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LETTERS FROM THE BALTIC 2, 6rf BARROW'S LIFE OP SIR FRANCIS DRAKE 2, (Id SIR JOHN MALCOLM'S SKETCHES OF PERSIA t BRACEBRIDGE HALL. BY WASHINGTON IrCIng LORD MAHON'S LIFE OP CONDE fo- MELVILLE'S MARQUESAS ISLANDS, fo. JOHN MURRAY, ALBEMARLE^REET. Map to November, 184(>. I 4 HANDBOOK TRAVELLERS IN CENTRAL ITALY, INCLUDING THE PAPAL STATES, ROME, AND THE CITIES OF ETRURIA, LONDON : JOHN MURRAY AND SON, ALBEMARLE STREET FLORENCE: MOLINI. PARIS : GALIGNANI, FRERES ; STASSIN & XAYIER. LEIPSIG: LONGMAN AND CO. 1843. THE HAND-BOOKS FOR TRAVELLERS ARE PUBLISHED IN ITALY, AT ANCONA BOLOGNA BERGAMO BRESCIA FLORENCE GENOA LEGHORN LUCCA MALTA MANTUA MILAN MODENA M. RUSCONI, FRERES. JOS. MOLINI. ANTONIE BEUT. NICHOLAS NICHOLAI GAMBA. F. BARON. MURE. MM. NEGRETTI, FRERES. ARTARIA F. FUSI, MM. DUMOLARD & FILS. VINCENZI & ROSSI. NICE BY SOCIETE' TYPOGRA- PHIQUE, NAPLES . . CARO BATELLI & CO. PALERMO . . M. CHARLES BEUT. PARMA . . J. ZANGHIERI. PISA . . NISTRI, FRERES; JOS. VANNUCCHI. PERUGIA . . 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GEROLD ; P. ROHRMAN ; SCHAUM- BURG & CO. IN SWITZERLAND, AT AARAU BY SAUERLAENDER. BASLE . . SCHREIBER & WATZ. BERN . . HUBER & CO. BREGENZ . . TEUTSCH. CONSTANCE . . GLUCKER. FREIBURG . . HERDER. ST. GALLEN . . HUBER. GENEVA . . KESSMANN, LAUSANNE . . GERS. LUCERNE BY MEYER. MUHLHAUSEN . ENGELMANN. ROTWEIL . . HERDER. SCHAFFHAUSEN HURTER. SOLEURE . . REUTER. STRASBURG , . TREUTTELL & WURTZ. THUR . , GRUBENMANN. WINTERTHUR . STEINER. ZURICH . . H. FUSSLI & CO. PREFACE. The volume now submitted to the public is intended to supply the traveller with a Guide Book to the Papal States, including Rome with its Contorni, and those cities of Etruria which lie between the Arno and the Northern Campagna. It includes also the two great roads from Florence to Rome, by Perugia and Siena. It was ori- ginally intended to comprise the Papal States and the kingdom of the Two Sicilies in a single volume ; but as the work proceeded it was found impossible to do so without making it too bulky to be convenient to the traveller, and destroying its uniformity with the rest of the series which has been honoured with so large a share of approbation. The Central and Southern States of Italy are per- haps of greater interest than any other part of Europe : it has therefore been considered more desirable to describe them in sepa- rate volumes than to pass lightly over their historical scenes, or curtail the accounts of a large number of provincial cities, whose names are scarcely to be found in any other Guide Book. The present volume is on the exact plan of the Hand-Books for Ger- many, Switzerland, and Northern Italy, but is the work of a dif- ferent author. It is the result of two journeys into Italy, and of an anxious desire to do justice to the country and the people by studying their characters on the spot, and by acquiring a personal knowledge not only of the great capitals, but of those remoter dis- tricts which are rich in historical and artistic associations beyond any other portions of the peninsula. The account of Rome will be found arranged on a more systematic plan than has hitherto been adopted. Instead of describing it in districts, the objects have been classified under separate heads, in order that the traveller may be enabled at a single glance to ascertain how much or how little it contains of any particular class. The materials for this portion of the work were collected, in the first instance, during a a 2 iv PREFACE. residence in the capital for a considerable period in 1837 and 1838, and have been verified and enlarged by two subsequent visits. In a work of this kind, embracing so great a variety of subjects, there must necessarily be deficiencies. Any corrections or addi- tions, the result of personal observation, authenticated by the names of the parties who are so obliging as to communicate them to the *' Editor of the Hand-Books for Travellers," under cover to the Publisher, will be thankfully employed for future editions. The volume which will follow this will include the continental dominions of the King of Naples, the roads leading into them from the Papal States, and the island of Sicily. INTRODUCTION. 1. General Topography, — 2. Government. — 3. Justice. — 4. Revenue. — 5. Eccle^ siastical Establishment. — 6. Army and Navy. — 7. Education. — 8. Commerce and Manufactures. — 9. Agriculture. — 10. Characteristics of the Country. — 11. Pelasgic Architecture, — 12. Cyclopean Architecture. — 13. The Etruscans, — 14. The Romans. — 15. Christian Architecture. — 16. Sculpture. — \1, Paint- ing. — 18. Books, — 19. Chronological Tables. — 20, Addenda, 1. GENERAL TOPOGRAPHY. The Papal States are bounded on the north by the Lombardo- Venetian kingdom, on the east by the Adriatic, on the south-east by Naples, on the south-west by the Mediterranean, and on the west by Tuscany and Modena. The superficial area, according to Boscowich, is 18,117 Roman square miles: other authorities compute it as 13,000 or 14,000 Italian square miles, of 60 to a degree, and it has recently been estimated by government surveys at 13,017 Italian square miles. The Raccolta of 1833 shows that the total population of that year was 2,732,436, giving to the super- ficial area of 13,000 miles a ratio of rather more than 210 souls for every square mile. It is calculated, however, that only a third part of the surface is cultivated, and a considerable portion of the country is very thinly inhabited. Of its numerous rivers, the Tiber only is navigable : on the coast of the Adriatic the Tronto and the Metauro are the most important, and the mouths of a few others serve as harbours for the light fishing craft of the gulf. The two great ports are Civita Vecchia, and Ancona ; the ancient harbours of Terracina and Porto d'Anzo have been rendered useless to vessels of large burden, by immense deposits of sand. The principal lakes are those of Trasimeno or Perugia, Bolsena, and Bracciano. The territories comprised in the Papal States have been ac- quired at various periods, by inheritance, by cession, and by conquest In the eighth century, the Duchy of Rome, which con- stituted the first temporal possession of the Holy See, was conferred by Pepin on Stephen IL, with a large portion of the exarchate which had been conquered by that monarch from the Lombards. The duchy extends along the sea-coast, from Terracina to the mouth of the Tiber, and includes the southern Campagna, the Pontine marshes, and the Sabine and Volscian hills. In the twelfth cen- tury, the allodial possessions of the Countess Matilda passed by inheritance to the church ; that portion of them, which is well known as the Patrimony of St. Peter, extends from Rome to Bolsena, including the coast line from the mouth of the Tiber to the Tuscan frontier. The March of Ancona and the Duchy of Spoleto were also included in this famous donation. On the return of the popes from Avignon, and on the subsequent subjection of the petty princes of Romagna and Umbria, other important districts b vi INTRODUCTION. — Govemmetit, gradually fell under the power of the church. Perugia, Orvieto, Citta di Castello and numerous dependent towns acknowledged the sovereignty of the popes ; and the conquests of Julius II. added to the dominions of the Holy See the important districts of Bologna and Ravenna. Ancona was occupied by the Papal troops in 1532, Ferrara was seized in 1597, the Duke of Urbino abdicated in favour of the church in 1626, and a few years later the Papal States received their last additions in the fiefs of Castro and Ronciglione, which were wrested from the Farnese by Innocent X. The isolated Duchy of Benevento, and the district of Pontecorvo, belong also to the church, although they are situated far within the Neapolitan frontier. The States are divided into twenty provinces. The first is the Comarca of Rome, including within its jurisdiction the three districts of Rome, Tivoli, and Subiaco. The other nineteen are divided into two classes, Legations and Delegations. The Legations are governed by Cardinals, and the Delegations by Monsignori or Prelates. There are six Legations, Bologna, Ferrara, Forli, Ravenna, Urbino (with Pesaro), and Velletri. There are thirteen Delegations, Ancona, Macerata, Camerino, Fermo, Ascoli, Perugia, Spoleto, Rieti, Viterbo, Orvieto, Civita Vecchia, Frosinone (with Pontecorvo), and Benevento. Each province is divided into communes, and eleven of them are divided into districts (distretti), with pecu- liarities of local government which will be described hereafter. 2. GOVERNMENT. An unlimited elective hierarchy, the head of which is the Pope, who is chosen by the College of Cardinals out of their own body. The number of the Cardinals was limited to seventy by Sixtus V., in allusion to the number of disciples whom the Saviour commis- sioned to spread the gospel throughout the world ; but the college is seldom full. All vacancies in their body are filled up by the Pope, whose power in this respect is absolute. The Cardinals constitute what is called the Sacred College, and are the Princes of the Church. They rank in three classes — 1. The six Cardinal Bishops (Ostia, Porto, Sabina, Palestrina, Albano, Frascati) ; 2. Fifty Car- dinal Priests ; 3. Fourteen Cardinal Deacons. They all receive salaries, independently of any revenues which they may derive from benefices, and from the emoluments of public offices. On the death of the Pope, the supreme power is exercised by the Cardinal Chamberlain for nine days, and during that time he has the privilege of coining money in his own name and impressed with his own arms. On the ninth day, the funeral of the deceased Pope takes place, and on the day following the Cardinals are summoned to the secret conclave to elect his successor. They are shut up till they agree : the voting is secret, and the election is determined by a majority of two-thirds, subject to the privilege of Austria, France, and Spain, to put each a veto on one candidate. The conditions of the election require that the Pope be fifty-five years of age, a Car- INTRODUCTION, — Government, vii dina], and an Italian by birth. The government is administered by a Cardinal Secretary of State as chief minister, and by different Boards or Congregazioni. The principal of these are tlfie Camera Apostolica, the Treasury or Financial department, presided over by the Cardinal Chamberlain, assisted by twelve Prelates, an Auditor, the Treasurer-General or Finance Minister, and Assessors ; the Chancery, or Cancelleria, presided over by the Cardinal Chan- cellor ; the Dataria, for ecclesiastical benefices, presided over by a Cardinal ; the Buon Governo, for municipal police, presided over by a Cardinal Prefect, assisted by twelve other Cardinals and Prelates; the Congregazione de' Monti, for the public debts; the Sacra Consulta, a college of Cardinals, Prelates, Physicians, and Assessors, for the political and civil administration of the provinces, over which the Cardinal Secretary of State presides ; the Court of the Segnatura ; and the Sacra Ruota, the great Court of Appeal for the whole of the States. The Cardinal Chamberlain is the only minister who holds office for life. The Cardinal Secretary of State is generally a personal friend of the reigning pontiff, and is always the confidential minister. Subordinate to him is the Governor of Rome, who is always a prelate or monsignore of high rank. The power of the Governor is very great: he includes within his juris- diction the whole province of the Comarca; he has the entire control of the police of Rome, and possesses the power of inflicting capital punishment. The Auditor of the Camera, the Auditor of the Pope (Uditore Santissimo), and the Major-Domo or Steward of the Household, are also prelates, and have the envied privilege of keeping carriages similar to the cardinals. The Pope's Auditor examines the titles of candidates for bishoprics, and decides all cases of appeal to the Pope : the Major-Domo is an officer of great influence, and is entitled to a cardinal's hat on quitting office. In the provinces, the Legates and the Delegates have a Council (Congregazione di Governo), consisting of the Gonfaloniere of the chief town, and from two to four Councillors, named by the Pope, and holding office for five years. In the larger provinces there are four Councillors, two of whom belong to the town, and two to other parts of the province, except in the case of the Legation of Bologna, where all four Councillors are elected from the city. In the pro- vinces of the second class there are three Councillors, two of whom belong to the chief town, and the other to the country. In the provinces of the third class there are only two Councillors, one taken from the town and one from the country. These Councillors have no vote, but when they differ in opinion from the Delegate their reasons are recorded and transmitted to the Secretary of State. The two Assessors of the Delegate are lawyers, and act as judges in civil matters in the chief town, but they must not be natives of the province. Eleven of the Delegations are divided into governments or districts (distretti), under the direction of a Governor, who is always subject to the Delegate, and must be a stranger to the district. These Governors exercise a civil and b 2 viii INTRODUCTION. JusUce, criminal jurisdiction in the districts, similar to that of the Assessors in the towns. Each government, or distretto, is again subdivided into Communes, which still retain their ancient magistracy and councils. The Councils answer to our corporations, and consist of from eighteen to forty-eight unpaid members, according to the importance of the Commune : they are self-elected, subject, how- ever, to the veto of the Delegate, and retain their seats for life. They are presided over by the Gonfaloniere, elected out of their own body for two years, and corresponding to our mayor. lie is supported by a body of from two to six Anziani, or aldermen, half of whom retire with the Gonfaloniere every two years. These officers are chosen by the Council, subject to the approval of the Delegate. The Council have also the power of appointing all the other functionaries of the Commune, who must submit to a fresh election by ballot every two years. They also assess the rates and other imposts, and have an annual budget {tahella di prevenzione) presented to them by the Gonfaloniere. After it has received the sanction of the Council, it is submitted to the Delegate for ap- proval, and at last is sent to the Buon Governo, and becomes law when it has been approved and returned to the Commune. No money for local purposes can be raised without these formalities, and no accounts can be discharged by the municipal authorities imtil they have been audited by the Council and approved by the Buon Governo. There are no less than 834 Communes in the Papal States which enjoy the advantage of this system of adminis- tration. 3. JUSTICE. Justice is administered throughout the States on the laws of the " Corpus Juris," and the Canon Law. The Judges are appointed by the Pope. They must be above thirty years of age, of un- blemished character, of legitimate birth, doctors of law, and have practised at the bar as advocates for at least five years. Every Governor of a country district has jurisdiction, without appeal, in civil cases to the amount of 300 scudi ; and in criminal cases of a minor character, subject to appeal. In the chief towns the Assessors of the Delegate have jurisdiction in lesser offences ; and the Collegiate Court, composed of the Delegate, his two Assessors, an ordinary Judge, and a Member of the Communal Council, has both civil and criminal jurisdiction in the first instance for the whole province, with the power of appeal to one of the three higher courts. This Collegiate Court is also the Court of Appeal from the decisions of the local Governors and Assessors. In every criminal court the proceedings are conducted with closed doors, and the depositions are taken down in writing. The accused has a right to the assistance of an advocate, called the Avvocato de Poveri, who is always a person of high acquirements, appointed by the Pope and paid by government. All matters in which church- men are concerned, and such cases as are referred to the eccle- INTRODUCTION. — Revenue. ix siastical authority by the Canon Law, are tried before the Eccle- siastical Courts, which exist in each diocese under the direction of the Archbishops and Bishops. The more important ecclesiastical jurisdiction belongs to the Penitenzieria, or Secret Inquisition, over which a Cardinal presides, assisted by twelve other Cardinals, and a Prelate as Assessor. The Judges of the ordinary courts are required, in pronouncing judgment, to state the grounds of their decision. There are three Courts of Appeal for the provinces in the Second Instance, one at Bologna, one at Macerata, and the Segnatura at Rome. If the first judgment be confirmed on appeal, the suit can be carried no further ; but when the first judgment is reversed, the cause is carried to the Segnatura, where it is decided whether it may be further prosecuted or not. If the decision be in the affirmative, the suit is carried into the celebrated Court of the Sacra Ruota, once the supreme court of the Christian world, and still possessing extensive jurisdiction. It is composed of twelve Prelates, two of whom are chosen by Spain, one by Tuscany alter- nately with Perugia, one by France, one by Germany, one by Milan, and the remaining six by the Pope. The Ruota gives judgment with the reasons, which may either be reviewed or carried to the Supreme Court of the Camera Apostolica. As a cause is not finally decided until two similar judgments have been pronounced, an appeal to the Ruota, and a review of its judgment, frequently protracts the cause beyond the lifetime of the contending parties. The addresses of the advocates in the Segnatura and the Ruota are delivered in Latin. In criminal proceedings there are no limits to imprisonment on suspicion, and the trial is often indefinitely delayed, without the power of the accused to bring his case before the judges. This dilatory system, the rare infliction of fines, the absence of liberation on bail, and the universal practice of imprisonment for all kinds of offences, tend to keep the prisons constantly full, and constitute the great reproach of the Papal administration. It is calculated that the average number of persons actually in confine- ment is about 6000 : there are nine prisons for convicted criminals — Civita Vecchia, Ancona, Porto d' Anzo, Spoleto, Narni, St. Leo, the Castle of St. Angelo, Fermo, and Civita Castellana. 4. REVENUE. The total average income of the Papal States is under two millions sterling. The expenses of collection are not less than 460,000/., leaving a net revenue in round numbers of 1,540,000/. Out of this limited revenue, the sum of 560,000/. goes to pay the interest of the public debt, 110,000/. to meet the expenses of the State Govern- ment, 105,000/. for the allowances to the Cardinals, the expenses of Ecclesiastical Congregations, and Ministers to Foreign Courts. The expenses of the Court are under 60,000/., of which a very small portion is paid to the Pope himself. The details of the Papal revenues will be clearly seen by the following Abstract from the Official Returns of the Camera, for 1835: — Receipts, X iNTRODucTio N . — Ecclestastical Establishment. I. Prsedial Impost, Taxes, and Landed Property, 2,653,358 scudi. II. Customs, Excise, and Monopolies, 4,354,038. III. Stamps, Registry, and Mortgages, 577,910. IV. Post-Offiee, 288,065. V. Lot- teries, 896,266. Total, 8769,638.— Expenses : I. Sacred Palaces, Sacred Colleges, Ecclesiastical Congregations, and Ministers to Foreign Courts, 485,020. II. Interest of Public Debt, 2,547,555. III. Government and State Expenses, 490,829. IV. Justice, Police, and Prisons, 853,735. V. Public Instruction, Scientific Establish- ments, Fine Arts in Rome and in the Provinces, Encouragement to National Marine, &c., 108,86L VI. Charities, Commission of Loans, Poor employed in clearing out Antiquities, and acts of Public Beneficence, 267,769. VII. Public Works, restoring roads, cleaning and lighting Rome, improving navigation of the Tiber, repairing Churches, and preserving the Antiquities and public Monuments, 540,722. VIII. Troops of the Line and Carabineers, 1,823,146. IX. Other Military Expenses, Hospitals, Arsenals, and Boards of Health, 284,069. X. Public Festivals, and Extra Ex- penses, 42,578. XI. Reserve Fund, 100,000. Total, 7,544,289. To this must be added the costs of collection, amounting to 1,694,089, giving a total Expenditure of 9,238,378 ; and showing, as compared with the Receipts, a deficit of 408,740 scudi. It must however be observed, that the Budget for the preceding year gave a surplus of 497,612 ; and that these returns appear to give only the ordinary sources of revenue, those which are purely Ecclesiastical not enter- ing into the State accounts. In regaj d to the items under the costs of collection, it will be sufficient to state, without enumerating the details, that they amount altogether to more than one-fifth of the gross revenue. The cost of collecting the prsedial imposts is on an average 23 per cent., that of collecting the customs 11 per cent., of the stamps 16 per cent, post-office 60 per cent., lotteries 69 per cent. The public debt amounted in 1834 to 6,300,000/. ; which includes the old debt of 4,500,000/., the interest of which is paid at Milan, and three French loans of 600,000/. each, negotiated in 1831, 1832, and 1833, the interest of which is payable in Paris. The total interest of the public debt is nearly 38 per cent, of the net revenue. 5. ECCLESIASTICAL ESTABLISHMENT. Exclusive of Rome, the Papal States comprise 9 archbishoprics, 59 bishoprics, and 13 abbacies : the Archbishoprics are those of Bologna, Benevento, Camerino (with Treja), Ferrara, Fermo, Ra- venna, Spoleto, Bevagna (with Trevi), and Urbino. The secular clergy are supposed to amount to about 35,000, the monks to upwards of 10,000, and the nuns to more than 8000. The number of monasteries is calculated at 1824, and the convents at 612. The office of Prelate is peculiar to the Papal States : this dignitary is not, as is generally supposed, a bishop, but an official servant of the Government, a kind of under Secretary of State, either temporal or spiritual, with the title of Monsignore. He is not necessarily in INTRODUCTION. — Army and Navy ; Education. xi holy orders, and unless he has been ordained he becomes a layman on retiring from office. It is however essential that the candidate for the prelatureship be of noble birth, that he possess the degree of Doctor of Laws, and enjoy a private income of 500 sciidi per annum. From 200 to 250 of these officers are employed in various departments of the State ; some are attached to the court of the Pope, and others act as secretaries or members of congregations or government boards. It is the great stepping-stone to preferment to all the higher offices of state : the Prelate generally becomes a Nuncio, a Delegate, a Judge, Governor of Rome, Treasurer or Auditor-General ; and since the dignity of Cardinal has been thrown open to laymen, he frequently obtains a seat in the Sacred College by promotion from one or other of these offices. He wears a dis- tinguishing costume, and is recognised in Rome by his violet stockings and his short black silk cloak. The Jews in the Papal States amount to about 9000, and have 8 synagogues. Of this number there are 4000 in Rome, 1800 in Ferrara, and 1600 in Ancona. 6. ARMY AND NAVY. The Army is governed by a Board called the Presidenza delle Armi, under the control of a Prelate with the title of Commission- ario. Its force is estimated at 14,000 men, including 12,000 infantry, 1000 cavalry, and 1000 artillery. In this number is calculated two regiments of Swiss, comprising 4400 men. The Swiss Body Guard of the Pope, commanded by a Captain and Lieutenant, comprises 126 foot soldiers, who carry the ancient halberd and wear the sin- gular costume said to have been designed by Michael Angelo. The Pope has another guard, called the Guardia Nobile, a mounted volunteer corps of 80 noblemen, commanded by one of the Roman princes. It is their province to attend the Pope on all public and church ceremonies ; and they constitute, both by their equipments and as the elite of the nobility, the most distinguished military body in Rome. The Carabineers, or Police force, amount to 4000 ; the Custom-house officers to 1500. There is also a Corps of Volunteers (voluntarj), in which 15,000 men are enrolled, but it is not in active service. The Papal Navy contains a few gun brigs and smaller craft, and two steamers. The Mercantile Marine includes 91 vessels of the gross tonnage of 7069 tons, engaged in foreign trade ; and a large number of coasters and fishing craft, of which no account can be obtained. 7. EDUCATION. It is calculated that the Papal Government provides education for about 1 in 50 of the population. The whole system vi^as very imper- fect prior to the time of Leo XII., whose well-known Bull "Quod Divina Sapientia omnes docet," gave a great impulse to popular education in Italy. There are three classes of educational institutions : the Universities, the Bishops' Schools, and the Communal or Parish xii INTRODUCTION. — Commerce and Manufactures, Schools. I. There are 6 Universities, divided into two classes, primary and secondary. The two primary Universities are that of Rome, founded a.d. 1244 ; and that of Bologna, founded 1119. The six secondary, are those of Ferrara (1264), Perugia (1307-20 ), Macerata 1548), Fermo (1589),Camerino (1727), and the'^College of the Scolopij at Urbino, founded towards the close of the last century. About 2650 young men receive an academical education at these eight universities. II. The Bishops' Schools are established in all the communes which are rich enough to support them. The masters are appomted by the communal councils, after an open competition before the Gonfaloniere, and must then be approved by the Bishop. III. The Communal Schools answer in some measure to the parish schools of England, but the state of education is generally very low, and chiefly of an ecclesiastical character. In Rome, it is calculated that at least three-fourths of the poor children are gratuitously educated. The 372 elementary schools, instituted in the middle of the last century, still exist, and include three classes : — 1. Those in which a small sum is paid ; 2. The gra- tuitous schools ; 3. The infant schools. The average number of scholars is 14,000, who are distributed among the different schools in the following proportion: — 1. Paid Schools, 3600; Boys 2000, Girls 1600. 2. Gratuitous Schools, 5600 ; Boys 2700, Girls 2900 3. Infant Schools, 4800. The gratuitous schools are under the superintendence of the parish priests. The masters are publicly examined before election ; the schools are periodically visited by ecclesiastical inspectors, and corporal punishment is forbidden. In regard to female education, there are no private schools either for the aristocracy or the middle classes : the instruction of females of this rank is entirely confined to the convents, and those of the class below them are boarded and taught in the different charitable conservatori. 8. COMMERCE AND MANUFACTURES. There are few countries in Europe which enjoy more natural advantages of soil and climate than the States of the Church ; and yet their great resources are very imperfectly applied, and perhaps not altogether understood. The enormous forests which cover the uncultivated tracts for miles together are almost entirely neglected ; the excellent wines which are produced, almost without effort, in many of the provincial towns, are little known beyond the frontier ; and the mineral riches of the country have never been thoroughly explored. The provincial population are rather agricultural than manufacturing, and many articles of natural pro- duce are exported to a small extent. The manufactures on the other hand, though making creditable progress, are chiefly for home consumption, and are insufficient for the demands of the population, who derive their main supplies from foreign countries. The principal agricultural exports are the following : — corn from Romagna ; oil from the southern provinces ; hemp and aniseed INTRODUCTION. — Commerce and Manufactures, xiii from Romagna, from the Bolognese, and the Polesina of Ferrara ; woad, to the annual amount of 14,000 lbs., from Rieti, Citta di Cas- tello, Spoleto, Matelica, and Camerino ; tobacco, to the amount of 300,000 lbs., from all parts of the States ; pine-kernels from Ravenna to Austria ; cork-bark, to the amount of 550,000 lbs., from Civita Vecchia to England ; wool and wrought silk in large quantities to France, England, and Piedmont ; potash from Rome, Corneto, and Porto d'Anzo ; oxen from Perugia, Foligno, and Romagna to Tus- cany ; and rags for manure, to the large amount of 3 millions of lbs., from all the great towns. The best alum known is found at Tolfa near Civita Vecchia : it was once exported in considerable quanti- ties, but the trade has declined since the introduction of artificial alum, and the present produce is unknown. The works at Tolfa are a monopoly of the Camera, and are the only mines worked by the government. In the districts of Pesaro and Rimini are valu- able sulphur mines, yielding an annual produce of 4 millions of lbs. The vitriol works of Viterbo produce upwards of 100,000 lbs., of which about one-half is exported. The salt works of Cervia, the Comacchio, and Corneto, give an annual produce of 76,000,000 lbs. Manufacturing industry is very generally diffused over all parts of the States : woollen cloths, to the annual value of 300,000 scudi, are produced at Rome, Spoleto, Foligno, Terni, Matelica, Perugia, Gubbio, Fossombrone, S. Angelo in Vado, Narni, Alatri, and other places of less importance. Silks, damasks, and velvets are manu- factured at Rome, Bologna, Perugia, Camerino, and Fossombrone where the Duke de Leuchtenberg has given to the works the impulse of the steam-engine. Ribbons of good quality are manufactured at Bologna, Forli, Fano, and Pesaro ; and silk stockings are made at the same places, and at Ancona and Ascoli. The silk veils and crape of Bologna were formerly celebrated throughout Europe ; and though the trade has declined, they are still esteemed in France and other countries. The carpets of Pergola were once exported in large quantities to the Lombardo-Venetian kingdom, where they had a ready sale as a good imitation of the EngUsh patterns : the hats of Rome, which are manufactured to the value of 200,000 scudi annually, are in great demand in all parts of the States, and even in Naples and Tuscany. Wax candles, -to the amount of 250,000 scudi, and other articles of the same class for domestic use, are made at Rome, Bologna, Perugia, Ancona, and Foligno : at the latter place the trade is particularly flourishing. The cotton fabrics at Rome, in the semicircular Theatridium of the Baths of Diocle- tian, have made little progress, compared to the manufacture of hemp and flax. The ropes and cordage produced in the asylums, public schools, and private rope-yards are of superior quality, and are exported to the Ionian Islands and to Greece. The Paper manufactories of Fabriano, established as early as 1564, still keep up their reputation : the quantity manufactured annually in the States is 3,600,000 lbs., of which the greater part is derived from Fabriano. The paper rivals in its quality the great Neapolitan xiv iNTR OD ucTioN. — AgTiculture, establishment on the Fibreno, and is exported to the Levant, and even to the Brazils. 