At the same time this revengeful
ferocity is to a certain extent compensated for by bravery, love of free-
dom, simplicity of manners, and hospitality, virtues which usually
characterise a vigorous and primitive race. Their ballads, too, and espe-
cially their dirges (voceri), are replete with poetical pathos.

The situation and climate of the island are Italian, as was also its
history down to the year 1768. Since the beginning of the present cen-
tury its union with France has been still more closely cemented by its
connection with the family of Napoleon. It now forms the 86th Depart-
ment, the capital of which is Ajaccio, and is divided into 5 Arrondisse-

428 CORSICA.

ments: Ajaccio, Bastia, Calvi, Corte, and Sartene. An Italian dialect is
still the language of the natives , bnt French is used for all official pur-
poses, and is spoken by the educated classes.

The great attractions of Corsica are its beautiful scenery and its inter-
esting historical associations , for it can boast of no antiquities or trea-
sures of art. A visit to the island is now easily accomplished. A v^eek's
stay will enable the ordinary traveller to become acquainted with Ajac-
cio , Corte (ascent of Jlonte Rotondo) , and Bastia. Those who desire
a more thorough insight into the resources of the country and the cha-
racter of the natives will encounter serious difficulties, and should en-
deavour to obtain introductions to inhabitants of the island.

Corsica, like its sister-island Sardinia, which was peopled by the same
race, never attained to a high degree of civilisation in ancient times. The
whole island is depicted as having been a wild and impenetrable forest,
of very evil reputation. Its possession was nevertheless keenly contested
by the great naval powers of ancient times. The Phocseans , banished
from Asia by the Persians, founded the town of Alalia (afterwards Aleria)
on the E. coast, at the mouth of the Tavignano, B. C. 556. After a great
naval battle in 536, however, they were compelled by the allied Etrus-
cans and Carthaginians to abandon their settlement and migrate to Italy,
where they founded the town Elea, or Velia, in Lucania. The island then
became subject to the Etruscans, and subsequently to the Carthaginians,
from whom it was wrested by the Romans in 238. Under Marius and
Sulla the colonies of Aleria and Mariana were established on the E. coast,
but both were subsequently destroyed. The island was frequently used
as a place of banishment, as in the case of the philosopher Seneca, who
spent eight years here during the reign of the Emp. Claudius. His account
of the country and its inhabitants is by no means flattering, and the
Corsicans sometimes declare that 'Seneca era un birbone". The following
lines written by him are to this day partially true:

'Prima est ulcisci lex, altera vivere raptu,
Tertia mentiri, quarta negare deos'.

After the fall of the Western Empire Corsica frequently changed mas-
ters; the Vandals, Byzantines, Ostrogoths, Franks, and Saracens rapidly
succeeded each other in its possession. In 1070 the Pisans , and in 1348
the Genoese obtained the supremacy, which the latter retained till the
18th century. Their oppressive sway, however, gave rise to a long series of
conspiracies and insurrections , in many of which a number of remark-
able characters and bold adventurers distinguished themselves. Thus
Arrigo delta Rocca, Vincentello d'Istria, and Giampolo da Leca in the
14th and 15th cent., and Renuccio della Rocca and Sampiero di Bastelica
(killed on 17th Jan., 1567) in the 16th century. At length, in 1729, the
universal disaffection to Genoa began to assume a more serious aspect,
notwithstanding the efforts made by the Republic to stifle it with the
aid of German auxiliaries. The last of a long succession of adventurers
was a Baron Theodore Neuhof, from Westphalia, who landed on 12th
March, 1736, at Aleria, near the mouth of the Tavignano , attended by a
number of followers, and provided with warlike equipments. He was
shortly afterwards Iproclaimed King of Corsica, under the title of Theo-
dore I., but his success was short-lived, and he was soon compelled to
quit the island, for the Genoese were assisted by -the French. Theodore
returned twice subsequently to Corsica, but was ultimately compelled
to seek an asylum in London, where he died in obscurity in 1756.
Meanwhile the Corsicans, under the command (from 1755) of the heroic
Pasquale Paoli (born in 1724 at Stretta, a village among the mountains
S.W. of Bastia; died in London in 1807), fought so successfully against
the Genoese, that the latter lost the whole island with the exception of
Bastia. By the Treaty of Compiegne in 1768 Genoa ceded Corsica to
the French , who however were still strenuously opposed by Paoli and
other leaders, and were unable thoroughly to assert their supremacy
until 1774. After the French Revolution Paoli returned from England
to Corsica, after an exile of 20 years, and became president of the is-

Corsica. AJACCIO. 429

Ind. Internal dissensions, however, again springing up, the English were
invited by Paoli to his aid, and in 1794, under Hood, conquered the
island. In 1796 they were compelled to abandon their conquest, and
since that period Corsica has belonged to France.

Ajaccio.

Hotels. *HoTEi, Gekmania, the only one possessing rooms with a S.
aspect; R. 2-6, pension about 7 fr. ; 'Hotel de France, in the Place
Bonaparte; Britannia and Hotel du Nord, both in the Cours Napoleon,
pension 6 fr. — Private Apartments from 40 fr. per month (without atten-
dance). — Several Cafes in the Rue du Marche.

Post Office : Cours Napoleon.

Banker: M. Bozzo, Boulevart Roi Jerome.

Carriage per hour 2, per day 15-20 fr. — Saddle-horse 3 fr. per half-
day. — Rowing-hoat to carry 1-iO persons 3 fr. per hour.

Ajaccio (pronounced Ajassio in French), with 14,500 inhab.,
-was founded by the Genoese in 1492, and made the capital of
the island in 1811 by Napoleon, at the request of his mother
Letitia. It is most beautifully situated in an extensive bay, which
stretches N. to the Punta della Parata, near the Isole Sanguinarie,
and S. to the Capo di Muro , whilst the background is formed by
imposing mountains, often covered with a snowy mantle until late
in the summer. The town presents a somewhat deserted aspect,
although great improvements have taken place of late years. The
mildness of the climate attracts a number of invalids as winter-
residents.

On quitting the harbour we first reach the broad Place du Mar-
che^ adorned with a fountain surmounted by a marble statue of
Napoleon I. as First Consul. Several streets radiate from the Place.
To the right, at the point where the Boulevart Roi Jerome diverges,
is situated the Hotel de Ville. On the first floor is the *Reception
Hall, adorned with busts and pictures illustrative of the history of
the family of Napoleon.

The Rue Fesch leads to the College Fesch, which contains a
large collection of pictures (600 , most of them copies) , casts , a
library, and a collection of Corsican minerals. The court contains
a bronze statue of Cardinal Fesch, half-brother of Napoleon's
mother, by whom the collection was bequeathed to the town. Ad-
joing the College is the Chapelle Fesch, built in 1855, containing
the tombs of Letitia Ramolino, mother of Napoleon ('mater re-
gum' ; d. at Rome in 1836), and of Cardinal Fesch (d. at Rome
in 1839).

By the street to the left opposite the fountain , and then by
the third transverse street to the right, we reach the small Place
Letizia , containing the house in which Napoleon was born , with
the inscription : ^Napoleon est ne dans cette maison le 15 AoUt
1769' (the concierge lives opposite, fee Ifr.). It contains a few
reminiscences of the great warrior.

The family of Buonaparte appears to have emigrated in the 16th cent,
from Sarzana in Tuscany, perhaps with the powerful Malaspinas, to Corsica.
Messire Francesco Buonaparte, the first member of the family who resided

430 AJACCIO. - Corsica.

in Corsica, died at Ajaccio in 1567. Napoleon's father, Carlo Maria Buona-
parte, born at Ajaccio, 29th March, 1746, was educated at a school founded
by Paoli at Corte, and afterwards studied law at Pisa. He then became an
advocate at Ajaccio, where he enjoyed considerable popularity, but was
soon appointed by Paoli his secretary at Corte. After the disastrous battle
of Ponte Nuovo, 9th May, 1769, in consequence of which Corsica lost its
independence to France, Carlo fled with liis young wife Letitia Ramolino
to the Monte Rotondo. He shortly afterwards returned to Ajaccio, where
the French General Marbeuf, the conqueror of Corsica, accorded him
protection, and where, about two months later. Napoleon was born. In
1777 Carlo was appointed deputy of the nobility for Corsica, and travelled
via Florence to Paris. He died at Montpellier in February, 1785. Napoleon,
then 16 years of age, having qmtted the school at Brienne two years pre-
viously, was studying at the Ecole Militaire at Paris. The letter of con-
dolence which he wrote to his mother on the occasion is still extant.
After the storming of the Bastille in 1789 and the great subsequent crisis,
Napoleon with his elder brother Joseph warmly espoused the popular
cause at Ajaccio. He then repaired to Marseilles to welcome Paoli on his
return from exile, and the latter predicted on this occasion that a great
destiny was in store for the youth. In 1791 Napoleon obtained the com-
mand of the newly constituted Corsican battalions , and in this capacity
practically began his military career. In 1792, Paoli, dissatisfied with
the proceedings of Napoleon, sent him to S. Bonifacio, to join the expe-
dition against Sardinia. This, however, proved an utter failure, and on
22nd January, 1793, Napoleon narrowly escaped being slain by insurgents.
Shortly afterwards he broke off his connection with Paoli and was com-
pelled to quit Corsica with his family. During the zenith of his power
the Emperor evinced little partiality for his native island , which he vi-
sited for the last time on 29th September, 1799, on his return from Egypt.
During his exile in the island of St. Helena, however, his thoughts appear
frequently to have reverted to Corsica. 'What reminiscences Corsica has
left to me!' he was frequently heard to exclaim; 'I still think with
pleasure of its mountains and its beautiful scenery; I still remember the
fragrance which it exhales.' Autommarchi, Napoleon's physician in St.
Helena, and the priest Vignale, who performed the last offices of religion,
were Corsicans , and shared the fate of their illustrious compatriot.

The Cathedral 1 where Napoleon was baptised on 22nd July,
1771, dates from 1585.

In a side street of the Place du March^ is situated the palace
of the Pozzo di Borgo, one of the most distinguished Corsican
families.

Carlo Andrea Pozzo di Borgo, born on 8th March, 1768, an early friend
of Napoleon, a democrat and adherent of Paoli, afterwards became the
Emperor's bitterest enemy. He subsequently became a Russian counsellor
of state , and in 1802 was created a count and appointed ambassador, in
which capacity he indefatjgably devoted his energies to opposing his am-
bitious countryman. He died at Paris in 1842.

The Rue du Marche leads from the Place du March^ to the
Place Bonaparte (formerly Diamant), adorned with an equestrian
Statue of the Emperor with his four brothers, in bronze, by Barye,
erected in 1865.

The tree-lined Cours Napoleon, which crosses the Rue du
Marche at the Place Bonaparte, is prolonged thence as the high
road to Bastia. To the right, outside the gate, is the monument of
Oeneral Abbatucci , a Corsican who fell in 1796, whilst defending
the town of Hiiningen. The Botanic Garden, on the Cours Na-
poleon, merits a visit.

Corsica. S. BONIFACIO. 431

The road on the N. side of the bay, passing the Hospice Eu-
genie, although destitute of shade, also affords a charming walk.
The gardens here contain numerous family burial-places and
chapels.

From Ajaccio to S. Bonifacio, and to Bastia by the E. Coast.

Carriage-road from Ajaccio to Bonifacio (86V2M.); diligence daily to
Sartene, 52V2 M. distant.

The fortress of S. Bonifacio (3(300 inhab.) is picturesquely situated on a
prominent and lofty rock. It possesses high and dilapidated houses, of the
Pisan and Genoese periods, and narrow, unattractive streets. The principal
street is called the Piazza Doria. The town was founded in 833 by the
Tuscan Marquis Bonifacio, after a naval victory over the Saracens. II
Torrione, a large tower of that remote date, is still standing. Bonifacio
subsequently came into the possession of the Pisans, then into that of the
Genoese, by whom it was treated with marked favour. In return for this
partiality this town, as well as Calvi, remained inviolably faithful to
Genoa, as was proved in 1420 by its memorable defence against King
Alphonso I. of Arragon. In 1541 the Emp. Charles V., on his return from
the expedition against Algiers, paid a visit to Bonifacio. The house of
Filippo Cataccioli, in which the Emperor lodged, is still pointed out. The
town once boasted of 20 churches, of which the cathedral of S. Maria del
Fico, the handsome Gothic church of S. Domenico, with numerous tomb-
stones of Knights Templar and Genoese nobles, and the small church of
S. Francesco (with a spring, the only one which the town possesses) now
alone remain. — A stone bench above the Marina of Bonifacio, by the old
gate of the fortress , near the chapel of S. Rocco , commands a charming
view, especially by evening-light, of the strait which separates Corsica
from Sardinia. On the opposite coast the town of Long u Sardo is visible;
on the left lies the island of S. Maddalena. On the coast below Bonifacio
are situated three imposing Grottoes, which visitors explore by boat.

The distance from Bonifacio to Bastia is 106 M. The E. coast of
Corsica is somewhat bleak and desolate. The road leads past the bay
of S. Mama to (16 M.) Porto Vecchio , the only good harbour. It was con-
structed by the Genoese, and is supposed to occupy the site of the ancient
Portus Syracusanorum. Hence to the mouth of the Tavignano M'/z M.,
where, near the lake of Diana, the ancient town of Aleria was situated.
Fragments of masonry and vaulting, and remnants of a circus are still to
be seen. Coins, vases, and inscriptions have also been found here. The
modern Aleria consists of the Genoese castle and a small group of houses
only, for this coast, owing to the want of cultivation, is marshy and un-
healthy. Here, on 12th March, 1736, the adventurer Neuhof (see p. 428)
landed from an English vessel. About 15 V2 M. farther is S. Nieolao
(2 M. on this side of which a road diverges to C'ervione, 23/4 M.)- The
river Golo (p. 432), often nearly dry in summer , is next crossed. In the
extensive plain at its mouth, on the left bank, once lay Mariana, the
Roman colony founded by Marius, the remains of which are visible on
the shore, 3 M. from the road. The ruins of a beautiful chapel , and of a
church called La Canonica, a basilica of noble proportions in the Pisan
style, are situated here.

From Ajaccio to Bastia.

94 M. Diligence daily in 20 hrs. , starting at 11 a.m., and halting
for dinner at Vivario at 7 p. m. (dinner at Corte on the return-journey).
The service is well performed, and horses are changed frequently. Fares:
interieur 16, coupe 24fr. ; 25 kilogrammes (56 lbs.) of luggage free, each
additional kilogr. 25c. — Post-chaise with relays of horses from Ajaccio
to Bastia 184fr. — Omnibuses also run from Corte to Bastia daily, fare
4, coupe 5fr. The carriages are the same as the diligences, but the
horses are less frequently changed.

432 PONTENUOVO. Corsica.

The road traverses the well cultivated plain of Campoloro
(Campo delV Oro) , which extends to the S. half of the bay of
Ajaccio, and is watered hy the Gravone. The road follows the
stream and ascends. The scenery gradually becomes more attrac-
tive , magnittcent forests clothe the slopes , and several beautiful
retrospects are enjoyed. Beyond Bogognano (25 M. from Ajaccio)
the Gravone is quitted, and a mountain, 3672 ft. high, traversed.
On the N. towers the Monte d'Oro , a few hundred feet lower than
Monte Rotondo (p. 433), but of more imposing form; on the S.
rises the Monte Renoso. The road next traverses the great forest
of Vizzavona, and descends rapidly to the pleasant mountain- village
of Vivario. It then turns N. and skirts the base of the Monte
Rotondo, leading through a wooded and well-cultivated tract, past
the villages of Serraggio, Capo Vecchio, and S. Pietro, to (52'/2 M.
from Ajaccio) Corte, see below. The road reaches the Oolo, the
chief river of the island, at Ponte alia Leccia, 12^/2 M. from Corte.

A road leads hence to Calvi, 4672 M. distant, to which a diligence
runs. It proceeds to the E. by Morosaglia and Porta, and descends
to the coast. Several miles higher up lies the district of Rosiino, or ^fo-
rosaglia, the native place of the Paoli family. A dilapidated cottage is
still pointed out, in the hamlet of Stretta, as that in which Pasquale
Paoli was born in 1724. His father Hyacinth was a physician and poet,
and at the same time the leader of the Corsicans. Anecdotes of his
noble and heroic character are still current in this district; his memory
is also perpetuated by a school, established in an old monastery at Moro-
saglia with funds bequeathed by him for the purpose. A room in the
monastery was once occupied by Pasquale Paoli as his study, and here his
elder brother Clement, once a general, afterwards a monk, died in 1793.

The road to Bastia follows the right bank of the Golo , which
it crosses at (5 M.) Pontenuovo. The Golo is followed as far as
the point where the road unites with that from Bonifacio (p. 431).

A road leads S. from the river to (5 M.) the village of Vescovato,
situated among mountains and forests of chestnuts , and containing the
house of Pietro Filippini , the Corsican historian of the 16th century.
Here also is situated the chateau of Count Matteo Buttafuoco (now the
property of the family of Marshal Sebastiani), who when a young French
officer invited Rousseau to Vescovato, in consequence of the following
passage in his 'Contrat Sociar alluding to the Corsicans : 'The vigour and
perseverance with which these brave people have succeeded in gaining and
defending their liberty merit for them that some wise man should teach
them how to preserve it. I have a certain presentiment that this island
will one day cause astonishment to the whole of Europe'. The latter
prediction was fulfilled 20 years after Rousseau's death (1778) , although
in a very different manner from that which the philosopher had in view.

The road now leads direct to the N. ; the coast-district is flat
and full of lagoons.

Corte and the Monte Rotondo.
Corte (* Hotel de V Europe ; * Hotel Paoli), with 5400 inhab., a
sous-prefecture and capital of an Arrondissement, lies on the Ta-
vignano, surrounded by mountains. It is commanded by a lofty
citadel, which rendered it an important and keenly-contested point
in the wars of former centuries.

Corsica. MONTE ROTONDO. 433

In Paoli's time Corte was the central point of his democratic
government. His study, with window - shutters lined with cork,
by way of additional precaution, and the council-chamhers are still
shown at the Palazzo di Corte. A university, a printing-office, and
a newspaper were also established here by Paoli in 1765. The
Corsican parliament of that period sat in the neighbouring Fran-
ciscan monastery. Marble-quarries are worked in the vicinity.

The Piace Paoli, the principal square, is embellished with a
bronze statue of the noble-minded patriot with the French (!) in-
scription : 'Au general Pascal Paoli la Corse reconnaissante , Tan
1854'. In a piazza near the Hotel de I'Europe rises a statue of
General Arrighi de Casanova, 'Due de Padoue' (born at Corte in
1779, d. at Paris in 1853), erected in 1868.