9. AGRICULTURE. The agriculture of the Papal States, with the exception of the system which prevails in the Roman Campagna, differs very little from that of Tuscany ; but we look in vain for the active industry which has rendered the territory of the Grand-Duke the garden of Italy. The leading peculiarity of the Papal system is the prevalence of immense farms in the least cultivated districts. The Campagna immediately around Rome, called by the Italian agriculturists the ** Agro Romano the vast tract of Maremma, which spreads along the coast from the Tuscan frontier to that of Naples; and the marshy land in the neighbourhood of Ferrara and Ravenna, are all cultivated upon the system of large farms, and are consequently in the hands of a few wealthy agriculturists. In other parts of Italy the farms are generally of small size, and have poor landlords and still poorer tenants. The large estates are held in mortmain ; the longest leases are for life, and the shortest for twelve years. The Maremma district is divided among 150 farmers. The Agro Ro- mano, containing about 550,000 English acres, is divided into farms varying from 1200 to 3000 acres : some, however, are much larger, as, for instance, the celebrated farm of Campomorto, which con- tains not less than 20,000 acres. This immense tract is in the hands of about forty farmers, who are called "Mercanti di Cam- pagna,'' and form a corporation protected by the Government, and possessed of peculiar privileges. Each Mercante rents several farms, paying a fixed rent only for the cultivable ground : many of them are extremely rich, and live in palaces at Rome, where they have counting-houses and clerks to transac^t the business of their farms. The smallest farms of the Agro Romano require a capital of 2000/., while the largest require one of 20,000/. ; the rent alone of the farm of Cauipomorto, mentioned above, is 5000/. a-year. Leases at fixed rents are rare in the Papal States, except in some of the great farms and in the Maremma, where estates are occasion- ally subdivided and underlet to small farmers. The mezzeria system, or the plan of colonizing, everywhere prevails. This system, which dates from the earliest times of Italian history, is founded on a division of profits between the landlord and tenant: it necessarily implies a mutual good faith between the parties, and an entire reliance on the integrity of the cultivator. In Tus- cany, where the system flourishes in great perfection, its advantages are considered by some to counterbalance its practical evils; but in the Papal States it has produced great wretchedness among both tenants and labourers. The mezzeria may be defined as a kind of unwritten contract or partnership between the landlord and tenant : the landlord supplies capital, the tenant finds labour and the imple- ments required in ordinary cultivation. The seed for sowing is paid for jointly, and the produce of the farm is equally divided. INTRODUCTION. — Agriculture. XV All extra work, such as embanking, planting, reclaiming waste lands, &c., falls upon the landlord, who pays the tenant wages for this additional work. Whatever may be thought of this system at first sight, it has been proved by experience that an equal division of the produce is impracticable in the Papal States, where the people are deficient in the industry and thrift which are character- istic of the Tuscan countryman. The tenant is therefore unable to live on the half produce, and is consequently in perpetual debt to his landlord. This result is again practically shown by the fact that a farm on the mezzeria system does not return more than 24 per cent, on the capital, while one held on lease generally returns 3 per cent. The land also in the neighbourhood of Rome, which is farmed out at fixed rents, sells readily for forty years' purchase ; while no one will purchase a mezzeria farm who does not obtain 5 per cent, net for his capital. The most profitable kind of agri- cultural occupation is grazing : in recent years mulberries have been a more satisfactory investment even than the olive. The vine- yards require great care, and with few exceptions make inadequate returns. The system of farming in the Roman plain is in many respects peculiar. In the first place, the farmer seldom lives on his estate, the solitary casale being tenanted by the fattore, or stev/ard, and by the herdsmen. In the winter the farm is covered with cattle: the number of sheep collected on the Campagna at that season is said to amount to 600,000 ; and the large grey oxen, which are bred for the Roman market, cannot be much less than half that number. The herdsmen are seen riding over the plain wrapped in a sheep-skin cloak, and carrying a long pike : the horses they ride are almost wild, and are turned loose in summer among the woods and morasses of the coast, where they mingle with the buf- faloes and herds of swine which people that desolate tract. As the summer draws on, the climate becomes too unhealthy for the cattle : the sheep and oxen are then driven from the plain to the cool pastures on the Sabine hills, to the high ground in the neigh- bourhood of Rieti, and even to the mountains of the Abruzzi. At harvest time the heats are of course terrific, and the malaria assumes its most deadly character. The peasants from the Vol- scian hills and from beyond the frontier come down into the plain to earn a few crowns for the ensuing winter : they work in the harvest-field all day under a scorching sun, and at night sleep on the damp earth, from which the low heavy vapour of the pestilent malaria begins to rise at sunset. Even the strongest and healthiest are often struck down in a single week ; before the harvest is gathered in, hundreds of hardy mountaineers have perished on the plain, and those who survive either die on their return home or bear the mark of the pestilence for life. As soon as the harvest is over the immense Campagna is utterly deserted : the herdsmen are absent with their cattle, the fattore takes refuge in Rome, and the labourers retire to the few scattered villages on the outskirts of the plain, where they imagine that they enjoy an immunity from the xvi INTRODUCTION. — Characteristics of the Country. malaria, which even there follows them with its fatal influence. After each harvest the land, in some parts of the Maremma more especially, is generally left to pasture for an indefinite time, the farmer seldom allowing more than one wheat crop in four years. In the more peopled districts there is an annual rotation from corn to spring grasses. In all parts of the States the agricultural implements are of the rudest kind ; the native manufacture never deviates from the primitive style which has prevailed for ages, and the heavy duties on articles of foreign manufacture prohibit the introduction of the improvements of other countries. 10. CHARACTERISTICS OF THE COUNTRY. It is impossible to travel over Italy without observing the striking difference between its northern and southern provinces. The traveller whose object is to combine instruction with the other purposes of his journey, will discover on crossing the frontier of the Papal States that he has entered on a country of new associa- tions and ideas. A class of objects, differing altogether from those to which he has been accustomed in Northern Italy, will be pre- sented to his notice ; and unless he be prepared to appreciate them, he will not only lose a great portion of enjoyment, but will be in- duced to believe that the sole interest of the country is centred in its great capitals. That portion of Italy which it is our province to describe in the present volume includes within its limits a field of study and observation almost inexhaustible. Though rifled for centuries by all classes of writers, there is still no part of Europe which the traveller will find so richly stored with intellectual treasure. From the North it differs mainly in this, that it is pre- eminently the Italy of classical times. It carries the mind back through the history of twenty centuries to the events which laid the foundation of Roman greatness. It presents us with the monu- ments of nations which either ceased to exist before the origin of Rome, or gradually sunk under her power. Every province is full of associations ; every step we take is on ground hallowed by the spirits of the poets, the historians, and the philosophers of Rome. These however are not the only objects which command attention. In the darkness which succeeded the fall of Rome, Italy was the first country which burst the trammels in which the world had so long been bound ; constitutional freedom first arose amidst the contests of the popes with the German emperors ; and in the repub- lics of Middle Italy the human mind was developed with a rapidity and grandeur which Rome, in tlie plenitude of her power, had never equalled. The light of modern civilization was first kindled on the soil which had witnessed the rise and fall of the Roman empire ; and Europe is indebted to the Italy of the middle ages for its first lessons, not only in political wisdom, but in law, in litera- ture, and in art. The history of the Italian republics is not a mere record of political party, or of the struggles of petty princes and rival factions : it is the record of an era in which modern civiliza- INTRODUCTION. — Characteristics of the Country, xvii tion received its earliest impulses. Amidst the extraordinary energy of their citizens, conquest was not the exclusive object, as in the dark ages which had preceded them : before the end of the thirteenth century the universities of the free cities opened a new path for literature and science, and sent forth their philo- sophers and jurists to spread a knowledge of their advancement. The constitutional liberties of Europe derived inestimable lessons from the free institutions of Italy, and the courts of the Italian princes afforded asylums to that genius which has survived the liberties in which it had its origin. The middle- age history of Italy, and particularly of its central provinces, has hitherto been scarcely regarded by the traveller, although in many respects it is not less interesting than the records of classical times. The inti- mate connection of her early institutions with those of England, and the part which many of our countrymen played in the great drama of Italian history, associate us more immediately with this period than with any other in her annals. We may perhaps recog- nise, in the energy and originality of the Italian character during the middle ages, a prototype of that prodigious activity which our own country has acquired under the influence of the lessons which they taught her. We must at least regard with respect a people who have done so much in the great cause of human amelioration, and admit that the period in which Italy started from her slumber, and led the way in the march of European improvement, is one of the most brilliant eras in the history of the world. The physical characters of Central Italy are not less interesting than its historical associations. To apply our remarks more par- ticularly to the Papal States, we may say without hesitation that their resources have hitherto been very imperfectly appreciated. We are convinced that no people in Europe have been so little understood, or so much misrepresented. The traveller who has been in the habit of hurrying from Bologna to Florence, and from Florence to Rome, neither stopping to explore the objects which present them^selves on the road, nor turning aside into less beaten tracts, can have formed no idea of the treasures of art abundantly placed within his reach. He can have had no opportunity of be- coming acquainted with the true character of the people, or of knowing the charms of the provincial cities. In regard to art, it is a great mistake to suppose that it can be studied exclusively in the galleries of the great capitals. The filiations of the different schools, the links of the chain which connect together the leading epochs, not merely in painting, but in architecture and sculpture, are to be sought, not in the halls of the museums and palaces of Rome, but in the smaller cities, where every branch of art, under the patronage of the local sovereigns or the republics, has left some of its most important works. No one Vv^ho has not deviated from the high roads can know how richly the Papal States abound in provincial cities, in which we find all the elegancies of life com- bined with museums, and palaces, and institutions, far beyond most xviii INTRODUCTION. — Pelasqic Architecture* other countries of Europe. It is only by seeking them in their own homes that we can appreciate the educated and courteous character of the provincial nobility, the intelligence of the middle ranks, and the merits of a very noble peasantry. We know nothing more delightful than the unaffected hospitality which the stranger meets with in the smaller towns, or the security felt among the open-hearted people, who have not lost their national character among the crowds of the great capitals. The stranger who possesses the main secret to the confidence of the people — the power of conversing with them in their own language — may travel over all parts of the States and be sure of finding friends. We have explored the least known and least frequented districts, have traversed the mountains unprotected, and have dwelt among their remotest villages for days together, with a sense of security which we had never occasion to regret. The scenery of central Italy is another charm which will appeal probably to a larger class. Whatever may be the beauties of par- ticular districts traversed by the high road, the finest characters of Italian scenery must be sought, like the people, beyond the beaten track. The fertility of the March of Ancona, the rich cultivation of Romagna, the beautiful country intersected by the Velino, the Me- tauro, the Anio, and the Sacco, have each an interest of a different character, which the traveller will not be long in appreciating as they deserve. Nothing can be more picturesque than the forms of the Umbrian mountains, or more rich than the delicious valleys which burst upon the traveller at different stages of his journey. Nature there appears in a richness of colouring to which the eye has never been before accustomed. In the southern provinces the purity of atmosphere is combined with an harmonious repose of nature, the costumes of the people are in the highest degree pic- turesque, and the buildings have the rare merit of being perfectly in keeping with the scenery. Among the first objects which will be presented to the traveller, the monuments of antiquity are the most important. We shall therefore state, as concisely as possible, such general facts in re- ference to their archaeological characters, as may be necessary to prepare the traveller for their study. 13. PELASGIC ARCHITECTURE. No circumstance is so much calculated to mislead the stranger who travels into Italy for the purposes of study, as the frequent misapplication of the terms Pelasgic, Cyclopean, and Etruscan. Every specimen of ancient architecture in middle Italy has been called by one or other of these names, merely because the style is colossal compared to the later works of Roman construction. Even the best-known cities of Etruria, where we have the monuments of a people confessedly distinct from all the other inhabitants of the Italian peninsula, have been described as Cyclopean and Pe- lasgic. The three terms have sometimes been applied to the same INTRODUCTION. — Pelasgic Architecture. xix objects, and by the same writers. We are at a loss to imagine how any travellers who have personally examined the country, or studied the early history of Italy on the spot, can have fallen into such an error. To apply the term Cyclopean to the Etruscan style is not less absurd than to identify the Druidical temples of Stonehenge and Abury with the massive style of our early Saxon architecture. This misapplication of terms is of serious importance to the Italian traveller. It perplexes him at the very outset of his inquiries, and history is confounded by the very monuments which are its best expositors. The Pelasgic remains, of which the Papal States contain so large a share, may be classed among those remarkable confirmations of his- tory which have been derived in recent years from a more accurate study of archaeology. Whether the Pelasgi were originally a people from Thrace, or from a country still more northward, there can be no doubt that they were the great colonists of Southern Europe. They may be followed from Thessaly to Asia Minor, through the greater part of Greece, and through many islands of the ^gean. We know that they united with the Hellenes to form the Greek nation, that they built Argos and Lycosura (b.c. 1820), which Pausanias calls " the most ancient, and the model from which all other cities were built." According to the historians, two distinct colonies emigrated to central Italy. The first came direct from Lycosura and settled in Umbria, where they united with the abo- rigines, a race probably of Celtic origin. The Oscans and the Siculi are supposed to have been branches either of this united stock, or of the Umbrians alone. The second Pelasgic colony invaded Italy from Dodona, and brought with them many arts unknown to their predecessors. They settled in the upper valley of the Velinus, about the modern frontier of Rome and Naples, near Rieti. The first, or Umbrian colony, seems to have lost its Greek language at an early period, if we may judge from the Eugubian tables, which confirm these historical statements in their most important facts. It is not the least interesting circumstance arising out of the his- tory of this colony, that the Latin language is considered to derive its Greek element from the Pelasgi, and all its Latin from the Umbrians. The Pelasgi were subdued by the Etruscans about fifty years before the Trojan war, and in the time of Tarquinius Prisons the whole race appears to have disappeared as one of the leading nations of Italy. This historical sketch is confirmed by the ruins they have left behind them. I'he first colony built no cities ; the second settled in the upper valley of the Velinus, and thence spread over a large portion of the country to the south. Accordingly, in the neighbourhood of Rieti, we find a large cluster of ancient cities, many of which are still to be identified by the descriptions and dis- tances handed down to us by the Greek and Roman historians. The whole district is covered with their ruins. We find, in the precise locality indicated by Dionysius, the walls of Palatium, from XX INTRODUCTION. — Pelasgic Architecture, which Evander and his Arcadian colonists emigrated to Rome forty years before the Trojan war. We recognise the sites of other cities of equal interest, and in some instances discover that their names have undergone but little change. We trace the Pelasgi from this spot in their course southwards, along the western slopes of the Sabine hills, and mark their progress in civilization by the more massive and artificial style of construction which they adopted. Theh' cities were now generally placed upon hills, and fortified by walls of such colossal structure that they still astonish us by their solidity. The progressive improvement of their military architecture becomes more apparent as we approach their southern limits. Hence the very finest specimens of Pelasgic construction in Europe are to be found south of the Sabine chain at Alatri, Arpino, and other towns on the frontier, which will be described in the Hand-Book for Southern Italy. The style of their construction was almost invariably polygonal, consisting of enormous blocks of stone, the angles of one exactly corresponding with those of the adjoining masses. They were put together without cement, and so accurately as to leave no interstices whatever. This style may be traced throughout Greece, Asia Minor, and all the countries which history describes as colonised by the Pelasgic tribes. The only exceptions to the polygonal style are where the formation of the country presented a calcareous stone, occurring naturally in parallel strata, and obviously suggest- ing the horizontal mode of construction. Another variety was produced by local circumstances in the neighbourhood of Rome, where tufa is the prevailing stone. At Tusculum, for example, the softness and quality of the tufa pointed out the horizontal style ; and thus, in the rare instances in which the Pelasgi were com- pelled to adopt tufa as their material, the blocks incline to parallelo- grams. Even here, however, where the style was evidently con- trolled by circumstances, the taste for the national custom may still be recognised ; and we often find that the blocks have been shaped so as to deviate in many places from regular squares, and that they are sometimes cut into curves. At the ruins of Ampiglione, near Tivoli, the supposed site of Empulum, we have probably the most ancient example of the Pelasgic style in tufa. It is entirely polygonal, but the blocks were apparently found broken into irregular masses by their fall from the mountains, and therefore afforded peculiar facilities for this construction. Instances of this are not wanting farther south. In the wild mountain-pass, leading from the valley of Sulmona to the Piano di Cinquemiglia, in the second province of Abruzzo Ultra, we have observed in the precipitous ravines frequent examples of limestone so broken that they might almost have been called Pelasgic as they stood. We may therefore assume as a general rule, that whenever the materials which the Pelasgi em- ployed were of hard stone, the polygonal construction was adopted in its utmost purity, and whenever the geological formation of the country presented tufa or soft calcareous stone occurring in natural INTRODUCTION. — Cyclopeau Architecture, xxi horizontal strata, their style was modified accordingl}^, but always retained more or less the peculiar characteristics of their national architecture. The Roman kings imitated the polygonal style in all cases where the hard stone was unfavourable to the parallelo- grams of Etruria, and hence we find polygonal walls in many towns of Latium which are known to date from this period. Even during the republic the polygonal construction was adopted in some of the most important works. We see it in the substructions of the Appian and other great military roads, and recognise it still more frequently in the villas around Tivoli. 12. CYCLOPEAN ARCHITECTURE. The difference of style between the Pelasgic and Etruscan is not more strongly marked than that between the Pelasgic and Cy- clopean. We have already seen that the Pelasgi built the walls of Lycosura eighteen centuries before Christ, and that Pausanias describes it as the most ancient of all such cities. The walls of Tiryns and Mycenae were built about four centuries later, and according to the same authority by a different people, the Cyclopes. As these two cities, though upwards of 3000 years old, are still as perfect as when Pausanias visited them sixteen centuries ago, we may regard them as the type of all similar structures which we shall meet with either in Greece or Italy. That the Cyclopean style is really the work of a people different from the Pelasgi is proved by numerous circumstances. Euripides describes the walls of Mycenae as built in the Phoenician method ; and Pausanias found the style so peculiar that he thought it necessary to describe it. His description, written from personal observation, applies at this day, not only to the Greek cities, but to every other example of the style which we shall meet with elsewhere. "The walls," he says, "the only portion which remains, are built of rough stones (Al9a;y a^ywv), so large that the smallest of them could not be moved from their position by a pair of mules. Smaller stones have been in- serted between them, in order that the larger blocks might be more firmly held together." Homer, in the second book of the Iliad, characterises Tiryns as the walled city (Tl^vv^cc re re^^LOsa-cray)^ and mentions Mycenae as remarkable for the excellence of its buildings (MvKtjvocg kvxriiLsvov TtroXisS^ov). To these facts we shall only add, that the Cyclopean style, wherever it is found, is composed, as stated by Pausanias, of irregular polygonal masses, with small stones filling up the interstices. It occurs very rarely in Italy, and is best seen in the ruins of Corniculum near Monte Rotondo (p. 164). It is remarkable that the most extraordinary Cyclopean work in existence, the great gallery of Tiryns, formed by cutting away the superincumbent blocks in the form of an arched roof, has its counterpart in the triangular gateway of the Pelasgic fortress of Arpino, one of the most singular monuments which we have ever seen either in Greece or Italy. xxii INTRODUCTION. — The Etruscans. 13. THE ETRUSCANS. The inhabitants of Etruria were a people altogether distinct from the PelasG;ic colonists, though probably descended from the same great family. The Greek historians invariably call th-em Tyrrheni, while the Romans call them Etrusci. Herodotus, Strabo, Cicero, and Plutarch say that they were of Lydian origin, that they sailed from Smyrna and settled in Umbria. Many of their national customs, religious rites, and domestic manners correspond with those of Asia Minor, and give consistency to this account. TJiey subdued the Umbrians and Pelasgi, who finally disappeared as distinct people by incorporation with their conquerors. The Etruscans spread in time over the whole of central Italy, and as far south as Campania, where they founded Capua. They had no doubt acquired much knowledge from the Pelasgi, but by encouraging Greek artists to settle among them they derived nearly all their more important arts directly from Greece. We know that Dema- ratus of Corinth brought with him to Tarquinii the plastic art and the manufacture of brass or bronze, which afterwards obtained such celebrity in all the cities of Etruria. The names of artists which occur on the vases of Magna Grsecia, are seen on many of those found among the cities of Etruria : all these vases of Greek origin are far superior in workmanship to those found at Clusium and other places, where Etruscan characters are combined with a coarser material and a ruder art. The connection of Etruria with Egypt, either directly by commerce, or indirectly through Greece, is shown by vases of Egyptian form, if not of Egyptian manu- facture ; by scarabsei imitating the forms of Egypt, and frequently inscribed with subjects taken from the Egyptian mythology. It would carry us far beyond our limits to pursue this branch of the inquiry, and indeed it is impossible, without entering into ample details, to do justice to the subject. It may however be said, that by far the largest proportion of the arts and civilization of Etruria came from Greece. In architecture the Etruscan walls are in- variably built of parallelograms of soft calcareous stone or of tufa, laid together with more or less regularity, in horizontal courses without cement. The only exception is Cosa, where a Pelasgic origin is probably to be regarded as an explanation. The architecture of their tombs has a subterranean character, being sometimes excavated in rocks above ground, as at Castel d'Asso ; and at others sunk beneath the surface and covered with tumuli or cones of masonry. When excavated in the form of cavern sepulchres they are decorated with architectural ornaments, which again show the influence of Grecian art. The mouldings of their facades, and the rude imitations of triglyphs, are but a corruption of Doric. The doors, contracting towards the top, in some in- stances resemble the Egyptian, but in others they differ little from the style still visible in Greece, and of which the great door of the Treasury of Atreus at Mycenae is the finest example. The archi- INTRODUCTION. — The Romans, xxiii tecture of their temples, as preserved in the style adopted as Tuscan by the Romans, also shows an identity of principles with the oldest form of Doric. Their paintings are Grecian in style, in mythology, in costumes, and in the ceremonies they represent. Their bronzes are also in the Greek style, and the excellence of the manufacture may probably be attributed to the Corinthian colonists already mentioned. Their sculpture is peculiar to themselves. It has neither the bold- ness of the ^ginetan marbles, nor the repose of the Egyptian. With just proportions, the forms of the human figure are undefined, the position of the limbs is constrained and studied, the drapery is arranged with a minute attention to regularity approaching to stiffness, and the countenances are often wanting in character and expression. Of their language, as preserved to us in inscriptions, we know absolutely nothing ; and of the words which have been handed down to us by the Romans as examples of the Etruscan tongue, only two have been met with in inscriptions, viz. Lar, king, and Lasne, the name of Etruria itself. The only expression satisfactorily made out is the very common one of Ril avil, vixit annos ; beyond this all is mere' conjecture. In fact, it is one of the most extraordinary phenomena connected with this wonderful people, that their alphabet is almost entirely deciphered, and yet their language remains unintelligible. It is unexplained by Hebrew, Greek, Latin, or Celtic. Nearly every letter is proved to be Greek, or rather that oldest form of it which is termed Pelasgic. It was WTitten generally from right to left, like the inscriptions of the Eugubian tables, in which the Pelasgic letter is also recognised. The Etruscan words, however, have no affinity with the Umbrian of those celebrated monuments. The bilingual inscriptions hitherto discovered have been very few, and have not been of a character to throw light on this difficult subject. Is it likely that some Rosetta stone will yet be discovered, in which we may find the long-lost key to the literature of this mysterious people ? 14. THE ROMANS. There -is no doubt that Rome derived her earliest ideas of art and civilization from Etruria. The Tuscan style was adopted by the Romans for their earliest temples, and the massive forms of Etrus- can architecture were employed in their greatest public works. They derived their religious ceremonies from the priestly aristocracy of Etruria, and adopted the Etruscan arts of manufacture without improving them. We must not therefore look for much originality in Roman works. From the period of the Kings to the conquest of Greece, art, so far from improving under the Romans, gradually declined. Even after that event had opened a new field of obser- vation, and created a desire for works of art, the artists of the con- quered nations were the only persons who were capable of supplying them. So long as the architecture of Etiwia maintained its influ- ence at Rome, the public works were characterised by great dura- bility and grandeur. The bridges, the public roads, and the colossal xxiv INTRODUCTION. — The Romans, aqueducts, were all probably suggested by the Etruscans, and Rome excelled more in these works of public utility than in any other branch of art. As the Tuscan style was imported for the earliest works of Rome, so the new conquests led to the introduction of Doric, Ionic, and Corinthian from Greece. But the beauty of Greek art, founded upon undeviating principles subservient to one main idea, was speedily corrupted : the Romans retained nothing but its forms, they rejected its principles, and at length corrupted what remained with devices of their own. Of all the works which the Romans have left to us, the most faultless in its proportions and the most beautiful in its general effect is the Pantheon. The circular tombs, and possibly the circular temples, were adopted from the Etruscans, but with such modifications and improvements as have made them rank among the most interesting monuments of Rome. About the time of Augustus, the Composite, or Roman order, seems to have been invented. The earliest example of this style is the Arch of Titus. There, as in the later works of the empire, in the Coliseum, the baths, the theatres, &c., we have, as the leading cha- racteristics, a combination of the arch with the Grecian orders, in which for the first time columns are employed, not as essentials to the stability of the structure, but as mere ornaments. This innova- tion naturally led to the employment of the column for other pur- poses, and hence we find an isolated pillar used either as a funeral or triumphal monument. The allegiance of the Romans to Greek art became gradually weaker, and was at last completely thrown off in the Basilicas. The Roman domestic archite(*ture is only to be studied with advantage at Pompeii : it would be out of place therefore to enter into details in the present volume, more parti- cularly as the subject will be examined in detail in the Hand-Book for Southern Italy. In painting, the only remains we have of Roman art are the fragments discovered in tombs, in the Baths of Titus, &c. These are mostly arabesques, but whenever composi- tions are attempted, they are mostly simple groups, or an episode complete in itself. The Nozze Aldobrandini is one of the finest examples of this kind. In the greater number of examples found at Pompeii and Herculaneum the subjects are either illustrative of some tale of classical mythology, or represent some single figure as a dancer, thrown out in fine relief on a dark ground. All these however are mere house decorations, and we have no work which the ancients themselves described with praise. In sculpture, the Romans showed as little originality and as little native talent as in other branches of art. Most of the works which have survived to our time, if not imported from Greece as the spoils of conquest, were executed in Italy by Greek artists, down to the latest period of the empire. Of the leading works of this class we may mention that the Laocoon is referred by the best authorities to the time of Titus, the Apollo Belvedere to that of Nero, the Antinous to that of Hadrian, and the Torso Belvedere is probably still later. Even the imperial statues are supposed to be the work of Greek sculptors, INTRODUCTION. — Christian Architecture. xxv resident at Rome ; and the statues of the Grecian divinities perhaps owe their excellence to the devotional feeling with which a Greek would have entered on his task. Under Hadrian, we have a striking proof of the imitation of foreign examples, in the numerous copies of Eg3^ptian architecture and art. The chamber of Canopus in the Capitol is filled with statues of this class, all highly finished, but bearing ample evidence of Greek art applied to Egyptian subjects. The bas-reliefs of the Sarcophagi form aa important class of sculp- tures, which might well be treated at greater length than our limits will allow. In them we read the metaphysical religion of the time expressed by such fables of mythology as have reference to death. The Cupid and Psyche, the story of Endymion, the battle-scenes from the poets, are all sufficiently explicit, but in the later examples the symbolical meaning becomes more obscure, until we have the last example of foreign imitation in the introduction of the Mithratic mysteries. Many of these works are of the highest class of sculp- ture, and are full of materials of study both to the artist and mythologist. 15. CHRISTIAN ARCHITECTURE. The early Christian architecture, avoiding the forms of the pagan temples, chose for its models the ancient Basilicas, which had served during the latter portion of the empire as the seats of the public tribunals. If the buildings themselves were not actually used for Christian worship, their form and general arrangement were so well adapted to the purpose that they were imitated with little change. The form of the central avenue allowed it to be easily converted into the nave or ship of St. Peter, the great character- istic of a Christian church. Even the raised tribune, which was peculiarly the seat of justice, was so well fitted for the seat of the bishop, who might thence, like a true Episcopus, look down on the congregation, that the form and title are still preserved in churches which have none of the distinctive characters of the basi- lica. The most important trace of the heathen temple which re- mained in the Roman basilica, was the continuous architrave. This was speedily abandoned, and the columns were tied together by a series of arches. The basilica, thus modified and adapted for Christian worship, was perhaps deficient in symmetry and propor- tion, but the simple grandeur of its style contained the germ of the ecclesiastical architecture of all Christendom. The form was oblong, consisting of the nave and two side aisles, separated by lines of columns. From these columns sprung a series of arches supporting a high wall pierced with windows, and sustaining the bare wooden roof. At the extremity was the semicircular tribune, or absis, elevated above the rest of the interior for the bishop's seat. In front, between the tribune and the body of the nave, was the choir with its two ambones or stone pulpits, from which the Epistle and Gospel were read. The nave beyond it was divided into two portions, the aula or open space where the congregation was as- c XX vi INTRODUCTION. — Christian Architecture. sembled, the men on one side and the women on the other, and the narthex for the catechumens and the lesser penitents. One of the lateral aisles, as in the courts of justice, was also set apart for the males, and the other for the females ; and after this ancient division of the aula and narthex was abandoned, an upper row of columns was introduced into the nave, where galleries were con- structed for the women. In front of the building was the quadri- porticus or fore- court, for the lowest class of penitents, surrounded on the inner side by a covered cloister, and having a fountain in the middle at which the people might wash their hands before they entered the building. The traveller will doubtless lose no oppor- tunity of visiting an example of this earliest form of Christian churches. He must, therefore, at the commencement of his tour, adopt the principle we have already laid down, and diverge from the beaten track. He must proceed in the first place to Ravenna, where, surrounded by the monuments of three kingdoms, he will be enabled to study a collection of Christian antiquities which have undergone no change since the time of Justinian. In the church of S. Apollinare in Classe he will find a purer specimen of the Christian basilica than any which now exists out of Rome, arid in the mosaics profusely scattered over the various churches of the city he will see the first attempts of Christian art to embody the inspirations of religion. At Rome, the finest example of a basilica is the venerable church of San Clemente, in which we still recognise the choir with its ambones, the tribune, and the quadriporticus. In S. Agnese, and S. Lorenzo, we see the upper row of columns for the female gallery ; in S. Lorenzo, S. Paolo, and other churches we recognise the ancient portico, though the rest of the atrium has disappeared. At Ravenna, the traveller will also have an opportunity of studying the Byzantine period of art. Under the Eastern Emperors, the city was enriched with the finest examples of religious architecture which the world had then seen beyond the walls of Constantinople. The church of S. Vitale, built on the plan of S. Sophia, was the first edifice in Italy constructed with a dome, which was previously the peculiar feature of the eastern church. We may therefore examine in the Byzantine dome of San Vitale, and in the basilica of S. Apol- linare, the two objects which still continue, after innumerable vicis- situdes, the elements of Christian architecture throughout Europe. We shall not dwell on the Lombard architecture to be met with in the Papal States, and shall touch very lightly on the examples of Italian Gothic, all of which are noticed in detail in the body of the work. If the introduction of the dome, and the religious antiqui- ties of Ravenna generally, are to be attributed to the patronage of the Eastern Emperors, the introduction of the Gothic style into Italy must be ascribed to the connection of the leading towns with the emperors of Germany. In some of the very few examples in which (as at Assisi, and perhaps at Subiaco) the origin of the style can be traced directly to the German artists, we have the Gothic rivalling the purity of transalpine churches ; but in others of a INTRODUCTION. — Sculpture. XXV ii later date, designed probably by native artists who had seen only the works of the foreign architects in Italy, the influence of classical examples was never wholly thrown off. We see it forming the well-known style now called Italian Gothic, in the cathedrals and churches of Siena, Orvieto, Bologna, Arezzo, Cortona, and other places in all parts of central Italy. The Italian Gothic has been proved by Professor Willis to be capable of a much more extended generalization than is commonly supposed ; and the traveller will look in vain for finer examples than those presented by the cathedrals of Orvieto and Siena. In the fifteenth century, Italian architecture in its modern sense was developed by the revival of the classical styles. In the previous century, the public buildings and churches had shown a disposition to return to the ancient models, and in buildings of that period at Perugia, at Ancona, and at numerous small towns in other provinces, the passage of the Gothic into the Roman orders is distinctly traceable. The new style was thoroughly developed by Brunelleschi after the completion of the Pitti Palaec in 1450. Without doing more than refer to his cupola of the Duomo at Florence, we may mention the triumphs of his new prin- ciples in the magnificent churches of San Lorenzo, and Santo Spirito in that city. His great follower Leon Battista Alberti gave a fresh impulse to the revival, by his noble churches of S. Andrea and S. Sebastiano at Mantua, and by his extraordinary works for the concealment of the pointed Gothic of S. Francesco at Rimini. Baccio Pintelli introduced it at Rome in S. Agostino and S. Maria del Popolo ; and, lastly, it was established as the model of Italian ecclesiastical architecture by Bramante. 16. SCULPTURE. Whoever would study the condition of Christian sculpture in the early ages of the Church will find many monuments at Ravenna of peculiar interest. The marble urn of St. Barbatian, the ivory pas- toral chair of St. Maximian, the tomb of the exarch Isaac, the pulpit of the Arian bishops in the church of Santo Spirito, the sculptured crucifixes, and other objects described in detail in our account of that imperial city, are precious specimens of art of the sixth and seventh centuries. At Rome the most remarkable are the sarcophagi of Junius Bassus and of Anicius Probus, in St. Peter's. They are covered with bas-reliefs from the Old and New Testament, of the highest interest as examples of art of the fourth century. Though stiff in attitude and drapery, these sculptures are far superior to any heathen works of the two preceding centuries : that of Junius Bassus is supposed to have been executed at Constan- tinople, and is in every respect one of the most instructive Christian monuments in existence. The traveller who may desire to trace the progress of sculpture, from the period of its revival in the thir- teenth century to that of its decline in the school of Bernini, will find abundant materials in the Papal States. At Bologna, he will see in the tomb of S. Domenico, executed in 1225, the first work of c 2 xxviii INTRODUCTION. — Painting, Niccolo di Pisa, who there laid the foundation of the Christian department of sculpture. The pulpit at Pisa was not executed till thirty years later, but that of Siena, which dates only one year after the tomb of S. Domenico, is not inferior as a work of art, and is justly regarded as one of the finest productions of this great master. The tomb of Benedict XI. at Perugia, the fountain in the great square of the same city, the matchless sculptures on the facade of the Duomo of Orvieto, the marble screen of S. Donato in the cathe- dral of Arezzo, all by his son Giovanni di Pisa, may be classed as the next steps of the revival. The great work of his scholar Gio- vanni di Balducci, the shrine of St. Peter Martyr in the church of St. Eustorgius at Milan, is another important monument which the traveller should study with attention. At Arezzo he will meet with an example of equal interest in the tomb of Guido Tarlati, the warrior-bishop, executed between 1328 and 1330 by Agostino and Angelo da Siena. Another work of the same period is the tomb of Gregory X., by Margheritone, which he will also find in the cathe- dral of Arezzo. Of another class, intermediate between the first masters of the revival and the period of the decline, are the bas- reliefs of the bronze doors, of which Florence, Pisa, Bologna, and other cities offer such interesting examples. We might dwell longer on the details, and enter more fully into the characteristics of tlie several schools, but anything like a complete catalogue would be out of place in our brief summary, and would prolong it beyond our object in merely directing attention to the leading monuments of the art. It will not be necessary to yjarticularise the works of Michael iVngelo and his contemporaries, all of which are of course considered in the body of the work ; but we may simply remark, that those who wish to study the history of sculpture immediately after it assumed that colossal character and exaggeration of style which was the immediate precursor of its decline, must do so at Orvieto. There they will find the finest collection of statues by John of Bologna, Scalza, San Micheli, Mochi, and other artists of the period, which has ever been brought together. At Loreto also they will meet with another series of sculptures by Andrea Sanso- vino, Girolamo Lombardi, John of Bologna, Bandinelli, Guglielmo della Porta, Niccolo Tribolo, and other eminent masters of tlie six- teenth century, which are quite unrivalled in the delicacy of their style and their marvellous power of expression. 17. PAINTING^ The Mosaics of the early Christian Church are the true repre- sentatives of painting before its revival in the schools of Cimabue and Giotto. Nowhere are they so remarkable as at Ravenna, where they are still as fresh as in the days of Justinian. These early mosaics, though often rude in execution, are astonishing specimens of expression : many of them breathe a spirit of pure devotion, and are invaluable to the Christian antiquary as giving him a perfect epitome of the religious ideas and symbols of the time. We shall iNTROD ucT I ON . — Painting . xxix not enter into a critical examination of the Schools of Art, as those which come within our province are noticed in the descriptions of their different localities ; and it would be difficult to present any general arrangement of them without including details which would carry us into other schools, beyond the scope of the present volume. We shall merely mention, in illustration of the remark already made respecting the true mode of seeing Italy, that it is only by deviating from the high roads that the traveller can appreciate the works of the early masters. At Orvieto, for example, he will have an opportunity of studying the beautiful works of Gentile da Fabriano, of Beato Angelico da Fiesole, of Benozzo Gozzoli, and of Luca Signorelli, from whose wonderful frescoes Michael Angelo did not disdain to borrow for his great work of the Last Judgment. At Assisi he will find himself amidst those triumphs of Giotto to which Dante has given immortality. He will there be able to con- trast them with the works of his great master Cimabue. with those of his pupil sPuccioCapanna, Pace daFaenza, andof PietroCavallino, whose picture of the Crucifixion was so much admired by Michael Angelo. At Bologna he will be surrounded by the greatest works of the Eclectic school, founded by the Caracci and their pupils — a . school which German critics are disposed to estimate more harshly J than it deserves. Whatever may be its demerits on the score of ^ originality, the English traveller will not forget that it was treated with more respect by Sir Joshua Reynolds, who recommended the student to devote more time to Bologna than it had hitherto been the custom to bestow. The works of Francesco Francia, the most illustrious name in the history of the Bolognese school, are not liable to the objections urged against the school of the Caracci. This great master has only lately been known and appreciated in England ; and the traveller who is at all acquainted with his works will not fail to recollect that there is no place where he can be stu- died to so much advantage as at Bologna. Among the cities on the shores of the iVdriatic there is scarcely one which does not contain some work which is an episode in the general history of painting — a link in the chain which connects one school with another, and shows the means by which their filiation was accomplished. The little towns of Borgo San Sepolcro and Citta di Castello may claim the titles of cities of painters. Borgo San Sepolcro was the birth- place of Pietro della Francesca, the illustrious master of Melozzo da Forli, Luca Signorelli, Santi di Tito, and other eminent painters. From the works of Pietro della Francesca at Arezzo Raphael de- rived his idea for the design of Constantino's Vision and Victory, in the Vatican^; and was probably indebted to him for those effects of light and shade for which the Deliverance of St. Peter, in the Stanza of the Heliodorus, is remarkable. Citta di Castello is still rich in superb and almost unknown works of Luca Signorelli, Beato Angelico, and other masters, whose style exercised an important influence on the genius of Raphael. It was the town in which Raphael found his earliest patrons, and no less than four of his XXX INTRODUCTION. Books, most celebrated works were painted for its churches. Though these have passed, since the French invasion, into the great galleries of Italy, Cittadi Castello still contains two at least of his works, which are justly cherished as memorials of his long residence in the town. Siena and Perugia are also remarkable as the centre of two schools of painting, whose influence on the great masters of the fifteenth century is confirmed generally by their works. The School of Siena is nearly equal in antiquity to that of Florence, and presents us with the names of Guido da Siena, Simone and Lippo Mem mi, Taddeo Bartolo, Sodoma, Beccafumi, and Baldassare Peruzzi. The School of Umbria, of which Perugia was the centre, may be re- garded as the transition from the classical style prevalent at Florence to that deep religious feeling and spiritual tendency of the art which attained its maturity under Raphael. Its early masters were Niccolo Alunno, and Benedetto Bonfigli, the immediate predecessors of Pietro Perugino, under whose instructions in that city the genius of Raphael was first developed. Giovanni Santi of Urbino, the father of Raphael, is generally referred to this school ; and Perugia still contains some interesting works by Raphael himself, in which the traveller may trace the influence exercised upon his style by the early Umbrian masters. To those travellers who may be interested in the arabesque frescoes which we have described in detail in our account of Rome, it will be gratifying to learn that this beautiful class of art has at length found an able illustrator in Mr. Ludwig Gruner, the Saxon artist, whose burin has been so successfully employed in diffusing a know- ledge of the works of Raphael. Mr. Gruner's ' Architectural Deco- rations of Rome during the Fifteenth and Sixteenth Centuries ' contain a selection from the works of Raphael, Giulio Romano, Baldassare Peruzzi, Perino del Vaga, Giovanni da Udine, and other painters, existing in the Cortile of S Damaso in the Vatican, the Palazzo Farnesina, the Villa Madama, and other villas in and near Rome. Nothing can be more interesting than these arabesques and medallions, and travellers will no doubt be glad to have the power of recurring to them and of studying their beautiful details, after the completion of their journey. 18. BOOKS. A catalogue of the Books which might be recommended to the traveller would be incomplete if it did not include a much larger number than can be conveniently disposed of on his journey. Nothing is so great an incumbrance as a multitude of books in travelling, and the objects which command attention at the different stages of the tour occur in too rapid succession to allow much time for study on the road : we shall therefore mention only such works as may be useful for reference, or in perpetuating tlie memory of those scenes which frequently survive all other recollections of the journey. For general information on Italy, in its most extended sense, we INTRODUCTION. — Ckronologicol Tables. xxxi know no work entitled to such hi^h praise as Mr. Spalding's Italy and the Italian Islands^ in the Edinburgh Cabinet Library. It contains in a condensed and systematic form the leading facts of the ancient and modern history of the peninsula, with an excellent epitome of its arts and literature from the earliest times, conveyed in the most agreeable style, and with a true feeling for the country and its people. In art, Kuglers Handbook of Painting, edited by Mr. Eastlake, whose notes give great value to the work, is the m^ost convenient manual to which the traveller can be referred. The author's criti- cisms are sometimes severe, but they contain a great deal of informa- ation which cannot fail to interest the student. In general criticism, Forsyth s Italy still leaves all others in the shade. For acuteness of judgment and clearness of argum»ent we know no work which has greater value, or to which the traveller will recur with so much pleasure. John Bells Italy, filled with judicious criticism on sculpture and painting, is interesting as the work of one of the first anatomists of Great Britain. Nothing can be more instructive than his exposition of the characteristics of the antique statues : the scientific details, on which he is so high an authority, are controlled by the finest taste. In architecture, Mr. Gally's Knight's Ecclesiastical Architecture of Italy, whose speedy appearance has been recently announced, will supply the traveller with a series of lithographic views by English and Italian artists, which will be the best illustrations of the Hand-Books in which their subjects are described. Mr, Brockedon s Italy appeals to all travellers who are desirous of enjoying on their return home the scenes of historical or pic- turesque interest which have charmed them in their journey. Its plates have the peculiar merit of carrying us into those districts of Italy which are at once the least explored and the most remarkable for the beauty of their scenery. 19. CHRONOLOGICAL TABLES. Roman Kings, b.c. 753-510. Roman Empire, b c. 30-a.d. 476. 753-714 Romulus. 715-673 Numa Pompilius. 673-641 Tullus Hostilius. 641-616 Ancus Martius. 616-578 Tarquiiiius Priscus. 578-534 Servius Tullius. 534-510 Tarquiiiius Superbus. B.C. A.D. 14- 37 Tiberius. 38- 41 Caligula. 41- 54 Claudius. 54- 68 Nero. 30- 14 Augustus. A.D. 1. Heathen Em.'perors, Roman Republic, b.c. 510-30. 68- 69 Galba. 1st Period — From the Expulsion of Tar- quin to the Dictatorship of Sylla, B.C. 510-82. 69 Otho. 2iid Period — Sylla to Augustus, B.C. 69- 70 Vitellius. 70- 79 Vespasian. 79-81 Titus. 81-30. 81- 96 Domitian. xxxii INTRODUCTION. — Chrouological Tables. A.D. 96- 98 Nerva. 98-117 Trajan. 117-138 Hadrian. 138-161 Antoninus Pius. 161-180 Marcus Aurelius Antoninus. 180-192 Commodus. 193 Pertinax. 193 Julianus. 193-21 1 Septimius Severus. 211-217 Caracalla. 217 Macrinus. 218-222 Heliogabalus. 222-235 Alexander Severus. 235 Maximinus. 238 Gordian I. & II., Pupienus. 238 Maximus Balbinus. 238 Gordian III. 244 Philippus the Arab. 249 Decius. 251 Trebonianus Gallus, Hostilia- anus, and Volusianus. 253 ^milian. 253-260 Valerian and Gallienus. 261-268 Gallienus (Macrianus,Valens, Calpurnius Piso, Aureolus, Odenathus). 268-270 Claudius II., surnamed Goth- icus. 270-275 Aurelian. 275- 276 Tacitus. 276 Florian. 276- 282 Probus. 282-284 Carus (Carinus and Nume- rian). 284-286 Diocletian. 286-305 Maximian. 305- 306 Galerius and Constantius Chlorus. 2. Christian Emperors, 306- 337 Constantine the Great (Maxi- minus II., Maxentius, Maximianus, &c.), trans- fers the seat of government to Constantinople, a.d 330. 337-361 Constantine II., Constantius, Constans, co-emperors. 361-363 Julian the Apostate. 363- 364 Jovian. 364- 367 Valentinian I.. Valens, co- emperors. (Formal Divi- sion of the Empire into tlie Eastern and Western.) 3. TVestern Empire^ to its Fall, A.D. 367-375 Valentinian I. and Gratian. 375-383 Gratian and Valentinian II. 383-395 Valentinian II 395-423 Honorius. 424- 425 Johannes. 425- 455 Valentinian III. 455 Maximus. 455-456 Avitus. 457-461 Majorianus. 461-465 Libius Severus. 467-472 Procopius Anthem ius. 472 Olybrius. 473- 474 Glycerins. 474- 475 Julius Nepos. 475 Romulus Augustulus. 476 Italy seized by Odoacer. 4. Eastern Empire to Nicephorus, A.D. 367-800. 367-378 Valens. 378-395 Theodosius the Great and Arcadius, from a.d. 383, as co-emperors. 395-408 Arcadius. 408-450 Theodosius II. 450-457 Pulcheria and Marcian. 457-474 FlaviusLeo I. 474 Flavins Leo II. 474-491 Zeno. 491-518 Anastasius I. 518-527 Justhms I. 527-565 Justinian. [Belisarius, Narses, and Lon- giims. Exarch of Ravenna.] 565-578 Justinus II. 578-582 Tiberius II. 582-602 Maurice the Cappadocian. 602-610 Phocas. 610-641 Heraclius. 641 Constantine III. 641-668 Constans II. 668-685 Constantine IV. 685-711 Justinian II. 711-713 Bardanes Philippicus. 713-716 Anastasius II. 716-718 Theodosius III. 718-741 Leo III. the Isaurian. 741-775 Constantine V. Copronimus. 775-780 Leo IV. 780-792 Constantine VI. 792-802 Irene. 802 Nicephorus. INTRODUCTION. — Chrouological Tables, xxxiii A.D. 802 The Popes separate themselves from the Eastern Emperors about this time. East Gothic Kings of Italy, A.D. 489-554. 489-526 Theodoric. 526-534 Athalaric. 534-536 Amalasuntha and Theodatus. 536-540 Vitiges. 540- 541 Hildebald. 541- 552 Totila. 552-554 Teja. Lombard Kings of Italy, A.D. 568-769. 568 Alboin. 573 Clephis. 582 Aiithar. 591 Agilulf. 615 Adelvvald. 636 Rothar. 652 Rodwald. 653 Aribert I. 66 1 Pertharit and Godibert. 662 Grimoald. 671 Pertharit. 686 Cunibert. 700 Leutbert. 701 Ragimbert and Aribert II. 712 Luitprand. 736 Ilprand. 744 Ratchis. 749 Astolphus. 757 Desiderius Duke of Istria. 769 Adelchis. FkanivIsii Emperors of Italy, A.D. 774-887. 774 Charlemagiie (conquers Italy). 814 Louis the Debonnaire. 840 Lothaire. 855 Louis II. 876 Charles the Bald. 881 Charles the Fat. InterTegnw7iy A.D. 887-962. 891 Guy Duke of Spoleto, crowned. 895 Arnulfus, crowned. 898 Lambert of Spoleto. 900 Louis of Provence. 916 Berengarius Duke of Friuli, crowned. German Emperors of Italy. 1. Saxon Line, a.d. 962-1002. A.D. 962 Otho the Great. 973 Otho n. 983 Otho III. (Theophanid Empress Regent). 1002 (Henry II. of Bavaria). 2. Franconian Line^ A.D. 1024-1125. 1024 Conrad IL (the Salic.) 1039 Henry III. 1056 Henry IV. 1106 Henry V. 1 125 (Lotharius of Saxony.) 3. Stmhian Line, A.D. 1138-1250. 1138 Conrad IIL 1152 Frederic I. (Barbarossa.) 1190 Henry VI. 1197 Otho IV. of Saxony. 1212 Frederic II. 1250 (Manfred.) Interregnum, 1250-1273. Emperors of Germany, A.D. 1273-1792. 1273 Rudolph of Hapsburg. 1292 Adolph of Nassau. 1298 Albert I. of Austria. 1309 Henry VII. of Luxemburg. 1313 Louis of Bavaria, and Frederic of Austria. 1346 Charles IV. of Luxemburg. 1378 Wenceslaus. 1400 Robert of Bavaria, i 1410 Sigismund. 1437 Albert II. 1440 Frederic III. 1493 Maximilian I. 1520 Charles V. 1558 Ferdinand I. 1564 Maximilian II. 1576 Rudolph IL 1612 Matthias. 1619 Ferdinand IL 1637 Ferdinand IIL 1658 Leopold L 1711 Charles VL 1741 Charles VII. of Bavaria. 1745 Francis 1. (Grand Duke of Tus- cany.) d xxxiv INTRODUCTION . — Chroiiological Tables. A.D. 1765 Joseph II. 1790 Leopold II. (Grand Duke of Tuscany.) 1792 Fraiicisll. (Francis I. of Austria.) 1835 Ferdinand I. (Emperor of Aus- tria.) Popes and Bishops of Rome. 1. Under the Heathen EmiJerors, A.D. 51-308. 54 St. Peter. 65 St. Linus of Vol terra. 67 St. Clement, Rome. 77 St. Cletus, Rome. 84 St. Anacletus, Athens. 96 St. Evaristus, Bethlehem. 108 St. Alexander I., Rome. 117 St. Sixtus I., Rome. 128 St. Telesphorus, Greece. 138 St. Higinus, Athens. 142 St. Pius, Aquileja. 153 St. Anicetus, Syria. 162 St. Soter, Fondi. 171 St. Eleutherius, Nicopolis. 186 St. Victor I., Africa. 198 St. Zephyrinus, Rome. 218 St. Calixtus I., Rome. 223 St. Urban L, Rome. 230 St. Pontianus, Rome. 235 St. Anterus, Greece. 236 St. Fabian, Rome. 250 St. Cornelius, Rome. 252 Novatia7i (Antipope), Rome. 252 St. Lucius, Lucca. 253 St. Stephen I., Rome. 257 St. Sixtus IL, Athens. 259 St. Dionysius, Greece. 269 St. Felix I., Rome. 275 St. Eutychianus, Tuscany. 283 St. Caius, Salona. 296 St. Marcellinus, Rome. 2. Under the Christian Emperors, to the Division of the Empire, A.D. 308-366. 308 St. Marcellus I., Rome. 310 St. Eusebius, Greece. 310 St. Melchiades, Africa. 314 St. Sylvester, Rome. 336 St. Mark I., Rome. 337 St. Julius I., Rome. 352 St. Liberius, Rome. 355 Felix II. (Antipope), Rome. 3. Under the Eastern and, M^estern Empire, A.D. 366-4S0. A.D. 366 St. Damasus I., Spain. 385 St. Siricius, Rome. 398 St. Anastasius I., Rome. 401 St. Innocent I., Albano. 417 St. Zosimus, Greece. 418 St. Boniface I., Rome. 420 Eulalins (^Antipope), Rome. 422 St. Celestin I., Rome. 432 St. Sixtus III., Rome. 440 St. Leo I. (the Great), Tuscany. 461 St. Hilary, Sardinia, 468 St. Simplicius, Tibur. 4. Under the East Gothic Kings y A.D. 489-551. 483 St. Felix II. (called Rome. 492 St. Gelasius, Africa. 496 St. Anastasius II., Rome. 498 St. Symmachus, Sardinia. 514 Laurent ius (^Antipope\ Rome. 514 St. Hormisdas, Frosinone. 523 John L, Tuscany. 526 St. Felix IV., Samnium. 530 Boniface IL, Rome. 530 Dioscurus (A/itipope), Rome. 532 John II., Rome. 535 St. Agapetus I., Rome. 536 St. Sylverius, Frosinone. 538 Vigilius, Rome. 555 Pelagius L, Rome. 6. Under the Lo?nba?'d Kings j A.D. 568-769. 560 St. John IIL, Rome. 574 St. Benedict I., Rome. 578 St. Pelagius IL, Rome. 590 St. Gregory I. (the Great), Rome. 604 Sabinian, Bieda. 607 Boniface IIL, Rome. 608 Boniface IV., Abruzzi. 615 Deusdedit, Rome. 619 Boniface V., Naples. 625 Honorius L, Frosinone, 640 Severinus, Rome. 640 John IV., Dalmatia. 641 Theodore L, Jerusalem. 649 St. Martin I., Todi. 655 Eugenius L, Rome, 657 Vitalian, Segni. 672 Adeodatus, Rome. 676 Domnus I., Rome. INTRODUCTION. — Ckronologlcal Tables. A.D. 678 Agatho, Sicily. 682 St. Leo 11., Sicily. 684 Benedict II., Rome, 685 John V., Antioch. 686 Pefei^ (Antipope), Rome. 686 Theodore (A?itipope), Rome. 686 Conon, Sicily. 686 Paschal (Antipope.') 687 Sergius I., Antioch. 701 John VI., Greece. 705 John VII., Greece. 708 Sisinius, Syria. 708 Constantine, Syria. 715 Gregory II., Rome. 731 Gregory III., Syria. 741 Zacharias, Greece. 752 Stephen II. or III., Rome. 757 Paul I., Rome. 768 Theophilactus (Antipope), 768 Constantine II. (Antipope), Nepi. 769 Philip (Antipope)^ Rome. 769 Stephen III., Sicily. 7. Under the Frarikish Emper^ors^ A.D. 774-887. 772 Adrian I., Rome. 795 Leo III., Rome. 816 Stephen IV., Rome. 817 Paschal I., Rome. 824 Eugenius IL, Rome. 826 Zinzinius (^A?ifipope), Rome. 827 Valentine, Rome. 827 Gregory IV., Rome. 844 Sergius IL, Rome. 847 Leo IV., Rome. (Fable of Pope Joan.) 855 Benedict III., Rome. 858 Anastasius (Antipope')^ Rome, 858 Nicholas I., Rome. 867 Adrian IL, Rome. 872 John VIIL, Rome. 882 Martin IL, Gallese. 884 Adrian IIL, Rome. 8. Under the Interregnum^ A.D. 887-962. 885 Stephen V., Rome. 891 Formosus, Porto. 891 Sergius IIL (Antipope.) 896 Boniface VL, Rome. 896 Stephen VI. or VII., Rome. 897 Romanus L, Gallese. 898 Theodore IL, Rome. A.D. 898 John IX., Tlbur. 900 Benedict IV., Rome. 903 Leo v., Ardea. 903 Christopher, Rome. 904 Sergius IIL, Rome. 911 Anastasius IIL, Rome. 913 Landonius, Tibur. 914 John X., Ravenna. 928 Leo VL, Rome. 929 Stephen VIL, Rome. 931 John XL, Rome. 936 Leo VIL, Rome. 939 Stephen VIIL, Rome. 942 Martin IIL, Rome. 946 Agapetus IL, Rome. 956 John XII. (Prince Alberic), Rome. 9. Under the German Emperors (Saxon line), A.D. 962-1002. 964 Leo VIIL, Rome. 964 Benedict F. (Antipope), 965 John XIIL, Narni. 972 Benedict VL, Rome. 974 Domnus IL, Rome. 975 Benedict VIL, Rome. 980 Boniface Fill. (Franconi), Anti- pope. 983 John XIV., Rome. 985 John XV., Rome. 985 John XVI., Rome. 996 Gregory V. (Bruno), Saxony. 998 John XFIL (Antipope.) 999 Sylvester II. (Gerbert), Auvergne. 10. Under the Franconian line of Ger- ma7i Emperors, a.d. 1024-1125. 1003 John XVII., Rome. 1003 John XVIIL, Rome. 1009 Sergius IV., Rome. 1012 Benedict VIIL, Tusculum. 1024 John XIX., Tusculum. 1033 Benedict IX., Tusculum. 1043 Sylvester III. (Antipope.^ 1046 Gregory VI. , Rome. 1047 Clement II. (Suidger), Saxony 1048 Damasus II. , Bavaria. 1049 Leo IX., Lorraine. 1055 Victor IL, Bavaria. 1057 Stephen IX., Lorraine. 1058 Benedict X. (Antipope), Rome. 1058 Nicholas IL (Gherardus), Bur- gundy. 1061 Alexander IL (Anselm), Milan. d2 xxxvi INTRODUCTION. — Chro7iological Tables. A.D. 1 06 1 Honoriiis II. ( Cadalons ofPai^ma), Antipope. 1073 St. Gregory VII. (Hildebraiid), Tuscany. 1 080 Clement II. ( Guihert of Ravenna) , Antipope. 1086 Victor III., Beneventum. 1088 Urban II., Lagery. 1099 Paschal II., Bieda. 1100 Albert ( A /it ipope), AteWa. 1102 Theodoi^ic (Antipope), Rome 1102 Sylvester III. {Antipope)^ Rome. 1118 Gelasius II. (Giov. Gaetano), Rome. 1118 G/^egory Fill. (A?itipope), Spain. 1119 CalixtLis II., Burgundy. 1124 Honorius II. (Lambert), Bologna. 1124 Theobald Q' Bocca di Pecora;') Antipope. 1130 Innocent II. (Gregory), Rome. 1130 Anacletus II, {Antipope.) 1 1. Under the Si/abian line of Emperors, A.D. 1138-1250. 1138 Fictor IF. {Antipope.) 1143 Celestin II., Tuscany. 1144 Lucius II., Bologna. 1145 Eugenius III. (Bernard), Pisa. 1150 Anastasius IV., Rome. 1154 Adrian IV. (Nicholas Break- speare), St. Alban's, England. 1159 Alexander III., Siena. 1159 Fictor IF, {Cardinal Octaiia?i), Antipope, Rome 1164 Paschal III. {Antipope), Cre- mona. 1169 Calixtus IF. (Antipope), Hun- gary. 1178 Innocent III. (Antipope), Rome. 1181 Lucius III., Lucca. 1185 Urban III. (Crivelli), Milan. 1187 Gregory VIII., Beneventum. 1187 Clement III., Rome. 1191 Celestin III., Rome. 1198 Innocent III. (Conti), Anagni. 1216 Honorius III. (Savelli), Rome. 1227 Gregory IX. (Conti), Anagni. 1241 Celestin IV., Milan. 1213 Innocent IV. (Fieschi), Genoa. 1254 Alexander IV. (Conti), Anagni. 1261 Urban IV., Troyes. 1261 Clement IV. (Foucauld), Nar- bonne. A.D. 1271 Gregory X., Piacenza. 1276 Innocent V., Savoy. 127G Adrian V. (Fieschi), Genoa. 1276 John XX. or XXL, Lisbon. 1 2. Borne under the Popes, \st Period. The Popes at Rome, A.D. 1277-1305. 1277 Nicholas III. (Orsini), Rome. 1281 Martin IV., I^ours. 1285 Honorius lY , (Savelli), Rome. 1287 Nicholas IV., Ascoli. 1292 Celestin V. (Pietro da Morrone), Sulmona. 1294 Boniface VIII. (Gaetani). Anagni. 1303 Benedict XI. (Boccasini),Treviso. Ind Period. The Papal See at Avignon, A.D. 1305-1378. 1305 Clement V.