The Monte Rotondo (9068 ft.) is most conveniently ascended from
Corte. Guide and mule about 20 fr. A supply of provisions necessary.
The excursion occupies two days, and is most easily accomplished in July
or August. At an early hour the traveller ascends the valley of the wild
Restonica, which here falls into the Tavignano after a course of 35 M.
A broad and wooded dale is at first traversed, beyond which the path
becomes a mere shepherd's track. Pine and larch forests afford shade,
while bleak open tracts and sequestered chalets, some of them 5000 ft.
above the sea-level, are also occasionally passed. After a ride of 3 hrs.,
the Rota del Dragone, a grotto in the rocks affording shelter to 200 sheep
and goats, recalling Homer's description of the Cave of Polyphemus, is
attained. The Co di Mozzo, the last shepherds' station, inhabited in sum-
mer only, is reached after 2 hrs. more. These rude hovels, beautifully
situated on one of the lower buttresses of the Monte Botondo, afford
shelter for the night in case of necessity (milk and cheese only to be had).
Then across several rocky ridges in 2 hrs. more to the Trigione, the last
spur of the Rotondo, a wilderness of blocks of granite. The crater-shaped,
snow-capped summit is visible hence; below "it lies the small and clear
Logo di Monte Rotondo; in the foreground, green pastures. Fields of snow
and ice, rising from the lake, must be laboriously traversed (2 hrs.) be-
fore the summit is attained. A magnificent 'Panorama is here enjoyed.
The spectator surveys the greater part of the island; N. the Capo Corso;
W. the bays of Porto, Sagona, and Ajaccio; E. the blue Mediterranean,
with the islands of Monte Cristo, Pianosa, Capraia, and Elba, and the
mainland of Italy ; then the white Alpes Maritimes, extending from Toulon
and Nice to Genoa. Corsica itself resembles a vast rocky relief-map; its
principal mountain-chains, with their rivers and valleys, are distinctly
recognisable. Towards the S., however, the view is obstructed by the
broad and massive Monto d'Oro. The descent may be made on the side
next to the Lago di Fozzolo, where the dark rocky pyramid of the Frate
(monk) rises. Violet and forget-me-not (here popularly called the 'mar-
vellous flower of the mountains') grow abundantly in the rooky clefts on
the banks of the lake. The mufflone, the wild horned sheep of Corsica,
of a dark brown colour, with silky hair, browses on these lofty summits.
The huts of Co di Mozzo may now be regained in 3 hrs., and Corte in
4-5 hrs. more.

Bastia.

Hotels. . -Hotel DE l'Edrope, Rue de I'lntendance; Hotel de Fkance,
well spoken of; Hotel d'Italie, both in the Boulevart de Paoli. — Cafi
du Nord; Cafi Andreani.

Diligences daily to Ajaccio, to Luri and Rogliano on the Capo Corso,
and to S. Fiorenzo and the Balagna.

Bastia, with 18,000 inhab., the busiest commercial place in
the island, and its capital down to 1811, was founded in 1380 by

Baedeker. Italy I. 5th Edit. 28

434 BASTIA. Corsica.

the Genoese and defended by a strong castle (whence the name of
the town, signifying 'bastion'). The cathedral of S. Giovanni
Battista contains several ancient tombs. In S. Croce rich deco-
rations in marble. The college which formerly belonged to the
Jesuits contains a library of 30,000 vols, and natural history
collections. The Place St. Nicholas on the Promenade on the coast
is embellished with a marble statue of Napoleon by Bartolini,
whose fortunes the inscription records.

The old town with the citadel rises above the more modern
quarter situated near the harbour. Beautiful walk along the coast
towards the N., where a number of easily attained heights afford a
variety of fine views of the sea and coast.

From Bastia to Capo Gorso, S. Fiorenzo, and Calvi.

A very pleasant excursion may be made to the long and narrow pen-
insula in which the Serra Mts. rise, culminating in the Monte Alticcione
and Monte Stello (5250 ft.), and terminating on the N. in the Capo Corso
(Promontorium Sacrum). Beautiful valleys descend on the E. and W. sides
of these mountains. A good road leads along the coast from Bastia,
passing several ancient watch-towers of the Pisans and Genoese, and
affording a view of the picturesque islands of Elba, Capraia, and Monte
Cristo. At Brando there is a Stalactite Cavern, surrounded by pleasant
gardens. Luri possesses a charming valley, watered by several streams,
and producing a luxuriant growth of grapes, oranges, and lemons. At the
end of the promontory (about 25 M. from Bastia), to the N. beyond Rog-
liano and Ersa, rises a lighthouse. An ancient, half-ruined circular struc-
ture near it is popularly called the 'Tower of Seneca'.

A road leads from Bastia along the W. coast and across the Serra
to the (13 M.) small seaport of S. Fiorenzo, charmingly situated on the
bay of that name, and commanded by a fort. In the neighbouring low
ground formerly lay the mediaeval town of Nebbio, the ruined cathedral
of which (S. Maria Assunta), of the 12th cent., stands on an eminence.
Beyond this the road skirts the sea, crosses the small river Ostriconi,
and reaches the small, but thriving seaport town of Isola Bossa, founded
in 1758 by Pasquale Paoli, to whom a monument has been erected. Its
name is derived from three red cliffs rising from the sea in front of the
harbour. The environs are delightful; the view from the Monte S.
Reparata, surmounted by a deserted church, is finest by evening-light.

The road then leads to Algajola, a deserted old town on the coast,
with marble quarries in the vicinity. During the Genoese period it was
fortified, and formed the central point of the fertile district of Balagna.
The loftily situated village of Lnmio , farther on, with its orange-planta-
tions and hedges of cactus, commands a beautiful view of the valley and
the town of Calvi (57 M. from Bastia), an important and fortified place
during the Genoese period, noted for its faithful adherence to the Re-
public, and in 1794 bravely defended against the English by the French
commandant Casablanca. Traces of the English bombardment are still
observable. The principal church contains the tombs of the Baglioni fam-
ily, who bore the surname Liberta, from having distinguished themselves
in the 15th and 16th centuries. The environs of Calvi are marshy. Charm-
ing view of the bay, with the promontory of Rivellata, and of the rocky
mountains of Calenzana, to the E. of the town.

A diligence runs from Calvi, traversing the beautiful and fertile val-
ley of the Balagna, enclosed by lofty mountains, to Novella, the last vil-
lage, and then through narrow rocky ravines to Ponte alia Leccia in the
valley of the Golo, where the high road from Bastia to Ajaccio is reached
(see p. 432).

INDEX.

Abano 279.

Abbate 145.

Abbiategrasso 158.

S. Abbondio 143.

Abetone, Passo dell' 313.

Acqua Buja 313.

Acquanegra 166.

Acqui 73.

Adda, the 36. 169. etc.

Adelsberg 49.

Adige, the 40. 199. etc.

Adigetto, Naviglio 280.

Adlitzgraben, the 46.

Adria 281.

Adriatic, the 263. 302. etc.

.a;inilia, Via 268. 270.

S. Agata 153.

S. Agnese 99.

Agno, the 32.

S. Agostino, Borgo 139.

Aiguebelle 23.

Ain, the 5. 21.

Ainay 6.

Airan 13.

Airolo 31.

Aix-en-Provence 15.

Aix-les-Bains 22.

Ajaccio 429.

Ala 44.

Alais 13.

Alassio 99.

Alba 75.

Albaredo 212.

Albarine, the 22.

Albeins 40.

Albenga 94.

Albesio 138.

S. Albino 146.

Albissola 93.

Albizzi, Villa 416.

Albogasio 152.

Aleria 431.

Alessandria 73.

Acqui-Savona 73.

Cavallermaggiore 75

Algaby Gallery, the 26.
Algajola 434.
Alpienbach, the 26.
Alpignano 24.
Alps, the Cottian 56.
— , the Graian 69.
— , the Julian 48. 263.

Alps, the Maritime 77.
Alseno 268.
Alserio, Lago 137.
Alticcione, Monte 434.
Altmiinsterol 4.
Altopascio 335.
Altorf 29.
Alvernia 425.
Amberieu 5. 22.
Ambri 31.

Ambrogiana, Villa 319.
S. Ambrogio (near Mo-
den a) 270.

(near Turin) 24.

(near Varese) 146.
Ampola, Val 182.

Ancy-le-Franc 2.

Andeer 35.

Andermatt 30.

Andora 94.

St. Andre, Grotto of 105.
Chateau 105.

St. Andrea del Lido, Is-
land 263.

Anfo 182.

— , Rocca d' 182.

Angera 157.

Anges, Bale des 104.

Annone 73.

— , Lago d' 137. 138.

Antibes 21.

Antipolis 21.

Antongina, Villa 140.

S. Antonino 24.

S. Antonio 194.

Antrona Valley 27.

Anzasca Valley 26.

Anzola 270.

Aosta 68.

Apennines, the 72. 77.
158. etc.

Aposa, the 287.

Aprica 179.

— , Passo d' 179.

Apuane, Alpi 111.

Aquileia 262.

Arbedo 38.

Arbostora, Monte 150.

Arc, the 23.

Archiano, the 425.

Arco 43.

Areola 112.

Arcole 199.

Arcore 135.

Arcs, Les 19.

Arda, the 268.

Ardenza 318.

Ardo, the 261.

Arena-Po 72.

Arenzano 93.

Arezzo 426.

Argegno 140.

Aries 14.

Armancon, the 2.

Armeno 159. 160.

Arno, the 318. 320. 425.

3tC.

Arola 161.
Arona 157.

Genoa 158.

Milan 158.
Arqua 281.

Arqua del Monte 280.
Arquata 74.
Ascona 153.
Asigliano 70.
Aspremont, the 106.
Assenza 180.

ina, Vair 137.
Asso 137.
Asta 73.
Asti 73.
Atzwang 40.
Auer 41.
Auribean 20.
Autun 3.
Auxerre 2.
Avenio 9.
Avenza 113.
Averser Rhein, the 35.
Avigliana 24.
Avignon 9.
Avio 44.
Avisio, the 41.
Axenberg, the 29.
Axenstein 28.
Axenstrasse 29.
Azi, Mont d' 22.
Azzano 138.

Bacchiglione, the 199.
Bacher Mts., the 47.
Badagnano 268.

28*

436

INDEX.

Badehvand, the 46.
Baden 45.

Badia di Fiesole 422.
Bagnacavallo 303.
Bagni 279.

— Caldi 335.

— di S. Giuliano 330.

— di Lucca 335.
Bagnolo 166.
Bagueau, Island 19.
Balagna 434.
Balbianello, Villa (Lake

of Como1 141.
Baldichieri 73.
Baldo, Monte 44. 182.
Balerna 147.
Balfrin, the 25.
Balzola 70.
Bar, Le 21.
Baracca 111.
Baradello, Castello 135.
Barberino 313.
Barcola 52.
Bard, Fort 67.
Bardolino 183.
Bardonneccliia 23.
Barenburg, the 35.
Barghe 183.
Bargilio 335.
Barni 137.
Baro, Monte 145.
Barrasso 147.
S. Bartolommeo , Monte

181.
Baselga 43.
Bassano 211.
Bastia 435.
Batie, Chat. 23.
Battaglia 279.
— , Canale di 279.
Baveno 27. 155.
Beaucaire 11.
Beaulard 23.
Beaulieu 100. 106.
Beaune 3.

Becca di Nona, the 69.
Beckenried 28.
Bedretto, Val 31.
Belbo, the 75.
Belfort 4.
Belgiojoso 166.
Belgirate 156.
Bella, Isola 156.
Bellagio 141.
— , the Punta di 143

145.
Bellano 143.
Bellegarde 22.
Bellinzago 158.
Bellinzona 32.
Belluna, Monte 211.
Belluno 261.

Belmonte, Villa 142.
Beni, Monte 313.
Berceau, the 99.
Bergamasco 75.
Bergamo 169.
Bergeggi, Promont. 93.
Berici, Monte 199.
Berisal 25.
Bernabo 335.
St. Bernard, the GreateS.
S.- Bernardino 38.
S. Bernardino Pass, the37,
Berre, Etang de 15.
Besancon 4.
Besenna, Villa 140.
Beseno, Castle 44.
Bevera, the 107.
Beverin, Piz 34.
Bezzecca 182.
Biacesa 182.
S. Biagio , Isola di ISO
Bianco Canal, the 281.
Biandrone, Lago di 147.
Bianze 69.
Biasca 31.
Bibbiena 425.
Biella 69.

Bientlna, Lago di 335.
Bietsch-Thal, the 25.
Bignone, Monte 97.
Binago 146.
Binasco 162.
Bironico 32.
Bisagno, the 109.
Bisbino, Monte 140.
Bisenzio, the 340.
Bissone 148.
Bistagno 74.
Bizozzero 146.
Blais3'-Bas 2.
Blegno, Val 31.
Blevio 137. 139.
Blumau 40.
Boara 280.
Bobbio 268.
Bodio 31.

Boesio, the 147. 154.
Bogliaco 181.
Bogliasco 110.
Bogognano 432.
Bois-le-Roi 1.
Boletto 160.
Bologna 286.

Accademia delle Belle
Arti 297.

Antiquities, Museum of
290.

Archives 290.

Archiginnasio 290.

Banca Nazionale 291.

S. Bartolommeo diPorta
Ravegnana 295.

Bologna:
Biblioteca Comun. 291.
Campo Santo 301.
Cassa di Ri8parmio293.
Cathedral, see S.Pietro.
S. Cecilia 296.
Certosa 301.
Collegio di Spagna289.
S. Domenico 291.
Foro de' Mercanti 293,
S. Francesco 289.
Frati di S. Spirito 292.
Geolog. Museum 297.
S. Giacomo Maggiore

296.
S. Giovanni in Monte

294.
Giuoco di Pallone 287.

301.
History of Art 288.
Leaning Towers 293.
Library 291.
— , University 297.
Madonna di Galliera

293.
Madonna di S.Luca302.
S. Maria ai Servi 295.
S.MartinoMaggiore301 .
Mercato di Mezzo 293.
Mezzaratta 301.
S.MicheleinBosco301.
Montagnola, La 301.
Palazzo Albergati 302.

— Arcivescovile 293.

— Bacciocchi 292.

— Bentivoglio 300.

— Bevilacqua-Vin-
cenzi 292.

— Fantuzzi 296.

— Fava 293.

— del Governo 289.

— Guidotti 291.

— Magnani-Guidotti
296.

— Malvezzi - Campeggi
296.

Medici 296.

— Marescalchi 289.

— dellaMercanzia 293.

— Pedrazzi 296.

— Pepoli 293.

— del Podesta 289.

— Pubblics 289.

— Sampieri 295.

— Zambeccari di S.
Paolo 292.

S. Paolo 292.
S. Petronio 290.
Piazza d'Armi 301.

— Rossini 296.

— Vittorio Emanuele

INDEX.

437

Bologna:

S. Pietro 293.

Pinacoteca 297.

Portico de' Banchi 290.

Rossini's House 295.

S. Salvatore 289.

Servi 295.

S. Stefano 294.

Theatres 287. 296.

Torre Asinelli 293.

— Garisenda 293.

Tribunale 292.

University 297.

Villa Reale 301.

S. Vitale ed Agricola
269.
Bologna-Padua 281-279.

— -Piacenza-Milan 270-
266.

Pistoia-Florence 312-

313. 340-341.

Ravenna 302.

Bolzaneto 74.
Bolzano (Piedmont) 71.
Bona, Val 182.
Bonaduz 33.
Bonassola 111.
S. Bonifacio 199.

— (Cors.) 431.
Borbone, the 73.
Bordighera 97.
Borgo S. Agostino 139.

— a Bugiauo 335.

— S. Dalmazzo 108.

— San Donnino 269.

— Lavezzaro 158.

— S. Martino 70.

— a Mozzano 335.

— Panigale 312.

— Sesia 162.

— Ticino 158.

— di Val Sugana 43.

— Vercelli 70.

— Vico 139.
Borgoforte 198.
Borgomanero 71.
Borgone 24.
Borigli, the 100.
Bormida, the 73. 74.
Borromean Islands , the

155.
Bosaro 281.
Boscolungo 313.
Bossea, Grotto of 75.
Botzen 40.
Bourg 21.

Bourget, Lac du 22.
Bourgogne, Canal de 2.
Bovolone 194.
Bozen 40.
Bozzolo 168.
Bra 75.

Bracco 111.
BrandizKO 69.
Brando 434.
Branzoll 40.
Braus, Col di 107.
Bre 150.
— , Monte 150.
Bregaglia, Val 36.

Breglio 108.
Breitenstein:46.
Brembina, Valle 171.
Brembo, the 171.
Brenner 39.
Brennerbad 39.
Brennersee, the 39.
Breuno, the 37.
Breno 178.
Brenta, the 203,
Brescia 172.
Brescia -Bergamo - Leccf
171.

Cremona-Pavia 166.

Tirano 177.

Bressana 166.
Bressanone 39.
Bresse, 21.
Briancon 24. 66.
Brianza, the 133. 137.
Brieg 25.
Brienno 140.
Brigue 25.
Briona 162.
Brione, Monte 182.
Brissago 153.
Bristenstock, the 29.

Brixener Klause, the 39

Broni 72.

Broteaux, Les 5.

Brou, Church of 21.

Brouis, Col di 107.

Brozzi 319.

Bruck 46.

Bruhl, the 45.

Brnnato 139.

Brunn 45.

Brunnen 28.

Bruno 75.

Brunoy 1.

Bnco di Vela 43.

Bu£falora, the 38.

Buochs 28.

— , Lake of 28.

Burano 259.

Biirgenstock, the 28.

Busalla 74.

Bussana 95.

Bussoleno 24.

Busto Arsizio 158.

Buttier, the 68.

Buttrio 262.

Cabbe 100.
Cabbiolo 38.
Cadempino 32.
Cadenabbia 141.
Cadeo 268.
Cadenazzo 32.
Cadine 43.
Caesarea 303.
Cafaggiolo 313.
Caffaro, the 182.
Cairo 74.

Calamandrana 75.
Calanca, Val 38.
Calanda, the 33.
Calcababbio 166.
Calcaccia, the 31.
Calci, Valle del 329.
Calcio 171.
Calde 154.
Caldiero 199.
Caldonazzo 43.
Calenzana 434.
Calenzano 341.
Galliano 44.
Calolzio 135.
Caltignaga 70.
Caluso 66.

Calvaggione, Mte. 147.
Calvi 434.
Calvo, Monte 103.
Cama 38.
Camaldoli 425.
Camargue, the 15.
Cambiano 73.
Camerlata 135.
Camnago 135. 138.
Camoghe, Monte 32. 149
Camogli 110.
Camonica, Val 178.
Campaldino 424.
Camperio 37.
Campi 182.
Campo (Lake of Como)

141.
— -Dolcino 36.

Formio 261.

Campodarsego 211.
Campola, the 270.
Campoloro 432. ^
Camporciero, Val di 67.
Camporosso 99.
Camposampiero 211.
Canaria Valley, the 31.
Candelo 69.
Canelli 755.
Cannero 1 4.
Cannes 19.
Cannet 20.
Canobbio 154.
Canonica, La 431.
Canossa 250.
Canova 34.

438

INDEX.

Cantalupo 73. 75.
St. Canzian 49.
Canzo 137.
— , Corni di 188.
Capo Corso 434.

— S. Croce 94.

— d'Istria 52.

— Martino 99.

— delle Mele 94.

— Nero 97.

— Vecchio 432.

— Verde 95.

— Vice 137.

Capo di Ponte (near Bel-
luno) 261.

— (Val Camonica) 179.
Capolago 148.
Capraja 319.