(Bertrand), Bordeaux 1316 .John XXII. (Jacques d'Euse), Quercy. 1334 Nicholas F. (Antipope at Ro7ne)f Rieti. 1334 Benedict XII. (Jacques Four- nier), Toulouse. 1342 Clement VI. (Pierre Roger), Li- moges. 1352 Innocent VI. (Etienne d'Albert), Limoges. 1362 Urban V. (Guillaume de GrisacJ, Gevaudan. 1370 Gregory XL (Pierre Roger), Li- moges. ord Period. Rome, after the return from Avignon, A.D. 1378, to the present time. 1378 LTrban VI. (Bartolommeo Prig- nani), Naples. 1387 Clement FIL (Robert of Ge?ieva), Antipope at Avigji07i. 1389 Boniface IX. (Pietro Tomacelli), Naples. 1394 Benedict XI I L (Pedro de Luna, a Spaniard), Antipope at Avig' non. 1404 Innocent VIL (Cosmato de' Me- liorate ), Sulmona. 1406 Gregory XII. (Angelo Corrario), Venice. INTRODUCTION. — CIuvTiological Tables. xxxvu A.D. 1409 Alexander V. (Petrus Phylargy- rius), Caiidia. 1410 John XXIII. (Baldassare Cossa), Naples. 1417 Martin V. (Odclone Colonna), Rome. 1424 Clement PHI. (a Spaniard) , Ant i- pope at Avignon. 1431 Eugenius IV. (Gabriele Condol- meri ), Venice. 1439 Felijc F. (Aniipope) : [End of the Western Schism.] 1447 Nicholas V. (Tommaso di Sar- zana.) 1455 Calixtus III. (Alfonso Borgia), Valencia. 1458 Pius II. (^neas Silvius Piccolo- mini), Pienza. 1464 Paul II. (Pietro Barbo), Venice. 1471 Sixtus IV. (Francesco della Ro- vere), Savona. 1484 Innocent VIII. (Gio-battista Ci- bo), Genoa. 1492 Alexander VI. (Rodrigo Borgia), Spain. 1503 Pius III. (Francesco Piccolo- mini), Pienza. 1503 Julius II. (Giuliano della Ro- vere), Savona. 1513 Leo X. (Giovanni de' Medici), Florence. 1522 Adrian VI. (Adrian Florent), Utrecht. 1523 Clement VII. (Giulio de' Me- dici), Florence. 1534 Paul III. (Alessandro Farnese), Rome. 1550 Julius III. (Gio. Maria del Monte), Arezzo. 1555 Marcellus II. (Marcello Cervini), Fano. 1555 Paul IV. (Gio. Pietro Caraffa), Naples. 1559 Pius IV. (Giovan-angelo Medi- cliini), Milan. 1566 Pius V. (Michele Ghislieri), Alexandria. 1572 Gregory XIII. (Ugo Buoncom- pagni), Bologna. 1585 Sixtus V. (Felice Peretti), Men- tal to. 1590 Urban VII. (Gio-Battista Cas- tagna), Genoa. A.D. 1590 Gregory XIV. (Niccolo Sfron- dati), Cremona. 1591 Innocent IX. (Giov. Antonio Fac- chinetti), Bologna. 1592 Clement VIII. (Ippolito Aldo- brandini), Fano. 1605 Leo XI. (Alessandro Ottaviano de' Medici), Florence. 1605 Paul V. (Camillo Borghese), Rome. 1621 Gregory XV. (Alessandro Ludo- visi), Bologna. 1623 Urban VIII. (Matteo Barberini), Rome. 1644 Innocent X. (Gio-Battista Pam- tiii), Rome. 1655 Alexander VII. (Fabio Chigi), Siena, 1667 Clement IX. (Giulio Rospigliosi), Florence. 1670 Clement X. (Gio-Battista Alti- eri), Rome. 1676 Innocent XI. (Benedetto Odescal- chi), Como. 1689 Alexander VIII. (Pietro Otto- boni), Venice. 1691 Innocent XII. (Antonio Pigna- telli), Naples. 1700 Clement XI. (Gio. Francesco Albani), Urbino. 1721 Innocent XIII. (Michelangelo Conti), Rome. 1724 Benedict XIII. (^Pietro Francesco Orsini), Rome. 1730 Clement XII. (Lorenzo Coisini}, Florence, 1740 Benedict XIV. (Prosper© Lam- bertini), Bologna. 1758 Clement XIII. (Carlo Rezzo- nico), Venice. 1769 Clement XIV. (Antonio Ganga- nelli), St. Angelo in Vado. 1775 Pius VI. (Giov. Angelo Braschi), Ceseua. 1800 Pius VII. (Gregorio Barnaba Chiaramonti), Cesena. 1823 Leo XII.(Annibale della Genga), Spoleto. 1829 Pius VJII. (Francesco Xaviere Castiglione), Cingoli. 1831 Gregory XVI. (Mauro Cappel- lari), Belluno. xxxviii INTRODUCTION. — Addenda, Sovereigns of Ferrara. A.D. 1210 Azzo d'Este, &c. 1293 Azzo VIIL, Marquis d'Este. 1308 Folco d'Este. 1317 Obizo 111. 1352 Aldrovandino III. 1361 Niccolo II. 1383 Alberto. 1393 Niccolo III. 1411 Lioiiello. 1450 Borso, first Duke. 1471 Ercolel. 1505 Alfonso I. 1534 Ercole II. 1559 Alfonso II. 1597 Attached to the Church. Dukes of Urbino. 1474 Federigo di Montefeltro. 1482 Guid' Ubaldo I. A.D. 1508 Francesco Maria della Rovere. 1538 Quid' Ubaldo II. della Rovere. 1574 Francesco Maria II. della Ro- vere, abdicated in 1626. Grand-Dukes of Tuscany. 1. House of Medici. 1537 Cosmo I. (1569.) 1574 Francesco I. • 1587 Ferdinando I. 1609 Cosmo II. 1621 Ferdinando II. 1670 Cosmo III. 1723 Giov. Gastone. 2. House of Lorraine. 1737 Francis (emperor, 1745). 1765 Leopold II. (idem, 1790.) 1790 Ferdinand III. 1824 Leopold II. 20. ADDENDA. Rome. — hater an Museum (p. 351). While the last sheets of our work were passing through the press, we learnt, too late for insertion in its proper place, that a Museum has heen formed in the Palace of the Lateran. It is intended to deposit in it all those works for which room cannot he found in the Vatican and Capitol : it already contains some very valuable sculp- tures, brought to light in the recent discoveries at Cerveteri and other places in the neighbourhood of Rome. The plaster casts from the Elgin and ^ginetan marbles, formerly in one of the rooms of the Tor de' Venti (p. 410), have been removed to it, toge- ther with the portrait of George IV. by Sir Thomas Lawrence, pre- sented by that sovereign to Pius VII. It contains also some paint- ings byM. A. Caravaggio, Giulio Romano's Cartoon of St. Stephen, landscapes by Paul Brill, and some mosaics found in the Baths of Caracalla. ERRATA. P. 35, col. 1, line 24 from top, ioxfama vend fame, P. 274, col. 2, line 9, 13, 22, for cUvis read clivus. P. 350, col. 2, line 31, for dement XU. read Clement VI. HANDBOOK FOR TEAVELLERS IN CENTRAL ITALY. THE PAPAL STATES. PRELIMINARY INFORMATION. § 1. Passports. — §2. Lascia-passare. — § S.Frontier and Custom-Houses. § 4. Money. — § 5. Roads. — § 6. Posting. — § 7. Vetturini. — § 8. Inns. ROUTES. To facilitate reference, the names are printed in italics in those Routes under which they are fully described. ROUTE PAGE I ROUTE PAGE 1. Mantua to Ferrara 2. Modena to Ferrara • . 9 Macerafa, a,i\(X Tolentino . 119 3. Padua to Ferrara 4. Ferrara to Bologna, by Malal- bergo 5. Ferrara to Bologna, by Ce?ifo and Pieve di Cento 6. " Modena to Bologna • • 7. Bologna to Florence 8. Florence to Forli, by the Apen- nines 9. Forli to Ravenna 10. Faenza to Ravenna 11. Venice to Ravenna, by the Canals and Comacchio 12. Bologna to Ravenna, by Imola and Lugo 13. Ravenna to Rimini 14. Bologna to Ancona^ by FoiTi, Rimini, Sa?i Marino, Pe- saro, and Fa7to • 22 22 24 70 72 73 73 73 77 97 97 16. 19. 130 133 15. Ancona to Foligno, by Loreto, Macerafa, and Tolentino . Fano to Foligno, by the ;SVm- da del Furlo , Fano to Urhino . , Urbino to San Giustitio and Citta di Castello, by the new Mountain Road . 139 San Giustino to Borgo San Sepolci'o and Arezzo . 149 20. Citt^ di Castello to Guhhio 152 2L Citta di Castello to Perugia . 154 22. Perugia to Narni, by Todi . 154 23. Montefiascone to Orvieto, Citta delta Pieve, and Perugia . 155 24. Rietito Rome , . .162 25. Civifa Fecchia to Rome • 165 26. Florence to Rome, by Siejia . 169 27. Florence to Rome, by Arezzo and Perugia , ,205 EXCURSIONS FROM ROME. PAG-E Alba Longa 496 Albano 502 Ardea 531 Astura 534 Castel Fusano , 529 Cavi 513 Cerveteri 536 Civita Lavinia 505 Colonna 508 Corneto 538 Fiumicino and Porto . . . 527 Frascati 488 Genazzano 513 Genzano 506 Grotta Ferrata 493 PAGE Horace's Sabine Farm and Monte Genaro . . . 487 L'Ariccia 504 Ijake of Albano and Cas- tel Gandolfo 500 liake of Bracciano 521 Lake of Gabii 515 Lake of Nemi 506 Marhio and the Parco di Colonna 495 Monte Cavi 498 Monte Giove (Corioli) . . 505 Musignano 541 Nettuno 534 Olevano , , . , 614 PAGE Ostia 523 Palazzola 497 Palestrina , 509 Paliano 514 Ponte dell' Abadia 541 Porto d' Anzo 532 Pratica 530 Rocca di Papa 497 Subiaco 485 Tivoli 477 TorPaterno 529 Toscanella 542 Tusculum 492 Veii 517 Zagarolo 515 B 2 1 . PASSPORTS 2. LASCIA-PASSARE 3. FRONTIER, &C. [ScCt. L § 1. Passports. Before the traveller enters the Papal States, it is indispensably necessary that his passport bear the visa either of the Nuncio residing in the last capital he has visited, or of a Papal Consul. It will save trouble, in the event of his passing through France at the outset of his tour, to obtain the visa of the Nuncio at Paris; but if circumstances deprive him of the opportunity of applying to a Minister, the signature of the Consul in some important town will be sufficient. The Austrian visa is also desirable, not merely for the Papal States, but for all parts of Italy. On arriving at the frontier, the passport is examined and coun- tersigned, as usual; and in sea-ports, as Ancona and Civita Vecchia, where a British Consul resides, his signature is likewise necessary. On entering the principal towns of the Papal States, with few exceptions, the passport is demanded at the gates, in order to be signed ; but, to save delay, the traveller is allowed to name the inn at which he purposes to stop, so that the passport may be sent after him. A fee of one or two pauls is required for each visa ; and in garrison towns this process is repeated on leaving them: Before the traveller quits Rome on his return to England, it is desirable that lils passport be signed by the Ministers of all the Sovereigns through whose dominions it is intended to pass : those of Austria (and Tuscany), Sardinia, and France, should on no account be omitted. On leaving Italy, it must always be borne in mind, that if the traveller intend to proceed from Milan through Geneva into France, his passport must be signed by the English, Sardinian, and French Consuls-General at Milan ; the latter expressly stating that it is '* bon pour entrer dans le Royaume,'' Instances have occurred where travellers who have neglected this formality have been sent back from Morez, the French frontier-station of the Jura, in order to procure signatures at Berne. The diffi- culty, in recent cases, has been got over by purchasing a passe pj'ovisoire at Morez ; but the annoyance of any detention, particularly to persons travelling by diligence, is indescribable, and no arrangements should be omitted by which its possible consequences may be avoided. § 2. Lascia-passare. Persons travelling in their own carriage should write beforehand to their correspondent, or banker, at Rome, or to the British Consul, requesting that a lascia-passare may be forwarded to the frontier, and another left at the gates of Rome, in order to avoid the formalities of the custom-house. The lascia- passare is never granted to persons travelling in public carriages. § 3. Frontier and Custom-Houses. The Papal frontier-stations and custom-houses (Dogana) are marked by the arms of the reigning Pontiff, surmounted by the triple crown and crossed keys. The custom-house visitation is less severe than in many other States of Italy, and a timely fee will save the traveller much inconvenience, and make the searcher anxious to facilitate the process. It is by far the best plan to pro- pitiate the officer by administering this fee at once; for the saving of time Papal States.'] 4. MONEY. 3 and trouble is amply sufficient to compensate the outlay of two or three pauls. Books are the especial object of inquiry ; but, on the whole, they are less rigidly examined in these States, than in the Lombardo-Venetian Kingdom. § 4. — Money. Letters of Credit, or the notes of Herries, or Coutts, are usually carried by travellers; the latter are, in many respects, the most desirable. Some travellers have taken napoleons from Paris, and have gained by the exchange in Italy ; but this does not apply to English sovereigns, as the Italians particularly in the smaller towns have not learned to distinguish between the English and French coinage. Letters of credit are useful in the large capitals in securing the good offices of the banker. The Roman coinage was arranged by the present Pope, Gregory XVI. in 1835, entirely on the decimal system. Accounts are kept in bajocchi of 5 quattrini each ; in pauls, of 10 bajocchi ; and in scudi, of 10 pauls. The principal coins in use are — the new gold piece, of 5 scudi ; the silver scudo, of 10 pauls; the paul ; and the bajoccho. Some of the old gold coins, however, are still current, and are, therefore, included in the following Tabular State- ment of the coinage, giving the intrinsic value in English according to the weight of gold and silver, and the legal value in the other Italian moneys. The minute fractions, which would only affect the calculation of considerable sums, are not given. It is necessary to premise that the Roman money, in comparison with that of Tuscany, suffers a decrease of 5 per cent., called the tara ; hence the Tuscan francescone, which is also a piece of 10 pauls, is equal to lOJ Roman pauls, or 45. 6^d. English; the Tuscan paul is consequently 5|ir/, English. For the same reason, 95 Tuscan lire are equal to 15 Roman scudi. French Tuscan Lire, Tuscan Austrian Francs, Soldi Florins Lire English. or and and and GOLD. Italian Lire. Denar i. Cents. Cents. Doppia nuova of Pius s. d. VII. (pistole) .=32 pauls 1 baj. 13 8i 17 27 0 20 11 2 12 33 19 83 Zecchino (sequin) . =20 >j 5 9 4i 11 80 0 14 1 0 8 43 13 55 The new piece of 5 scudi . . . .=50 • • 21 4i 26 86 0 31 19 6 19 18 30 87 Ditto of 2i scudi . =25 10 8k 13 44 0 16 0 0 9 60 15 44 SILVER. The scudo (Roman dollar) [1835] . = 10 4 3i 5 37 0 6 6 8 3 80 6 17 Mezzo scudo . . . = 5 2 U 2 69 0 3 3 4 1 90 3 09 Testone . . . . = 3 1 H 1 61 0 1 18 0 1 14 1 85 Papetto . . . .= 2 0 lOi 1 07 0 1 5 4 0 76 1 23 '.' 10 baj. 0 5J 0 0 54 0 12 8 0 38 0 61 Grosso (^ paul) , . = . . 5 „ 0 2i-k 0 0 27 0 6 4 0 19 0 30 COPPER. Bajoccho ....= . . 5 quat. about 1 0 0 5 0 1 3 0 6 Mezzo bajoccho . .= . B 2 4 5. ROADS. [Sect. I. The napoleon is generally worth 37 pauls ; the Spanish dollar 10 paiils ; the Tuscan francescone lOJ pauls; the Neapolitan piastre 9 pauls, 4 baj.; the Neapolitan ducatl 7 pauls,' 9 baj. ; the Carlino 7 baj., 9 den. ; the grano 4 quattrini or 8 denari ; 100 Neapolitan ducats are, therefore, 79 Roman scudi. The exchange with England is said to be at par when the pound sterling is calculated at 45 pauls ; but its real value may be more correctly stated at between 46 and 47 pauls. In Bologna, the Roman scudo is divided into 5 lire, and the bajoccho is called a soldo : this lira is equal to 1 fr. .07 cents, or 76 Florentine centesimi. The accounts throughout the Papal States are generally kept in pauls. It may be useful to know that Roman scudi (with the tarci) reduced to bajocchi, and divided by 15, become Tuscan lire, soldi, and denari ; and that, on the same principle, Tuscan lire, &c., multiplied by 15, give Roman bajocchi. In making this calculation, it must be remembered that the Tuscan lira contains 20 soldi, and each soldo 12 denari. It is also necessary to bear in mind that the /am, as already remarked, makes a difference of 5 per cent, in favour of Tuscan money ; and that, consequently, the Roman scudo counts only as 95 bajocchi, while the francescone counts as 100. Thus, 5 Roman scudi, with the tara of 5 per cent., are equal to 475 bajocchi ; these, divided by 15, give a product of 31.10 lire: multiplying the 10 by 20 (for soldi), and dividing again by 15, we have 13.5 soldi; and multiplying the 5 by 12 (for denari), and dividing by 15, we have 4 denari = 31 . 13.4. The francescone of 100 pauls, by the same process, will give a product of 33.6.8. In the preceding table, the agio on gold gives a greater value to the gold piece of 5 scudi than the actual value of 5 silver scudi by this calculation. The reduction of 31 lire, 13 soldi, 4 denari, to bajocchi, by multiplying by 15, dividing the denari by 12, and the soldi by 20, is equally simple, and the result, of course, is 475 bajocchi. Another useful process is that for the reduction of Roman scudi into Italian lire and centisimi ; the scudi must be multiplied by 53726, from the product the two last figures on the right hand must be struck off (unless when they amount to 50 or upwards, when they count as 1) ; for example, 5 Roman scudi multiplied by 53726, give 2686 30 ; or, 26 Italian lire, 86 centesimi. It is obvious that these are again reduced into scudi by adding the two cyphers, and dividing by 53726, which will give as the result 5 scudi. ^\ 5. — Roads. The roads in the Papal States have undergone remarkable improvement in recent years ; although still inferior to those of Tuscany, they are generally well kept. The exceptions are chiefly in those parts where the ancient pavement has been imperfectly restored, and in the immediate neighbourhood of Rome, where the roads are worse than in any other part of the States. The great routes also are frequently inferior to the provincial roads. It is however to be observed, that in numerous districts, as m the Campagna of Rome, and in Romagna, the necessary materials for the maintenance of good roads are entirely wanting, and the nature of the country is unsuitable to their construction. Papal States.] 6. POSTING. 5 The roads still retain their ancient subdivision into three classes : the con- sular, provincial, and communal. They are under the direction of a special board appointed by government, aided by a council of engineers ; and fixed imposts are levied for their construction and repair. The consular roads are maintained by the levy of a tenth of the prasdial impost ; the provincial by a variable tax upon the provinces ; and the communal by a similar tax on the municipalities. The expenses of the roads form a considerable item in the accounts of the apostolic Camera, and the cost of repairing bridges, forming new roads, and maintaining the old ones„ has generally in late years exceeded the tax. The Papal government indeed deserves great credit for the liberality with which improvements in this respect have been promoted ; and there are few countries in which the establishment of new lines of communication has been more encouraged, in proportion to the limited means at its disposal. The new road over the Apennines, from Urbino to Borgo San Sepolcro, constructed at the joint expense of the Papal and Tuscan Governments, would do credit to any nation in Europe ; and the English system is now generally followed. Recent accounts state that the project of a Railway from Naples to Rome has obtained the approval of the Government, and that an arrangement has been made by which Naples will undertake the work and the expense, and Rome repay its share by annuities. Another Railway from Rome to Florence is men- tioned as resolved upon ; and there is no doubt that, in a few years, the faci- lities of communication in Southern Italy will be greatly increased. § 6. — Posting. The Post Houses in the Papal States are distinguished by the arms of the reigning Pontiff, the Cardinal Chamberlain, and the Director- General of Posts. The service is done by contract, subject to the general control of Government. Fixed charges are made for posting, postillions, &c. The postmasters must be approved by Government, and be furnished with a license registered in the general post-office at Rome. There are no turnpikes, and the general arrange- ments are very nearly like those of France. The postmasters are supplied with a printed book of instructions, in v/hich all particulars of their duties are noted. The most important items, so far as the convenience of the traveller is concerned, are the following : — Horses and postillions are to be always ready for service ; but the postmaster is bound only to keep the precise number of each specified in his agreement, or by the order of the director-general. One open and two covered carriages are to be kept for travellers who require them. Postmasters are forbidden to supply horses without a written license from the authorities of the place of departure, or a passport from the secretary of state. Postmasters are not allowed to supply Tiorses to travellers, unless they have a sufficient number remaining to fulfil the duties of the post; nor are they allowed to send horses forward to change on the road, nor to transfer horses from one station to another. They are bound to keep two postillions ready for service night and day, and to have written over the principal door of the post-house the length of the post, price of the course, and a statement of the right of a third or fourth horse. The third or fourth 6 6. POSTING. [Sect. 1. horse can only be enforced where the tariff specially allows it. They are bound to keep a book, with pages numbered and signed by the director-general or his deputy, in which a regular entry of the daily journeys may be kept, and travellers may enter any complaint against postillions. Horses returning after the course is completed are not to be attached to any carriage. Travellers by post cannot relinquish this mode of travelling in less than three days from the time of departure, nor change their carriage, without permission from the secretary of state or the provincial authorities. Travellers who order post-horses, and after- wards alter their plans, are bound to pay half a post, if they come to their lodgings before they are countermanded. When there are no horses, postmasters are bound to give travellers a declaration in writing to that effect {la fede)\ after which they may provide themselves with horses elsewhere, but only to carry them to the next post ; and if there are no horses at that post, then the postillions are bound to go on without stopping to the third post, where they may stop an hour to bait : this rule applies to all the successive posts, until regular post- horses are procured. The time allowed for the passage of government messen- gers from one post to another is two hours ; for ordinary or extraordinary esta- fettes, carrying despatches on horseback, one hour and a half. Postmasters and postillions are forbidden to demand more than the price allowed by the tariff. In 1835, Cardinal Gamberini, secretary of state, issued a general notification modifying the regulations then m force as to carriages, so as to adapt them to the form and character of those now in use. By this document three classes were recognised, and the following regulations adopted in regard to each : 1. For cabriolets or covered carriages with one seat, whatever their number of wheels, carrying a small trunk and travelling bag (or a small imperial only), two horses, if travellers be not more than three ; three horses, if there are four passengers, with power to charge for four horses, which the travellers may have attached to the carriage on paying for a second postillion. 2. For covered carriages, with two seats and leather curtains by the side, like the common vetturino, and for regular chariots having only one seat, both descriptions carrying a trunk, a travelling bag, and a small portmanteau, three horses, if there be two or three persons ; if four persons, then a fourth horse is charged, which the travellers may have as before, on paying a second postillion. If these car- riages contain five or six persons, they are considered carriages of the third class. 3. For Berlines and carriages of four seats, with an imperial^ a trunk, travel- ling bag, &c., four horses, if carrying two or three persons ; if four, then a fifth horse is charged ; if five or six persons, six horses ; if seven, the number of horses is the same, but seven are charged. Where carriages contain a greater number than is mentioned above under each class, no greater number of horses is required, but a charge of four pauls per post is fixed for each person above the number. A child under seven years is not reckoned, but two of that age are counted as one person. When the quantity of luggage is evidently greater than the usual weight, a tax of three pauls per post is allowed to be imposed. Travellers may obtain, on starting, a holletta di viaggio, specifying in separate columns all particulars Papal States^ 6 POSTING. 7 relating to the number of horses, baggage, charges, &c., exclusive of postillions and ostlers. In this case one is given to the traveller, the other to the postillion, who is bound to pass it to the next, until it is finally lodged in the post-office of the town at which the journey ends. All complaints may be noted on this document, as well as any expression of hen servito on the part of the postillions. Travellers should obtain this holletta at the post office of the first post town ; it will protect them from imposition, and costs only one paul. In case of dispute between travellers and postmaster or postillions, it is pro- vided by the general order of Cardinal Gamberini, that an appeal be made to the local director (direttore locale), who has power to put both postmaster and his men under arrest for three days, or to suspend them for ten days, reporting the fact to the director-general in Rome, to whom it belongs to take ulterior measures. In places where the post-house is an inn, travellers are sometimes told that there are no horses in order to induce them to stop. If there be reason to suspect that this statement is made from interested motives, application should at once be made to the local director. There are few places of any note in which a director is not to be found : he is generally a person of rank and responsibility, and we know of no instance in which he has not met the complaints of travellers with promptitude and courtesy. The following is the Tariff for Ordinary Posts, issued by Card. Pacca, 1816 : Each horse ...... 5 pauls per post. Postillion, each ...... 3^ ditto ditto Stable-boy, for every pair .... J ditto ditto Saddle horse, or courier .... 4 ditto ditto Two-wheel carriage, furnished by postmaster . 3 ditto ditto A carriage with four places inside, and four! ^ ditto ditto wheels, also furnished by postmaster . ' The postillion's buonamano, although fixed by the preceding tariff at 3J pauls, is generally 5J or 6 pauls, or more, according to good conduct. A separate postillion is required for each pair of horses. The following will, therefore, be the expense of posting, giving each postillion 5.j pauls per post : — Post. 2 horses. 3 horses. 4 horses and 2 postillions. 1 ... 16 pauls . . . 21 pauls ... 32 pauls li . . . 20 ... 26-2,, . . . 40 H . . . 24 ... 21-4,, . . , 48 If ... 28 ... 36-6,, . . . 56 The length of the ordinary Roman post is 8 miles, equal to 7 miles 712 yards English ; but travellers who are acquainted with Italian roads know well that the post varies considerably according to locality, and to the cha- racter of the country. The length of the Roman mile is 1,629 English yards, about one-twelfth less than an English mile. Tlie length of the Tuscan mile is 1,808 English yards; of the Neapolitan mile 2,436 yards; of the Pied- montese mile 2,336 yards. The Italian mile of 60 to the degree is 2,025*4 English yards. Tlie Roman foot is 11-72 English inches ; the palm is f of the foot, or nearly 8f inches. 8 7^ VETTURINI. 8. INNS. [Sect. 1. § 7. — Vetturini. Persons who do not travel in their own carriage must, in a great mea- sure, be dependent on the vetturino : indeed there are many parts where it is the only available mode of communication. The tourist who travels in his own carriage with vetturino horses will find that although it may cost somewhat less than the post, the saving scarcely compensates for the loss of time. A duplicate agreement should be drawn up before starting, and attested by some person in authority. The vetturino generally undertakes to provide breakfast, dinner, supper, and bed ; the charge for one place varies, but it ought not to be more than two scudi a-day : from Bologna to Rome, a journey occupying seven or eight days, the charge is from nine to ten scudi ; from Bologna to Florence three to four scudi ; and from Florence to Rome seven to ten scudi, varying from five to six days. When a single traveller or a party of friends engage a vetturino, the bargain should expressly stipulate that no other person is to be taken up on any pretence whatever; otherwise occasions will soon be found for forcing other persons into the carriage. It often happens that the vetturino sells his engagements, in which case a traveller may be exposed to two or three changes of vehicle : this should also be specified in the agreement, as well as any particular stages into which he may wish to divide the journey. The huonamano or mancia is usually J scudo a-day, if " ben servito," or more if the journey be a short one : it is desirable that this be not included in the contract, but made conditional on good behaviour. When a vetturino is required to stop on the road for the convenience of travellers, he expects them to pay one or two scudi a night for each horse's expenses. In this respect posting has an advantage, as it allows travellers to stop when they please, and visit places on the road, without this additional cost. § 8. — Inns. These are given in detail under the descriptions of the different towns; in the capitals and provincial cities they are generally good throughout the States ; but at the intermediate post-stations they are often very bad. The prices vary in dif- ferent towns, and particularly according to the circumstances in which the traveller makes his appearance ; the charges for those who travel in their own carriages being notoriously higher, frequently by 100 per cent., than for those who travel vetturino. With a few honourable exceptions, as in the case of the Grande Albergo Svizzero at Bologna, five per cent, is allowed by the landlords to all couriers. It may be useful to bear in mind that in travelling there is a better chance of obtaining a good dinner at one o'clock, than at a later period of the day, when it is little else than a rifacimento of the previous meal. As in many parts of Germany, the inns at the post-houses are generally built over the stables, and in some places the same entrance serves for man and beast. In cases of this kind, it would be absurd to carry English habits and prejudices so far as to expect the comforts and conveniences of the great cities ; travellers never gain anything by exacting or requiring more than the people can supply ; and if they have sufficient philosophy to keep their temper, they will generally find that they are treated with civility and kindness. Papal States. 1 routes 1, 2, 3.— ROUTE 1. MANTUA TO FERRARA. 6i Posts. 1 J Governolo ; 1 J Sermide ; If Bon- deno ; If Ferrara. The old Post- road from Mantua to Ferrara followed that to Padua as far as Nogara {\ post), from whence it turned southward to Ostiglia, crossing the Po at Revere. The present route follows the left bank of the Mincio to Governolo, near which that river falls into the Po. IJ Governolo. Leaving this place, the road skirts the left bank of the Po as far as Ostiglia, from whence it crosses to Revere. It then follows the right bank as far as IJ Sermide, a post station. A few miles beyond, the frontier of the Lom- bardo- Venetian Kingdom is passed at Quadrelle ; and a little further on, se- parated from it by the Fossa Pan daina, is Stellata, the Papal frontier Custom House, where passports and baggage are examined. If Bo?tdeno, a small town of 7,000 souls, formerly a fief of the D'Este family, situated in the low plains in- tersected by the Panaro. The road hence to Ferrara lies along the bank of the Cento Canal, through Vigarano and Cassana. if Ferrara, described in Route 3. ROUTE 2. MODENA TO FERRARA. 6 Posts. 1 Buonporto ; 2 Finale ; IJ Bon- deno ; If Ferrara. The road follows the left bank of the Panaro for the three first posts. 1 Buonporto. From hence it pro- ceeds through Canipo Santo, Ca de' Coppi, and Passo di Ca Bianca, to 2 Finale, the Modenese frontier. Here the Panaro is crossed, and the Papal States are soon after entered at Santa Bianca, the frontier station and Custom House. At Bondeno, the -MANTUA, &C. TO FERRARA. 9 route fails into the high post-road from Mantua. IJ Bondeno If Ferrara (Route 3). ROUTE 3. PADUA TO FERRARA, 6 Posts. IJMonselice; Rovigo; 1 Pole- sella; 2 Ferrara. The road between Padua and Rovigo follows the course of the canal, and in its interesting character contrasts strongly with the dull and wearisome plains which extend southward as far as Bologna. Before arriving at Rovigo, the Adige is crossed by a pont volant ; and between it and Ferrara, the Po is passed by a similar contriv- ance. The height of the embankments necessary to restrain the course of the Po will convince the traveller how much Ferrara and its plains are at the mercy of that river. The road lies along the low and marshy Polesina ; it is bor- dered by poplar trees, and is remark- able only for its monotony. The Papal frontier station and Dogana are at Ponte LagosGuro, on the south side of the river, called the " Port of the Po " from the considerable commerce it maintains with Lombardy in corn and wine, which are brought here for shipment. The Panfilio Canal leads direct from Ponte Lagoscuro to the Porta S. Benedetto at Ferrara, dis- tant 3 miles. Ferrara, Forum Allieni, of Tacitus. — {Inns : Tre Mori, an old inn, the most frequented, said to be the best, but dear and dirty. La Corona.) Few cities ranking among the ancient Ita- lian capitals are so much neglected by travellers as Ferrara, and yet few are so much associated with interest- ing recollections. It is situated in a fertile but unhealthy plain, at a level of only 6J feet above the sea, and at a short distance from the northern branch of the Po, which forms the boundary of the Lombardo- Venetian Kingdom. The dreary plain of the Polesina, inter- sected only by the dikes of the river, B 3 10 ROUTE 3. FERRARA. School of Art, [Scct. I. presents an uniform and unbroken horizon, and extends, with little vari- ation, up to the walls of Ferrara. The aspect of the city, once the re- sidence of a court whose name was celebrated throughout Europe, still retains many traces of its ancient grandeur. The broad, regular, and ample streets appear like those of a deserted capital; grass grows on the pavements ; the magnificent palaces are untenanted and falling into decay ; and the walls, seven miles in circuit, which once contained nearly 100,000 souls, now enclose little more than a fourth of that number. The population is col- lected together in the centre of the city, and thinly scattered over the remaining portion, like a body still retaining life, while the extremities have lost their vital power. Ravenna itself is hardly more fallen than Ferrara, although it was the great commercial emporium of Italy during the middle ages, the citfa bene avvenfurosa of Ariosto, and the gran donna del Pd of Tassoni. The modern city is supposed to have been founded in the fifth century, when the invasion of the Huns and the de- struction of Aquileja drove the inha- bitants into the marshes for security. Its walls were built in the sixth cen- tury by the Exarchs of Ravenna, and it was raised to the rank of a city in 661, when the Bishopric of Vigovenza was transferred to it. But the chief interest of Ferrara arises from its con- nexion with the house of D'Este, one of the few princely families which could boast of ancient distinction in its lineage, and from which the Ducal house of Brunswick and the Royal Family of England trace their direct descent. As far back as the tenth cen- tury we find Ferrara connected with this family; first, as supreme magis- trates, and afterwards as hereditary princes (1240), holding generally of the Pope, though sometimes asserting their independence. It remained under their sway until the extinction of the legitimate branch in 1597, in the per- son of Alfonso II. ; and in the following year it was attached to the church by Clement VIII., on the pretext that Caesar d'Este, the representative of the family by a collateral line, was disqualified by illegitimacy. During the sixteenth century the Court of Ferrara was un- surpassed by any other in Europe for its refinement and intelligence ; its University was famous throughout Christendom, and so many English students were collected within its walls as to form, as they did in Bologna, a distinct nation in that learned body. But there are greater names associated with the history of Ferrara at this pe- riod than those of its princely sove- reigns. " Melancholy as the city looks now, every lover of Italian poetry," says Forsyth, "must view with aftection the retreat of an Ariosto, a Tasso, a Guarini. Such is the ascendant of wealth over genius, that one or two princes could create an Athens in the midst of this Boeotia. The little courts of Ferrara and Urbino seemed to emulate those of Alexandria and Pergamos, contending for pre-eminence oidy in literature and elegance." The School of Ferrara^ founded and patronised by the D'Este family, deserves especial notice in connection with this tri- bute to the intellectual history of the city. It is observed by Lanzi, that " Ferrara boasts of a series of excellent painters, far superior to its fortunes and popula- tion ; a circumstance which will not ex- cite surprise when we consider the series of poets which it cherished, from Bojardo and Ariosto down to our own times, a sure criterion of accomplished and re- fined minds more than ordinarily dis- posed towards the fine arts." To this cir- cumstance, and to the good taste of the inhabitants in their patronage of art, may be added the favourable position of the city, in its contiguity to Venice, Parma, and Bologna, and its convenient dis- tance from Florence and Rome ; so that its students were enabled to select from the different schools of Italy what was most congenial to the tastes of each, and to profit by their several excellencies. So great, indeed, was the influence of this latter circumstance, that Zanetti considered it doubtful whether, after Papal States.'\ route 3. — ferrara. — School of Art. 11 the five great schools, Ferrara did not claim precedence over all others. The first fact recorded in connexion with the fine arts at Ferrara is the commis- sion given by Azzo d'Este, in 1242, to the Venetian painter Gelasio di Niccolo, a pupil of the Greek artist Teofane of Constantinople, for a picture of the Fall of Phaeton, In the fourteenth century, when Giotto passed through Ferrara, on his way from Verona to Florence, he was employed by the Duke to paint some frescoes in his palace and in the church of St. Agostino, which were still extant in the time of Vasari. After the lapse of some years, during which several names are mentioned which have survived their works, Galasso Galassi appeared early in the fifteenth century; his works are chiefly confined to Bologna, and none are now found in his native city. He was followed by Antonio da Ferrara, known by his works at Urbino and Citta di Castello, who painted some chambers in the palace of Alberto d'Este in 1438, at the time when the General Council was held there for the union of the Greek and Latin churches, and which is sup- posed to have supplied him with his subject. But the most celebrated of the early painters was Cosimo Tura or Cosme, the pupil of Galassi, employed at the court of Borgo d'Este in the time of Strozzi, who mentions him in his poetry ; his minute and elaborate work- manship is admirably seen in the miniatures of the choir books in the cathedral. Among the painters of this period may be mentioned Lorenzo Costa, the reputed pupil of Francesco Francia, and Francesco Cossa, both known by their works at Bologna. Costa, indeed, may be regarded as the true father of the school ; for the series of painters from his time may be clearly traced; and Lanzi classes him among the first masters of Italy. His most eminent pupil was Ercole Grandi, called by Vasari Ercole da Ferrara, whose great work, painted for the Gar- ganelli chapel, is now preserved in the Academy of Fine Arts at Bologna. Lodovico Mazzolini, called also Lo- dovico da Ferrara, another pupil of Costa, is known by his works in various galleries; and Domenico Panetti, the master of Garofalo, is remarkable for having become the pupil of his own scholar, and for the works he produced after his style had been remodelled on the example of Garofalo. The school of Ferrara was at its prime under the latter painter and the two Dossi, in the early part of the sixteenth century, when Alfonso d'Esle was the patron of literature and art. This prince had called Titian to Ferrara to adorn his palace by his works; and, among other celebrated paintings, the *' Cristo della Moneta," of the Dresden Gallery, was painted during his stay at Ferrara. Dosso Dossi, and his brother Giobat- tista, born at Dosso, in the vicinity of Ferrara, were among the earliest pro- tegees of Alfonso and his successor Ercole II, ; and their merit is suffi- ciently attested by the fact, that Ariosto has immortalized them among the best painters of Italy. Ortolano is another painter of this school, whose works are often confounded with those of Garo- falo ; he is known as a successful imi- tator of Raphael , and some of his works are yet seen in his native city. Ben- venutoTisio, better known by the name of Garofalo, from the pink which he in- troduced into his paintings, stands at the head of the Ferrarese school, and is justly called the Raphael of Ferrara : some of his most celebrated works are still found here. His pupil, Girolamo de' Carpi, recommended to Ercole II, by Titian himself, and whose oil paint- ings were of extreme rarity in the time of Lanzi, may also be studied at Ferrara. While these two artists ex- celled in the graces of the art, Basti- aniiio, or Bastiano Filippi, was intro- ducing the style of Michael Angelo, as seen in the grand picture of the Last Judgment in the cathedral. Another painter of this school, Scarsellino, who was called the Paul Veronese of Ferrara, and who studied under that master, has left some works in his native place ; he is, however, better known by those to be found in the galleries at Rome, where 12 ROUTES. — FERRARA. — School of Art ; Reformation, [Sect. I. the name of his pupil, Camillo Ricci, a successful follower of the Venetian school, also occurs. Giuseppe Maz- zuoli, known by the surname of Bas- taruolo, and the contemporary of Bastianino, was called the Titian of Ferrara : we shall hereafter see that he has left behind him several works by which his claim to that title may be appreciated. Ferrara likewise contains some interesting examples of Domenico Mona, and of his able pupil Giulio Cromer, or Croma, who was selected to copy the principal paintings in the city, when the originals were transferred to Rome, after Clement VIII. had seized upon Ferrara and attached it to the church. After this event, the school rapidly declined for want of patronage and judicious management. Some Bolognese masters endeavoured, with little success, to introduce the style of the Caracci ; Carlo Bonone, the scholar of Bastaruolo, was perhaps the most celebrated follower of this new method; his works in Sta. Maria in Vado are highly praised by Lanzi for their complete knowledge of that kind of foreshortening, called di sotto in su, where figures are supposed to be seen above the eye. Another artist, worthy of mention as a follower of Bononi, is Chenda, or Alfonso Rivarola, who was employed, at the recommendation of Guido, to finish some of Bonone's works, but was better known by his decorations for public spectacles and tournaments. It is unnecessary to enumerate any of the painters whose names appear in the subsequent history of this school, for Ferrara never re- covered the change of masters ; and its school gradually declined, until, at length, in spite of the establishment of an academy, it became completely ex- tinct. Notwithstanding, however, this decline, and the loss of its political influence, Ferrara still retains many interesting examples of the school, which will be noticed in the subse- quent description of the city. In addition to the brilliancy of its court and the celebrity of its school of art, Ferrara is remarkable for the im- pulse which it gave to the Reformation. The names of Ariosto and Tasso have almost eclipsed the recollections of that event, and of the asylum given to Calvin and to Marot by the Duchess Renee, the high-minded daughter of Louis XII., and the wife of Ercole II. At an early period, Ferrara afforded protection to numerous friends of the reformed faith who fled from other parts of Italy, and even from countries beyond the Alps. Dr. M'Crie ascribes this circumstance to the influence of the accomplished princess just mentioned, who had become acquainted with the reformed doctrine previous to her de- parture from France in 1527, by means of some of those learned persons who frequented the court of Margaret, Queen of Navarre. " The first persons to whom she extended her protection and hospitality were her own country- men, whom the violence of persecution had driven out of France. Madame de Soubise, the governess of the duchess, had introduced several men of letters into the court of France during the late reign. She now resided at the court of Ferrara, along with her son, Jean de Parthenai, sieur de Soubise, afterwards a principal leader of the Protestant party in France ; her daughter, Anne de Parthenai, distinguished for her elegant taste ; and the future husband of this young lady, Antoine de Pons, Count de Marennes, who adhered to the reformed cause until the death of his wife. In the year 1534, the cele- brated French poet, Clement Marot, fled from his native country, in conse- quence of the persecution excited by the affair of the -placards; and, after re- siding for a short time at the court of the Queen of Navarre, in Beam, came to Ferrara. He was recommended by Madame de Soubise to the Duchess, who made him her secretary : and his friend, Lyon Jamet, finding it necessary soon after to join him, met with a reception equally gracious. About the same time, the celebrated reformer, John Calvin, visited Ferrara, where he spent some months, under the assumed name of Charles Heppeville. Papal Stales.'] route 3. — ferrara. — Cathedral. 13 He received the most distinguished attention from the duchess, who was confirmed in the protestant faith by his instructions, and ever after retained the highest respect for his character and talents." Among the other learned personages assembled here at this time was Fulvio Peregrino Morata, who had been tutor to the two younger brothers of the duke, and who became still more celebrated as the father of Olympia Morata, the most enlightened female of her age; who first " acquired during her residence in the ducal palace that knowledge of the gospel which sup- ported her mind under the privations and hardships which she afterwards had to endure." The description of Ariosto, and the testimony of numerous contemporary authorities proves that, under the sway of the house of D'Este, Ferrara was one of the great commercial cities of Italy. Its trade began to decline in the sixteenth century, and although it has been much reduced even since that period, the city still carries on a considerable trade in corn, and has a manufactory of caviare from the roes of sturgeons, for which the Po is famous. At the present time, Ferrara is the capital of a Legation, comprehending 210,883 inhabitants, and 140 square leagues of territory ; the population of the city and suburbs is 25,586, of which at least one-third are Jews, who have a separate quarter (ghetto), and a synagogue. In spite of their deserted appearance, the effect of its broad and handsome streets is particularly im- posing ; that of San Benedetto is said to be about 6,427 feet, nearly a mile and quarter in length ; and its palaces, though many of them have neitlier doors nor windows, and ivy is growing on their staircases and balconies, have an air of courtly grandeur in accord- ance with the ancient celebrity of the city. The Cathedral, dedicated to St. Paul, was consecrated in 1135; its gothic exterior, with few exceptions, belongs to that period, but the interior has been altered and spoiled by modern renova- tions. The front is divided by small towers, crowned with pinnacles, into three equal portions, each surmounted with a gable containing a wheel win- dow, and ornamented with a range of pointed arches. The porch is composed of a semicircular arch supported by columns ; the flanks have also semicir- cular arches. The bas-reliefs with which this part is covered are in a fine state of preservation; they represent the Last Judgment, various events in the life of Christ, the seven Mortal Sins, with numerous sacred, profane, and grotesque emblems. Over the left door is a colossal bust of the Virgin, in Greek marble, long venerated as the miraculous Madonna of Ferrara. On the same side is a statue of Alberto d'Este, in the pilgrim's dress in which he returned from Rome with bulls and indulgences, in 1390. The interior, in the form of a Greek Cross, has been modernised at various times : the semi- circular choir was first added in 1499, by Rosette, a native architect, known as one of the earliest restorers of Italian architecture; the portion beyond the transept dates from 1637, and the re- mainder from between 1712 and 1735. There are several interesting paintings to be noticed : the Assumption, the St. Peter and St. Paul, and the superb pic- ture of the Virgin throned with Saints, are by Garofalo. The chapel of the SS, Sacramento contains some remark- able sculptures of angels, saints, &c., by Andrea Ferreri, a sculptor of the last century ; the altar-piece is by Pa7'oliniy a native painter (1733), whom Lanzi describes as " Fultimo nel cui sepolcro si sia inciso elogio di buon pittore ; con lui fu sepolta per allora la gloria della pittura ferrarese." In the choir is the Last Judgment, by BastianinOy (Bastiano Filippi), one of the favourite pupils and the best copyist of Michael Angelo. Lanzi says that it occupied three years in painting, and describes it as *'so near to that of Michael Angelo in the Sistine Chapel, that the whole Florentine school has nothing to compare with it. It is characterised," he says, " by grandeur of design, a great variety 14 ROUTE 3. FERRARA. ChuTckeS. [Sect. I. of figures, a good disposition of the groups, and by the pleasing repose which it presents to the eye of the spectator. It seems impossible that in a subject already occupied by Buonarroti, Filippo should have had the power of showing himself so original and so grand. We see, that like all true imitators, he copied not the figures, but the spirit and the genius of his ex- ample." Like Dante and Michael Angelo, Bastianino availed himself of this opportunity to put his friends among the elect, and his enemies among the damned ; and the picture consequently contains numerous portraits of both. Among these, are pointed out the young woman who refused his hand, placed by the artist among the latter; while the one whom he married is classed among the blessed, and is seen malici- ously gazing at her early rival. It is much to be regretted that recent attempts to restore this fine work by retouching have injured the effect of the original colouring. The fifth chapel contains another painting by this master, the St. Catherine, called by Lanzi la gran tavola di S. Cate- rina." The Annunciation, and the St. George are by Cosimo Tura^ or Cosme, the painter of the twenty-three choir books, presented by the Bishop Bartolommeo di Rovere, the execution of which has been so highly prized as to be preferred by many to the famous miniatures of Siena. On an adjoining altar are five bronze statues representing the Saviour on the Cross, the Virgin, St. John and St. George, by Bindelli and Marescotti^mnch admired by Donatello, who estimated their value at 1,611 golden ducats. The cathedral con- tains also two sepulchral stones, which will interest the stranger: the first is that of Urban III., who died of grief on hearing of the reverses of the second crusade, previous to the loss of Jerusa- lem ; and the second that of Lilio Gregorio Giraldi, the celebrated my- thologist. The monument of Giraldi has been removed to the Campo Santo ; the inscription on the tablet, dated 1550, and written by himself, records the poverty which excited the com- passion of Montaigne, " Nihil Opus ferenle ApoUine ;" but, in spite of his complaints, it ap- pears from Tiraboschi that he was assisted by the Duchess Renee, and that he left at his death a sum of 10,000 crowns. The Church of S. Frcmcesco, founded by the Duke Ercole I., is one of the most interesting in Ferrara. Among its pictures are the following by Garo- falo : the Betrayal of the Saviour, un- fortunately much injured ; the Virgin and Child, with St. John and St. Jerome, a charming picture; a beautiful Holy Family ; the Raising of Lazarus, one of his best works ; and the Massacre of the Innocents, one of the most touch- ing representations of the subject, com- posed, says Lanzi, with the aid of clay figures, and with the landscape, the drapery, and the other accessories, taken from the life. The Flight out of Egypt is by Scarselliiio ; there are three tine works by Mona, the Deposition, the Resurrection, and the Ascension ; and a Holy Family, a very interesting work by Ortolano. The church contains also the monument of the Marchese de Villa of Ferrara, celebrated for his defence of Candia against the Turks, in 1676; several tombs of the D'Este princes, and that of Giambattista Pigna, the historian of the family, and the secretary of Duke Alfonso. Not the least remarkable curiosity of the church is the famous ec/io, reverberating sixteen times, from every part of the edifice. The nave seems to have been in- tended to present a series of cupolas, as the side aisles actually do on a smaller scale ; but in its present state, at the point where the square is re- duced to a circle, a flat ceiling is in- troduced instead of a cupola. Standing under any one of these, the slightest footstep is repeated a great many times, but so rapidly that it is difficult to count the reverberations. I counted sixteen; but the efiect is a continued Papal States."] route 3. — ferrara. — Churches. 15 clatter, rather than a succession of dis- tmct sounds." — Woods. The Church of Sta. Maria del Fado, one of the oldest in the city, is cele- brated for a miracle resembling that of Bolsena, whose fame the genius of Raphael has made immortal. The church tradition relates, that the faith of the prior having failed at the mo- ment of consecration on Easter Sunday 1171, the host poured forth blood, and converted him from his disbelief. This church is also celebrated for its mag- nificent paintings by Carlo Bonone^ the greatness of whose talent can only, in Lanzi's opinion, be appreciated here. He relates that Guercino, when he removed from Cento to Ferrara, spent hours in studying these works. Among them are the Marriage of Cana ; the visit of the Virgin to Elizabeth ; the Crowning of tlie Virgin ; the Paradise ; the Miracle of the Host ; the Sposalizio, left unfinished at his death, and com- pleted at the suggestion of Guido by Chenda ; the Ascension, copied from Garofalo, and the half figures on the pillars, one of which represents, under the form of St. Guarini, the portrait of the author of " 11 Pastor Fido." The splendid painting of St. John in Patmos contemplating the harlot of Babylon is by Dosso Dossi ; the head of St. John was considered by Lanzi a " pro- digy of expression," but the picture has been disfigured by the green dra- pery added by some Bolognese artist to satisfy the fastidious scruples of the clergy. The Tribute Money, a grace- ful work in the Varano Chapel, is by Palma Vecchio. Opposite, is the paint- ing of Justice and Power, containing the celebrated Latin enigma of Ales- sandro Guarini, which has not yet been explained. The Visitation is by Panetti, the master of Garofalo; the Miracle of St. Antony is one of the best works of his pupil, Carpi ; and the Death of the Virgin is by Fittore Carpaccio, the Venetian painter. In the sacristy are the Annunciation by Panetti, and a Flight out of Egypt, another work of the Venetian School. Sta. Maria del Vado contains the tombs of some of the most illustrious artists of Ferrara, and of Titus Ves- pasian Strozzi, and his celebrated son, Ercole, classed by Ariosto among the first poets. The painters whose ashes repose here are Ortolano, Garo- falo, Bonone, Bastianino, and Dielai. The elder Strozzi is known also as the President of the Grand Coun- cil of Twelve, but he acquired a less enviable notoriety as a minister than as a poet, for it is recorded by Muratori that in his official capacity he was hated, *' piii del diavolo." The Church and Monastery of San Benedetto, classed among the finest buildings of Ferrara, have sufiered more vicissitudes than perhaps any other edifice in the city. The monas- tery was occupied- as barracks by Austrian, Russian, and French troops, and was afterwards converted into a military hospital; the church, during the political troubles of Italy, was shut up, and was only re-opened for divine service in 1812. It was formerly cele- brated for the tomb of Ariosto, trans- ferred to the public library by the French in 1801 ; and for the fine paint- ings of the School of Ferrara which it still retains. The most remarkable of these are Christ on the Cross, with St. John and other Saints, by Dosso Dossi; the Martyrdom of St. Catherine, by Scar- sellino, one of his finest works ; and a Circumcision, by Luca Longhi, of Ra- venna. The four Doctors of the church, by Giuseppe Cremonesi (G. Caletti), are much praised by Lanzi, who applies the epithet maraviglioso" to his grand and expressive figure of St. Mark, and extols the execution of the books, whose truth and nature gained for the artist the title of the "Painter of Books." On the ceiling of the vestibule of the refectory, is the celebrated paintiug of Paradise, with the choir of angels, by Dosso Dossi, Ariosto was so ena- moured of this work, that he requested Dossi to introduce his portrait, being desirous, he said, of securing a place in that paradise, since he was not very sure of reaching the other. The poet 16 ROUTE 3. — FERRARA. ChurckeS. [Sect. L was accordingly introduced, and his portrait is seen between the figures of St. Sebastian and St. Catherine. About the middle of the last century, the bust which surmounted the tomb of Ariosto was struck by lightning, and a crown of iron laurels which surrounded it was melted away ; an incident which Lord Byron has happily embodied in his well-known stanza : — ■ " The lightning rent frorn Ariosto's bust The iron crown of laurel's mimie'd leaves; Nor was the ominous element unjust, For the true laurel-wreath which Glory weaves Is of the tree no bolt of thunder cleaves. And the false semblance but disgraced his brow ; Yet still, if fondly Superstition grieves, Know, that the lightning sanctifies below Whatever it strikes;— yon head is doubly sa- cred now." The Church of S. Paolo, the last public buildfng in Ferrara which con- tained a work by the rare master Ercole Grandi, is remarkable for one of the masterpieces of Sca7'selli?io, the Descent of the Holy Ghost ; a Nati- vity, and the ceiling of one of the side chapels, are by the same master. The choir was painted by Scarsellino and Bonone. The Resurrection is by Bastianino. Two painters of this school are buried here, Giambattista Dossi, and Bastaruolo, who perished while bathing in the Po. Another tomb in this church records the name of Antonio Montecatino, the friend and minister of Duke Alfonso, better known as a pro- fessor of the Peripatetic philosophy. His bust, which is much admired, is by Alessandro Ficentim. The Church of San Domefiico is re- markable for the statues on its fagade by Andrea Ferreri, and for some in- teresting works of Garofalo and Carlo Bonone. The dead man raised by a piece of the true cross, and the Martyr- dom of S. Pietro di Rosini are by Garofalo; the S. Domenico and S. Thomas Aquinas are by Carlo Bonone. The adjoining convent was once famous for its Library, bequeathed to it by the celebrated Celio Calcagnini, " a poet, scholar, antiquarian, moralist, pro- fessor, ambassador, wit, and astro- nomer ; one of the first who maintained the earth's movement round the sun ; whose praises have been sung by Ariosto, his fellow traveller in Hun- gary, in the suite of Cardinal Ippolito d'Este. The number of volumes amounted to 3,584, but most of them are now dispersed. Calcagnini also bequeathed fifty golden crowns for the repairs of the library, and to furnish the chairs, benches, and desks then in use.'' — Falery. Over the door of the library, is the bust and dilapidated tomb of this eminent philosopher; the inscription is a remarkable testimony to the insulficiency of human learning : — Ex diuturno studio in primis hoc didicit : mortalia omnia contemnere et ignoran^ tiam suam non ignorare, Ariosto, in the Orlando, records iiis astronomical discoveries in a beautiful passage : — "II dotto Celio Calcagnin Ion tana Fara la gloria, e '1 bel nome di quella Nel regno di Monese, in quel di Juba, In India e Spagna udir con chiara tuba." Or. Fur. xlii. 90, 5. The Church of S. Andrea is cele- brated for its pictures : the Virgin Throned, with saints, by Garofalo, is supposed by some to have been executed with the assistance of Raphael ; the Guardian Angel is by Carlo Bonone ; the Resurrection is attributed by some to Titian, by others to Garofalo; the St. Andrew is by Panetti ; and there is a fine statue of St. Nicholas of Tolen- tino, by Alfonso Lomhardo. In the re- fectory is a grand allegorical picture by Garofalo, representing the victory of the New Testament over the Old, the ceremonies of the Mosaic law being contrasted with the sacraments of the New law. The Church of the Theatines (de'' Tea- tini) contains a large painting of the Presentation in the Temple by Guer- cino ; and a Resurrection, and a S. Gaetano by Chenda. The Church of the Capuchin Convent has some fine paintings: the Virgin Throned, with saints; a similar subject, with Capuchin nuns, both by Scarsel- lino ; S. Christopher and S. Antonio Papal States.] route 3. — ferrara. — Castle Ducal Palace. 