Caprese 426.
Caprine, Monte 151.
Carate 137. 140.
Caravaggio 166.
Careggi, Villa 420.
Carelli, Monte 313.
Carema 67.
Careno 140.
Carignano 75.
Carlo, Mte. 100.
Carlotta, Villa 141.
Carmagnola 75.
Carmelo, Monte 94.
Carmignano 210.
Carnian Alps, the 48.
Carona 150.
Carpentras 9.
Carpi 199.
Carrara 115.
Carrii 75.
Carso, the 49.
Casalbuttano 166.
Casale 69.
Casalecchio 312.
Casaletto 166.
Casalpusterlengo 166.
Casarsa 261.
Casarza HI.
Casciago 146.
Cascina 318.
Casejitino, Valley 424.
CasHno 137.
Casneda 154.
Casola 270.
Cassano 138. 169.
St. Cassien 20.
Cassina 147.
Cassone 183.
Castagnaro 194.
Castagnola 152.
Castagnole 75.
Castagnovizza 262.
Casteggio 72.
Castel Arquato 268.

Castel Bolognese 302.

S. Giovanni 72.

Guelfo 268.

Maggiore 281.

S. Niccolo 424.

S. Pietro 302.
Castelfranco (Romagna)
270.

(Venetia) 210.
Castellar 99.
Castellaro 165.
Castellatsch 35.
Castelleone 166.
Castelletto 183.
Castello near Florence
341.

near Lecco 145.

(Lago di Garda) 183.
Castellucchio 168.
Castelnuovo near Ales-
sandria 75.

— near Peschiera 172.
Castiglione d'Olona 146.

— (near Sospello) 107.
Castigliuoli 96.
Castione 32.

Catini, Monte 335.
Cattajo, Castle 279.
Cava-Carbonara 165.
Cava-Manara 166.
Cava-Tigozzi 166.
Cavallermaggiore 75.
Cavedine, Val 43.
Cavo Tassone, Canal 281.
Cazzanore 137.
Cecina 181.
Celle 93.
Cembra 41.
Ceneda 261.
Cenere, Monte 32.
Cengio 76.
Cenis, Mont 23.

, Tunnel 23.

Centa, the 94.

Centallo 109.

Cento 281.

Centre, the Canal du 3.

Ceraino 44.

Cerea 194.

Ceresio, the Lago 148.

Ceriale 94.

Ceriana 97.

Cernobbio 139.

Cernusco 135.

Cerro 73.

Certosa di Pavia 162.

— di Pisa 329.

— near Bologna 301.

— di Val d'Ema 418.

— di Val Pesio 108.
Ceruso, the 93.
Cervara 110.

Cervia 312.
Cervione 431.
Cervo 94.
Cesanne 24. 66.
Cesenatico 312.
Cesson 1.
Cetica 424.
Cette, Le 424.
Ceva 75.
Cezy 2.
Chablis 2.
Chagnv 3.

Challant, Val de 67.
Chalon-sur-Saone 4.

St. Cosine 4.

St. Chamas 15.
Chambave 68.
Chambery 22.
Chambre, La 23.
ChamoTisset 23.
Champigny 2.
Champorcher, Val 67.
Charenton 1.
Chateau d'lf 15.
Chateau Neuf (Nice) 106.
Chatillon (nearAosta)68.

— (Savoy) 22.

— (near Sospello) 107.
Chatillon-sur-Seine 2.
Chaumont 24.
Chauve, Mont 103.
Cherasco 75.
Chiana, Val di 426.
Chiari 171.

Chiasso 147.
Chiavari HI.
Chiavenna 36.
Chieri 73.
Chiese, the 171.
Chignin, Chat. 23.
Chignolo 166.
Chioggia 259.
Chiomonte 24.
Chiusa di Verona 44.
Chiusi 426.
Chivasso 69.
Chur 33.
Cilli 48.
Cima 152.
— , Villa 139.
Cimella or
Cimies 105.
Cimone 313.
Cimone, Monte 279.
Ciotat, La 18.
Ciraun 35.
Cisano 171.
Cismone, the 44.
Cittadella 210.
Cittiglio 147.
Civate 138.
Civenna 138.

INDEX.

439

Civiasco 161.
Cividale 262.
Cividate 178.
Claro 32.
Clastidium 72.
Clavenna 36.
Clusone, the 66.
Co di Mozzo 433.
Coccaglio 171.
Cocquio 147.
Codogno 166. 266.
Codroipo 261.
Cogoleto 93.
Coire 33.
Coire-Bellinzona 37.

Biasca 37.

Colico 33.

Coiro 159.
Colico 36. 144.
Colla, La 97.
Colle-Campiglio 146.
CoUegno 24.
Collonges 22.
Colma, Col di 102.
Colobiano, Villa 140,
Cologna 182.
Colombier, the 22.
Comabbio , Lago di 147.
Comacina, Isola 140.
Combes-la- Villa 1.
Comerio 147.
Como 136.

— , the Lake of 138.
Compiobbi 423.
Condino 182.
Condove 24.
Conegliano 261.
Coni 108.

Consuma Pass, the 424.
Conzei, Val 182.
Coppa, the 72.
Corbario or
Corbe, Castle 32.
Corenno 144.
Connons 247.
Cornaggia, Villa 139.
Corniale 52.
Corniche , Route de

100.
Corniglia HI.
Cornigliano 92.
Cornio, Col di 108.
Corno, the 261.
Correggio 270.
Corsaglia, Valle di 75.
Corsalone, the 425.
Corsica 427.
Corsico 158.
Corso, Capo 434.
Corte 433.
Cortenedolo 179.
Corteno 179.

Corteolona 166.
Corticella 281.
St. Cosme 4.
Costa 194.
Costigliole 75.
Cotaiga, Monte 142.
Cote d'Or, the 3.
Cote Rotie, La 8.
Cottian Alps, the 56.
Courmayeur 69.
Covelo 44.
Covigliajo 313.
Cramosina, La 31.
Crau, the Plain of 15,
Credo, Tunnel du 22.
Crema 166.
Cremeo 38.
Cremia 144.
Cremona 166.
Cremona-Brescia 166.

— -Milan 166.

Pavia 166.

Cresciano 32.
Cresogno 152.
Crespano 212.
Crestola, Monte 113.
Creuzot 3.
Crevola 26.
Cribiasca, the 31.
Croce (near Menaggio)

151.

— (near Belluno) 261.
— , Capo della 94.
Crocione, Monte 142. 151,
Croisette, Cap de la 20,
Croi.x Rousse, La 5.
Crostolo, the 268.
Cucciago 135.
Cuccione, Castellodil59,
Cugnasco 32.

Culoz 22.
Cuneo 108.
Curaglia 37.
Curone, the 72.
Curver, Piz 34.
Cusio, Lago 160.
Custozza 194.
Cuvio, Val 147.
Cuzzago 26.

S. Dalmazzo 108.
S. Damiano 73.
Dammafirn, the 29.
Darfo 178.
Dazio Grande 31.
Dego 74.
Deiva HI.
Delio, Lago 154.
Dertona 72.
Dervio 144.
Desago 150.
Desenzano 180.

Desio 135.

DeviPs Bridge, the 30.
Diana, Lake of 431.
Diano Castello 94.

— Marina 94.
Diavolo, Ponte del 335.
Diecimo 335.

Dijon 3.

S.Dionigio, Promont. 145.

Disentis 37.

Divazza 49.

Diveria, the 26.

Divio 3.

Docce Basse 335.

Doccia, La, Villa 420.

Doire, the 67. 68. etc.

Dolce Acqua 97.

Dole 3.

Dolo 203.

Domaso 144.

Domegliara 45.

Domleschg 33.

Domo d'Ossola 26.

Donat 35.

Dongo 134.

Donnaz 67.

S. Donnino 319.

DoraBaltea, the67.68.etc.

— Riparia,the23.56. etc.
Dorio 144.

Dos Trento 42.
Dossobuono 194.
Doubs, the 4.
Draguignan 19.
Drappo 107.
Drau or

Drave, the 47. etc.
Drena, Castello di 43.
Dro 43.
Dueville 202.
Duggia, Val 161.
Duino 263.
Durance, the 9. 11.

Ecluse, Fort de V 23.'
Edolo 179.
Eggenthal, the 40.
Egna 41.
St. Egyden 45.
Bhrenhausen 47.
Einshorn, the 35.
Eisack, the 39. 40.
Ellero, the 75.
Ema, the 418.
Emilia, the 264.
Empoli 319.
Ems 33.
Enguiso 182.
Entella, the HI.
Enza, the 268.
Epierre 23.
Era, the 318.

440

INDEX.

Erba 138.
Ersa 434.
Ermitage, the 8.
Erstfeld 29.
Escarene 107.
Esino, Val d' 143.
Este 280.
— , Villa d' 140.
Esterel, Mont, d' 20.
EtscL, see Adige.
Euganean Mts., the 279.
Exilles 24.
Eza 100. 101.

Faido 31.
Falicon 106.
Falterona, Monte 425.
Fantiscritti 113.
Fara 162.

Fardiin, Castle 35.
Farigliano 75.
Felixdorf 45.
Felizzano 73.
Felsberg 33.
Fenestrelle 66.
Fenis, Castle 68.
Feriolo 27. 155.
Ferrara 282.

Ariosto, House of 286.

— , Statue of 286.

Ateneo Civico 286.

S. Benedetto 285.

Castello 283.

Cathedral 283.

S. Cristoforo 286.

S. Francesco 284.

S. Giorgio 286.

Hospital of St. Anna286,

S. Maria in Vado 284,

Pal. Beltrame 284.

— Bevilacqua 286.

— Costabili 284.

— de' Diamanti 285.

— del Municipio 283.

— Prosperi (de' Leoni)
285.

— della Eagione 283

— Roverella 286.

— Schifanoja 284.

— Zatti 286.
S. Paolo 284.
Picture Gallery 285.
S. Romano 284.
Savonarola, Monum.

of 283.

Studio Pubblico 284.

Tasso, Prison of 286.

University 284.
Ferrera 165.
— Valley, the 35.
Forsina, the 43.

Fiesole 420.
Fiesso 31.
Figino 150.
Filigare 313.
Finale 94.
Finalmarina 94.
Finalpia 94.
Finsterbach, the 40.
Flora 29.
S. Fiorenzo 434.
Fiorenzuola 268.
Firenze, see Florence.
Fiumalbo 279.
Fiume 49.
Fiume Latte 143.
Flamboin 2.
Flims 37.
Florence 341.

Accademia delle Belle
Arti 387.
— della Crusca 387.

S. Ambroglo 375.

SS. Annunziata 384.

Archives 368.

Arrival 341.

Artists 344.

Badia 376.

— S. Bartolommeo 419.

— di Fiesole 422.
Bank 374.
Bankers 345.
Bargello 376.

Base di 8. Lorenzo 393.
Baths 344.
Battistero 370.
Bazaar 370.
Beer 343.

Bello Sguardo 419.
Biblioteca Laurenziana
396.

— Marucelliana 393.

— Nazionale 368.

— Riccardiana 393.
Bigallo 370.

Boboli Garden, the 413
Booksellers 344.
Borgo degliAlbizzi380.

— Ognissanti 398.
Brancacci Chapel 403.
Bridges 351.

Cabs 343.
Cafes 343.
Campanile 373.
Canonry 374.
Cappella de' Pazzi 395

— degli Spagnuoli 398
Carmine, Mad. del 402
Cascine 419.
Casino Mediceo 392.
Cathedral 370.
Certosa di Val d'Ema

418.

Florence:
Chemists 344.
Culonna di S. Zanobi

371.
Confectioners 343.
Consulates 344.
Cosimo's I. Statue 352.
S. Croce 380.
Dante's House 369.
Dante's Statue 380.
Demidoff, Monum. of

415.
Doccia, La 420.
S. Domenieo di Fiesole

420.
S. Egidio 375.
Egyptian Museum 401.
English Church 345.
Environs 415.
Etruscan Museum 401.
Exhibition of Art 375.
Facchini Pubblici 344.
Festivals 345.
Fiesole 420.
S. Firenze 376.
Fortezza di Belvedere

414.
Foundling Hospital
■ 384.

S. Francesco di Paola

419.
8. Gaggio 418.
Galleria Buonarroti

383.

— Corsini 399.

— Pitti 403.

— Torrigiani 415.

— degli Uffizi 354.
Galileo, House of 375.
Gates 311.

Ghetto 370.

S. Giovanni Battista

(Fort) 401.
S. Giovannino degli

Scolopi 393.
Giuco di Pallone 345.
Goods Agents 345.
History 347.

— of Art 348.
Hotels 341.

House of Bianca Ca-
pello 402.

— of Benvenuto Cellini
375.

— of Dante 369.

Galileo 375. 418.

Macchiavelli403.

Michael Angelo

383.
Lieux d'Aisance 344.
Loggia dci Lanzi 353.

— del Grano 368.

INDEX.

441

Loggia di S. Paolo 396.

— del Pesce 370.
S. Lorenzo 394.
S. Lucia 415.
Lung' Arno 351.
Madonna del Carmine

402.
S. Marco 386.
— , Monastery 386.
S. Margherita a Mon-

tici 418.
S. Maria del Fiore 371.

— degli Innocenti 384.

— Maddalena de' Pazzi

375.

— Novella 396.

— Kuova 375.
Marzocco, the 352.
Medici, Monuments ot

the 395.
Mercato Centrale 396.

— Nuovo 368.

— Vecchio 370.
S. Miniato 417.
Misericordia 374.
Monte Oliveto 419.
Mosaics, Manufact. of

391.
Museo di Storia Natu-
rale 404.

— di S. Marco 386.

— Nazionale 376.
S. Niccolo 415.
Observatory 393. 414.
Ognissanti 398.
Omnibuses 344.

S. OnoMo 401.
Opera del Duomo 374.
Or S. Michele 369.
Oratorio S. Carlo Bor-
romeo 369.

— S. Pancrazio 401.

— del Rucellai 401.
Ospedale S. Maria

Nuova 375.
Palazzo Alberti 383.

— Albizzi 380.

— Altoviti (Visaed)

380.

— deir Antella 380.

— Bartolini-Salimbeni

400.

— del Borgo 380.

— dei Canonici 374.

— Corsi 401.

— Corsini 399.

— Covoni 383.

— Dufour-Berte 402

— Fenzi 353.

— Ferroni 400.

— Fontebuoni 399.

Palazzo Gianfigliazzi
400.

— Gondi 376.

— Guadagni 402.

— Guicciardini 402.

— Larderel 401.

— Manelli 383.

— Medici 392.

— Nencini 392.

— non finito 380.

— Panciatichi 393.
Ximenes 375.

— Pandolfini 392.

— Pestellini 393.

— Pitti 4U3.

— del Podesta 376.

— Poniatovrski 393.

— Quaratesi 380.

— Riccardi 392.

— Riccardi (Guadagni)

^4.

— Rucellai 401.

— Serristori 380.

— Spini 400.

— Strozzi 400.

— Tornabuoni 401.

— Torrigiani 415.

— TJguccioni 353.

— Vecchio 351.
Pensions 342.
Physicians 344.
Photographs 344.
Piazza dell' SS. Annun-

ziata 384.

— d'Azeglio 375.

— S. Croce 380.

— del Duomo 370.

— S. Lorenzo 393.

— Manin 398.

— S. Marco 386.

— S. Maria Novella
396.

— del Mercato 370.

— della Signoria 351.

— S. Spirito 402.

— S. Trinita 400.
Piazzale Michelangelo

416.
Poggio Imperiale 417.
Ponte alia Carraia351.

399.

— alle Grazie 351. 415.

— S. Trinita 351. 402.

— Vecchio 352. 403.
Porta S. Gallo 420.
Portico degli Ufflzi

353
Post Office 344. 354.
Private Lodgings 342.
Railvi^ay Station 341.

398.

Rajah of Kohlapore,

Monum. of 420.
Reading Rooms 344.
Recollets, Cloisters of

the 391.
Restaurants 343.
Sagrestia Nuova 394.
S. Salvatore del Monte

416.
S. Salvi 422.
Sasso di Dante 374.
Scalzo, Chiostro dello

Schools 345.

Seryi di Maria 384.

Societa d'lncoraggia-

mento delle Belle

Arti 375.
Shops 344.
Spagnuoli, Capp. degli

Spedaledeglilnnocenti
384.

— di S. Maria Nuova

S. Spirito 402.

Statue of Brunnelleschi
374.

Arnolfo del Cam-
bio 373.

Prince Demidoff

415.

General Fanti386.

Ferdinand I. 384.

Giovanni delle

Bande Nere 393.

S. Stefano 368.

Synagogue 375.

Telegraph Office 344.

Theatres 345.

Tivoli 416.

Torre del Gallo 418.

Treasury 413.

Tribuna del Galileo
414.

S. Trinita 400.

Uffizi, Galleria degli
354.

Viale dei Colli 416.

Villa degli Albizzi 419.

— delle Bugie 418.

— Careggi 420.

— Demidoff 420.

— della Doccia 420.

— of Galileo 418.

— Guicciardini 418.

— Mozzi 421.

— Palmieri 420.

— Petraia 420.

— Poggio Imperiale

417.

442

INDEX.

Florence :

Villa Quarto 420.

Wines 343.
Florence- Bologna 313,

31-2.
Empoli-Pisa-Leghorn

319, 318.
Pistoja- Lucca -Pisa

341-330.
Pontassieve (Arezzo)

423-426.
St. Florentin 2.
Fluelen 29.
Fogliardi 146.
Fontainebleau 1.
Fontaines 3.
Fontana 108.
Fontana Fredda 266.
Fontaniva 210.
Fontebuona 313.
Formigine 279.
Fornace 151.
Fornasette 151.
Fornoli 335.
Fossano 109.
Fourneaux 23.
Fourviere 5.
Foux, La 13.
Fraboaa 75.
Framura HI.
S. Francesco d'Albaro

109.
Franzdorf 49.
Franzensfeste 39.
Frate, II 433.
Frati, Isola del 180.
Fratta 194.
Freienfeld 39.
Frejus 19.
— , Col de 23.
Fressinone, the 26.
Friaul 261.
Frohnleiten 46.
Friischnitz, the 46.
Frugarolo 74.
Fuentes, Castle 36.
Fugazza Pass, 203.
Fumajolo, the 425.
Fuochi, the 313.
Fiirstenau, Castle 34.
Futa, La 313.

G.iggi, Villa, see Anton-

gina.
Gaggiano 158.
Galbiati, Villa 140.
Galbiga, Monte 151.
Gallarate 158.
Galleno 179.
Galliera 281.
Gallinara, Isola 94.
Gallivaggio 36.

Galluzzo 418.
Gampel 25.
Gandria 152.
Gard, Pont du 13.
Garda 180. 183.
— , Isola di 180.
— , Lake of 180.
Gardone 181.
Gargnano 181.
Garlate, Lago di 145.
Garza, Val 182.
Garzeno 144.
Gavardo 181.
Gavirate 146.
Gazza, Monte 43.
Gazzada 145.
Gazzo 168.
Gemonio 147.
Generoso, Monte 147.
Geneva 5. 22.
Genevre, Mont 24. 66.
Genoa 78. .