17 Abbate, S. Domenico, and S. Francis, in the sacristy, by Bo?io?ie. The small statue of the Conception is by Ferreri. The Church of S. Giorgio is cele- brated as the scene of the General Council held at Ferrara by Pope Eu- genius IV., in 1438, for the purpose of effecting a union between the Greek and Latin churches, and at which the Emperor John Paleologus was present. Even at that period the atmosphere of Ferrara was tainted by malaria, for it is recorded that the council was re- moved to Florence, in consequence of the unhealthy climate of this city. The Chm^ch of the Campo Santo, whose fine architecture is attributed to Sanso- vino, is decorated internally with the finest sculptures of that celebrated artist. The twelve chapels are remarkable for as many painliugs of the Mysteries by NicGold Rosselli, classed, doubtfully, among the Ferrarese school by Lanzi, who mentions these works as imitations of the style of Garofalo, Bagnacavallo, and others. The Nativity is by Dielai ; S. Bruno praying, and the Marriage of Cana are by Carlo Bonone ; the S. Christopher, by Bastianino, is men- tioned with the highest praise by Lanzi : Ove rappresento ignudi, como nel gran S. Cristofano della Certosa, si attenne a Michelangiolo''; the Descent of the Holy Ghost, and the Deposition from the Cross are by Bastaruolo ; the S. Bruno is by Scarselimo ; the Last Supper, by Cignaroli ; and the Behead- ing of John the Baptist, by Parolini. The Campo Sa?ito was formerly the Certosa Convent, which was said to occupy the same space as the city of Mirandola. The cloisters are now covered with statues, bas-reliefs, and sepulchral monuments. Among the tombs are those of Borso d'Este, first Duke of Ferrara, the founder of the convent ; the Duke Venanziano Varano and his wife, by Rinaldini; Lilio Giraldi, the mythologist, removed from the cathedral ; the wife of Count Leo- poldo Cicognara, in alabaster; the Abbate Bernardino Barbulejo, or Bar- bojo, said to have been the preceptor of Ariosto; &c. The Church of Gesu has a picture of the three Japanese Martyrs, by Parolini; and a ceiling painted by Dielai. In the choir is the mausoleum of the Duchess Barbara of Austria, wife of Alfonso II., so well known by the eloquent eulogies of Tasso. The Church of the Convent of Corpus Domini contains several tombs of the D'Este family; and that of Lucrezia Borgia is said to be among them, but there is no inscription or authority for the statement. The Castle, formerly the Ducal Pa- lace, now the residence of the Car- dinal Legate, surrounded by its ample moat, and furnished with towers and bridges, carries the imagination back to the fortunes of Ferrara during the middle ages. It stands, says Forsyth, " moated and flanked with towers, in the heart of the subjugated town, like a tyrant intrenched among slaves, and recalls to a stranger that gloomy period described by Dante : — " Che le terre d'ltalia tutte piene Son di tiranni ; ed uii Marcel diventa Ogni villan che parteggiando viene." Purg. vi. 124. It is a huge, square building, de- fended at the angles by four large towers ; it retains few traces of the ducal family, and wears an air of melancholy, in ac- cordance with the deserted aspect of the city. Its apartments were formerly decorated by the first masters of the Ferrarese school, but they have entirely disappeared, excepting on the ceilings of the antechamber and the saloon of Aurora, which have preserved their paintings by Dosso Dossi. In the dungeons of this castle, Parisina and her guilty lover suffered execution. The outlines of that dreadful tragedy have been made familiar to the English reader by the beautiful poem of Lord Byron, to whom the subject was sug- gested by a passage in Gibbon. A more complete account, however, is found in the learned Dr. Frizzi's His- tory of Ferrara, from which the follow- ing is an extract, descriptive of the closing catastrophe : — It was, then, in the prisons of the castle, and exactly in 18 ROUTE 3. — FERRARA. — Public Library, [Sect. I. those frightful dungeons which are seen at this day beneath the chamber called the Aurora, at the foot of the Lion's tower, at the top of the street Gio- vecca, that, on the night of the 21st of May, were beheaded, liist, Ugo, and afterwards Parisina. Zoese, he that accused her, conducted the latter under his arm to the place of punishment. She, all along, fancied that she was to be thrown into a pit, and asked at every step, whether she was yet come to the spot? She was told that her punishment was the axe. She inquired what was become of Ugo, and received for answer, that he was already dead ; at the which, sighing grievously, she exclaimed, ' Now, then, I wish not myself to live and, being come to the block, she stripped herself with her own hands of all her ornaments, and, wrap- ping a cloth round her head, submitted to the fatal stroke, which terminated the cruel scene. The same was done with Rangoni, who, together with the others, according to two calendars in the library of St. Francesco, was buried in the cemetery of that convent." The Palazzo del Magisft'ato may be considered the public gallery of Fer- rara, since it contains so many excel- lent works by the leading painters of the school. Among them are the fol- lowing : — Garofalo, the Agony in the Garden, the Resurrection, the Descent of the Holy Ghost, the Twelve Apo- stles ; Dosso Dossi, Noah's Ark ; Basfi- anino, the Nativity, the Birth of the Virgin, the Assumption ; Cosme (^Cosi- mo Tura), the Martyrdom of St. Mau- relius ; Ortolano, the Nativity ; Guer- cino, S. Bruno; Agosti7io Caracci, the Fall of Manna. In one of the halls of this palace the Ariostean Academy, Accademia degli Ariostei, holds its sit- tings ; it was founded on the Accademia degli Ifitrepidi, one of the first poetical societies of Italy, but it has now be- come more generally useful as a literary and scientific institution. Near this hall some small rooms are shown which were occupied by Calvin, when he found an asylum at the court of the Duchess Renee, under the assumed name of Charles Heppeville. It is im- possible to visit them without imagin- ing the meetings at which the stern reformer secretly expounded his doc- trines to the small band of disciples whom the favour of his patroness had collected together. Among these were Anne de Parthenai, Olympia Morata, Marot, Francesco Porto Centese, and numerous other Protestants whom per- secution had driven from beyond the Alps, and who assembled in these apartments to derive instruction from the great teacher of Geneva. The Studio Publico enjoys some cele- brity as a school of m.edicine and jurisprudence. It contains a rich cabi- net of medals, and a collection of Greek and Roman inscriptions and antiquities ; among which is the colos- sal sarcophagus of Aurelia Eutychia, wife of P. Pubius. But its chief in - terest is the Public Library ^ containing 80,000 volumes and 900 MSS., among which are the Greek Palimpsests of Gregory Nazianzen, St. Chrysostom, &c. The most remarkable, however, and the most valuable of all its trea- sures, are the manuscripts of Ariosto and Tasso. The former are preserved in an apartment where the poet's arm-chair of walnut-wood, and his bronze inkstand surmounted by a Cupid enjoining silence, and said to have been designed by Ariosto himself, are deposited. These manuscripts com- prise a copy of some cantos of the Orlando Furioso, covered with correc- tions, and remarkable also for the following memorandum which Alfieri begged permission to inscribe, "Vit- torio Alfieri vide e venero 18 Giugno, 1783 one of the Satires ; the Comedy of La Scolastica ; and some highly in- teresting letters, among which is one from Titian to Ariosto. The manu- script of the Gerusalemme is one of the most touching records in Ferrara; it was corrected by Tasso during his cap- tivity, and has the words Laus Deo at the end. Like the Orlando, this is also remarkable for its corrections and cancelled passages, many of which are extremely curious, and worthy of being Papal States^ route 3,-ferrara. — Tomb 8^ House of Ariosto, 19 published. There are likewise nine letters of Tasso, written while con- fined in the hospital of St. Anna ; and a small collection of Rime. Another manuscript, which seems to lose its interest by the side of the two great Epic poets, is that of the Pastor Fido of Guarini. Another valuable treasure, but of a different character, is the series of Choir Books^ formerly belong- ing' to the Certosa ; they are filled with beautiful miniatures, and occupy eighteen volumes. There is also a Bible, in one large volume, illustrated with miniatures of the same kind, and apparently by the same hand. Of the printed books in the library, we may mention fifty-two early editions of Ariosto, a fine collection of cinque- cento editions, and a very perfect series of books printed at Ferrara, which was one of the first cities in which the printing press was established. Signor Antonelli, one of the curators of this library, in his work on the Ferrarese printers of the fifteenth century, states that during the first thirty years of the fifteenth century upwards of 100 editions were issued from the press of nine printers in Ferrara. Among the most famous of these printers was Giambattista Guarini, from whom Aldus, before settling at Venice, re- ceived instructions in printing Greek. The medical traveller will observe here with great curiosity the celebrated and exceedingly rare work of Giambat- tista Canani, " Musculorum humani corporis picturata dissectio," without date, but evidently referrible to the middle of the sixteenth century. In one of the rooms of this library is a very interesting collection of Po7'traits of Ferrarese Authors^ from the earliest period down to Cicognara and Monti. In another, are eighteen Portraits of Ferrarese Cardinals, the most interest- ing of which, from his connection with Ariosto, is that of Cardinal Ippolito d'Este, in whose service the great poet had spent so many painful and unprofitable years ; " Aggiungi clie dal giogo Del Cardinal da Este oppresso fui." In a third room, called the Sala d'Ariosto, is his Tomb, brought here by the French from the church of S. Bene- detto, June 6, ISOl, the anniversary of the poet's death. The mausoleum and decorations are in the worst style of French taste. The inscriptions, record- ing the merits of Ariosto as a statesman as well as a poet, were written by Guarini. The library is open to the public from eight to twelve, and from three to four. The modern additions to its collections are so cramped by want of funds, that it does not keep pace with the progress of the times ; but it has received several valuable accessions from the munificence of its citizens. The Casa d' Ariosto is marked by an inscription composed by the great poet himself : — Parvased apta mihi, sed nuUi obnoxia, sed non Sordida, parta meo sed tamen sere domus." Above it, is the following, placed there by his favourite son and biographer, Virgilio : — " Sic domus h?ee Ariosta Propitios habeat deos, olim ut Pindarica." Ariosto is said to have inhabited this house during the latter years of his life, and when some visitor expressed sur- prise that one who had described so many palaces had not a finer house for himself, he replied that the palaces he built in verse cost him nothing. After his death, nearly all the well-known characteristics of the house, described with so much interest by Ariosto him- self, were destroyed by its subsequent proprietors. In 1811, Count Girolamo Cicognara, when Podesta, induced the town council to purchase it, as one of those national monuments which ought to be beyond the caprice of indivi- duals. The chamber of the poet was then cleaned and carefully restored, and the circumstance was recorded in the following inscription placed under his bust : Lodovico Ariosto iti qiiesta camera sctisse e questa casa da lui abitata edified, la quale CCLXXX anni dopo la morfe del divino poeta fu dal conte Girolamo Cicognara Podeata co' danari del comune 20 ROUTE 3. FERRARA. — TaSSO^S PHsOTl, [Sect. L compra e ristamrita, perche alia venera- zione delle genti durasse. The Casa degliAriosti, in which the poet was educated, is still preserved, and is situated near the church of Sta. Maria di Bocche. He lived there for the pur- pose of pursuing his legal studies under the superintendence of his paternal uncles; but he soon gave up law for the more congenial study of poetry and romance. It was in one of the cham- bers of this residence that Ariosto, with his brothers and sisters, performed the Fable of Thisbe, and other comic pieces of his own composition. The apart- ment is still shown, and is well adapted for such representations. On the death of his father, the poet removed from this house to the one already described. The Casa Guarini, still inhabited by the Marquises of that name, recalls the name of the author of the Pastor Fido, whose bust decorates the hall. On the corner of the house is this inscription; Herculis et musarum com- mercio favete lingvis et animis. The Piazza Grande, now the Piazza d'' Ariosto J formerly contained a statue of Pope Alexander VII. ; but this was ir: removed by the republicans of 1786 to make room for one of Napoleon, whose name the Piazza bore until the peace of 1814, when both the statue and the title gave way to those of the "Italian Homer." The greatest object of interest in Ferrara is the cell in the hospital of St. Anna, shown as the Prison of Tasso, Over the door is the follow- ing inscription, placed there by General MioUis : Rispettate, o Posteri, la celebrita di questa stanza, dove Tor- quato Tasso infermo piu di tristezza, che delirio, ditenuto dimord anni vii. mesi ii. scrisse verse e prose, e fu rimesso in liherta ad istatiza delta citta di Bergamo, nel giorno vi. Luglio, 1586. It is below the ground floor, and is lighted by a grated window from the yard; its size is about nine paces by six, and about seven feet high. ** The bedstead, so they tell, has been carried off piecemeal, and the door half cut away, by the devotion of those whom ' the verse and prose' of the prisoner have brought to Ferrara. The poet was confined in this room from the middle of March 1579, to December 1580, when he was removed to a contiguous apartment, much larger, in which, to use his own expressions, he could philosophise and walk about. The inscription is incorrect as to the imme- diate cause of his enlargement, which was promised to the city of Bergamo, but was carried into effect at the inter- cession of Don Vincenzo Gonzaga, Prince of Mantua." — Hohhouse. Few questions have been more debated than the cause of the great poet's imprison- ment, some believing that it was actual insanity, others that it was mere deten- tion in a Maisoti de Sante, combined with vexatious annoyances of the police ; while by far the greater number coin- cide in regarding Tasso as neither more nor less than a prisoner of state, whose sufferings were aggravated by the ca- pricious tyranny of Alfonso. His biographer, the Abate Serassi, has left it without doubt that the first cause of the poet's punishment was his desire to be occasionally, or altogether, free from his servitude at the court of Al- fonso. In 1575, Tasso resolved to visit Rome, and enjoy the indulgence of the jubilee ; and this error," says the Abate, "increasing the suspicion al- ready entertained, that he was in search of another service, was the origin of his misfortunes. On his return to Ferrara, the Duke refused to admit him to an audience, and he was repulsed from the houses of all the dependants of the court; and not one of the promises which the Cardinal Albano had ob- tained for him were carried into effect. Then it was that Tasso — after having suffered these hardships for some time, seeing himself constantly discounte- nanced by the Duke and the princesses, abandoned by his friends, and derided by his enemies — could no longer con- tain himself within the bounds of mo- deration, but giving vent to his choler, publicly broke forth into the most in- jurious expressions imaginable, both against the Duke and all the house of Papal States. 1 route 3. — ferrara. — Tasso^s Priso7i. 21 Este, cursing his past service, and re- tracting all the praises he had ever given in his verses to those princes, or to any individual connected with them, declaring that they were all a gang of poltroons, ingrates, and scoundrels (poltroni, ingrati, e ribaldi). For this olfence he was arrested, conducted to the hospital of St. Anna, and confined in a solitary cell as a madman." His own correspondence furnishes the best evidence of the treatment he expe- rienced ; — for almost the first year of his imprisonment he endured nearly all the horrors of a solitary cell, and received from his gaoler, Agostino Mosti, although himself a poet, every kind of cruelty " ogni sorte di rigore ed inumanita." " On the walls of Tasso's prison are the names of Lord Byron, Gasimir De- lavigne, and Lamarline's verses onTasso, written in pencil and dreadfully man- gled by the English poet, who must have been little capable of appreciating the harmony of the verses addressed to him by our first lyric poet. Not- withstanding these poetical authorities, with the inscription Ingresso alia pri- gione diTorquato Tasso, at the entrance, another inside, and the repairs of this pretended prison, in 1812, by the pre- fect of the department, it is impossible to recognize the real prison of Tasso in the kind of hole that is shown as such. How can any one for a moment suppose that Tasso could live in such a place for seven years and two months, revise his poem there, and compose his dif- ferent philosophical dialogues in imita- tion of Plato ? I had an opportunity of consulting several well-informed gen- tlemen of Ferrara on this subject, and I ascertained that not one of them be- lieved this tradition, which is equally contradicted by historical facts and local appearances. There was enough in Tasso's fate to excite our compas- sion, without the extreme sufferings he must have experienced in this dungeon. Alfonso's ingratitude was sufficiently painful : a slight on the part of Louis XIV. hastened the death of Racine, and with such spirits, mental afflictions are much more keenly felt than bodily pains. Madame de Stael, who was ever inclined to commiserate the mis- fortunes of genius, was not misled by the legend of the prison of Ferrara ; Goethe, according to the statement of a sagacious traveller, maintains that the prison of Tasso is an idle tale, and that he had made extensive researches on the subject." — Valery, Sir John Hobhouse, in reference to the inscription on the cell, says that *' Common tradition had long before assigned the cell to Tasso : it was as- suredly one of the prisons of the hos- pital ; and in one of those prisons we know that Tasso was confined. Those," he adds, ^'^ who indulge in the dreams of earthly retribution, will observe that the cruelty of Alfonso was not left with- out its recompense, even in his own person. He survived the affection of his subjects and of his dependants, who deserted him at his death ; and suffered his body to be interred without princely or decent honours. His last wishes were neglected ; his testament cancelled. His kinsman, Don Caesar, shrank from the excommunication of the Vatican, and, after a short struggle, or rather suspense, Ferrara passed away for ever from the dominion of the house of Este." " Ferrara ! in thy wide and grass-grown streets, Whose symmetry was not for solitude, There seems as 'twere a curse upon the seats Of former sovereigns, and the antique brood Of Este, which for many an age made good Its strength within thy walls, and was of yore Patron or tyrant, as the changing mood Of petty power impell'd, of those who wore The wreath which Dante's brow alone had worn before. And Tasso is their glory and their shame : Hark to his strain ! and then survey his cell ! And see how dearly eavn'd Torqua'to's fame, And where Alfonso bade his poet dwell : The miserable despot could not quell The insulted mind he sought to quench and blend With the surrounding maniacs, in the hell Where he had plunged it. Glory without end Scatter 'd the clouds away — and on that name attend The tears and praises of all time ; while thine Would rot in its oblivion — in the sink Of worthless dust, which from thy boasted line 22 ROUTES 4, 5. FERRARA TO BOLOGNA. [ScCt, I. Is shaken into nothing; but the link Thon formest in his fortunes bids us think Of thy poor malice, naming thee with scorn — Alfonso ! how thy ducal pageants shrink From thee ! if in another station born. Scarce lit to be the slave of him thou mad'st to mourn." Childe Harold. The Theatre of Ferrara is reputed to be one of the finest in the States of the Church. The first in Italy is said to have been opened here. The Forti^ess was founded in 1211. After Pope Clement VIII. had seized the principality as a fief which had lapsed for want of heirs, in 1598, it was entirely rebuilt ; an expedient so suc- cessfully adopted at Perugia and An- cona, to resist the malcontents likely to rebel against the usurpations of the Holy See. It was finished by Paul V. Ferrara is one of the eight archbi- shoprics of the Papal States : the bishop- ric dates from a.d. 661 ; its arch- bishopric was founded by Clement XII., for Bishop Ruffo, in 1735. [Boats may be hired at Ferrara for Venice, a voyage of twenty hours. There is a procaccio twice a week to Bologna, by water. Travellers may also proceed by the canals to Ravenna. The canals from Ferrara are the follow- ing ; these communicate with many others, by which a constant intercourse is maintained with the central towns of Northern Italy : — The canal called the Pd di Foldno leads from the Porta di S. Paolo to the Adriatic, by a course of 56 miles, skirting the northern district of the Comacchio : it is navigable all the year, and has some valuable fisheries. The Canale di Ce?ito, 28 miles in length, keeps up a communication be- tween Cento and Ferrara : it also leaves from the Porta di S. Paolo. From the Porta di S. Benedetto, the Canale Pa?ifilio proceeds to Ponte di Lagoscuro, a course of 3 miles. From the Porta di S. Giorgio, the Pd di Marara leads to S. Alberto and Primaro, on the Adriatic, falling into the P6 di Primaro at Traghetto, a course of 20 miles : it is navigable all the year by ^vessels of large burden.] ROUTE 4. FERRARA TO BOLOGNA, BY MALAL- BERGO. 3i Posts. The high post-road, which has super- seded the old route through Cento. Close to the walls of Ferrara the canal communicating with the Po di Primaro is crossed, and the road proceeds along a plain, remarkable for its fertility and cultivation, but otherwise destitute of interest. At Gallo, a short distance north of the Reno, the line of separation between the Legations of Ferrara and Bologna is passed, and about a mile before arriving at Malalbergo the Reno is crossed by a ferry-boat. Malalbergo is a place of considerable activity ; and as the traveller approaches Bologna, he cannot fail to be struck with the improved aspect of the coun- try ; the corn-fields, the maize planta- tions, and the hemp grounds, denote the extreme fertility of the soil, and bespeak a careful and better system of husbandry. The cottages are neat, and the general appearance of the people indicates prosperity and industry. Tra- vellers by vetturino from Ferrara to Bologna usually make the inn called // Tedo the halting place on the road : it is very tolerable, and moderate in its charges. \\ Malalbergo {Inn : La Posta). 1 Capo d'Argine. 1 Bologna, described in Route 6. ROUTE 5. FERRARA TO BOLOGNA, BY CENTO AND PIEVE. About 32 Italian Miles. This was formerly the principal line of communication between Ferrara and Bologna, and it is still interesting on account of its passing through the birth-place of Guercino, which all lovers of art will consider worthy of a pilgrimage. At a short distance from Ferrara it leaves the post road, at Cas- sana, and proceeds by Vigarano, Main- ROUTE 5. FERRARA TO BOLOGNA. 23 Papal States.] arda, Mirabella, S. Agostino, and Corpo di Reno, to Cento. Cento. — This interesting and pretty town is said to have derived its name from an ancient settlement of fishermen, who were led to fix upon this spot by tlie great number of craw-fish, for which the neighbouring waters were celebrated. They are said to have built a hundred cottages (cento capannucce), which they surrounded with a deep foss ; and the number of their cottages thus be- came the appellation of the town which subsequently arose upon their site. The population of Cento, by the last census, is 4,572 : the town was formerly cele- brated for the college of S. Biagio, which was suppressed on the establish- ment of the Italian kingdom ; but its great interest arises from its being the birth-place of Guercino. The church is full of the works of this great artist ; and his house, which it was his delight to cover with his paintings, is still pre- served without any alteration or change, save what has been produced by time. The Casa di Guercino has been cor- rectly termed a real domestic museum. " In the little chapel is an admirable picture of Two pilgrims praying to the Fi7^gin : the extreme destitution, no less than the fervour of these pilgrims, is painted with great minuteness of de- tail (even to the patches of the least noble part of their habiliments), without in any way weakening the general effect of this pathetic composition. The ceil- ing of one room presents a series of horses of various breeds ; there is one superb group of two horses ; another horse at grass, nothing but skin and bone, is a living skeleton of this poor animal. A Venus suckling Cupid is less pleasing than the rest, despite its celebrity, and the merit of the colour- ing : Venus is indeed the mother of Cupid, but not his nurse ; the imagina- tion will only admit into the arts the things which itself has received and be- come accustomed to. " Guercino had for Cento that love of locality, if we may so say, of which Italian painters and sculptors have in all ages offered numerous examples : he preferred residing in his native town to the titles and. offices of first painter to the kings of France and England ; he had his scuola there, and remained in the town till driven away by the war between Odoardo Farnese, duke of Parma, and Pope Urban VIII., when Taddeo Barberini, nephew of the latter, general of the Pontifical troops, deter- mined on fortifying Cento. The cam- paign and operations of these two com- batants seem but mean at the present day beside the glory of the fugitive Guercino. The house of Guercino, in its present state, attests a simple, mo- dest, laborious life, which inspires a kind of respect. This great artist, really born a painter, the magician of painting as he has been surnamed, was also a pious, moderate, disinterested, and cha- ritable man; an excellent kinsman, whose comrade and first pupils were his brother and nephews ; beloved by his master Gennari, praised and recom- mended by Lodovico Caracci, he seems to have escaped the enmity too frequent among such rivals. The house of Guercino is not, however, devoid of magnificence : it is easy to conceive that he might there receive and regale, ad uno squisito banchetto, those two car- dinals who had come to the fair, when his most distinguished pupils served at table, and in the evening performed una hella commedia^ an extemporised proverb, with which their eminences were enraptured. Christina of Sweden also visited Guercino at Cento; and after admiring his works, that queen wished to touch the hand that had pro- duced such chefs d'ceuvre. ^* The Chiesa del Rosario is called at Cento the Galerie, a profane title, partially justified by its appearance and the arrangement of the paintings. Guercino is not less resplendent there than at home. The church is full of his paintings : he is said to have given the design of the front and steeple, and to have worked at the wooden statue of the Virgin ; he is consequently visible there as a painter, sculptor, and archi- tect, but especially as a Christian. A chapel founded by him bears his name : 24 ROUTE 6. MODENA TO BOLOGNA. [Sect. I. he bequeathed a legacy for the cele- bration of mass there, and left a gold chain of great value to the image of the Virgin of the Rosary. This pious offering was stolen about the middle of the last century, by a custode of the church ; a double sacrilege, in the town where his memory is still popular and venerated." — Valery. The fair of Cento, formerly cele- brated throughout the province, and which is alluded to in the preceding extract, is still observed on the 7th of September ; but it has sadly fallen off' in recent years. On leaving Cento, the road crosses the Reno ; a little distance beyond the river is Pieve di Cento, a village of 4,000 souls, surrounded with walls, and formerly celebrated for its miracu- lous crucifix and the College of Sta. Maria Assunta, suppressed at the es- tablishment of the Italian Kingdom. It possesses another object of interest for the lover of art, the fine Assumption by Guido, forming the altar-piece of the church* This noble picture was under sentence of removal at the French invasion of 1797 ; but the people rose against the intended robbery, and ef- fectually prevented it. Close to Pieve the boundary of the Legation of Ferrara is passed, and we enter that of Bologna. The road now proceeds through Castel S. Giorgio, ascending the right bank of the Reno, to Bologna, Route 6. ROUTE 6. MODENA TO BOLOGNA. 3 Posts. An excellent road, perfectly straight and level in its entire course : it forms a part of the ancient Fia Emilia. Soon after leaving Modena the road crosses the Panaro by a fine modern bridge at S, Amhrogio, the Modenese frontier station, which travellers re- turning from the Papal States, and who must consequently undergo the vex- atious formalities and bribery of the custom-house, are not likely to forget. The Panaro separates the Duchy from the States of the Church ; the Papal frontier station and custom-house are at Castelfranco, where a fee to the officials is also necessary to prevent annoyance. Castelfranco is considered by Dr. Cramer to agree with the position of Forum Gallorum, the scene of several important actions during the siege of Modena, and particularly of the defeat of Antony by Hirtius and Octavian, after the rout of Pansa. Near it is Forturbano, a fortress built by Urban VIII., in a commanding position : it is now of little importance, and is falling into ruin. 1 J Samoggia. (^Inn, La Posta.) A vil- lage situated on the river of the same name, about midway between Modena and Bologna ; considered to occupy the site of Ad Medias, one of the sta- tions of the ^milian way. Beyond Anzola the road crosses the Lavino; and a little farther on, the Reno is passed by a long stone bridge. At Crocetta del Trebbo, a short distance from the road, is an island in the Reno, about a mile and a half long, and a third broad, which Dr. Cramer, Ca- lindri, and other antiquaries, regard as the scene of the meeting of the second triumvirate, A.U.C. 709. Monte Guardia, crowned by the famous church of the Madonna di San Luca, is a conspicuous object from the road on approaching Bologna : on the left, beyond the Reno Canal, is the Campo Santo. The entrance to the city is highly picturesque; the road passes through an open and finely- wooded country, diversified by mea- dows and rich pasture grounds, beyond which the hills which bound the prospect are clothed with vegetation, and cultivated to their summit. 1 J Bologna. \ Inns : Grande Albergo Svizzero, with an excellent Table d'hote ; II Pellegrino ; Albergo di San Marco ; A. della Pace, all good. The first mentioned, formerly the palace of the Company of the Drapers (Stracciaiuoli), and built, according to tradition, from the designs of Fran- cesco Fra?icia, deserves especial com- Papal States.] route 6. — bologna. 25 mendation for civility and good attendance : • there is a fixed scale of prices, which are moderate ; the situ- ation is good ; and the landlord, M. Brun, a Swiss, does not bribe couriers. There are several other inns besides those named, of more humble preten- sions, but none equally desirable.] Bologna, the' second capital of the States of the Church, and one of the most ancient cities of Italy, is pictu- resquely situated at the foot of the lower slopes of the Apennines, in a beautiful and fertile plain ; it is sur- rounded by a high brick wall without fortifications from five to six miles in circuit ; the Savena washes its walls, and the Reno canal passes through the city. It is the capital of the most important Legation of the Holy See, em- bracing a population of 322,228 souls, and a superficial extent of 1 80 square leagues. The city is two miles long by about one broad, it is divided into four quarters, it has twelve gates, and a population of 67,045 inhabitants by the official "Raccolta" of 1835. It is the residence of the Cardinal Legate, the Governor of the Province; the seat of an archbishopric, and one of the four Appeal Courts of the Roman States, comprising within its jurisdic- tion all the northern districts* It is one of those interesting provincial capi- tals which no country but Italy pos- sesses in such abundance, and of which the Papal States have so large a share. With its rich and varied colonnades, affording a pleasant shelter from the sun and rain, with well-paved streets, noble institutions, and a flourishing, intelligent, and learned population, it rivals Rome in all except classical and religious interest, and the extent of its museums. It would do honour to any country in Europe as its metro- polis; and the inhabitants still cherish in their love of freedom the recollec- tions inspired by its ancient motto, " Libertas.'' Bologna has always been tlie most flourishing and the most ad- vanced of all the cities of the Papal States, although it has never been the residence of a court nor the seat ofj sovereignty ; and there can be no doubt that this prosperity is attributable to the long continuance of its privileges, and to the freedom of manners and opinions for which its people are re-- markable. On entering its principal streets the attention of the stranger is at once at- tracted by the covered porticoes, like those of Padua and Modena; though they are too uniform in appearance to vie with the elegance of the latter, they are better proportioned and less mono- tonous than those of the former city. The older quarters of Bologna, how- ever, wear a4ieavy and antique aspect ; their arcades are low and gloomy, and the streets are irregular and narrow ; but these only serve as a contrast to the broad thoroughfares and noble arcades of the modern city. The early history of Bologna carries us back to the time of the Etruscans. Its ancient name of Felsina is supposed to have been derived from the Etruscan king of that name, to whom its founda- tion as the capital of the twelve Etrus- can cities, 984 years b. c, is attributed. His successor, Bono, is said to have given it the name of Bononia, although some antiquaries refer it to the Boii, who oc- cupied the city in the time of Tar- quinius Priscus. In the middle ages, Bologna had become independent of the German Emperors during their contests with the Popes ; and had obtained from Henry v., in 1112, not only an acknowledg- ment of its independence, but a charter, granting to its citizens the choice of the consuls, judges, and other magistrates. It subsequently appeared among the foremost cities of the Guelphic league ; and, after the Emperor Frederick II. had left the war in Lombardy to the management of his illegitimate son, Hensius King of Sardinia, it un- dertook to make the Guelph party triumph throughout the Cispadone region. Bologna first attacked Ro- magna, and forced the towns of Imola, Faenza, Forli, and Cervia to expel {he Ghibelines, and declare for the church. The Balognese next turned c 26 ROUTE 6. — BOLOGNA. — School of Art. [Sect. I. their arms against Modena. The Mo- denese cavalry, entering Bologna one day -by surprise, carried off from a public fountain a bucket, which hence- forth was preserved in the tower of Modena as a glorious trophy. The war which followed furnished Tassoni with the subject of his mock-heroic poem, entitled *' La Secchia Rapita.'' The vengeance of the Bolognese was, however, anything but burlesque ; after several bloody battles, the two armies finally met at Fossalta, on the 26th of May, 1249. Philip Ugoni of Brescia, who was this year podesta of Bologna, commanded the Guelph army, in which was united a detachment from the militias of all the cities of the league of Lombardy. The Ghibelines were led by King Hensius : each army consisted of from fifteen to twenty thousand com- batants. The battle was long and bloody ; but ended with the complete defeat of the Ghibeline party; King Hensius himself fell into the hands of the conquerors ; he was immediately taken to Bologna, and confined in the palace of the podesta. The senate of that city rejected all offers of ransom, all intercession in his favour. He was entertained in a splendid manner, but kept a prisoner during the rest of his life, which lasted for twenty-two years." — Sismondi. In the latter part of the thirteenth century, the city became a prey to family feuds, arising out of the tragical deaths of the lovers, Imelda Lambertazzi and Bonifazio Gieremei ; and for many years it was harassed by the fierce contests for supremacy among these and other noble families. The Gieremei were the leaders of the Guelph party, and the Lambertazzi were the leaders of the Ghibelines ; but their mutual hatred was kept in check by the authorities until the occurrence of this domestic tragedy, which bears, in some respects, a strong similarity to the history of Edward of England and his devoted Eleanor. The Guelph party at length appealed to the Pope, then Nicho- las II L, whose mediation was so suc- cessful that the city acknowledged him as Suzerain; but the tyranny of his legate brought on a revolution in 1334, which ended in the supreme power being seized by the captain of the people, the celebrated Taddeo Pepoli, who subsequently sold it to the Vis- conti. For upwards of a century after that event, Bologna was subject either to the alternate tyranny of the Visconti and of the Popes, or to popular an- archy : the family of Bentivoglio, taking advantage of these feuds, seized and maintained the government in the Pope's name ; but their power was too independent to be acceptable to the warlike Julius II., who dispossessed them ; and, after a long struggle, esta- blished, by military force, the absolute supremacy of the Holy See. Bologna is one of the few cities of Italy which have been occupied by Bri- tish troops. During the last sti'uggle of Napoleon in Italy, in 1814, the Austrian army was supported in its operations on the Adige, by a body of English troops, under General Nugent, who landed at the mouth of the Po, and occupied Bologna in February of that year. The city was the seat of a bishopric as early as a. d. 270 : its first bishop Avas St. Zama, It was raised to the rank of an archbishopric by Gregory XIII. It has had the honour of contributing more learned prelates to the sacred college than any other city of Italy ; among the natives who have been raised to the pontificate, are Honorius II. ; Lucius II. ; Gregory XIII. ; Inno- cent IX. ; Gregory XV., and Bene- dict XIV. The list of native cardinals comprises nearly a hundred names. The School of Bologna, in the history of art, occupies so prominent a place, and numbers among its masters so many illustrious names, that it v/ould be impossible in the limits of this work to enter into anything like a de- tailed account of its history; and the publication of Kughr's Hand Book of Painting, in an English form, has now rendered it unnecessary. But while the traveller is referi-ed to this learned work for the details of the school, it may be useful as an introduction to a particular description of the public in- Papcd States.} route 6. — bologna. — School of Art. 27 stitutioiis of the city, to give a brief general outline of its progress. The first name of any eminence among the early followers of Giotto at Bologna is that of Franco Bolognese^ supposed to have been the pupil of Oderigi di Gubbio, the missal painter, immortalized by Dante. He opened the first academy of art in Bologna, in 1313, and is termed by Lanzi the Giotto of the Bolognese school, Among his successors were Vitale di Bologna (U20), Jacopo Paolo ox Avanzi (1401), Pietro, and Orazio di Jacopo, Lippo di Dalmasio, Maso di Bologna, Marco Zoppo, scholar of Lippo, and after- wards of Squarcione, at Padua (1471), who founded an academy of great celebrity at Bologna, and Jacopo Forte, the friend and imitator of Zoppo (1483). But the most illustrious name which occurs in the early history of the school is that of Francesco Francia (1535), who may perhaps be considered as its true founder. Of the style of this great master, whose works have only lately been appreciated in Eng- land, Lanzi says " it is, as it were, a middle course between Perugino and Bellini, partaking of them both and Raphael, in a letter given by Malvasia, says that he had seen no Madonnas better designed, more beautiful, or cha- racterised by a greater appearance of devotion than those of Francia. Among the scholars of Francia, whose works may yet be studied at Bologna, v/ere his son Giacomo (1575); Lorenzo Costa, (1530), Girolamo Marchesi da Cotignola (1520), diwdi Amico audi Guido Asper^tini (1552). From the time of Francia to that of the Caracci, various styles were introduced by Bagnacavallo (Barto- lommeo Ramenghi), 1551 ; Innocenzio da Imola, a pupil of Francia, 1542; Francesco Primaticcio, 1570 ; Niccolo Abate, 1571; and Pellegrino Tibaldi, 1591, one of the architects of the cathe- dral of Milan, and who was called by the Caracci " II Michael Angiolo Ri- formato.'' The style introduced into the Bolognese school by Bagnacavallo^ and adopted by Innocenzio da Imola was that of Raphael; while that of Michael Angelo was adopted by Pelle- grino Tihaldi, who can only be appre- ciated in Bologna. Their contempo- raries Primaticcio and Niccolo Abate left Bologna to study under Giulio Romano, in Mantua, and subsequently settled in France. The school was for a time supported by Lavinia Fontana, Lorenzino (Lorenzo Sabbatini), Orazio Samacchini, and Passerotti ; but it was already on the decline, and gradually dwindled away before the superior attractions of the other great schools of the period, although Dionysius Calvart, a native of Antwerp, and Bartolommeo Cesi had established in the city semi- naries of some repute. But the third and greatest epoch of the School of Bologna was that which produced the Caracci and their pupils ; and before the close of the sixteenth century we find a new style created by the Caracci, which superseded the ancient maxims, and filially supplanted those of every other master. This revo- lution in the art originated with Lodo- vico Caracci, "a young man," says Lanzi, who, during his earlier years, appeared to be slow of understand- ing, and fitter to grind colours than to harmonise and apply them." After visiting the works of his prede- cessors in the different cities of Italy, he returned to Bologna, and with the co-operation of his cousins, Agostino and Annihale, established an academy. By their judgment and kindliness of feeling, and by their mild conduct in spite of opposition and ridicule from the artists who then monopolised public favour at Bologna, they succeeded in attracting a crowd of pupils. The most distinguished scholar of the Caracci was Domenichino, consi- dered by Poussin as the greatest painter next to Raphael. His friend, Albaiii, the Anacreon of painting, is another name imperishably associated with the school of the Caracci, and the traveller will not fail to recognise his powers in all the great galleries of Italy. But Guido, another disciple of this school, is fre- quently considered as its greatest genius ; and it is well known that no c2 28 ROUTE 6. BOLOGNA. — Picture Gallery, [Sect. 1. pupil of the Caraccl excited so much as he did the jealousy of his masters. It is unnecessary, and it would be out of place to enter here into an analysis of the styles adopted by these various masters ; for the forms of beauty which Guido has embodied, and the peculiar characteristics of his contemporaries, must be known to every traveller. Among the names which figure in the history of the Bolognese school at this period are those of Guido Cagnacci, Simo7ie Canta?nni, and Francesco Gessi, the best pupils of Guido ; Gmrci?io, and Lanfranco. Among the scholars of the Caracci, who remained in Bologna after this time, are Shto Badalocchi^ Alessandro Tiarini, Lionello Spada, Lorenzo Garhieri.^ Giacomo Cavedo?ie, Pietro Fucini, Lucio Massari, Slc, all artists of considerable reputation, and Gobbo de' Caracci so famous as a painter of fruit. The school of Bologna declined with that of the Caracci ; the attempt of Michael Aiigiolo Colonna arrested its downfall for a period, but was wholly inadequate to restore it to its ancient celebrity. The fourth and last period of the school boasts the names of Pasinelliand Carlo Cigna?ii ; the former aimed at uniting the design of Raphael with the colouring of Paolo Veronese, and the latter the grace of Correggio with the varied knowledge and cor- rectness of the Caracci. After this general sketch of the Bolognese school, which will be found necessary to a correct appreciation of the treasures of art profusely scattered over the city, we proceed at once to the Accademia delle Belle Arte. — This noble institution, formerly the Jesuits' College, is truly a national establish- ment. It contains a rich gallery of pictures, mostly of the native school, which have been here preserved from the collections of suppressed convents and churches. By an excellent arrange- ment, the older works are placed at the entrance of the gallery ; and thus the student has an opportunity of following the progress of art. The great charm of the collection is its nationality, and no city in Italy has in this respect a higher or more lasting interest. Sir Joshua Reynolds, in recommending Lodovico Caracci to the young student, as the model for style in painting, pointed out the peculiar advantages of Bologna as a place of study. "It is our misfortune,'' he says, " that those works of the Caracci which I would recommend to the stu- dents are not often found out of Bologna, * * * and I think those who travel would do well to allot a much greater portion of their time to that city, than it has been hitherto the custom to be- stow." — Disc. JI. At the entrance of the gallery is a large collection of altar- pieces, of the fourteenth and fifteentli centuries, mostly of Bolognese origin. The following may be specified as the most remarkable works : — Giotto. The side wings of the altar- piece preserved in the Brera at Milan, brought hither from the Church of Santa Maria degli Angioli. Bolognese School. Vitale da Bologna (1320), Madonna and Child. Simone da Bologna (1404), Corona- tion of the Virgin. Jacopo Paolo. The Crucifixion. Beata Caterina Plgri. St. Ursula. F. Francia. This great master may be studied here with advantage. 78. Madonna and Child, with SS. Augus- tin, Francis, Proclus, Monica, John the Baptist, and Sebastian, painted, accord- ing to the date inscribed on it, in 1494, for Sta. Maria delta Misericordia, and celebrated for the beauty of the St, Sebastian. 79. The Annunciation. Giacomo Francia. 84. Holy Family. Girolamo Marchese da Cotignola. 108. The Sposalizio. Guido Aspertijii. 9. Adoration of the Magi. Lorenzo Costa. St. Petronius throned with two saints, an altar-piece, dated 1502, and characterised by its exceed- ing gracefulness. Bagnacavallo, 133. Holy Family and Saints. Innocenzio da Imola^ 89. Madonna in glory, with SS. Michael, Peter, and Benedict. 90. Holy Family, one of the Papal States.] route 6. — bologna. — Picture Gallery. 29 finest known ; copied for the late King of Prussia, on account, it is said, of the resemblance of the Virgin to his young and beautiful queen. Pellegrijio Tibaldi. Marriage of St. Catherine ; very graceful. ProsperoFontana. 74.The Deposition. Lavuiia Fontana. 75. The Queen of France presenting her infant to St. Francis. Lorenzo Sahbatiin, called by Lanzi ''uno de' piu gentili e de' pill delicati pittori del suo secolo." 146. The As- sumption of the Virgin, with various angels and saints in adoration, much praised by the Caracci. Orazio Samacchini. The Virgin in a glory of angels, crowned by the Trinity, and worshipped by John the Baptist, the Magdalen, S. Catherine, SS. Francis, Clare, Nabor, and Felix; also much admired and praised by the Caracci. The Caracci and their School, The gallery contains some of the finest works of this interesting period of art, and nowhere, perhaps, can the genius of the Caracci, Domenichino, and Guido, be so well studied and appreciated. Lodovico Caracci. 42. The Madonna and Child throned, with four Saints. 43. The Transfiguration ; a grand pic- ture, praised by Sir Joshua Reynolds, as worthy the attention of the student. " An admirable conception of a sub- ject, which, with reverence to Raphael be it spoken, does not seem adapted to painting." — Matthews. 44. The Calling of St. Matthew. 45. Nativity of St. John Baptist, both praised by Sir Joshua Reynolds. 46. Preaching of St. John. 47. Conversion of St. Paul. 48. Madonna and Child, standing on the half-moon, in a glory of angels, with St. Jerome and St. Francis, " an inimitable painting, in which the artist has displayed the richest stores of genius. The countenance of the Virgin is exquisitely beautiful ; a veil, touched with great skill, covers her head, falling in light folds over the bosom and shoulders, and the child presenting all the animated graces of infantine loveli- ness, is full of life and nature. St. Francis in adoration, and kissing the child's hand, is painted in a dark tone not to interfere with the principal figures, and is yet finely made out, as are the angels and the other accom- paniments of the picture ; the colouring soft and sweetly tinted, the whole being with wonderful art and keeping en- tirely subordinate to the great object of the composition." — Bell. Matthews describes the Madonna as "exquisitely elegant, but then it is the elegance and refinement of a woman of fashion. She is not the Madonna, such as Raphael has represented her, and such as she will ever exist personified in the imagi- nation of him who has seen Raphael's pictures." 49. The Flagellation of our Saviour ; a " wild and savage pro- duction, pourtraying a scene totally unsuitable to the dignity of the Saviour of mankind. The drawing is good, and the foreshortening of the figures finely managed." — Bell. 50. The Crowning with Thorns. 51. Three Monks. 53. St. Roch. Several of these pictures have a view of Bologna in the background. Agostino Caracci. 34. The Commu- nion of St. Jerome ; a masterpiece. 35. Assumption of the Virgin. Annibale Caracci, a few of his best works. 36. Madoima and Child in glory, with St. John Baptist, the Evangelist, and St. Catherine. 37. Madonna throned with Saints. 38. Assumption of the Virgin. Scholars of the Caracci. Aless.Tiarini. 182. Deposition from the Cross, attributed to the Caracci by some, and by others to Cignani. The figures are considerably smaller than life, which might be supposed to hurt the general eifect, but the composition is so perfect as to leave no feeling in the mind but that of admiration. The drawing and colouring of our Saviour's body are in such a style of excellence as to give the most affecting expression to a representation generally so painful : his figure, forming the great central light of this touching picture, is sketched out with the finest truth of nature. It is the silent, motionless 30 ROUTE 6. BOLOGNA — Picture Gallery, [Sect. I. rigidity of death, yet bearing a cha- racter full of interest, having nothing of the tame flat drawing and cada- verous colouring so frequently seen in this subject. The head and left hand are supported ; while the right, which is drawn with exquisite skill, hangs down lifeless and &\\iV'—BelL 183. Marriage of St. Catherine. Giacomo Cavedone. 55. Madonna and Child, in glory, with Saints. 56. Mar- tyrdom of St. Peter, the Domenican ; the saint is represented writing with his blood unon the ground the words Credo in Deum^'' while the robber repeats his blow. Domenichino. 206. Martyrdom of St. Agnes, a masterpiece, formerly be- longing to the church of the same name. " A deep toned, grand, and richly painted picture, crowded with figures, and a background of fine action. The serene and beautiful countenance of the saint is irradiated by an expres- sion of rapt holiness and heavenly re- signation, infinitely touching, and finely contrasting with the terror and amaze- ment described with admirable skill and efiect, in the attitudes of the sur- rounding multitude. The episode of the two women forming the foreground of one corner of the picture, who are represented as hiding the face, and stilling the screams of a terrified child, affords a scene of fine action very ad- mirably delineated. But yet the act of the martyrdom is too deliberate. The murderer plunging the dagger into her bosom should turn off with some- thing of horror from a deed committed in cold blood, unexcited by any prin- ciple of fury or revenge." — Bell. 207. Madonna del Rosario, another grand masterpiece, ranked by many above the St. Jerome of this master. It is a double composition ; the lower part representing the persecutions and mar- tyrdoms of the church, while in the upper, St. Gregory is interceding for the faithful with the Madonna, v/ho sits with the infant Saviour on the throne showering flowers on the saint. 208. The Martjjrdom of St. Peter the Domenican, chief of the Inquisition at Milan, treated in a ditTerent way from the celebrated picture of Titian at Venice, and from the same subject by his imitator Cavedone, already noticed. The elevated and exalted resignation painted on the features of a noble countenance, the eti'ect of the black drapery cast around the kneeling figure, and held in one large majestic fold by the left hand, has a combined effect of grandeur and chaste simplicity, which is inexpressibly fine.'* — Bell. F. Alhani, 1. Madonna throned with St. Catherine and the Magdalen. 2. Baptism of the Saviour ; a finely treated picture. 3. Madonna and Child, in glory. Guido. " The works of Guido, col- lected here, have shown him to me in a new light ; and have convinced me that I had not hitherto formed a just estimate of his merit. There is a force and gran- deur in some of these, of which the generality of his pictures gives little indication." Matthews. 134. Madonna della Pieta ; in the upper part the dead body of the Saviour with the Madonna and two weeping angels by the side ; a view of Bologna in the landscape, and the patrons of the city, SS. Petro- nio, Domenico, Carlo Borromeo, Fran- cesco d'Assisi, and Proclus. A superb and touching picture. '* The grief pourtrayed in the Madonna della Pieta is not of the earth, but, if the word maybe allowed, of heaven. This work exhibits the greatest variety of perfec- tions in its several parts, from the gracefulness of the little angels below, to the affliction of the virgins and the angels weeping above." — Valery. 134. The Massacre of the Innocents, a celebrated picture, full of deep feel- ing and beauty of expression. A most powerful piece, and composed with wonderful effect and skill. The figures are of the full size of life ; the terror, dismay, and wildness of the ditTerent groups are admirably pour- trayed, and notwithstanding the vio- lence of the action, each head is beau- tiful as that of an angel; the naked ruffians, with their uplifted daggers and sacrilegious hands stained with Papal States, 1 route 6. — bologna. — Picture Gallery, 31 blood, are drawn in the finest style, and with all the energy of pitiless soldiers inured to such deeds. The outcry of one mother, dragged by her scarf and hair, and held by one of these men till he reaches her child; the pale dishevelled aspect of another, breathless with terror, fainting, and delayed in her flight from agitation ; the despair and agviny of a third be- yond these, who sits wringing her hands over her slaughtered babes; the touch of madness pictured on the fine counte- nance, which is uplifted with an inde- scribable expression of the utmost agony; the murdered babes filling the lower corner of the picture, lyin ,'- on the blood- stained marble, so pale, so huddled together, so lifeless, yet so lovely and in- nocent in death, present an historical picture, perhaps the most domestic and touching that ever was painted. The broad shadows, the correctness, round- ness, and simplicity of drawing in the whole, are inconceivably striking, the colour consistent and harmonious, no one point overlaboured, yet no eiiect neglect- ed." — Bell. 136. The Crucifixion, a grand and solemn composition, from the suppressed Church of the Capuchins. " The agony of our Saviour, the gentle love and adoration of St. John, the fervour with which Mary Magdalene, kneeling, embraces the lower part of the cross, the last drooping of Mary, the mournful solemnity, the sombre tint of the landscape, are very striking. It is, perhaps, the finest and most finished picture in existence. The magnificent size of the figures, the full- ness without heaviness of the drapery, the deep fine tones of the colouring, with the impression excited from the awful stillness of the scene, are won- derful."— 137. The Victory of Samson over the Philistines : the Samson has something of Apollo, but it is not the Pythian conqueror, the god of verse, of the sun and the arts ; it is a Jewish Apollo, striding over the prostrate Philistines, and breaking their heads with an ass's jawbone.'' — Valery. Mr. Bell describes this as ^' a most superb picture. The low lying landscape, rising into brightness in the soft tints of early dawn ; the distant view of the camp of the Philistines ; the grandeur and noble elevation of mind delineated in the form, contour, and action of the conqueror, thus represented alone in the midst of death ; the admirable drawing and foreshortening of the bodies heaped on each other ; and the deep solitude and silence that seems to pervade the whole, are inexpressibly fine. Nothing barbarous or brutal is represented ; no blood is seen. It is one great simple epic story. A fine and solemn scene, forming a very ines- timable picture.'' 138. Madonna and Child, in glory ; painted on silk, and formerly used as the banner {pallione) of the Church of S. Domenico, in solemn processions. 139. Portrait of the Blessed Andrea Corsini, in pontifical robes. 140. St. Sebastian ; a sketch, but full of expression. A wonderful sketch, in a very simple style. The head of the young enthusiast, passion- ately turned up to heaven, is exquisitely foreshortened, and shaded with black hair, curling almost in a circle round his fine open forehead. The rounding and display of the shoulder and its parts, the expansion of the flat wide chest, the Apollo-like slenderness, yet manliness of the limbs, the negligent flow of the slight drapery thrown around the middle, the eflect of the light falling down almost perpendicu- larly on the head and shoulders, the just proportion of the flgure to the can- vass, with the low unfinished tint of the distant landscape, render this the finest sketch perhaps in existence." — - Bell, 141. Coronation of the Virgin. 142. The Agony of Christ. Guercino. 4. God the Father; a grand impromptu painting, done in a single night, and put up in the morn- ing ; formerly belonging to the Cliurch di Gesu e Maria. 12. Grand Duke William of Aquitaine kneeling before St. Felix, bishop; very fine. 13. St. Bruno, a beautiful picture, one of Guercino's most powerful works. 14. St. Peter, the Domenican. 15. St. John the Baptist. 19. The Magdalen. 32 ROUTE 6. — BOLOGNA. — Pictiire Gallery, [Sect. I. Scholars of Guido, Elisahetta Sirani. 175. The infant Saviour appearing to St. Antony. Eli- sahetta Sirani was the favourite pupil of Guido, and died of poison in her 26th year. Simone (Cantarini) da Pesaro, 39. The Assumption ; a masterpiece. 30. Portrait of Guido in his old age, very spirited and life-like. Othei' Schools. — Roman School. Pe7't/gi?io. 197. Madonna in glory, with angels and saints : John, Michael, Catherine, and Apollonia ; very beau- tiful. Raphael. 152. The Santa Cecilia; originally painted for the Bentivoglio Chapel in the Church of S. Giovanni in Monte. This immoi-tal work is without doubt the great treasure of the gallery. Mr. Matthews says, " The Cecilia of Raphael has, I suspect, been retouched and spoilt at Paris;" and there appear to be some grounds for believing that the picture has under- gone numerous restorations. " Santa Cecilia is represented with a lyre, held by both hands, carelessly drop- ped ; the head turned up towards heaven, with a beautiful pensive coun- tenance, having an expression of con- centrated and exalted feeling, as if devoting the best faculties and gifts of God to God, is deeply and touchingly impressive ; her drapery is of finely^ enriched yellow, thrown over a close- drawn tunic ; St. Paul, a superb dig- nified figure, fills one corner; St. John, drawn with a greater expression of simplicity and delicacy of form, is next to him ; St. Augustine, another grand figure^ and Mary Magdalene, like sister of the heaven- devoted Cecilia, stands close by her. All the figures are in a line, but so finely com- posed, and the disposition of the lights and shades such as to produce the effect of a beautiful central group, consisting of Santa Cecilia, Mary Mag- dalene, and St. Peter. Musical in- struments, scattered on the foreground, fill it up, but without attracting the eye ; a pure blue element forms the horizon, while high in the heavens a choir of angels, touched with the soflest tints, is indistinctly seen.'' — Bell. "There is a vast dilference,'' says Valery, " between the pious enthusi- asm, the mystical frenzy of this patron of musicians, and the profane charms of the muse Euterpe. Music, like speech, seems really a gift of God, when it appears under such an emblem. How shall I describe the perfections of such a painting ? The ardour, the triumphant joy of the seraphin singing the sacred hymn in heaven, the purity and sim- plicity of the saint s features, so well contrasted with the frivolous and co- quettish air of the Magdalen ! Worth- ily to render all these beauties, one must be able to exclaim with Correggio, when he first contemplated this work, AncK io son p 'dtore.'" The effect pro- duced by this picture on Francia is well known by the account of Vasari, who says that the great painter died of mortification and surprise shortly after the Sta. Cecilia arrived in Bologna. Giulio Romano. 210. A copy of the St. John, of Raphael, in the Tribune. Timoteo delle File. 204. The Mag- dalen in tlie Desert, painted for the Cathedral of Urbino ; very pleasing and expressive. Florentine School. Giorgio Fasari. 198. Gregory the Great entertaining twelve poor pil- grims ; painted for the Convent of S. Michele in Bosco. This work is a series of portraits of the artist's friends and patrons ; Gregory is represented by Pope Clement VII. ; Duke Alessandro de' Medici, and even the butler of the convent, are introtluced. School of Parma. Parmegia?io. 116. Madonna and Child, with saints in adoration ; " the colouring is fresh, beautiful, and deep- toned, and the shades of the drapery and dark sides of the figures finely wrought, but the composition is in a stiff elementary style, which, though admired by connoisseurs, is, in my Papal States.] route 6.— bologna. — University, 33 opinion, wanting in grace and ex- 1 pression. The heads of the angels around the Virgin are as regular as a circle of a Gothic fringe above an arched door, and the figures below painted in the same spirit of strict uni- formity." — BelL "This picture," says M. Valery, "was honoured by the ad- miration of the Caracci and Guido, who studied it ; the heads of the Virgin and the sahit are sublime and aftecting, as are all the many figures of women that adorn this museum. In this re- spect the gallery is truly enchanting; and never did beauty appear more ex- quisite or in greater variety." School of Milan. — Bologtiese Masters, Cam. Procaccini. 131 . The Nativity. Venetian School. Tintoretto, 143. The Visitation. Cima (^Coneg liana). Virgin and Child. The University of Bologna, celebrated as the oldest in Italy, and as the first in which academical degrees were con- ferred, was long the glory of its citi- zens. It was founded in 1119 by Irnerius, or Wernerus, a learned civi- lian, who taught the law with such reputation in his native city, that he acquired the title of " Lucerna Juris." During the troubled period of the twelfth century, the fame of this uni- versity attracted students from all parts of Europe ; no less than ten thousand are said to have assembled there in 1262, and it became necessary to appoint regents and professors to the students of each country. Irnerius succeeded in introducing the code of Justinian ; his disciples were called Glossators, who, treading in the foot- steps of their master, spread the Roman law over Europe for nearly two cen- turies longer, and sent to England Vacarius, one of the ablest of their body. At this time Bologna taught the civil and canon lavv^s as the favour- ite, if not as the exclusive study : but the faculties of medicine and arts were added before the commencement ol the fourteenth century; and Innocent VI. instituted a theological faculty. In the fourteenth century, also, it acquired lasting celebrity as the first school which practised the dissection of the human body; and in more recent times it became renowned for the discovery of Galvanism within its walls. The University of Bologna has also been remarkable for an honour peculiarly its own — the large number of its learned female professors. In the fourteenth century. Novella d 'Andrea, daughter of the celebrated canonist, frequently occupied her father's chair ; and it is recorded by Christina de Pisan, that her beauty was so striking that a curtain was drawn before her in order not to dis- tract the attention of the students. " Drawn before her, Lest if her charms were seen, the students Should let their young eyes wander o'er her, And quite forget their jurisprudence." Moore. The name of Laura Bassi, professor of Mathematics and Natural Philo- sophy, is of more recent date ; she had the degree of Doctor of Laws, and her lectures were regularly attended by many learned ladies of France and Germany, who were members of the University. Another, and, as our Eng- lish travellers may consider, more sur- prising instance, is that of Madonna Manzolina, who graduated in surgery and was Professor of Anatomy ; and even in our own times, the Greek chair was filled by the learned Matilda Tam- broni, the friend and immediate prede- cessor, we believe, of Cardinal Mezzo* fanti. At the present time the univer- sity has lost its high legal reputation, and the traveller who is interested in the early history of the Glossators will be disappointed in his researches at Bologna. Medical studies appear to have the superiority, and the name of Tommasini has given a reputation to it as a clinical school, which has been well maintained by other professors since his recent removal to Parma. The noble Palace, "in the Strada S. Donato, which includes the University, the Institute, and other similar esta- blishments, was formerly the Palazzo c3 34 ROUTE 6. — BOLOGNA — University Museums. [Sect. I. Cellesi. It was built by Cardinal Poggi, the front being designed by Pellegrino Tibaldi, and the fine and imposing court by Bartolommeo Tria- chini, a native architect of the sixteenth century. It was purchased in 1714, by the Senate of Bologna, to receive the library and the collections of natural history and scientific instruments pre- sented to the city, as the foundation of a national institute, by Count Marsigli, the friend of Sir Isaac Newton, and a fellow of the Royal Society. The Palace at first included the Aca- demy of Sciences, or the Instituto delle Scienze di Bologna, founded in the seventeenth century, by a noble youth named Manfredi, at the age of sixteen, v/ho formed a literary society at his house, and assembled there all the men of talent in the city. In the halls of the new establishment, the Clementine Academy, instituted to perpetuate the honours of Bologna as a school of arts, and of which Cignani was the first president, also found a local habita- tion ; in 1803, the university was transferred here, and gave to the entire building the general name of the Pon- tificia Universita." The halls of the loggiato and the adjoining chambers are remarkable for their fine frescoes, by Pellegrino Ti- baldi, which the Caracci thought worthy of imitation. In the court, by Trlachini, is the statue of Hercules at rest, a singular work in grey stone, by Angelo Pio, a sculptor of some repute in the seventeenth century. In the staircase are several memorials, erected in honour of illustrious professors, and others, natives of the city : but many are hardly worthy of the eminent names they are intended to commemorate. Among these are Galvani, by Professor Demaria, after the design of Calegari; Laura Bassi, by Lipparini ; Gaetano Monti, by Demavia ; Clotilda Tam- broni, by Putti ; and Cavazzoni Za- notti, by the brothers Toselli. The Cabinet of Natural Philosophy contains some fine paintings by Niccolo deirAbate, engraved at Venice in 1756. The Anatomical Museum is rich ; and the various branches of pathological, general, and obstetrical anatomy are well illustrated by preparations and wax figures. The Natural History Museum is well supplied in some de- partments, and deficient in others, and is moreover badly placed. The Museum of Antiquities is small, but contains some curiousand interesting fragments. The first apartment contains the in- scriptions, among which is that belong- ing to the sacred Avell, which gave rise to the commentary of Paciaudi, on the " Puteus Sacer two milestones from the Emilian Way, numbered cc, and ccxxcvl. two fragments of latercoli, or military registers, and a large num- ber of sepulchral tablets. The second chamber contains some Egyptian and Etruscan antiquities ; among the latter is the celebrated fragment of the en- graved plate, or, according to Chev. Inghirami, of the mystic mirror, called from the name of its first possessor, the Cospiana Patera. It represents the Birth of Minerva, who issues armed from the head of Jupiter, while Venus is caressing him. The names of the figures are given in Etruscan characters. Another