Accademia delle Belle
Arti 84.

Acqua Sola 90.

Albergo dei Poveri 91.

S. Ambrogio 83.

SS. Annunziata 87.

Banca Nazionale 82.

— di S. Giorgio 80.
Baths 79.

Begato, Fort 80.
Biblioteca Civica 84.
Campo Santo 91.
CasteUaccio 80.
Consulates 79.
Darsena 82.
Dogana 82.
English Church 79.
Exchange 82.
Fortifications 80.
Harbour 81.
History 80.

— of Art 81.
Istituto Tecnico 87.
Lighthouse 81.
Loggia de' Banchi 82.
S. Lorenzo 82.

S. Maria in Carignano
84.

— di Castello 82.
S. Matteo 84.

Molo Nuovo and Vec-

chio 81.
Municipio 86.
Palazzo Adorno 86.

— Balbi 87.

— Balbi-Senarega 88.

— Bianco 87.

— Brignole-Sale 86.

— Cambiaso 86.

— Carcga 86.

Genoa:
Palazzo della Casa 85.

— Cataldi 86.

— Cattaneo 82.

— Centnrioni 87.

— Deferrari 87.

— Doria 90.

— Doria (Giorgio) 86.

— Doria-Tursi 86.

— Ducale 83.

— Durazzo 88.

— Faraggiana 90.

— Gambaro 86.

— Lomellini 87.

— Marcello Durazzo
88.

— del Municipio 86.

— Pallavicini 86.
(Lud. Stef.) 85.

— Parodi 86.

— della Prefettura 83.

— Reale 89.

— Eosso 86.

— della Scala 88.

— dello Scoglietto 90.

— Serra 86.

— Spinola 86.
Passo Nuovo 90.
Peirano, Gallery 87.
Physicians 79.
Piazza Acquaverde 89.

— Deferrari 84.

— Fontane Morose 85.

— Vacchero 82.
Ponte Carignano 84.
Porto Franco 81.
Post Office 79.
Prefettura 83.
Rail. Stations 78.

S. Siro 82.
Sperone, Fort 80.
Statue of Cavour 82.

— of Columbus 89.
S. Stefano 85.
Teatro Carlo Felice 79.

84.
Terrazzo di Marmo

82.
Town Hall 86.
University 89.
Via Balbi 85.

— di Ciroonvallazione
91.

— Nuova 85.

— Nuoviasima 85.

— degli Orefici 82.
Villa Negro 90.

— Pallavicini 91.
Zecca 87.

Genoa-Leghorn (by sea)

316.
— -Milan 158.

INDEX.

443

Genoa-Nice 92.

Spezia-Pisa 109-114.

— -Turin 76-72.

St. George des Hurtieres

23.
St Germain, Chat. 22. 67.
S. Germano 69.
Germignaga 154.
Gersau 28.
Gesehenen 29.

— Reuss, the 29.
Gesso, the 108.
Ghiffa 154.

Giacomelli, Villa 211.
S. Giacomo (Bernardino)

38.

— (near Chiavenna) 36.
Giandola 107.
Giarole 70.

Giens 19.

Gignese 159.

Ginistrella, Monte 181.

St. Gion 37.

Gionnero,Monte s. Monte
Generoso.

S. Giorgio (near Cento)
281.

(nearPiacenza)268.

delle Pertiche211.

Giornico 31.

S.Giovanni on the Adria-
tic 52.

— (Lake of Garda) 183.

— (near Nice) 107.
— , Castel 72.
— , Island(Lakeof Como)

140.
(Lago Maggiore)

155.
S. Giovanni Manzano262.
Giovi 426.
— , Galleria dei 74.
Gittana 143.
Giubiasco 32.
Giugo, Monte 110.
S. Giuletta 72.
Giulia, Villa 137. 143.
S. Giuliano 72.
— , Monte 330.
S. Giuliano, Bagni di

330.
S. Giulio, Isola 160.
Giumella, Monte 178.
S. Giuseppe, Lago di 67
S. Giuseppe di Cairo 74.

76.
Gloggnitz 45.
Gmund 41.
Godo 303.
Golfe Jouan 21.
Golo, the 431. 432.
Gombo, II 329.

Gondo 26.

Gonfolina, the 319.

Gonzaga 198.

Gorbio 99.

Gordola 32.

Gorgie, Le 24.

Gorizia 262.

Gorlago 171.

Gorz 262.

Gorzone Canal, the 280,

Gossensass 39. j

Gosting 46.

Gotschakogel, the 46.

St. Gotthard, the 30.

St. Gotthard Tunnel 27,

29.
Gozzano 71.
Gradisca 262.
Grado 263.
Graian Alps, the 69.
Graisivaudan, Valley of

23.
Grand Paradis , the 6£
Grappa, Monte 212.
Grasse 21.
Grasstein 39.
Gratwein 46.
Gratz 47.
Gravedona 144.
Gravellona 27.
Gravone, the 432.
Grenoble 8.
Greve, the 418.
Gries (Brenner) 39.
— (near Botzen) 40.
Grigna, Monte 143.
Grignano 49.
Grigno 43.
Grimaldi 98.
Grodener-Thal, the 40.
Grono 38.
Gropello 146.
Grotta, La 182.
Grumello 171.
Gschnitzthal, the 39.
Guardia, Monte 302.
Guastalla 198.
Guelfo, Castel 268.
Guglielmo, Monte 178.
Gnidizzolo 171.
Guillotiere, La 5.
Guinzano 162.
Gumpoldskirchen 45.
Guntramsdorf 45.

Hiiderli Briicke 29.
Haute-Combe, Abbey 22.
Heinzenberg, the 33.
Hericourt 4.
Hetzendorf 45.
Hinterrhein 37.
Hirli, the 34.

Hoch-Realt 34.
Hohenems, Castle 33.
Hohen-Rhatien, Castle

34.
St. Honorat 20.
Hopitaux, Les 22.
Hospenthal 30.
St. Hospice 107.
Hrastnig 48.
Hyeres 19.

the Islands of 19.

Idria 49.
Idro 182.

, Lago d^ 182.
If, Chateau d' 15.
Ilanz 37.

S. Ilario 110. 268.
Imola 303.
Impero, the 94.
Incino 137.
Incisa 75.
Inn, the 39.
Innsbruck 38.
Intelvi Valley, the 140.
Intra 155.
Introbbio 144.
Intschi 29.
Inverigo 137.
Iria 72.
Isel, hill 38.
Iselle 26.
Iseo 177.
— , Lago d' 177.
Isera 44.

Iseran, Mont 108.
Isere, the 8. 23.
Isola (Spliigen) 35.

(near Trieste) 52.

Bella 156.

— S. Biagio 180.

— del Cantone 74.

— dei Frati 180.

— S. Giovanni (Lago
Magg.) 156.

— Madre 156.

— Rossa 434.

— dei Pescatori or

— Superiore 155.

— della Scala 194.
Isole Sangninarie 429.
Isoletto, Rock 183.
Isonzo, the 262.
Istrana 211.

Ivano, Chateau 43.
Ivrea 66.
Ivry 1.

St. Jean 100. 107.

St. Jean de Maurienne23.

Joigny 2.

S. Jorio, Passo 144.

444

INDEX.

St. Joseph, Monastery 48.
Jouan, Golfe 20.
Joviniacum 2.
Judendorf 46.
Judrio, the 262.
Julian Alps, the 48. 263.
St. Julien-du-Sault 2.
Jumeanx, the 68.
Jura, the 22.
Justinopolls 52.
Juvalta, Castle 34.

Kainach, the 47.

Kalkberg, the 35.

Kalsdorf 47.

Kaltern 41.

Kaltwasser Glacier, the
25.

Kapfenberg 46.

Kardaun 40.

Karst, the 49. 263.

Katzis 34.

Kindberg 46.

Klamm 46.

Klausen 40.

Klein-Stiibing 46.

Klus, the 29.

Kottingbrunn 45.

Kranichsfeld 47.

Kressnitz 48.

Krieglach 46.

Kuntersweg, the 40.

Knrtatsch 41.

Kiissnacht (Lake of Lu-
cerne) 28.

Laase 48.

Labeck, Castle 47.
La Chambre 23.
La Colla 97.
La Doccia 420.
La Foux 13.
Lagarina, Val 44.
Laglio 140.
Lagnasco 109.
Lago Ceresio 148.

— Belio 154.

— Inferiore 195.

— Maggiore 152.

— di Mezzo 194. 195.

— Santo 313.

— Superiore 194. 195.
La Grotta 182.
Lagune, the 220.
Laibach 48.
Laibach, the 48.
Laigueglia 94.
Laisse, the 22.
Lambro, the 137.
Lamone, the 303.

La Motta 179.
Lanccnigo 260.

Landskron, Castle 46.

La Nova 181.

Lanza, the 146.

La Pauline 19.

La Praz 23.

Laroche 2.

La Rotta 319.

La Salute 153.

Lasnigo 137.

Lastra 319.

La Tour 66.

La Tourette 106.

La Trinite Vittorio 107.

La Turr, ruined chat. 35.

Lavagna 111.

Lavedo, Promontory 141.

Laveno 154.

Lavenone 182.

Lavino 270.

Lavis 41.

Laxenburg 45.

S. Lazaro Lazise 183.

S. Lazzaro, near Bologna

302.
S. Lazzaro, near Venice

259.
Lebring 47.

Leccia, Ponte alia 432.
Lecco 145.
— , the Lake of 145.
Le Creuzot 3.
Ledro, Lago di 182.
— , Pieve di 182.
Ledro Valley, the 182.
Leggia 38.
Leghorn 317.
Legnago 194.
Legnano 158.
Legnoncino, Monte 144.
Legnone, Monte 144.
Leibnitz 47.
Leitha Mts., the 45.
Lendinara 194.
Leno, the 203.
Lenno 138.
Lenzumo 182.
Leobersdorf 45.
Leogra 203.
Leone, Monte 26.
Lerici 112.
Lerins, lies 20.
Lesa 27. 157.
Le Sarche 43.
Les Arcs 19.
Lesece 49.
Les Laumes 2.
Les Marches 23.
Le Tezze 44.
Leuk 25.

Levant, He du 19.
Levante, Riviera di 109.
Levanto HI.

Leventina, the 31.
Levico 43.
Leyment 5.
Lezzeno 140.
Libro Aperto 313.
Lichtenegg 46.
Lierna 145.
Lieusaint 1.
Liguria 77.
Lima, the 335.
Limito 169.

Limone (Lake of Garda)
181.

— (Col di Tenda) 108.
Limonta 145.
Lipizza 52.

Liro, the 35. 36.
L'Isle-sur-le-Doubs 4.
L'lsle-sur-Sorgue 11.
Litta, Villa 143.
Littai 48.
Livenza, the 261.
Livorno (Piedmont) 69.

— (Tuscany) 317.
Lizzana 44.
Loano 94.
Locarno 153.
Locate 162.
Lodi 260.
Lodrone 182.
Loing, the 2.
Loitsch 49.
Lombardy 115.
Lomellina, the 165.
Lomello 165.
Lonato 171.
Longarone 261.
Longo Sardo 431.
Lonigo 199.
Lons-le-Saulnier 4.
Loppio, Lake of 182.

S. Lorenzo (near San
RemcO 94.

— (near Trieste) 52.1
S. Loretto 178.
Loueche-Souste 25.
Loveno 143.
Lovere 178.

Ltwenberg, Chateau 37.
Lucca 330.

— , the Baths of 335.

Lucendro, Lake of 30.

Lucerne 28.

— , the Lake of 28.

S. Lucia 45. 172.

Lucino 145.

Lugano 148.

— , the Lake of 148.

Lugdunum 5.

Ltigliano 335.

Lugo 303.

Luinate 146.

INDEX.

44&

Luino 154.
Lukmanier Pass 37.
Lumino 38.
Lumio 434.
Luna 113.
Lunigiana, La 113.
Lurate 145.
Luri 434.

Luserna, Torre 66.
Lyons 5.
Lys, the 67.

Maccagno 154.
Macon 4.
Maera, the 109.
Maddalena, La 109.
— , Island 431.
— , Ponte della 335.
Madeleine, La 107.
JIaderaner Thai, the 29.
Maderno 181.
Madesimo, the 35.
Madonna

— di Caravaggio 166.

— della Costa 96.

— della Guardia (near
Bologna) 302.

(near Genoa) 74.

— di S. Martino 142.

— di Montallegro HI.

— del Monte (near
Varese) 146.

(near Vicenza) 202.

(near Ivrea) 67.

— d'Oropa 69.

— Pilone 66. 75.

— del Sasso (Lago Mag-
giore) 153.

(Lake of Orta)

160.

— di Tirano 135.
— , Val 159.
Madre, Isola 156.
Madrera, Val 145.
Magadino 153.
Magenta 71.
Maggia, the 153.
Maggiore, Lago 152.
— , Monte 182.
Magliaso 151.
Magnan, the 104. 107.
Magra, the 111.
Magreglio 137.
Maira, the 36.
Maisons-Alfort 1.
Majori, Monte 313.
Majoria, Castle 25.
Malagnino 168.
Malain 2.
Malamocco 220.
Malcesine 183.

Malghera, Fort 203.
Malgrate 138.
Malgue, La 19.
Malnate 146.
Malon, the 69.
Manarola 111.
Mandello 145.
Manerba 180.
Manerbio 166.
Mantua 191.
Mantua - Cremona -Milan

Modena 198-99.

Verona 194.

S. Manza 431.
Mapello 171.
Marano 203.
Marburg 47.
Marcaria 168.
S. Marcello 313.
Marches, Les 23.
Marchino, Villa 150.
S. Marco (Simplon) 26.

— (Tyrol) 44.
Marengo 74.

S. Margherita 110.

— a Montici 418.
Margorabbia, the 154.
Margreid 41.

Ste. Marguerite 20.
S. Maria, Monastery(near
Claro) 32.

— (Lukmanier) 37.

— delle Grazie 168.

— Maddalena 281.

— della Salute 32.
Mariana 431.
Marignano 266.
Maritime Alps , the 77.
Markt-Tuffer 48.
Marlia, Villa 334.
Marne, the 1.
Maroggia 148.

Marone 178.
Marseilles 16.
Martigny 24.
St. Martin, Pont 67.
Martin, Cap 99.
S. Martino (Lake of Lu-
gano) 148.

— di Luparo 210.

— (near Rimini) 312.

— (on the Ticino) 71.

— (near Verona) 199.
— , Promontory 99.

— , Madonna di 142.
— , Sasso 142.
Marzabotto 312.
Maschere, Le 313.
Masein 34.
Maser, Villa 211.
Masnago 146.

Masone 26.
Massa 113.
Massaciuccoli, Lago di

334.
Massagno 33.
Massilia 16.
Matarello 44.
Matrei 39.
Matterhorn, the 68.
Mauls 39.

Maures, Mont, des 19.
Maurienne, la 23.
S. Maurizio, Monte 138.
Maurizio, Porto 94.
Me ana 24.
Mede 165.
Medel, Val 37.
Medelser-Rhein, the 37.
Meina 157.
Mele, Capo delle 94.
Melegnano 266.
Blelide 148.
Mella, the 166.
Melun 1.
Melzi, Villa 141.
Melzo 169.
Menaggio 143.
Mendrisio 147.
Mentone 98.
Merana 74.
Merate 135.
Mesocco 38.
— , Val 32. 38.
Mesolcina, Val 38.
Mestre 203.
Meursault 3.
Mezz-Isola 177.
Mezzo, Lago di 182.
Mezzo Lombardo 41.

— Tedesco 41.
Mezzola, Lago di 36.
Mezzolago 182.
Miasino 160.

St. Michel 23.
St. Michel, Piz 34.
S. Michele (near Trent)
41.

— (near Verona) 194. 199.

— della Chiusa 24.
Migiandone 26.
Blilan 116.

S. Alessandro 131.
S. Ambrogio 129.
Archivio 122.
Arcivescovado 121.
Arco del Sempione 133.
Arena 133.
S. Babila 132.
Biblioteca Ambrosiana

127.
— Pubblica 122.
Brera 122.

446

INDEX.

lilan :
S. Carlo Borromeo 132.
Cassa di Risparmio

122.
CasUe 133.
Cathedral 119.
Cavour's Statue 133.
S. Celso 131.
Cemetery 134.
Coins, Coll. of 122.
Colonnade 13.
Conservat. of Music

132.
Corso Magenta 128.

— Porta Venezia 132.

— Porta Ticinese 130.

— Vittorio Eman. 132.
S. Eufemia 131.

S. Eustorgio 130.
S. Fedele 122.
Galleria Vitt. Ema-
nnele 121.

— de Cristoforis 132.
Giardini Pubblici 132.
Leonardo's Last Supper

129.
Loggia degli Osix 127.
S. Lorenzo 130.
S. Maria del Carmine

127.

— presso S. Celso 131.

— delle Grazie 128.

— della Passions 132.

— Podone 128.
S. Maurizio 128.
Monument of Leon, da

Vinci 122.
Municipio 122.
Museo Archeologico

126.

— Artistico 133.

— Civico 133.
S. Nazaro 132.
Observatory 122.
OspedaleMaggiore 131.
Palazzo Borromeo 128.

— Ciani 132.

— della Citta 127.

— del Censo 122.

— di Giustizia 131.

— Litta 128.

— Marino 122.
Palazzo di Prefettura

132.

— della Ragione 127.

— Reale 121.

— Saporiti 132.

— delle ScienzeedArti
122.

— Visconti 130.
Piazza d'Armi 133.

— del Duomo 119.

Milan:
Piazza de' Mercanti
121.

— della Scala 122.
Pinacoteca 122.
Porta Garibaldi 119.

— Lodovica 131.

— Magenta 128.

— Ticinese 130.
Portico di S. Lorenzo

130.
Raphael's Sposalizio

123. 125.
Salone, the 133.
S. Satiro 131.
Seminary 132.
S. Sepolcro 128.
Statue of Beccaria 131,

— of Carlo Porta 133

— of Cavour 133.

— of Leon, da Vinci

122.

— of Napoleon I. 122.
S. Stefano 131.
Teatro della Scala 118.

122.

Villa Reale 133.
Milan-Bergamo 169.

Cremona 166.

Monza-Como 134, 136.

Monza-Lecco 134, 135.

Mortara-Genoa 158.

I^ovara - Turin 71-69.

Pavia-Voghera 162-

166.

— -Piacenza-Bologna 266
-270.

Verona 171.

Millesimo 76.
Mincio, the 168. 183.
S. Miniato 416.

— al Tedesco 319.
Miolans 23.
Miradolo 166.
Miramar, Chateau 52.
Mirandola near Bologna

303.

— near Modena 199.
Misano 312.
Mischabel, the 154.
Missaglia 135.
Mittelberg, the 41.
Mitterdorf 46.
Mittewald 39.
Mixnitz 46.
Modane 23.
Modena 276.

S. Agostino 278.
Campanile 277.
Cathedral 276.
S. Francesco 277.
Ghirlandina, la 277.

Modena :

Giardino Pubblico 279.

Library 279.

S. Michele 278.

Museo Lapidario 278.

Palazzo Reale 278.

S. Pietro 277.

Pinacoteca (Picture
Gallery) 278.
Modena-Bologna 270.
Mantua- Verona 199-

194.
Piacenza-Milan 270-

276.
Modling 45.
Moesa, the 32. 38.
Moesola, Lago 38.
Moggiona 424.
Mogliano 260.
Molgora 135.
Molina 182.
Moltrasio 140.
Momo 71.
Monaco 100.
Monastero 263.
Monate, Lago di 147.
Moncalieri 72.
Monchierro 75.
Mondovi 75.
Moneglia 111.
Monfalcone 262.
Mongeron 1.
Monguzzo 137.
Moniga 180.
Monselice 280.
Monsummano 335.
Montagna 183.

— (Heinzenberg) 33.
Montalban, Fort 106.
Montallegro, Madonna di

111.
Montalto, Castle 67.
Montanaro 66.
Montario, Castle 199.
Montbard 2.
Montbeliard 4.
Montboron, prom. 106.
Mont Cenis 23.

— Chauve 103.

— Chevalier 20.
Monte Carlo 100.

— Catini 335.

— Murlo 340.
Montebello (Piedmont)

72.

— (near Vicenza) 199.
Montecchi 199.
Montechiaro 74.
Monteferrato 341.
Montefino 110.
Montegrotto 279.
Montelimar 8.

INDEX.

447

Montelupo 319.
Montereau 2.
Monterey 20.
Monterone, Monte s.

Monte Motterone.
Monte Rosa 66. 154 etc.
Monterosso 111.
Monte Rosso 155.
Monte Santo 262.
Monteveccliia 135.
Montgeron 2.
Monti (nearMentone) 99
Monti Pisani 329.
Monticelli 168.
Montignoso 114.
Montjovet 68.
— , Defile of 67.
Montmelian 23.
Montone, the 311.
Montorfano, the 137.
— , Monast. 171.
Montpellier 13.
Monza 134.
Morbegno 44.
Morcote 150.
Morello, Monte 347.
Morengo 171.
Moret 2.
Mori 44. 182.
Moriano 335.
Morosaglia 399.
Mortara 158.
Mortara-Asti 73.
Mortola 98.
Motta, La 179.
Motta S. Damiano 166.
Motterone, Monte 159.
Mouans 20.
Mouchard 3. 4.
Mougins 20.
Mozzecane 194.
Mngello, Val di 313.
Muggia 52.
Muggio 148.
Mngnone, the 420.
Miilhausen 4.
Muotta, the 28.
Mur, the 46.
Murano 259.
Mnrlo, Monte 340.
Muro, Capo di 429.
Murz, the 46.
Miirzznschlag 46.
Mnslone 181.
Musocco 158.
Musso 144.

Muzzano, Lake of 151.
Mylius, Villa 139. 143.
Mythen, the 28.
Mythenstein, the 28.

Nabresina49. 263.

Nago 182.

Naponle, Golfe de la 20.

Narzole 57.

Kasen, the 28.

Natisone, the 262.

Navacchio 318.

Naviglio Adigetto 280.

— Grande 71. 118.

— della Martesana 118.

— di Pavia 118.
Nebbio 434.
Neive 75.
Nemasus 11.
Nero, Capo 97.
Nerone, Bagni di 334.
Nervi 110.

Nesso 140.
Nemnarkt 41.
Neunkirchen 45.
Neustadt 45.
Nevers 3. 5.
Kicaea 106.
Nice 101.
Nice-Genoa 101-92.

— -Marseilles 21-18.

— -Turin 107-109.
S.Niccolo (nearPiacenza)

— (Casentino) 424.
S. Nicolao 431.
Niella 75.
Nievole, the 335.
Nimes 11.

Nivolet, Dent de 22.
Nizza 101.

Nizza di Monferrato 75.
Noce, the 41.
Noli 94.
Nolla, the 34.
Non, Val di 41. 179.
Nonsberg, the 179.
Nova, La 181.
Novara 70. 158.
Novella 434.
Novi (near Alessandria)
74.

— (near Modena) 199.
Nuits-sous-Beaune 3.
Nuits-sous-Ravieres 2,
Nure, the 268.
Nure, Ponte 268.
Nus 68.

Odescalchi, Villa, see

Raimondi.
Oggebbio 154.
Ogliasca 144.
Oglio, the 161. 168. etc
Oira 160.
Olbia 16.
Olcio 145.
Oldese 181.

Oleggio 158.
Olevano 158.
Olgiate 135. 145.
Olginate, Lago d' 145.
Olimpino, Monte 147.
Oliveto, Monte 419.
Olivone 37.
Olmeneta 166.
Olona, the 118. 146.
Oltre 52.
Oltrona 146.
Ombrone, the 313. 319.
Omegna 160.
Oneglia 94.
Onno 145.
Optschina 52.
Ora 41.
Orange 8.
Oreo, the 69.
Ornavasso 27.
Oro, Monte d' 432.
Orsera 30.
Orta 160.
— , Lago d' 160.
Ortenstein 34.
Osogna 31.
Ospedaletti 97.
Ospedaletto 166.
Ospitaletto 171.
Ossola, Val d' 26.
Osteno 152.
Ostriconi, the 434.
Ottavo, Val d' 335.
Ouche, the 2.
Oulx 23.
Oviglio 75.
Ovolo, Monte 312.

Padernione 43.
Padrio, Monte 179.
Padua 203.

S. Antonio 204.

Baptistery 208.

Botanic Garden 210.

Carmini 208.

Cathedral 208.

Dante's Statue 209.

Eremitani 207.

Gattamelata , Statue
of 206.

S. Giorgio, Cappella
206.

Giotto's Statue 209.

S. Giustina 210.

Gran Guardia 208.

Loggia Amulea 209.

— del Consiglio 208.

Madonna dell' Arena
207.

Museo Civico 206.

Palazzo del Capitaneo

448

INDEX.

Padna :
PalazzoGiustiniani208.

— del Podesta 209.

— della Ragione 208.
PetrarcVs Monument

208.
Pinacoteca 206.
Prato della Valle 209.
Salone, 11 208.
Santo, II 204.
Scuola del Carmine208.

— del Santo 205.
University 209.

Padua-Bassano 211.

Ferrara-Bologna

263-65.

Venice 203.

Verona 203-199.

Paglione or Paillon, the

101.
Paina 137.
Paianello 270.
Palanzo 137.
Palazzolo 171.
Pallanza 155.
Pallanzeno 26.
Pallavicini, Villa 92.
Palmaria 111.
Palmieri, Villa 420.
Pambio 150.

Panaro, the 260. 270. 276.
S. Paolo, islet 178.
Parabiago 158.
Paradisino, II 424.
Parata, Punta della 429.
Paratico 171. 177.
Pare 145.
Parma 270.

Antiquities, Museum
of 273.

Baptistery 272.

Cathedral 271.

Convento di S. Paolo
275.

Correggio's Statue 271

Giardino Ducale 275.

S. Giovanni Evange
lista 272.

Library 275.

S. Lodovico 275.

Madonna della Stec-
cata 273.

PaLazzo del Comune
271.

— Ducale (Prefettura)
273.

— del Giardino 275.

— della Pilotta 273.
Piazza Grande 271.
Picture Gallery 274.
Sfradone, the 275.
Teatro Farnese 275.

Parma :

University 275.
Parma, river 270.
Parona 45.
Partina 425.
Pas-des-Lanciers 15.
Pasifino Schiavonesco

261.
Paspels 34.
Passable, Bay of 107.
Passalacqua, Villa 140.
Passeriano 261.
Pasta, Villa 140.
Paterno 423.
Patsch 38.
Pauline, La 119.
Paullo 279.
Pavia 164.
Codogno-Piacenza

166.
Cremona-Brescia 166.

— -Milan 164-162.

Valenza-Alessandria

165.

Voghera (Genoa) 166

Paviole 281.
Payerbach 46.
Pazzallo 150.
Pecorile 270.
Peggau 46.
Pegli 92.
Pel ago 423.
Pelestrina 220.
Pella 160.
Pellino, the 161.
Penzano 138.
St. Peray 8.
Perdatsch 37.
Pergine 43.
Peri 44.
Pernegg 40.
Perosa 66.
Perrache 7.
Pertengo 70.
Pesa, the 319.
Pescantina 45.
Pescatori, Isola del 156
Peschiera 171. 183.

— d''Iseo 178.
Pescia 335.
Pesio, Val 108.

, Ccrtosa di 108.

Pessione 73.

St. Peter 49.
Petraia, La 420.
Pfannberg, Castle 46.
Pfltscher-Bach 39.
Pflersch-Thal, the 39.
Piaccnza 266.

Bologna 268-70.

Milan 266.

Piadena 168.

Plana 74.

Plan della Fugazza, Pass

of 203.
Pianazzo 35.
Pianello 144.
Piano, Lago del 151.
Carparo 96.

— del Re 97.
Pianoro 313.
Pianzano 261.
Piave 261.

river 184. 261.
Pie di Castello 43.
Piedmont 53.
S. Pier d'Arena74. 90.
S. Piero 340.
St. Pierre-d'Albigny 23.
Pietole 195.
Pietraligure 94.
Pietramala 313.
Pietra Murata 43.
Pietrasanta 114.
S. Pietro d'Apriea 179.

— in Casale 281.

— in Corsica 432.

— in Grado 329.

— in Gil 210.

Pieve near Pavia 165.

— di Cadore 261.

— di Cento 281.

— S. Giacomo 168.

— di Ledro 182.

— a Nievole 335.
a Pelago 279.
di Sori 110.

Pigna 97.

Pigna-Andora 94.

Pignerol 66.

Pilat, Mont 8.

Pinerolo 66.

Pino (Lago Maggiore) 153.

— (Corsica) 434.
Piotta 31.

Piottino, Monte 31.
Piovere 181.
Pioverna, the 144.
Pirann 52.
Pisa 320.

Academy 327.

Archives 329.

Baptistery 323.

Bagni di Ncrone 329.

Botan. Garden 328.

Bridges 322.

Campanile 323.

Campo Santo- 324.

Cascine S. Rossore 329.

S. Caterina 327.

Cathedral 322.

Climate 320.

S. Francesco 327.

S. Frediano 327.

INDEX.

449

Pisa:

Galileo, House of 329.
Gombo, II 329.
History of Art 321.
Leaning Tower 324.
Loggia de' Banchi 329.
Luminara, the 322
Lung' Arno 322.
S. Maria della Spina

328.
S.MicheleinBorgo 328,
Nat. Hist. Museum 328,
S. Nicola 328.
S. Paolo a Eipa d'Arno

329.
Palazzo Agostini 328.

— dei Cavalieri 326.

— del Comune (Gamba-
corti) 329.

— Lanfranchi-Tosca-
nelli 328.

— Lanfreducei-Uppe-
zinghi 328.

Passeggiata Nuova 322,
Piazza del Duomo 322.
S. Pierino 328.
S. Pietro in Grado 329.
Sapienza 328.
Scuola Tecniea 327
S. Sepolcro 329.
S. Sisto 327.
Statue of Grand-Buke
Cosimo I. 326.

— of Ferdinand I. 328.

— of Leopold I. 327.
S. Stefano ai Cavalieri

326.
Torre dei Gualandi 327
Tower of Hunger 327
University 328.

Pisa- Empoli- Florence
318-319.

Spezia-Genoall4-109

Leghorn 318.

Lucca -Pistoja- Flo-
rence 330.

Pisa, the Baths of 330.

Pisani, Monti 329.

Pisogne 178.

Pistoja 336.

Bologna 313, 312.

Piteccio 313.

Piumogna, the 31.

Pizzighettone 166.

Pizzigone, Monte 161.

Pizzo, Monte 178.

Pizzo, Villa 140.

Pizzocolo, Mte. 181.

Plaisance 266.

Platta 37.

Plessur, the 33.

Pliniana, Villa 140.
Baedekek. Italy I.

Plombieres 2.
Po,the56. 70.72. 118. 281.

etc.
Po di Primaro 281.
Poggio 95.
Poggio Imperiale , Villa

417.
Poggio Renatico 281.
Pogliasca HI.
Pognana 138.
Poiana 203.
Poik, the 49.
Polcevera, the 74,
Poldi, Villa 140.
Polesella 281.
Polleggio 31.
Pollenzo 75.
S. Polo 268.
Poltschach 48.
Ponale, Fall of the 182.
St. Pons, Monastery 105,
Pont d'Ain 21.
Pont du Gard 13.
Pont St. Louis 98.
Pont St. Martin 67.
Pont des Salassins 68.
Pont-de-Veyle 21.
Pont-sur-Yonne 2.
Pontarlier 3.
Pontassieve 423.
Ponte di Brenta 203.

Curone 72.

del Diavolo 335.

Grande 145.

alia Leccia 432.

S. Marco 171.

Nure 268.

S. Pietro 171.

— a Poppi 424.
a Rifredi 420.

a Serraglio 335.

Tresa 151.
Pontedecimo 74.
Pontedera 318.
Pontelagoscuro 281.
Pontenuovo 432.
Pontepetri 3l3.
Pontevico 166.
Ponti 74.
Pontigny 2.
Ponzana 70.
Poppi 424.
Porcari 335.
Pordenone 261.
Porlezza 151.
PorqueroUes 19.
Porretta 312.
Porta 432.
Portcros 19.
Portofino 110.
Porto Maurizio 94.

— Valtravaglia 154.
5th Edit.

Porto Vecchio 431.
— Venere 112.
Possagno 212.
Possnitz 47.
Potschach 45.
Pozzuolo 72.
Pra 92.
Pracchia 313.
Pragerhof 47.
Prato 340.

Prato al Soglio 425.
Pratolino 313.
Pratomagno, the 424.
Pratovecchio 424.
Praz, La 23.
Preganziolo 260.
Premosello 26.
Premstetten 47.
Preseglie 183.
Prestranek 49.
Primaro, Po di 281.
Primiero, Val 44.
S. Primo, Monte 137.
Primolano 44.
Prina, Villa 154.
Prosecco 49.
Puccini, Villa 340.
Piichl 46.
Pugieu 22.
Puntigam 47.
Pusiano 138.

, Lago di 137. 138.
Pyrimont 22.

ftuaderna 303.
Quarsano 140.
Quart, Castle 68.
Quarto 110.
Quarto, Villa 420.
Quattrocastella 270.
St. Quentin 13.
Querceta 114.
Quinto 110.

Rabenstein, Castle 46.

Racconigi 75.

Eaimondi, Villa 139.

Rakek 49.

St. Rambert 8.

St. Rambert -de-Joux

22.
Rapallo 111.
St. Raphael 19.
Rarogne or Raron 25.
Ratonneau 15.
Raut-Glacier, the 26.
Ravenna 303.

Academy 306.

St. Agata 306.

S. Apollinare in Classe
311.

450

INDEX.

Ravenna:
S. Apollinare Nuovo

309.
Archives 305.
Archiepiscopal Palace

305.
Baptistery 305.
Biblioteca Comunale

306.
Byron's House 306.
Cathedral 304.
Classe 306.
Colonna de' Francesi

312.
Crocetta 311.
Dante's Tomb 307.
S. Domenico 307.
S. Francesco 306.
S. Giovanni Battist£

309.
S. Giovanni Evange

lista 309.
S. Giovanni e Paolo

307
History of Art 304
Library 306.
S. Lorenzo in Cesarea

311.
S. Maria Cosmedin

— in Porto 300.

— in Porto Fuori 311.

— della Rotonda 310.
Monument of the

Exarch Isaac 308.
Mausoleum of Galla
Placidia 308.

— of Theodoric 310.
S.MicheleinAffricisco

307.

S. Nazario e Celso308.

S. Niccolo 306.

S. Orso 304.

Palace of Theodoric
310.

Palazzo Arcivescovile
305.

Piazza Maggiore 304.

Piazzetta deir Aquila
304

Pineta, La 312.

S. Romualdo 306.

Rotonda, the 310.

S. Spirito 309.

S. Teodoro 309.

S. Vitale 307.

Torre del Pubblico 307,
Raxalp, the 46.
Realta 34.
Rebbio 145.
Recca, the 263.
Recco 110.
Recoaro 202.

Reggio 269.

Reggiolo 198.

Regoledo 143.

Reichenau 33.

Reichenau Valley 46.

Reifenstein, Castle 39.

S.Remigio,Promont.l55,

S. Remo 95.

Remoulins 13.

St. Remy 11.

Reno, the 270. 281. 287.

Renoso, Monte 432.

S. Rcparata, Monte 434.

Resegone, Monte 135. 138.

Restonica, the 433.

Retrune, the 199.

Reuss, the 28. 29.

Revoltella, Villa 52.

Rezzano 268.

Rezzato 171.

Rezzonica, Villa 212.

Rezzonico 143.

Rhazuns 33.

Rhein, the Averser 35.

— , Hinter- 33. 37.

— , Mittel- 37.

— , Vorder- 33. 37.

Rheinvifaldthal, the35.37.

Rhine, the 33. 34. etc.

Rho 158.

Rhone, the 6. 8. etc.

— , la Perte du 22.

Riddes 25.

Rietberg 34.

Rifredi 341.

Rigi, the 28.

Rigoli 330.

Ringelspitz, the 34.

Rinkenberg 37.

Riola 312.

Riomaggiore 111.

Ripafratta 330.

Ritorto, the 138.

Riva (Lake of Como) 36.

— (Lake of Garda) 181,

— di Palanzo 137.
— , Lago di 36.
Rivaligure 94.
Rivarolo 74.
Rivellata, Promont. 434,
Riviera, the 31.

— di Levante 109.

— di Ponente 92.
Rivoli 44.
Robecco 166.
Robillante 108.
Roccabruna 99-100.
Rocca d'Anfo 182.
Roccavione 108.
Rocchetta 74. 181.
Rocchetta Pass, the 41
S. Rocco 178.

Roche Melon, the 24. 71.
Roche-Michel, the 24.
Rodent Bridge 30.
Roffna Gorge, the 35.
Rogliano 434.
Rognac 15.
Rogoredo 162. 266.
Rohrbach, the 29.
Roja, the 97. 108.
Rolo 199.

Romagna, the 264.
Romagnano 162.
Romano (near Bassano)
212.

— (near Treviglio) 171.
Romena 424.
Romerbad 48.

S. Romolo 97.
Roncaglia 168.
Ronchi 262.
Ronco 153.
Ronco, the_303.
Rondinaja 313.
Rongellen 34.
Roquebrune 100.
Rosa 211.

Rosa,Monte65. 68. 70 etc.
Rossano 211.
Rossillon 22.
S. Rossore 329.
Rosta 24.

Rota del Dragone 433.
Rothenbrunnen 34.
Rotonda, Villa (Brianza)
137.

— (nearVicenza) 198. 202.
Rotondo, Monte 433.
Rotta, La 319.
Rottofreno 72.
Rovato 171.

Rovenna 140.
Roverbella 194.
Roveredo (Bernardino)

— (Tyrol) 44.
Rovigo 280.
Rovio 148.
Rubbio 262.
Rubiera 270.
S. Rufilo313.
Russi 303.
Ruta 110.
Rutli, the 29.

Sabbia, Val 182.
Sabbio 183.
Sabiona 40.
Sacile 261.

Sacro Monte, the (near
Orta) 160.

— (near Varallo) 161.
Sagor 48.

INDEX.

451

Sagra, La 24.

Sagrado 262.

Sagro, Monte 113.

Sal a 140.

Salassins, Pont des 68.

Salbertrand 24.

Sale 80.

Sale Marazzino 178.

Salgesch 25.

Salloch 48.

Salo 181.

Salon 15.

Salorino 147.

Salquenen 25.

Saluggia 69.

Salurn 41.

Salussola 69.

Salute, La 153.

Saluzzo 109.

S. Salvatore, near Lucca

335.
S. Salvatore, Monte 149.
Samoggia 270.
Sampierdarena 90.
Sandigliano 69.
Sangulnarie. Isole 429.
Sann, the 48.
Sannazzaro 165.
Sanremo 95.
Sansobbia, the 93.
Santerno, the 302.
Santhia 69.
Santicolo 179.
Santino 155.
Santo, Monte 262.
Santuario di Savona 76.
Saone, the 5.
Saorgio 108.
Sarca, the 43.
Sarca, Val 43.
Sarche, Le 43.
Sardagna 44.
Sarmato 72.
Sarnico 177.
Sam thai, the 40.
Sartirana 158.
Sarzana 112.
Sarzanella 112.
Sassa Plana 35.
Sassi di Simone 425.
Sassina, Val 143.
Sasso 312.
Sasso di Castro 313.

— S. Martino 142.

— Rancio, il 143.

— del Ferro, the 154.
Sassuolo 279.

Sau, the 48.
Sava 48.
Save, the 48.
Savena, the 313.
Savigliano 109.

Savignano 312.
Savona 93.
— , Santuario di 76.
Savoureuse, the 4.
Savoy 22.

Saxon, Baths of 25.
Scarena 107.
Schachenbach, the 29.
Schamser Thai, the 34.
Schelleberg 39.
Schio 202.
Schleglmiihl 46.
Schleuis 37.
Schmirner Thai, the 39.
Schneeberg, the 45.
Schollenen, the 29.
Schottwien 46.
Schwanberg Alps 47.
Schwarzau, the 45.
Schwyz 28.
Schyn Pass 34.
Scrivia, the 72. 74.
Scudelatte 148.
Seben, Monastery 40.
Sebenstein, Castle 45.
Secchia, the 270. 276.
Seckau 47.
Secugnago 266.
Seelisberg 29.
Segrino, Lago 137.
Segusio 24.
Seillon 21.
Seitz 47.

Sella Lake, the 30.
Semedella 52.
Semmering 46.
— , the 45.
Sempione 26.
Sens 2.

Serbelloni, Villa 142.
Serchio, the 114. 330.
Seregno 135.
Seriate 171.
Serio, the 171.
Sermione, promontory

180.
Serra 279.

Serra Mts.. the 434.
Serraggio 432.
Serraglio, Ponte a 335.
Serravalle (Apennines)

74.

— (Tyrol) 44.

— (Tuscany) 336.

— (Venetia 261.
Serravezza 114.
Servola 52.
Sesia, the 70. 161.
— , Val 161.
Sessana 49.

Sesto, near Florence 341
— , near Milan 134.

Sesto Calende 158.
Sestri Levante 111.

— Ponente 92.
Setta, brook 312.
Settignano 426.
Settimo 69.
Settimo-Vittone 67.
Seveso, the 137.
Seyssel 22.
Siders 25.

Sierre 25.
Sieve, the 313.
Sigmundskron 41.
Signa 319.
Sill, the 38.
Sillaro, the 302.
Simone, the Sassi di425.
Simpeln or
Simplon 26.

— Pass, the 26.
Singorna, the 426.
Sion 25.

Sitten 25.

Siviano 178.

Sizzano 162.

Soave, Castle 199.

Soazza 38.

Soci 425.

Solagna 44.

Solano, the 424.

Solarolo 303.

Solbiate 146.

Sole, Val di 179.

Solero 73.

Solferino 171.

Soliera 199.

Someraro 159.

Somma 158.

Somma Campagna 172.

Sommariva, Villa s. V.

Carlotta.
Sommazzo 147.
Somvix 37.

Sonnwendstein, the 46.
Sopra Villa 137.
Soresina 166.
Sorgue, the 11.
Sorgues 9.
Sori 110.
Sornico 145.
Sospello 107.
Souzon, the 3.
Spezia, La 112.
Spielfeld 47.
Spigno 74.
Spinetta 72.
Spital 46.
Spluga 35.
Spliigen 35.
Splugen Pass, the 35.
Spotorno 94.
Sprechenstein, Castle 39,

29*

452

INDEX.

Spresiano 260.
Stafiflach 39.
Staffora, the 72.
Stalvedro, Stretto di 31.
Stanghella 280.
S. Stefano (Riv. di Po-
nente) 95.

— Belbo 75.

— in Pane 420.

— near Piacenza 266.
Steinach 39.
Steinbruck 48.
Stello, Monte 434.
Sterzing 39.

Stia 424.
Stoechades 19.
Storo 182.
Stradella 72.
Strahlhorn, the 154.
Strambino 66.
Strassburg 4.
Strassengel, Church of 46,
Stresa 156.
Stretta 432.
Strona, the 27.
Stura, the 69. 108. etc.
Sturla 109.

Succursale di Torino 69.
Sugana, Val 43.
Sulm, the 47.
Sulzano 178.
Sulzbach Alps, the 48.
Sulzberg, the 179.
Suna 155.
Superga, the 66.
Surettahorn, the 35.
Susa 24.
Susten 25.
Savers 35.
Snzzara 198.

Tabiago 137.
Taceno 143.
Taggia 95.

Tagliamento, the 261.
Taglioni, Villa 139.
Tagstein 34.
Tain 8.

Talfer, the 40.
Tambohorn, the 35.
Tanaro, the 73. 159.
Tanlay 2.

Tanzina, Villa 149.
Tarascon 11.
Tare, the 268.
Tassino, the 148.
Tassone,Cavo, Canal 281,
Tauroeis 16.
Tavanasa 37.
Tavazzano 266.
Taverna, Villa 140.
Taverne 32.

Tavernelle 199.
Tavernola, Villa 139.
Tavignano, the 431. 433.
Tavordo 151.
Teglio 139. 179.
Teirs Platte 29.
Telvana, Castle 43.
Tenay 22.
Tenda 108.

, Col di 108.
Tenno 182.
Teplitza 48.
S. Terenzo 112.
Terlago 43.
Ternitz 45.
Terzo 74.
Tesino, the 43.
Tessin s. Ticino.
Tezze, Le 44.
Thalie, the 3.
Theodule Pass, the 68.
Theresienfeld 45.

Thermae Pannonicae 45.

Thiene 202.
Thomery 2.

Thumburg 39.

Thusis 34.

Tiarno 182.

Ticino, the 30. 153. etc

Ticinum 163.

Tiene, see Thiene.

Tierser Thai 40.

Tignale 181.

Timavo, the 263.

Tirano 179.

Titan, He du 19.

Tivano, Piano del 140.

Toblino, Castle 43.

Toblino, Lake of 43.

Toccia or

Toce s. Tosa.

Tonale, Monte 179.

Tonnerre 2.

Torano, the 118.

Torbole 182.

Torcello 259.

Torno 140.

Torrazza di Verolan 6£

Torre-Beretti 158. 166.

— del Gallo 418.

— di Lago 114.

— Luserna 66.

— d'Orlando 268.

— Pellice 66.

— de' Picenardi 168.

— di Vezio 143.
Torretta 106.
Torri 182. 183.
Torrigia 140.
Tortona 72.

Tosa, the 26. 153. •
Toscolano 181.

Tosi 423.
Toulon 19.
Tour, La 66.
Tourbillon, Castle 25.
Tourette, La 106.
Tournanche, Val 68.
Tournon 8.
Tournus 4.
Tourtemagne 25.
Tradate 146.
Tramin 41.
Tratta, Monte 182.
Trautson, Chateau 39.
Tre Croci 146.
Trebia, the 72.
Trecate 71.
Tregolo 137.
Treib 28.

Tremezzinaj the 141.
Tremezzo l4l.
Tremula, Val 30.
Tremosine 181.
Trent 41.
Tre Potenze 313.
Tresa, the 151. 153.
Tresenda 179.
Treviglio 169.

Treviso 260.

Trezzo 145.

Tridentum 41.

Trieste 49.

Venice 263-260.
Vienna 49-45.

Trifail 48.

Trigione, the 433.

Trimelone, Island 183.

Trinite, La 107.

Trinquetaille 14.

Trins 37.

Trinserhorn, the 34.

Trivella, Castle 108.

Trofarello 73.

Trons 37.

Tronzano 69.

Tropaea Augusti 100.

Trostburg, Castle 40.

Tschotsch 40.

Tiiffer, Markt 48.

Turbia 100.

Turin 54.
Aceademia delle Belle

Arti 64.
— delle Scienze 59.
Armoury 57.
Botanic Garden 65.
Campo Santo 65.
Capp. del SS. Sudario

62.
Capuchin Monastery

Cathedral 61.
Cavallo di Marmo 57.

INDEX.

453

Turin :

Cavour's Monument
Cemetery 65.
Consolata, La 63.
Corpus Domini 62.
Exchange 61.
Galleria deir Industria

Subalpina 56.
Giardino Pubblico 65.

— Reale 58.

— della Citadella 63.

— dei Ripari 64.
Gran Madre di Dio 65.
Industrial Museum 61.
Library, Royal 58.

— , University 64.
S. Massimo 64.
Monuments 57. 58. 61.

62. 63. 64.
Museo Civico 64.

— Egizio 59.

— Lapidario 64.
Museum of Antiquities

59.
Nat. Hist. Museum 58.
Ospedale di S. Giov.

Batt. 61.
Palazzo deir Accade-

mia delle Scienze 59.

— Carignano 58.

— di Citta 62.

— Madama 56.

— Reale 57.
Piazza Carignano 58.

— S. Carlo 61.

— Carlo Alberto 58.

— Carlo Felice 63.

— Castello 56.

— Savoia 62.

— Solferino 63.
Picture Gallery 59.
Polytechn. School 65.
Protestant Church 65,
Rail. Stations 54.

S. Spirito 62.
SS. Sudario 62.
Superga 66.
Synagogue 64.
Tempio Valdese 65.
University 63.
Valentino, the 65.
Via di Po 56.

— Roma 61.

Villa della Regina 65
Zoolog. Garden 58.

Turin-Alessandria-Pia-
cenza 72.

Cuneo 107.

— -Genoa 72.

Modane-Paris 24-21.

Novara 69.

— -Milan 69.

Turin-Pinerolo 66.

Aosta 66-68.
Turr, La 35.
Turtman 25.
Tuscany 314.

TJccello, Pizzo 35.

Udine 261.

Unterau 39.

Uri, the Lake of 28.

Urio 140.

Urner Loch, the 30.

Ursern 30.

— , the Valley of 30.

Usmate 136.

Usselle 68.

Vado 93.

Val Madonna 159.

— d'Ottavo 335.

— Rhein 35. 37.

— Travaglia 154.
Valais, the Canton of 25
Valdieri, Baths of 108.
Valence 8.

Valentia 8.
Valenza 159. 165.
Valeria, Castle 25.
Vallauris 20.
Valle 158.
Vallecrosia 97.
Vallombrosa 423.
Valmadonna 70. 159.
Valmara, the 153.
Valserine Viaduct, the

22.
Valstagna 44.
Valtravaglia 154.
Var, the 77. 107.
Vara, the 111.
Varallo 161.
Varallo-Pombia 158.
Varazze 93.
Varenna 143.

— , Lago di 146.
Varignano 182.
Varrone, the 144. 182,
Vassena 145.
Vaucluse 11.
Vedeggio, the 32.
Velasquez, Villa 144.
Velleia 268.
Venda, Monte 279.
Venetia 184.
Venetian Mts. 43.
Venice 212.

Accademia delle Belle
Arti 231.

S. Antonino 256.
I SS. Apostoli 247.
I Archives 250.

Venice :
Arco Bon 245.
Arsenal 231.
Atrio 221.

Banca Nazionale 242.
S. Bartolommej 247.
Baths 214.
Beccherie 248.
Beer 213.
S. Biagio 231.
Boats 213.
Booksellers 214.
Botan. Garden 244.
Bridge of Sighs 230.
Ca da Mosto 242.
Ca del Duca 243.
Ca d'Oro 243.
Cafes 213.
Campanile of St. Mark

224.
Campo di Marte 258.
Canal Grande 239.
Canareggio, the 244.
Carceri 230.
Carmine 250.
Carnival, the 215.
S. Cassiano 248.
S. Caterina 253.
Chemist 215.
Cemetery Island 259.
Climate 215.
Clock Tower 225.
Colleoni, Statue of 255.
Consulates 214.
Corso Vitt. Emanuele

247.
Corte del Remer 242.
Diga di Malamocco 220.
Dogana di Mare 239.
Doges, Palace of the

225.
S. Elena (island) 259.
English Church 215.
Erberia 242. 248.
S. Eustachio 243.
Exhibition of Art 215.

241.
Fabbriche Nuove and

Vecchie 242.
S. Fantino 251.
S. Felice 247.
Fish Market 242.
Fondaco de' Tedeschi

242.

— de' Turchi 243.
Fondamenta Nuove

253.

— delle Zattere 258.
S. Francesco della

Vigna 256.
Frari 248.
Frezzaria 215.

454

INDEX.

Venice :

S. Geremia 243.
Gesuiti 253.
Ghetto Vecchio 244.
S. Giacomo deir Orto

247.
S. Giacometto di Rial to

247.
Giardino Papadopoli

244.

— Reale 225.
Giardini Pubblici 258.
S. Giobbe 244.

S. Giorgio Maggiore
257.

— dei Greci 256.

— degli Schiavoni 256.
SS. Giovanni e Paolo

254.

— in Bragora 256.

— Elemosinario 248.

— Crisostomo 247.
Giudecca, the 257.
S. Giuliano 246.
Gobbo di Rialto 248.
Gondolas 213.
Grand Canal 239.
Guides 214.
History 216.

— of Art 218.
Hotels 212.
Hotels Garnis 213.
Lagune, the 220.
S. Lazzaro 259.
Library 225.
Lido 259.
Manin's Tomb 224.

— Monument 252.
S. Marco 222.

S. Marcuola 243.

S. Maria Formosa 245.

— del Carmine 250.

— dei Frari 248.

— Mater Domini 248.

— de' Miracoli 255.

— deir Orto 253.

— della Pieta 231.

— della Salute 252.

— Zobenigo 251.
S. Martino 256.
S. Marziale 253.
S. Maurizio 251.
Merceria, the 225.
Misericordia, Abbad.

253.
S. Moise 251.
Mosaics 215.
Municipio 241.
Murazzi 220.
Musco Civico Corner

243.
Nuova Fabbrica 221.

Venice :
Omnibus boats 212.
Pal. Albrizzi 248.

— deir Ambasciatore
240.

Palazzo Balbi 241.

— Barbarigo 241.

— Barbaro 240.

— Battagia 243.

— Bembo 241.

— Bernardo 241.

— Bianca Capello 245.

— Ca d'Oro 243.

— Ca del Duca 240.

— de'Camerlenghi242.

— Cavalli 240. 241.

— Contarini 239.

— Contarini-Fasan
239.

— Contarini delle Fi-
gure 240.

— Contarini degli
Scrigni 240.

— Corner della Ca
Grande 240.

— Corner- Mocenigo
248.

— Corner dellaRegina
248.

— Corner-Spinelli 241.

— Correr (Museo Ci-
vico) 243.

— CortedelRemer242.

— Da Mula 240.

— Dandolo 241.

— Dario-Angarani239.

— Ducale (of the
Doges) 225.

— Emo-Treves 242.

— Erizzo 241.

— Farsetti 241.

— Ferro 239.

— Fini-Wimpffen 240,

— Fontana 243.

— Foscari 240.

— Frangini 243.

— Gambara 240.

— Garzoni 241.

— Giovanelli 253.

— Giustiniani 239.
240.

— Giustiniani-Reca-
nati 258.

— Giustinian-Lolin
240.

— Grassi 240.

— Grimani 241.
della Vida 243.

— Labia 244.

— Loredan 241.

— Malipiero 240.

— Manfrin 244.

Vonicc :
Pal. Mangilli-Valma-
rana 242.

— Manin 241.

— Manzoni-Angarani
240.

— Michieli dalle Co-
lonne 242.

— Mocenigo 240.

— Moro-Lin 240.

— Morosini 262.

— Mosto (Ca da) 242.

— Papadopoli 241.

— Patriarcale 245.

— Persico 241.

— Pesaro 243.

— Pisani 252.

Moretta 241.

a S. Paolo 241.

— Querini 246.

— Reale 221.

— Rezzonico 240.

— Sagredo 242.

— Savornian 244.

— Tiepolo 241.

— Tiepolo-Sturmer
241.

— Tiepolo-Zucchelli
239.

— Trevisani 245.

— Tron 243.

— Vendramin 243.

— Venier 239.

— Zichy-Esterhazy
240.

Paleocapa, Monum. of

252.
S. Pantaleone 250.
Pescheria 242.
Physician 215.
Photographs 215.
Piazza of St. Mark 221.
Piazzetta, the 225.
S. Pietro di Castello

258.
Piombi, the 230.
Ponte della Paglia 230.

— di Rialto 242.

— de' Sospiri 230.

— Storto 245. * .
Porta della Carta 226.

— del Paradiso 246.
Post Office 215.
Pozzi, the 230.
Prisons 230.
Private Apartments

213.
Procurazie 221.
Railway Station 213.

244.
Redentore 257.
Restaurants 213.

INDEX.

455

Venice:

Rialto, the 242.

Kiva degli Schiavoni
230.

S. Rocco 250.

S. Salvatore 246.

Scala dei Giganti 226.

Scalzi 243.

Scliulenberg's Monu-
ment 231.

Scuola di S. Marco 255.

— dei Carmini 251.

— della Carita 231.

— di S. Rocco 250.

— delFAngeloCustode
247.

Sea-baths 214.

S. Sebastiano 258.

Seminario Patriarcale

239.
Shops 215.

S. Simeone Piccolo 244.
Spedale Civile 254.
Steamers 215.
S. Stefano 251.
Telegraph Office 215.
Theatres 215.
Torre delf Orologio

225.
Traghetti 214.
Trattorie 213.
Vegetable Market 242,

S. Vitale 251.

S. Zaccaria 245.

Zecca 225.
Venice-Trieste 260-63.
— -Verona 203-199.
Venere, Porto 115.
Vcntimiglia 97.
Verbanus, Lacus 152.
Vercelli 69.
Verde, Capo 95.
Verdello 169.
Vergato 312.
Vergiate 158.
Vergnasco 69.
Verlorne Loch, the 34.
Vermanagna, the 108.
Vernazza 111.
Vernia, the 425.
Verola Nuova 166.
Verona 186.

Amphitheatre 187.

S. Anastasia 189.

Arco de" Leoni 192.

Arena 187.

S. Bernardino 190.

Biblioteca Capitolare
190.

— Comunale 191.

Campo Santo 193.

Verona :
Cappella de" Pellegrini

190.
Casa Mazzanti 188.

— dei Mercanti 188.
Castello S. Pietro 193.

— Vecchio 190.
Cathedral 189.
Cemetery 193.
Corso Cavour 187.
Dante's Statue 188.

S. Fermo Maggiore 192.
Giardino Giusti 193.
S. Giorgio in Braida

190.
S. Giovanni in Fonte

190.
Guardia Antica and

Nuova 187.
History of Art 187.
Loggia, la 188.
S. Maria Antica 189.

— in Organo 193.

— della Scala 191.
Municipio 187.
Museo Civico 192.

— Lapidario 187.

S. Nazzaro e Celso 19
Palazzo del Consigl
188.

— Bevilacqua 190.

— Canossa 190.

— de' Giureconsulti
188.

— Guastaverza 187.

— Maffei 188.

— Pompei 192.

— Portalupi 190.

— della Ragione 188

— Tedeschi 191.

— Tuzzi 188.
Pellegrini, Capp. 190.
Piazza Bra 187.

— delle Erbe 188.

— dei Signori 188.

— Vittorio Emanuel e
187.

S. Pietro Martire 189
Pinacoteca 192.
Ponte delle Navi 192.

— della Pietra 193.
Porta de' Borsari 188

— Knova 186.

— Palio 190.

— Stuppa 190.

— Vescovo 186.

— Vittoria 193.
Portone della Bra 187
Roman Theatre 194.
S. Sebastiano 191.
Teatro Filarmonico

187.

Verona :

Tomb of Juliet 194.
Tombs of the Scaligers

189.
Town Hall 188.
Vescovado 190.
S. Zeno Maggiore 190.
Verona-Milan 172-171.
-Mantua-Modena 194
199.

— Rovigo 194.
-Venice 199-203.
Verona, LaChiusa di 44.
Verrex 67.
Verruca, the 314.
Verzasca, the 32.
Vescovato 432.
Vesontio 4.
Vespolate 158.
Vestone 183.
Veyle, the 21.
Vezia 32.

Vezzano (near Reggio)
270.

— (in the Tyrol) 43.
Via Emilia 268. 270.

— Flaminia 264.
Via Mala, the 34.
Viareggio 114.
Vicenza 199.
Vidalengo 171.
Viege 25.
Vienne 7.

Vieux-Mont-Ferrand 22.
Vigasio 194.

Vigese, Monte 312.
Vigevano 158.
S. Vigilio 180. 183.
Vignola 279.
Vigo 312.
Vigodarzere 411.
Vigolo 43.
Vigoni, Villa 143.
Villa (near Lucca) 335.

— (near Domo d'Ossola)
26.

Villabartolomea 194.
Villafranca (nearAsti)73.

— (near Nice) 106.

— (near Verona) 194.
Villamaggiore 162.
Villa Martis 23.
Villanuova (near Asti)

73.

— (near Verona) 199.
Villa Romano 137.
Villastellone 74.
Villefranche (near

Aosta) 68.

— (near Nice) 106.
Villeneuve 9.

— St. Georges 1.

^56

INDEX.

Villeneuve la-Guiavd 2.
— sur-Yonne 2.
ViUetta 168.
St. Vincent 68.
Visignola 145.
Viso, Monte 108.
Visp or
Vispach 25.
S. Vito, Bay of 112.
S. Vittore 38.
S. Vittoria 75.
Vittuone 71.
Vitznau 28.
Vivario 432.
Vizzavona 432.
Vobarno 183.
Vogelberg, tlie 38.
Voghera 72.

Alessandria- Turin

72, 73.

Pavia-Milan 166-162.

Piacenza 72.

Vogogna 26.

Volciano 183.
Volterra 319.
Voltorre 146.
Voltri 93.
Voragine 93.
Voslau 45.
Vouaclie, Mont 22.
Vougeot 3.
Voujaucourt 4.

Waggis 28.
Waidbruck 40.
Waldensian Valleys, the

66.
Waldhiiuser 37.
Waldraster-Spitze 38.
Waltensburg 37.
Wartenstein, Castle 45.
Wasen 29.
Wattingen 29.
Weinzettelwand, the

46.
Weisseneck, Castle 47.

Welfenstein, Castle 39.
Wildon, Castle 47.
Wilten, Abbey 38.
Windgellen, the 29.
Wipbach, the 261.
Worms s. Bormio.
Wotsch, the 48.

Teres, the 1.
Yonne, the 2.

Zapport Glacier 37.
Zapporthorn, the 35.
Zaule 52.
Zenna 153.
S. Zeno 166.
Zibio, Monte 279.
Zignau 37.
ZiUis 35.
Zinasco 165.
Zirknitzer See, the 49.
Zoagli 111.

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, ca. =
circa, about; Bol. = Bolognese, Bresc. = Brescian, Crem. = Cremonese,
Flor. = Florentine, Ferr. = Ferrarese, Gen. = Genoese, Lomb. = Lom-
bardic, Mil. = JSIilanese, Mod. = of Modena, Neap. = Neapolitan, Pad.
= Paduan, Parm. = Parmesan , Rav. = of Ravenna , Rom. = Roman,
Sien. = Sienese, Umbr. = Umbrian, Ven. = Venetian, Ver. = Veronese,
Vic. = Vicentine.

The Arabic numerals enclosed veithin brackets refer to the art notices
throughout the Handbook, the Roman figures to the Introduction.

Ahbdte.mccolb delV, Lomb. P., 1512-71.

— (195).

Agnolo, Baccio d\ Flor. A., S., 1462-

1543. — (xliii).
Alamannus , Joh. (Giovanni d'Ale-

magna, Oiov. da Murano), Ven. P.,

middle of the 15th cent. — (219).
Alha,Macrino d\ Lomb. P., about 1500.
Albano (Albani), Franc. Bol. P.,

1578-1660. - (289).
Alberts Leo Batt., Flor. A., 1405-72.

— (xxxviii. 350).

Albertinelli, Mariotto, Flor. P., 1474-

1515. — aiv. 350).
Alessi, Galeazzo ^ A., follower of

Michael Angelo, 1500-72.— (xliii. 81).
Algardi, Al., Bol. S., A., 1602-1654.
Allegri, Ant., see Covreggio.
AUori, Aless., Flor. P., 1535-1607. —

(350).
— , Cristofano(foro) , Flor. P., 1577-

1621. — (Iviii. 350).
AUichicri da Zevio, Ver. and Pad. P.,

second half of the 14th cent. —

(xxxvii).
Alunno, Mccold, da Foligno, Umbr. P.,

ca. 1430-1502.
Amadeo (Amadio), Giov. Antonio,

Lomb. S., ca. 1447-1522. — (xlvi).
Amerighi, see Caravaggio, Mich.
Ammandti, Bart. Flor. A., S., 1511-92.

— (xliii).

Angelico da Fiesole, Fra Giov., Flor.

P., 1387-1455. — (xlvii. 350. 386).
Angussola ( Anguiseiola), Sofonisbe d\

Crem. P., 1535-1626. — (167).
Anselmi, Michelangelo, Lucca P., ca.

1491-1554.
Area, Nice. delV, Bol. S., d. 1494.
Arnolfo del (di) Cambio, see Cambio.

Arpino, Cavaliere d' (Gius. Cesari),

Rom. P., ca. 1560-1640. — (Ivii).
Aspertini, Amico, Bol. P., c. 1475-1552.
Avanzi, Jacopo degli, Bol. P., 2nd

half of the I4th century.
Avanzo, Jacopo d\ Pad. P., 2nd half

of the 14th cent. — (xxxvii).
Badile, Ant., Ver. P., 1480-1560.
Bagnacavallo (Bart. Ramenghi), Bol.

and Rom. P., 1484-1542. — avi. 289).
Baldovineiti , Alessio , Flor. P., 1427-

1499.
Bambaja, il (Agostino Busti), Mil. S.,

ca. 1470-?. — (xlvi. 126).
Bandinelli, Baccio, Flor. S., 1493-

1560. - (li. 350).
Bandini, Giov. (0. delV Opera), Flor.

S., pupil of the last, 2nd half of

the 16th century.
Baratta , Franc. , S., pupil of Ber-
nini, d. 1666.
Barbarella, Giorgio, see Giorgione.
Barbieri, see Guercino.
Baroccio, Federigo, Rom. P., follower

of Correggio, 1528-1612.
Bartolommeo delta Porta, Fra, Flor.

P., 1475-1517. — (liv. 350. 386).
Basaiti, Marco, Ven. P., ca. 1490-1520.
Bassano, Franc, (da Ponie). father of

Jacopo, Ven. P., ca. 1500. — (211.

220).
— , Jacopo (da Ponte), Ven. P., 1510-

1592. — (211. 220).
— , Leandro (da Ponte), son of Jacopo,

Ven. P., 1558-1623. — (211. 220).
Bazzi, Giov. Ant., see Sodonia.
Beccafumi, Domenico, Sien. P., 1486-

1551.
Begarelli, Ant., Mod. S., 14989-1565.

— (xlvi. 276).

458

LIST OF ARTISTS.

Bellini Gentile, brother of Giovanni,

Ven. P., 1421-1507. — (xlviii. 219).
— , Jacopo, father of Giovanni, Ven.

P., 140?-1464. - (xlix. 219).
— , aiovanni, Ven. P., 1426-1516. —

(xlviii. 219).
Bellotto (BelloUi), see Canaleiio.
Beltraffio, see BoUraffio.
Bergamasco, Guglielmo, Ven. A.. 1st

half of the 15th century.
Bernini. Giov. Lorenzo, Eom. A., S.,

1589-1680.
Berettini, Pietro, see Cortonn.
Bibbiena-i Ant. Galli da, Bol. A.,

1700-74.
Bigio, Franc, see Franciahigio.
Bigordi, see Ohirlandajo.
Bissolo, Pier Franc, Ven. P., ca.

1492-1530.
Boccaccino da Cremona the Elder,

Crem. P., ca. 1460-1518. — (232).
Bologna , Giov. da, or Giamhologna

(Jean de BotiUogne from Douai),

S., 1524-1608.
BoUraffio (Beltraffio), Giov. Ant.,

Mil. P., pupil of Leonardo, 1467-

1516. — (119).
Bonannns, Pisa, A., S., towards the

end of the 12th cent. — (321).
Bonifacio the Elder, d. 1540, the

Younger, d. 1553 , the Youngest,

ca. 1555-79, Ven. P. — (Ivii. 219).
Bonsignori, Franc, Ver. P., 1455-1519.
Bonvicino, see Moretto.
Bordone, Paris, Ven. P., 1500-70. —

Ovii. 219).
Borgognone, Ambrogio , da Fossano,

Mil. P., 1455?-1524?
Botticelli, Aless. or Sandro, Flor. P.,

1446-1510. — (xlviii. 340. 350).
Bramante, Donato, A., 1444-1514. —

(xlii. 119).
Bregni or Rizzi, Antonio, Lorenzo,

Pietro, Ven. S., 15th cent. — (219).
liril, Paul, Flemish P., 1556-1626.
Briosco, see Riccio.
Bromino, Angelo, Flor. P., ca. 1502-

72. — (liv. 350).
Brunellesclii (BruneUesco), Filippo,

Flor. A., S., 1379-1446. — (xlii. 350).
Biiffnlmacco, Pisa, P., ca. 1300. —

(321).
Biigiardini, OiuUano, Flor. P., 1475-

1554.
Buon, Bart., Ven. A., S., 15th cent.
Buonarroti, see Michael Angelo.
Buonconnglio , Giov., surnamed Ma-

rescalco, Vic. P., ca. 1497-1530. —

(200).
Buoitsignori, see Bonsignori.
Buontalenti, Bern., Flor. A., 1536-1608.
Busti, Agost., see Bambaja.

Caccini, Giov. Batt., Flor. A., 1562-

1612.
Cagliari, Benedetto, brother of P.

Veronese, 1538-98.
— , Carletto , son of P. Veronese,

Ven. P., 1572-96.
— , Gabriele , son of P. Veronese,

Ven. P., 1568-1631,
— , Paolo, see Veronese.
Calendario, Fil., Ven. A., S., middle

of the 14th cent. — (219).
Cambiaso, Luca, Gen. P., 1527-85. —

(81).
Cambio, Arnolfo del (di), Flor. A., S.,

1240-1311. — (349).
Campagna, Girolamo, Ven. S., pupil

of .lac. Sansovino, 1552-1623. —

(219).
Campagnola , Bom., Pad. P., ca.

1511-64.
Campi, Ant., son of the following,

Crem. P., d. ca. 1591.
— , Galeazzo, Crem P., 1475-1536.
— , Giulio , son of the preceding,

Crem. P., ca. 1502-72.
Campione, Marco di, Lomb. A., end

of the 14th century.
Canaletto (Antonio Canale), Ven. P.,

1697-1768. — (220).
— (Bern. Bellotto}, Ven. P., 1724-80.

- (220).

Canova, Antonio, S., 1757-1832. — (212).
Cappuccino Genovese, see Strozzi.
Caracci, see Carracci.
Caravaggio, Michaelangelo Amerighi
da, Lomb. and Rom. P., 1569-1609.

- (166).

— , Polidoro Caldara da, Rom. P.,

1495-1543. — (Iv).
Cardi, Luigi, see Cigoli.
Caroto, Giov. Franc, Ver. P., 1470-

1546. — (Ivi.).
Carpaccio, Vittore, Ven. P., ca. 1470?-

1519. - (219).
Carpi, Girol. da, Ferr. P., 1501-68.
Carracci, Agostino,^^.^., 1558-1601.

- (289).

— , Annibale, brother of Agostino,

Bol. P., 1560-1609. — (Iviii. 289).
— , A7itonio, son of Agostino, Bol. P.
— , Lodovico, Bol. P., 1555-1619. —

(289).
Carrucci, see Pontoi'mo.
Castagno , Andrea del, Flor. P.,

1390-1457.
Castiglione, Benedetto, Gen. P., 1616-

70. — (81).
Catena, Vincenzo, Ven. P., d. 1531. —

(219).
Cavazzola (Paolo Moranda), Ver. P.,

1486-1522.
Cavedoni, Giac, Bol. P., 1577-1660.

LIST OF ARTISTS.

459

Cellini, Benvenuto, Flor. S. and gold-
smith, 1500-72.
Cerano, il, see Crespi, Giov. Ball.
Cignani, Carlo, Bol. P., 1628-1719.
CiffoU (Luigi Cardi daXFlor. P., 1559-

1613. — (350).
Cima (Giov. Baft. C. da Conegliano),

Yen. P., ca. 1489-1508. — (219).
Cimabiie, Giov., Flor. P., 1240 ?-l 302? —

(XXXV. 321. 349).
done, Andrea di, see Orcagna.
Cittadella, see Lomhardi, Alf.
CivitaXi, Matteo , Lucca, S. , 1435-

1501. — (xlvi. 331).
Claude le Lorrain (Gellie), French P.,

1600-82.
Clemenli, Prosp., S. in Regg;io, pupil

of Michael Angelo, d. 1584.
Clovio, Don Giulio, miniature P., pupil

of Giul. Rom, 1498-1578.
Conegliano, Giov. Bait, da, see Cima.
Correggio {Antonio Allegri da), Farm.

P., 1494?-1534. — (Ivi. 271).
Coriona, Pietro (Berettini) da, Flor.

A., P., 1596-1669.
Cosimo, Piero di, see Piero.
Costa, Lorenzo, Ferr. P., 1460-1535. —

(283).
Credi, Lorenzo di, Flor. P., 1459-1537.

— (1. 60. 350).
Crespi, Benedetto (il Bustino), Mil. P.,

17th century.
— , Daniele, Mil. P., 1590-1630.
— , Giov. Baft, (il Cerano), Mil. A.,

S., P., 1557-1633.
Cresti, Bom., da Passignano, Flor. P.,

Crivelli, Carlo, Ven. P., ca.

(xlviii. 128. 219).
Cronaca, Sim., Flor. A., 1454-1509. —

(350).
Banti, Vine, Flor. S., 1530-76.
Deferrari, Greg., Gen. P., 1644-1726.
Bold, Carlo, Flor. P., 1616-86. — (350).
Domenichino (Domenico Zampicri), Bol.

P., A., 1581-1641. — (Iviii. 289).
Donatello (Donato di Mccold di Betti

Bardi),-FloT. S., 1386-1466.— (xlv.

204. 350).
DossoDossi, Ferr. P., ca. 1479-1546. —

(Ivi. 283).
Duccio di Buoninsegna, Sien. P., ca.

1285-1320. — (XXX v).
Dilrer, Alb., German P., 1471-1528.
Dyck, Ant. van, Antwerp, P., 1599-

1641. — (81).
Empoli, Jac. Chimenti da, Flor. P.,

1554-1640.
Eusehio di S. Giorgio, Umbr. P., ca.

1500.
Fabriano, Gentile da, Umbr. P., ca.

1370-1450. — (xlix).

Palconetto , Giov. Maria, Pad. A.,

1458-1534. — (xliii).
Farinato_,Paolo, Ven. P., ca. 1524-1606.
Ferramola, Floriano od. Fioravante

Bresc. P., d. 1528. — (172).
Ferrari, Gaudenzio, Lomb. P., 1484-

1549. - (59. 119).
Ferrucci, Andr., da Fiesole, Flor. S.,

1465-1526.
Fioravante, see Ferramola.
Fiesole , Fra Giovanni Angelica da,

see Angelico.
—, Minoda, Flor. S., 1431-84. —(xlvi).
Filarete, Ant., Flor. A., d. 1465?
Finignerra, Maso, Flor. goldsmith,

ca. 1452.
Foggini, Giov. Batt., Flor. S., 1652-

1737.
Fontana, Prosper o, Bol. P., 1512-97,
Fonte, Jac. delta, see Quercia.
Formigme (Andrea Marchesi),'Bo\. A.

S., ca. 1510-70.
Francavilla(Francheville), Pietro, S.

pupil of Giov. da Bologna, 1548-

ca. 1618.
Francesca, Piero delta (Pietro di Be-
nedetto), Umbrian-Flor. P., b. 1423

d. after 1509. — (xlviii).
Francia, Francesco (Franc. Raibolini).

Bol.P., 1450-1517. — (289).
— , Giacomo (Qiac. Raibolini), son of

the last, Bol. P., ca. 1487-1557. —

(289).
Franciabigio (Francesco Bigio), Flor.

P., 1482-1525. — (350).
Francucci, Innoc, see Tmola.
Furini, Franc, Flor. P., 1600-49. —

(350).
Gaddi , Agnolo , Flor. P. , pupil of

Giotto, 1333-1396. — (349).
— , Gaddo, Flor. P., ca. 1260-1327.
— , Taddeo, Flor. P., A., pupil of

Giotto, ca. 1300-66. — (349).
Garbo, Rafaellino del (R. Capponi),

Flor. P., ca. 1466-1524.
Garo/alo (Benvenuto Tisio), Ferr. P.,

1481-1559. - (Iv. 283).
Ghiberti, Lor., Flor. S., 1378-1455. —

(xlv. 350).
Ghirlandajo , Boin. (Bom. Bigordi),

Flor. P., 1449-94. - (xlvii. 350).
— , Ridolfo (R. Bigordi), son of the

last, Flor. P., 1483-1561. — Oiv. 350).
Giambologna, see Bologna, Giov. da.
Giocondo, Fra, Ver. A., 1435-1514.—

(xlii. 187).
Giordano, Luca, surnamed Fapresto,

Ifeap. P., ca. 1633-1705.
Giorgione (Giorgio Barbarella), Ven.

P., 1477?-1511. — (Ivi. 219.)
Giottino , Flor. P., pupil of Giotto.

460

LIST OF ARTISTS.

Giotto (di Bondone), Flor. P., A., S.,

1276-1337. — (XXXV. 204. 349).
Gobbo, see SolaiH.
Gozzoli, Benozzo, Flor. P., pupil of

Fra Angelico, 1420-97. — (xlviii.

321. 350).
Granacci. Franc, Flor. P., 1469-

1543.
Guercino, il (Giov. Franc. Barbieri),

Bol. P., 1590-1666. — (281).
Holbein, Bans, the Younger, German

P., 1497-1543.
Honthorst,Gerh.(OerardodellaNolte),

Dutch P., 1590-1658.
Imola, Innocenzo da (Inn. Francucci),

Bol. P., 1494? -1550? — (289).'
Juvara (Ivara), Fit., A., 1685-1735.
Kaiifmann, Maria Angelica, German

P., 1741-1807.
Landini, Taddeo, Flor. S., d. 1594.
Lanfranco, Giov., Lomb. and Rom.

P., 1580? -1647.
Lanini, Bernardino, Lom. P., ca.

1520-1578 ?
Leonardo da Vinci, P., S., and A.,

1452-1519. — (xlix. 119. 350).
Leopardo,Aless., Yen. S., 14??-1521.

— (xlvi. 219).

Liberate da Verona, Ver. P., 1451-1515?

— (187).

Libri, Girolamo dot, Ver. P., 1474-1556.

— (187).

Licinio, Bernardino, P., pupil ofPor-

denone, ca. 1524-42.
— , Giov. Ant., see Pordenone.
Ligozzi, Jac, Flor. P., 1543-1627.
Lionardo, see Leonardo.
Lippi, Filippino, Flor. P., 1457-1504.

— (xlvii. 340. 350).

— , Fra Filippo, father of Filippino,
Flor. P., 1412-69. — (xlviii. 204. 350).

Lombardi, Alfonso (Alf. Cittadella),
Bol. andFerr. S., 1488-1537.— (288).

Lombardi (Pietro, d. 1519, Tullio,
d. 1559, Antonio, Girolamo, etc.),
Ven. A. andS., I5th and 16th cent.

— (xlii. 219).

Longhena, Bald., Ven. A., 1604-75.—

(219).
Long/ii, Luca, Rav. P., 1507-80.
Lorenzo, Don (Lor. Monaco), ¥lor.P.,

end of the 14th and beginning of

the 15th century.
Lotto, Lorenzo, Ven. P., 1480?- 1554?

— (Ivii. 170. 219).

Litini, Bernardino, Mil. P., 1470?-

1530? — (1. 119).
Majano, Benedetto da, Flor. A. and

S., 1442-97. — (350).
— , Gitiliano, Flor. A., 1432-90.
Mantegna, Andrea, Pad. P., 1431-1506.

— (xlviii. 195. 204).

Maratti (Maratla), Carlo, Rom. P.,

1625-1713.
Marcantonio Raimondi, engraver, ca.

1488-1527.
MarcheH, Andrea, see Formigine.
Marconi, Eocco, Ven. P., ca. 1500. —

(219).
Marescalco, see Buonconsiglio, Giov.
Marziale, Marco, Ven. P., ca. 1492-

1507. — (219).
Masaccio, Flor. P., 1401-28. — (xlvii.

350).
Masolino (da Panicale), Flor. P., 1383-

1447. — (146).
Mazzola, see Mazzuola.
Mazzolino, Lodov., Ferr. P., 1481-1530.

— (Ivi. 283).

Mazzoni, Outdo (Modanino), Mod.S.,

d. 1518. — (xlvi. 276).
Mazzuola, Fil., Parm. P., d. 1505. —

(272).
— , Franc., see Panneggianino.
Melone,AUobeUo, Crem. P., beginning

of the 16th centurv.
Jlfemiin£^,^ans, Flemish P., ca. 1430-95.
Mengs, Ant. Raphael, P., 1728-79.
Messina, Antonello da. P., b. softer

1410, d. ca. 1493. — (219).
Michael Angelo Buonarroti, A., S., and

P., 1475-1563. — (1. 350).
Michelozzo, Flor. A. and S., 1391-

1472. - (350).
Modanino, see Mazzoni.
Montagna, Bartol., Vic. P., 14? ? -1523.

— (200).

— , Benedetto, Vic. P., son of the

last. — (200).
Montelupo, Baccio da, Flor. S. and

P., 1469?-1533?
— , Raff, da, son of Baccio, Flor. S.,

b. ca. 1505., d. ca. 1570.
Montorsoli, Fra Giov. Ang., Flor. S.,

ca. 1506-63.
Moranda, Paolo, see Cavazzola.
Morelto da Brescia (Alessandro Bon-

vicini od. Bonvicino), Ven. P., 1498-

1555. — (Ivi. 172).
Morone, Franc, Ver. P., 1473 or

1474-1529. — (187).
Moroni (Morone), Giov. Bait., Ven.

P., 1510? -1578.
Murano, Ant. and Bartol. da, see

Vivarini.
— , Giov. da, see Alamannus.
Nanni (d^ Antonio) di Banco, Flor. S.,

ca. 1400-1421.
Nelli, Ottaviano, Umbr.P., d. 1444.—

(xlix).
NoveUi, Ant., Flor. S., 17th century.
Oggionno, Marco da, Blil. P., pupil

of Leonardo, 1470?-1540?— (119).
Opera, Giov. deW, see Bandini.

LIST OF ARTISTS.

461

Oreagna or Orgagna (Andr. di Cione),

Flor.A., S.,andP., pupil of Giotto,

1308? -1368? - (350).
Padovanino (Aless. Varotari), Ven.P.,

1590-1650. — (220).
PaggLOiov.BaU., Gen. P., 1554-1627.

- (81).
Palladio, Andr., Vic. and Ven. A.,

1518-80. — (xliii. 200. 219).
Palma Oiovane, Giac, Ven. P., 1544-

ca. 1628. — (220).
— , Vecchio, Giac, Ven. P., 1480-

1528. — (Ivi. 219).
Palmezzano, Marco, of Forli, Flor.

P., 1490-1530.
Panetti, Domen., Ferr.P., 1460?- 1511

or 1512.
Parmeggianino or Parmigianino

(Franc. Mazzuola), Parm.P., 1503-

1540. — (271).
Passignano, see Cresti.
PeUegrino Pellegrini, see Tibaldi.
Penni, Franc, (il Fattore), Flor. P.,

1488-1528. — (Iv).
Perugino , Pietro (Pietro Vannucci).

Umbr.P., 1446-1524. — (xli.x. liii).'
Peruzzi, Baldass., Sien. and Rom. A.,
• and P., 1481-1537. — (xliii).
Pesellino (Francesco di Sfe/ano), Flor.

P., 1422-53.
Piazza, Calisto da, Ven. P., 1524-56.
Piero di Cosimo , Flor. P. , 1462-

1521.
PinteUi, Baccio, Flor. A. and S., ca.

1472-90.
Piniuricchio, Bernardino, Umbr. P.,

1454-1513. — (xlix. liii).
Piola, Pellegro, Gen. P., 1607-30.
Piombo, Sebasl. del, see Sebastiano,
Plppi, see Romano.
Pisanello, see Pisano, Vittore.
Pisano, Andrea, Pisan S., d. after

1349. — (321).
— , Giov., Pisan A. and S., son of Nic-

colo, d. 1320. - (321).
— , Oiunta, Pisan P., 1st half of the

13th cent. — (321).
— , Mccola(b), Pisan A. and S., d.

1278. — (XXXV. 321).
— , ViUore(PisaneUo), Ver. P., d. ca.

1455. — (187).
PoceUi(PocceUi), Bernardino. Flor. P.,

1542-1612.
Polidoro, see Caravaggio.
Pollajvolo, Ant., Flor. A., S., and P.,

1429-98. - (350).
— , Piero, Flor. S. andP., 1441-89? —

(350).
Ponte, Ant. da, Ven. A., 2nd half of

the 16th cent. — (219).
— , Franc, Jac„ Leandro da, see Bas-

Pontormo,Jac. (Carrucci)da, Flor. P.,

1494-1557. — (liv. 350).
Pordenone, Giov. Ant. (G. A. Licinio

da P.), Ven. P., 1483-1539. — (Ivii.

219).
Pordenone, see also Licinio, Bernar-
dino.
Porta, Bart, delta, see Barlolommeo.
— , Giac. delta, Lomb. A. and S.,

1541-1604.
— , Guglielmo delta, Lomb. S., d.l577.
Poussin, Gaspard (G.Dughet), French

P., ldl3-75.
— , Nicolas, French P., 1594-1665.
Prete Genovese, see Strozzi.
Previtali, Andrea, Ven. P., ca. 1480-

1528.
Primaticcio, Mccolb, Mant. P., 1490-

1570. — (195).
Procaccini, Camillo, Mil. P., 1546-

ca. 1609.
— , Ercole, the Elder, father 'of the

last, Mil. P., b. 1520, d. after 1591.
.— , Ercole, the Younger, Mil. P.,

1596-1676.
— , Giulio Cesare, brother of Camillo,

Mil. P., 1548?- ca. 1626.
Quercia, Jac. delta Cor /. della Fonte),

Sien. S., 1374-1438. — (288).
Raffaello, see Raphael.
Raibolini, see Francia.
Raimondi, see Marcantonio.
Ramenghi, see Bagnacavallo.
Raphael (Raffaello Santi da Urbino),

P. and A., 1483-1520. — (xliii. xlix.

liii. 350).
Rembrandt Barmensz van Rijn, Dutch

P., 1607-69.
Reni, Guido, Bol. P., 1574-1642. —

(Iviii. 289).
Ribera, see Spagnoletto,
Ricciarelli, see Volterra, Daniele da.
Riccio (Andrea Briosco), Pad. A. and

S., 1470-1532. — (xliii).
Rizzi, see Bregni.
Robbia, Andrea della, Flor, S., 1435-

1528.
— , Giov., son of the last, Flor. S., ca.

1530. '

— , Luca della, Flor. S., 1400-82. —

(xlv. 350).
Robusti, see Tintoretto,
Romanino, Girdldmo, Ven. P., 1485-

1566. - (172).
Romano, Giulio (G. Pippi), Rom. P

and A., 1492-1546. — (xliii. Iv. Ivi.

195).
Rosa, Salvator, Neap. P., 1615-73.
Rosselli, Cosimo, Flor. P., 1439-1507

— (xlviii. 350).
RosselUno, Ant., Flor. S. and A

1427- ca. 1478. - (xlvi).

462

LIST OF ARTISTS.

Rossi, Propenia de\ Bol. S., 1490-

1530. — (238).
— , Vincenzo d'e!, Flor. S., 17th cent.
Jittben-s , Peler Paul, Antwerp P.,

1577-1640. — (81. 195).
Rustici, Gi'ov. Fra7ic., Flor. S., 1474-

155? — (xlvi).
Sahattini, Andv.,se& Salerno, Andr. da.
Salaino, Andr., Mil. P., pupil of

Leonardo, ca. 1495-1515. — (1.119).
Salerno, Andrea da( Andr. Sahattini),

Neap. P., pupil of Raphael, 1480-

1546. — (Iv).
Sammieheli, Michele, Ver. A., 1484-

1554. - (xliii. 187).
Sangallo, Ant. da, the Younger, Flor.

A., 1485-1546. — (xliii).
— , Francesco, son of Giuliano, Flor.

S., 1494-1576.
— , Giuliano da, uncle of Antonio,

Flor. A., 1445-1516.
San Giovanni, Giov. da, Flor. P.,

1590-1636.
Sansovino, Andrea, Flor. S., 1460-

1529. - (xlvij.
-, Jac. (J. Tatti). Ven. A., 1477-

1570. — (xliii. 219).
Santacroce, Oirol. da, Ven. P., ca.

1520-49.
Santi, Giov., father of Raphael, Umhr.

P., ca. 1440-94.
— , Raffaello, see Raphael.
-, di Tito, Flor. P., 1538-1603.
Sarto, Andrea del, Flor. P., 1487-1531.

— (liv. 350).

Sassof err ato (Giov. Batt. Salvi), Rom.

P., 1605-85.
Savoldo, Girdlamo, Bresc. P., 1508-48.
Scamozzi, Vine, Ven. A., 1552-1616.

- (xliv. 219).

Scarsellino, Ippol., Ferr. P., 1551-1621.
Schiavone {Andr. Meldolla), Ven. P.,

Schidone^ Bart., Mod. P., d. 1615.
Sebastiano del Piombo, Ven. and Rom.

P., 1485-1547. - (Hi. Ivii. 219).
Segaloni, Maso, Flor. A., 17th cent.
Sesto, Cesare da. Mil. P., pupil of

Leonardo, d. after 1524. — (119).
Settignano , Desiderio da, Flor. S.,

imitator of Donatello, 2nd half of

the 15th cent. — (xlvi).
SignoreUi, Luca , Tuscan P., 1441-

1523. — (xlviii).
Sirani, Elisabetta, Bol. P., 1638-65.
Sddoma, a (Giov. Anl. Bazzi), Sien.

and Kom. P., 1477-1549. — (liv. 59).
Sogliani, Giov. Ant., Flor. P., 1492-

1544.
Solari, Cristo/ano(/oro), surnamed il

Gobbo, Mil. S. and A., d. 1540. —

(xlvi).

Solario, Andrea (da Mitano), Lomb.

P., ca. 1448-1530?
Spada, Lionello, Bol. P., 1556-1622.
Spagna (Giov. di Pietro), Llmbr. P.,

ca. 1507, d. before 1530.
Spagnoletto (Gius. Ribera), Neap. P.,

1593-1656.
Speranza, Giov., Vic. P. , pupil of

Mantegna. — (200).
Spinello Aretino, Flor. P., pupil of

Giotto, 1348-1410. - (350).
Squarcione, Franc, Pad. P., 1394-

1474. - (204).
Stagio Stagi da Pieirasanta, Pisan A.,

beginning of the 16th century.
Ste/ano, Flor. P., pupil of Giotto. —

(350).
Strozzi, Bernardo (il Cappuccino or
il Prete Genovese), Gen. P., 1581-
1644. - (81).
Sustermans, Justus, Antwerp P.,

1597-1681.
Tacca, Pietro, S., pupil of Giov. da

Bologna, d. 1640.
Taji, Andrea, Flor. P., ca. 1250-

1320.
Tatti, see Sansovino.
Tempesta, Ant., Rom. P., 1637-1701.

- (Ivii).
Thorvaldsen, Bertel, S., of Copen-
hagen, 1770-1844.
Tiarini, Aless., Bol. P., 1577-1668.
Tibaldi (Pellegrino Pellegrini), Bol.

A. and P., 1527-91.
Tiepolo, Giov. Batt., Ven. P., 1693-

1770. — C220J.
Tintoretto, Doinenico (Robutti), son of
the following, Ven. P., 1562-1637.
— , il (Jac. Robusti), Ven. P., 1518-

1594. — (Ivii. 220).
Tisio, Benven., see Garofalo.
Titian (Tiziano Vecellio da Cadore),

Ven. P., 1477-1575. - (Ivi. 219).
Tribolo (Nice. Pericoli), Flor. S., 1485-

1550. — (288).
Tura, Cosimo, Ferr. P., 1430-96. —

(28'i).
Uccelli, Paolo, Flor. P., 1397-1475. -

(204. 350).
Udine, Giov. Nanni da, Ven. and

Rom. P., 1487-1564. — (Iv).
Vaga, Perino del. P., pupil of Raphael,

1500-47. — (Iv. Ivi).
Van Dyclc, see Dyck.
Vannucci, Pietro, see Perugino.
Vanvitelli, Lodov., Rom. P. and A.,

d. 1717.
Varolari, see Padovanino.
Vasdri, Giorgio, Flor. P., A., and
historian of art, 1511-74. — (35 i).
Vecchielta (Lorenzo di IHetro), Sien.
S., A., and P., 1412-80.

LIST OF AKTISTS.

463

VecelUo, Cesare, Ven. P., a relative

of Titian, 1521-1601.
— , /'ranc, Ven. P., brother of Titian.
— , Marco, Ven. P., a relative of

Titian, 1545-1611.
— , Tiziano, see Titian.
Velazquez (Diego V.deSilva), Spanish

P., 1599-1660.
Veneziano, Ant., Flor. P., d. ca.

1387.
— , Dom., Flor. P., d. 1461.
— , Lor., Lomb. and Ven. P., d. ca.

1379.
— , Poijtioro, Ven.P., pupil of Titian.
Venusti, J/arceiio, P., pupil of Michael

Angelo, d. ca. 1570. - (lii).
Veronese, Paolo (P. Cagliari), Ven.

P., 1528-88. — (Ivii. 220).
Verrocchio, Andrea del (A. rfe' Cioni).

Flor. S. and P., 1435-88. — (xlvi.

350).
Vignola (Giacomo Barozzi), A., 1507-

1573. — (279).
Vinci, Leonardo da, see Leonardo.

Vile, Timoteo della (Tim. Viti), Umbr.

P., 1467-1523. — (Iv.).
Vittoria,Aless., Ven.S., 1525-1607.—

(219).
Vivarini, Alwise (also called Lnigi),

Ven. P., ca. 1464-1503. — (xlviii).
— , Ant. (Ant. da Murano), Ven. P.,

ca. 1440-70. — (xlvii. 219).
— , Bart. (Bart, da Murano), Ven.

P., ca. 1450-99. — (xlvii. 219.
Volterra, Daniele da (D. Ricciarelli),

Flor. P., pupil of Michael Angelo,

1500-66. — (lii.).
Weijden, Roger, van der, Flemish P.,

1399 (or 1400)-1464.
Zacchia, Paolo, Lucca and Flor. P.,

ca. 1520-30.
Zampieri, see Domenichino.
Zenale (Bernardino Martini), Lomb.

P., 1436-1526.
Zevio, see AUichieri.
Zucchero (Zuccaro), Federigo, Flor.

P., 1560-1609. — (Ivii).
— , Taddeo, Flor. P., 1529-68.

Leipsic : Printed by Breifkopf and Hartel.

Jteiehen/uill i

jS.ilzburg'

""" fli-chl

T<adsla^t^,g^^JietUmnt

:%.

ilu'dernbepq

J SicUe/Utertf

Ziei>oc?!xJ

i^^-Jtai

adjnannsdor

■}^^'.

Mii.l Karl.itdritL

'-l'

\> \\ V A V \ *. v>

Internet Archive Audio

Featured

Top

Images

Featured

Top

Software

Featured

Top

Books

Featured

Top

Video

Featured

Top

Mobile Apps

Browser Extensions

Archive-It Subscription

Save Page Now

Full text of "Italy : handbook for travellers"

See other formats