mirror represents, not engraved, but in relief, Philoctetes healed by Machaon, the names of which are also in Etruscan characters. The following are worthy of examination. A bronze foot, larger than natural, and a bacchic vase in marble, both found in the island of Capri ; a series of Roman weights in black stone, and some metal weights of the middle ages ; among which is one of the time of Charlemagne, with the inscription ^' Pondus Caroli."' In the third chamber are some architectural remains, with two fragments of marble torsi, the one of a Venus coming out of the bath, the other of the same goddess on foot ; a male torso, attributed to Augustus, found in the Via di S. Ma- molo ; an Isiac table of black basalt, found on the Aventine in 1709, and an elliptical vase of porphyry. In the next chamber are works after the revival, among which is a bronze statue of Boniface VIII., by Manno, Papal States.'] route 6. — bologna. — University Library, 35 a native sculptor, erected by the Bo- lognese in 1301 ; it is remarkable only as showing the state of art at that early period. The Chamber of Medals con- tains some ancient Roman coins, Greek pieces from Sicily, a collection of Italian and foreign money, and a good series of modern medals of sovereigns and illustrious men. There is also a small collection of gems, among which is the Maffei agate, representing Achilles and Ulysses, highly prized by Professor Schiassi and other archa3olo- gists. It would be an omission in any account of the antiquities of Bologna if the celebrated Latin inscription, dis- covered in some excavations of the city, were unnoticed. This famous riddle, which gave rise to so much learned controversy in the seventeenth century, IS as follows: — "D. M. Aelia Laelia Crispis, nec vir, nec mvlier, nec andro- gyna, nec pvella, nec jvvenis, necanvs, sed omnia; svblata neqve fama neq. ferro, neq. veneno sed omnibvs, nec coelo, nec aqvis, nec terris, sed vbiqve jacet. Lvcivs Agatho Priscivs, nec maritvs, nec amator, nec necessarivs, neq. moerens, neq. gavdens, neq. flens, banc non molem, non pyramidem, non sepvlchrvm sed omnia, scit et nescit cvi posverit." The University Lihrarij occupies a building constructed by Carlo Dotti, and added to the Institute by Benedict XIV. (Lambertini.) It contains about 80,000 volumes, and 4,000 manu- scripts ; of these, not less, it is said, than 20,000 volumes were presented by Benedict XIV., who also induced Car- dinal Monti, another native of Bologna, to follow his patriotic example. Among the printed books are the following : the first edition of Henry VIII.' s fa- mous book against Luther, Assertio Sepfem Saci^amentorum adversus Mar- tinum Liitherum^ Lond. in CEdihus Pyn- sonicmis, 1512, dedicated to Leo X., with the autograph signature Hen- ricus Rex a Lactantii/s, printed at Subiaco, 1465. Among the MSS. may be mentioned a Laclantius, of the fifth, or according to Montfaucon, of the sixth or seventh century; the Four Evangelists, in Armenian, of the twelfth century, given to Pope Benedict XIV. by Abraham Neger, an Armenian ca- tholic ; the Images of PhilostrateSy in the handwriting of Michael Apo- stollus, a Greek exile, and protegee of Cardinal Bessaiion ; and about 200 volumes of scientific MSS. by Aldro- vando. It is scarcely possible to consider any record of this library complete which fails to commemorate its connexion with one of the most extraordinary men of our time, the Cardinal Mezzofanti, who commenced his early career as its librarian. He was the son a humble tradesman of Bologna, and had become celebrated throughout Europe for his knowledge of languages, even while he filled the chair of professor of Greek and Oriental literature in this university ; but it remained for the present pope (Gregory XVI.) to raise him from the humble dignity of an abbe, to the highest honours which it was in his power to confer. At the age of thirty-six, Mezzofanti is said to have read twenty, and to have conversed fluently in eighteen languages ; at the present time he speaks forty-two ; and, from personal knowledge, the writer can bear witness to his acquaintance, not only with modern English litera- ture, but with the literature of the best periods of our history. IMezzofanti was called to Rome by the present pope, and appointed to a post in the Vatican, under Mai, and when that illustrious scholar was made a cardinal, Mezzo- fanti was raised to the same dignity, under circumstances which will ever remain an honour to Gregory XVI. Perhaps the English traveller may desire no higher evidence of the un- equalled powers of Cardinal Mezzo- fanti than the following extract from the Detached Thoughts of Lord Byrcn ; and it is only necessary to add, that with these attainments his Eminence unites the utmost amiability of man- ners and the meek and unassuming deportment of a truly Christian pastor. I do not recollect," says Byron, " a single foreign literary character that I 36 ROUTE 6. — BOLOGNA. — PubHc Gardens; Hospitals. [Sect. I. wished to see twice, except perhaps Mezzofanti, who is a prodigy of lan- guage, a Briareus of the parts of speech, a walking library, who ought to have lived at the time of the tower of Babel, as universal interpreter ; a real miracle, and without pretension too. I tried him in all the languages of which I knew only an oath or adjuration of the gods against postillions, savages, pirates, boatmen, sailors, pilots, gondoliers, muleteers, camel drivers, vetturini, post-masters, horses, and houses, and everything in post! and, by heaven! he puzzled me in my own idiom." In connexion with the university, there remain to be noticed the Bo- tanical and Agrario Gardens, and the Public Hospital. The Bota?iical Gar- den was formed in 1804, on the site of the ancient Collegio Ferrerio de' Pie- montesi. It has some fine hothouses, arranged under the direction of Pro- fessor Scannagatti. It is well managed, and is said to number upwards of 5,000 species. The Agrario Garden, Orto Agrario, one of the results of the French invasion, was commenced in 1805 un- der the direction of Professor Re, and was intended as a practical school for agricultural students, for whom a course of theoretical and experimental lectures on agriculture are delivered. The idea was undoubtedly a good one, parti- cularly as the Bolognese territory is so highly celebrated for its rich cultiva- tion and fertility ; but this branch of study unfortunately is not obligatory, and hence the lectures of the agricul- tural professor are ill attended. The lecture room is the ancient Palazzino della Viola, formerly the villa of Gio- vanni II., Bentivoglio, and celebrated for its superb frescoes by hinocenzio da Imola. These fine works represent Diana and Endymion; Actaeon me- tamorphosed into a stag ; Marsyas, Apollo, and Cybele. l^here were ori- ginally other frescoes by Costa, Chio- darolo, Aspertino, Prospero Fontana, and Niccolo dell 'Abate, but they have ail been destroyed for the purpose of building additional apartments. The history of the Palazzino, and the de- scription of the paintings of Innocenzio da Imola, were made the subjects of three discourses delivered by Professor Giordani in the Academy of Fine Arts in 1812, and published in his works. The Ospedale G?'ande was founded in 1667, and opened in 1725; the clinical cases are received in a separate build- ing, near the university, called the Ospedale Azzolini, from the Senator Francesco Azzolini, by whom it was founded, in 1706, for the sick and in- firm poor of the parish of S. M. Mad- dalena. In the Borgo di S. Giuseppe is the Ospedale de' Settuagenari for the aged poor ; and in the ancient Bene- dictine Monastery of S. Procolo is the Ospedale degli Esposti, or Bastardini, re- cently enlarged ; a measure whose neces- sity is accounted for by the fact that the proportion of illegitimate births at Bo- logna has not been less than one-seventh of the whole for some years past. Dr. Fraser gives us the following note of the Ospedale Grande: — *' A good hospital, and a separate building for clinical cases. There are at present five hundred students. There is a large collection of anatomical figures, but it is inferior to that at Florence. The average number of cases of ' stabbing' admitted annually into the hospital is five hundred! This fact I could hardly have credited, if it had not been com- municated to me by good authority, viz., the resident house surgeon, who told us after we had become communi- cative by long conversation on profes- sional subjects, adding, that the autho- rities did not publish the astounding number. If true, and I certainly have no reason to doubt my authority, it is an important fact, as illustrating the morals of the Bolognese." Churches. ■ — Among the hundred churches of Bologna, there are few which do not contain some painting, which, if not itself a masterpiece, sup- plies an episode in the history of art- In the following pages we have given such details as will enable the traveller to select and judge for himself, amidst the multiplicity of riches ; at the same time, the student must bear in mind that Papal States.] route 6. — bologna. — San Stefano. 37 there are none from which he will fail to derive instruction. The most ancient church in Bologna, and one of the oldest and most charac- teristic in Italy, is that of San Stefano, formed by the union of seven churches or chapels. It is, moreover, remark- able, not only for its Greek frescoes of the twelfth and thirteenth centuries, but for its ancient tombs and madonnas, its miraculous wells, ils Lombard architecture, Gothic inscriptions, and other relics which carry the ima- gination vividly back to thf early ages of the church. In what is called the first church (del Crocifisso) is a painting, by Teresa Mnratori and her master, Gioseffo Dal Sole, representing a father supplicating St. Benedict to intercede for his dying son. The Banzi chapel, in which is the marble sarcophagus containing the body of the Blessed Giuliana de' Banzi, is called the second church. The third, del Santo Sepolcro, is a round building, supposed to have been the ancient Lombard Baptistery. The marble columns are said to have been derived from a neighbouring temple of Isis. The upper gallery has long been closed ; but the well for immersion suflficiently proves its original destination. The marble sepulchre, with its ancient symbols, was erected to receive the body of S. Petronio, who is said to have given miraculous qualities to the water of the well. The ancient Greek paintings on the walls will not fail to attract the attention of the traveller; they are full of nature and expression, but many of them have unfortunately perished or been injured in recent years. The fourth church, dedicated to SS. Peter and Paul, is supposed to have been the old Cathedral, founded by S. Faustiniano, a.d. 330. It con- tains a remarkable Crucifixion, by Simone da Bologna, known also as Simone dai Crocifissi, from the ex- cellence with which he treated this subject ; it bears his name, " Simon fecit hoc opus." There are some ara- besques and an Ionic capital in this church, apparently antique. The Ma- donna and Child, with St. Nicholas and St. John, is by Sahbatiiii. The St. James, St. John, and St. Francis, is referred to Lippo di Dalmasio. This church has small round windows in the nave, and has some general resem- blance to our old Norman architecture. The fifth is formed of the cloister, called the Atrio di Pilato. It has two rows of galleries ; the upper one is very elegant and composed of antique columns de- rived from the Temple of Isis, which are coupled with fanciful capitals, composed of monsters supporting small circular arches, over which is a frieze with other whimsical ornaments of the same kind. The ancient Greek frescoes of this church have suffered greatly ; an ex-voto Madonna, left here by a com- pany of English pilgrims about a.d. 1400, may interest the English tra- veller. The S. Girolamo adoring the Crucifix, with the Magdalen and S. Francis, is attributed to Francia. In the small cortile is a large marble vase or font, bearing an inscription, recording the names of Luitprand and Ilprand, kings of the Lombards, and of Barbato, bishop of Bologna. An adjoining Hall, constructed by Benedict XIV., recalls the ancient " Compagnia de' Lom- bardi," founded in 1170, and number- ing in its annals almost all the illustri- ous names in the history of Bologna. The keys of the gates of Imola, cap- tured a second time by the Bolognese in 1222, are preserved there. The sixth church (I Confessi) is a kind of crypt, and is remarkable oidy for its ancient bas-reliefs, and as containing the bodies of two native saints and martyrs, Vitale and Agricola. The Madonna in the wall is said to have been placed here, in 488, by S. Giocondo, bishop of the diocese. The seventh church, called la SS. Trinita, also contains some in- teresting works of ancient art, some of which are regarded as contemporaneous with S. Petronio. The St. Martin, bishop, praying for the restoration of a dead child to life, is by Tiarini, a re- petition of the same subject painted for the church of S. Rocco. The S. Ursula, on the wall, is by Simone da Bologna ; 38 ROUTE 6. — BOLOGNA. — Chiuxhes ; San Petronio. [Sect. I. and the Holy Trinity is by Samac- chini. This church is celebrated for its relics, among which are the bodies of forty martyrs, brought by S. Petro- nio from Jerusalem. Outside these churches are two marble sarcophagi, appropriated in former times by the Orsi and Bertuccini families; one of them at Jeast is an ancient Christian sarcophagus, and is an interesting relic. In an adjacent portico is an inscription recording the existence of the Temple of Isis, already mentioned as occupying this site. The Caihedral, dedicated to St. Peter, is a very ancient foundation, but it has been several times rebuilt. The present fine edifice was begun in 1605 ; the front and some of the chapels were added in 1748 by the excellent Pope Benedict XIV., from the designs of Torreggiani. The interior is in the Corinthian style, well arranged and imposing in its effect. In the 2nd chapel on the left is preserved among the relics, the skull of St. Anna, pre- sented in 1435 by King Henry VI. of England to the Blessed Niccolo Alber- gati. In the 3rd chapel is the fine work of Grazianif a native painter of the seventeenth century, representing St. Peter consecrating St. Apollinare; a commission executed for Benedict XI V., who was so much pleased with it that he ordered a repetition for the Apollinare at Rome. Cardinal Giovanetti, arch- bishop of Bologna in 1788, is buried here. In the 4th chapel is the St. Peter commanding Pope Celestine to elect S, Petronius bishop of Bologna, by Biyari ; and the Holy Family, and the frescoes of S. Pancras and S. Petro- nius, by Franceschini, painted in his eightieth year. The 5th chapel con- tains the urn of bronze gilt adorned with lapis lazuli, containing the body of the martyr S. Proclus, presented by Benedict XIV., in 1745. The Sacristy contains, among other works of more or less merit, the Cruci^3xion,byZ?a^?^«- cavallo ; paintings by the Zanotti ; and the St. Peter, in the fisherman's dress, mourning with the Virgin for the death of the Saviour, a strange invention of Lodovico Caracci. The 6th chapel, de- signed by Domenico Tibaldi, contains a fine picture designed by Florini and coloured by Aretusi^ representing our Saviour giving the keys to St. Peter, in the presence of the twelve apostles ; and the celebrated painting of the Annuncia- tion, the last work of Lodovico Caracci. The foot of the angel bending before the Virgin was a little crooked, and it is re- lated that when the aged artist made the discovery, he offered to defray the ex- pense of re-erecting the scaffold in order that he might retouch it, but the request was refused, and Lodovico died of grief and chagrin a few days after. In 1830 the error was corrected by Prof. Fancelli, who was employed to clean and restore the paintings in this chapel and in the Sacristy. Returning towards the entrance, the chapels of the opposite side remain to be examined. The first of these is worthy of observation, as it was here, and not in S. Petroiiio, as Vasari believed, that the ancient Garganelli chapel, painted by Ercole Grande of Ferrara, existed ; some re- mains of these pictures were long pre- served in the palace of the Tanari family, and were by them presented to the academy. The chapel of the SS. Sacramento contains a work by Donati Creti which has been much admired : it represents the Virgin in the clouds with the infant Saviour, S.. Ignatius, and angels. The gilt bronze orna- ments were designed by Torreggiani, at the cost of Benedict XIV., then Cardi- nal Larabertini, and archbishop of this his native city. In the Baptistery is a finely composed and beautifully coloured painting of the Baptism of our Saviour, by Ercole Graziani, On St. Peter's day some fine tapestries are exhibited in this church, executed at Rome from the designs of Raphael Mengs, and presented by the same pontiff". The Subterranean Church below the choir is curious : it contains numerous relics, and some works of art, among which is that by Alfonso Lom- hardo representing the two Marys weep- ing over the dead body of Christ. The Church of San Petronio^ the Papal State S.I route 6. — bolog's a. - C hur ches ; San Petronio. 39 largest in Bologna, and though unfi- nished, one of the most interesting and remarkable, is a fine monument of the religious munificence which charac- terised the period of Italian freedom. It was founded in 1390, while Bologna was a republic, the architect being Antonio Vicenzi or di Vincenzo, cele- brated as one of the sixteen Riforma fori, and as the ambassador of the Bolognese to the Venetian Republic in 1396. The original plan was a Latin cross, and if the building had been com- pleted, it would have been more than one hundred feet longer than St. Peter's at Rome. Of the exterior, a small portion of its height alone is finished, and of the interior little more than the nave has been completed. In spite of these drawbacks, San Petronio is one of the finest specimens of the Italian Gothic of the fourteenth century. It is almost a museum of sculpture, and its rich pointed windows, although sadly- mutilated and transformed, still retain their rich mouldings in perfect preser- vation, as may be seen on the sides of the building. The three canopied doorways of the unfinished facade are pure and interesting examples of the late Italian Gothic ; they are covered with bas-reliefs representing various events of scripture history from the creation to the time of the apostles, and are ornamented with busts of pro- phets and sibyls which recall the taste and design of Raphael. The central doorway and its bas-reliefs were justly considered the masterpiece of Jacopo dalla Quercia, and were entirely com- pleted by his own hand. They must be carefully studied to appreciate their details ; there are no less than thirty- two half figures of patriarchs and pro- phets, with the Almighty in the midst; five subjects from the New Testament in the architrave, and five from the Old Testament on each pilaster, from the creation to the deluge. Over the architrave are three statues as large as life, the Virgin and Child, San Petronio, and St. Ambrose. It is recorded that this amiable artist was commissioned to execute this door for the sum of 3,600 golden florins, the Reverenda Fabbrica providing the stone ; Vasari says that he devoted twelve years to the work, and that its completion filled the Bolognese with astonishment. The left doorway is remarkable for the angels and sibyls on the arch, by Tribolo, well known as the friend of Benvenuto Cellini, who has left an amusing record of him in his most entertaining of biographies. Of the four subjects on the left pilaster the first, third, and fourth are by Tribolo, as well as the fourth on the right pilaster, supposing the spectator to be looking at the door. Tribolo was assisted in these works by Seccadenari, Properzia de' Rossi, the Bolognese Sappho ; and by Cioli and Solosmeo, pupils of Sansovino. The three other subjects on the right pilaster are by Alfonso Lombardo, and represent dif- ferent events of the Old Testament. The second subject of the left pilaster, representing Jacob giving his blessing to Isaac, is by an unknown artist. Under the arch is the superb sculpture of the Resurrection, by Alfonso Lombardo, praised by Vasari, and admirable for its simple dignity and truth. The right doorway is another monument of the taste and purity of Tribolo. The angels of the arch, the sibyls, and the eight subjects from the Old Testament on the pilasters, are by this master. Under the arch is the group of Nicode- mus with the dead body of Christ, by Amico ; the Virgin, is by Tribolo; and the St. John the Evangelist, by Ercole Seccadenari. The interior of San Petronio is par- ticularly imposing, and never fails to excite regret that it has not been completed on its original extensive plan. Some fault might be found with the proportions of the edifice, and the iron ties which hold together the prin- cipal arches are a serious disfigurement ; but the size and peculiar simplicity of the design produce an effect which re- winds the English traveller of the purer Gothic of the north. ^' It possesses in a high degree the various peculiarities which characterise the arrangements of 40 ROUTE 6. — BOLOGNA.' — Churches ; San Petronio, [Sect. I. the Italian Gothic, such as the wide and low pier arches whose span equals the breadth of the nave, the absence of the triforium and of the clerestory string, the great empty circles which occupy the space of the clerestory, the excessive doming of the vaults, the shallowness of the side aisles, the heavy capitals which surround the piers and half piers like a band of leaves, and the square- ness of the piers with their nook shafts ; all these serve to make a wide distinc- tion between this example and those of the genuine Gothic; and they are rarely found so completely united even in Italian churches. Each compartment of the side aisle has two arches, which open into shallow chapels." — Willis. On entering the church, the orna- ments in relief round the great doorway are by Francesco and Petronio Tadolini. Over the side doors are the fine bas- reliefs by Lombardo, one representing the Annunciation, the other Adam and Eve in paradise, formerly attributed to Tribolo. In the chapels on the right, there are several objects to engage atten- tion. The 2nd is the chapel of the Pepoli, so celebrated in the history of Bologna ; and some of the pictures contain portraits, it is said, of dif- ferent members of that illustrious family. The painting of the Almighty has been attributed to Guido ; but it was more probably retouched by him. The paintings on the lateral walls, with their Gothic ornaments and inscriptions, are curious ; one of the female figures praying on the right wall, bears the inscription, Sofia de Inghiltera fe, fa. 4th chapel — the ancient Crucifixion, repainted, it is said, by Francesco Francia ; the Madonna underneath is referred to Tiarini. 6th — St. Jerome, by Lorenzo Costa, the pupil of Francia, spoiled by retouching. 8 th — the marble ornaments of this chapel were designed by Vvjnola, and are said to have cost him tiie loss of his situa- tion as architect to the church througii the jealousy of his rival Ranuccio. The St. Francis is hj Mastelletta ; and the St. Antony raising the dead man to liberate the father who is unjustly condemned, is by Lorenzo Pasinelli. 9th — Chapel of St. Antony of Padua. The marble statue of the Saint is by Sansovino. The miracles of the Saint, painted in chiaro scuro, are fine works by Girolamoda Treviso. The windows of painted glass are celebrated as having been coloured from the designs of Michael Angelo. 10th — the large painting of the Coronation of the Madonna del Borgo S. Pietro, and the beautiful fresco opposite it are by Brizzi, one of the favourite pupils of the Caracci : he commenced life as a journeyman shoemaker, and became the principal assistant of Lodovico. nth— Chapel of the Relics. The superb bas-relief of the Assumption, in marble, by Tribolo, formerly at the high altar of the Madonna di Galliera. The two angels by the side are by Properzia de' Bossi. The walls of this chapel support the entire weight of the campanile. At the high altar, the two marble statues of St. Francis and St. Antony of Padua, are by Girolamo Cam- pag?ia,3iud were formerly in the church of S. Francesco. i4th— Chapel (left). Sta. Barbara beheaded by her father, considered the best work of Tiarini. 15th — the Archangel Michael, by Calvart (Fiammingo), which explains the celebrated picture by his pupil Guido in the Capuchins at Rome. 16th — St. Roch, larger than life, a portrait of Fabrizio da Milano, by Parmegiano, one of his best works; copied as a study by Lod. Caracci. 17th — some fine works by Costa. 19th — the Annunciation, and the twelve Apostles, among the finest works of Costa. The Magdalen by Filippo Brizzi. The pavement of earthen- ware dates from the earliest times of its manufiicture. On the pilaster of this chapel is a statue of S. Petronius, generally believed to be the most ancient likeness of that saint extant, but it has been so altered by frequent restorations that little probably of the original countenance now remains. 20th — the famous paintings of the Magi, and of the Paradiso and Inferno on the opposite wall, formerly attributed Papal States.] route 6. — bologt^ a,- ChurcJies ; San Petronio. 41 to Giotto. Malvasia, in his Felsina Pittrice, attributes the firstof these works to Vitale and Lorenzo, and the others to Buonamico Buffalmacco, to whom Vasari also refers them. It has, how- ever, been proved by the discovery of the will of one of the Bolognini family, to whom the chapel belongs, that they were executed subsequently to 1408 ; while Buffalmacco and the other artists above named were all dead previous to 1390, the year in which the church itself was begun. Although therefore they are interesting illustrations of the history of art, it is certain that no trace of their true author has yet been discovered. 22nd — the head of S. Petronius, removed here by order of Benedict XIV., from the other relics of that saint in S. Stefano, is preserved in this chapel. On the floor of the church is traced the celebrated meridian of Gian Do- menico Cassini, 178 Bolognese feet 6 A inches long, substituted in 1653 for that of P Ignazio Danti, and corrected in 1778 by Eustachio Zanotti ; a scientific monument which does ho- nour to Bologna. It was in this church that the Emperor Charles V. was crowned by Pope Clement VII. The Halls of the Reverenda Fabbrica, adjoining the church, contain a highly interesting series of original designs for the still unfinished facade, by the first architects of the period. Algerotti has pointed out the advantage it would be to art if a selection of them were pub- lished, with a brief description of their history. It is, however, satisfactory to find that they have been preserved : they form a precious collection, the value of which will not fail to be ap- preciated by every architectural stu- dent. Three of these are by Palladio ; another bears the following inscription in his own hand, " Laudo il presente disegno," and has, no doubt erroneously, been attributed to him. There are two by Vignola, one by Giacomo Ra- nuccio, his great rival, which serves only to prove his inferiority ; one by Domenico Tibaldi ; three by Baldas- sare da Siena ; one by Giulio Romano and Cristoforo Lombardo, architect of the Cathedral at Milan ; one by Giro- lamo Rainaldi ; one by Francesco Ter- ribilia, which received the approbation of the senate in 1580, and was pub- lished by Cicognara in the Plates to his History of Sculpture ; one by Varig- nano ; one by Giacomo di Andrea da Formigine ; one by Alberto Alberti, of Borgo San Sepolcro ; and three by unknown artists. Over the entrance door is the noble marble bust of Count Guido Pepoli, by Proper zia de' Rossi, supposed to be that ordered by his son Alessandro Pepoli, to prove the powers of that extraordinary woman, as men- tioned by Vasari. In the second cham- ber is her masterpiece, the bas-relief of the Temptation of Joseph, in which it is believed she recorded the history of her own misfortunes. The life of this celebrated and accomplished wo- man, at once a painter, sculptor, en- graver, and musician, is one of the most tragical episodes in the annals of art ; Finalmente," says Vasari, in a passage which hardly bears translating, " alia povera inamorata giovane ogni cosa riusci perfettissimamente, eccetto il suo infelicissimo amore." She died of love at the very moment when Pope Clement VII., after performing the coronation of Charles V. in this church, where he had seen and appreciated her genius, expressed his desire to take her back with him to Rome. Vasari records the touching answer given to his Holi- ness : Sta in chiesa, e gli si fa il fune- rale! Her death was made the subject of a tragic representation in the theatre of Bologna, by Professor Costa, in 1828. The Sacristy contains a series of twenty-two pictures, representing vari- ous events in the history of S. Petronius from his baptism to his death, by Ferrari, Francesco Colonna, Mazzoni, and others. Immediately before the great door of this church stood that famous co- lossal bronze statue of Pope Julius II., executed by Michael Angelo, after the reconciliation of their quarrel on the subject of the Moses. The Pope at 42 ROUTE 6. — BOLOGNA. — ChuTckes ; San Domenico, [Sect. I. his own request was represented with a sword in his left hand, and in the act of reprimanding the Bolognese with his right. But this great masterpiece lasted only five years. In 1511, on the re- turn of Bentivoglio, it was broken up by the people, and the bronze, said to have weighed 17,300 lbs., was sold to the Duke of Ferrara, who converted it into a piece of ordnance, under the ap- propriate name of the Julian. It is recorded of this statue, the loss of which will ever be deplored by the lovers of art, that when Michael An- gelo asked the warlike pontiff whether he should put a book in his left hand, he replied, " A book I no : let me grasp a sword ; I know nothing of letters." ,The Piazza surrounding the Church of San Dome?iico is remarkable for some interesting monuments, which deserve examination before proceeding to the still greater treasures in the church itself. These are the statue of S. Domenico, in copper gilt, made at Milan in 1623; the Madonna del Rosarioj by Giulio Cesare Conventi ; and two sepulchral monuments, one the tomb of the learned jurist Rolandino Passaggeri, who, while holding the office of town-clerk, was selected to write the answer of the Republic to the haughty letter of the Emperor Frederick II., demanding the release of his son, King Enzius. The other is the tomb of the noble family of Fos- cheraii, now extinct, and was built by Egidio Foscherari, in 1289. Its rude bas-reliefs appear to be more ancient than this date. Both tombs stand under canopies, supported by four co- lumns, and were restored in 1833, at the expense of Sig. Giuseppe Schiassi. The Church, celebrated as containing the tombs of St. Domenic, the founder of the Inquisition, of King Enzius, of Taddeo Pepoli, and of Guido, is as rich in works of art as it is in illustrious names. The Tomb of San Domenico, the early triumph of the genius of Niccold di Pisa, forms in itself an epoch in the history of art, which ought to be closely studied by every one who de- sires to trace the progress of sculpture from the thirteenth century. This great master, who has been justly called the precursor of the revival, did not complete the pulpit at Pisa, until thirty-five years later than the date of the present work (1225), and con- sequently we may regard this as the first foundation of a new era in art. The bas-reliefs by Niccold di Pisa re- present various events in the history of the saint, and miracles performed by him ; they are full of character and truth : the knight thrown from his horse and brought to life by St. Do- menic in the presence of his family, who are deploring his death ; and the St. Peter and St. Paul in heaven, pre- senting St. Domenic with the constitu- tions and baton of the order, are among the most remarkable of these graceful compositions. Below them is another interesting series by Alfonso Lom- bardo, executed three centuries later, and not superior in delicacy or feeling. The statue of S. Petronio, on the top of the tomb, is a youthful work Michael Angela, as is likewise the exquisitely beautiful angel on the left, now made to hold a very indifferent candlestick. It is recorded in the city annals, that the great artist received twelve ducats for the angel, and eighteen ducats for the statue of S. Petronio ! The other angel and the patron saints, Francesco and Procolo, are, according to Vasari, by Niccold dell' Area ; the St. John Baptist is said to be by Girolamo Cortellini. The architecture of this (the sixth) chapel is proved by the ar- chives of the convent to be the design of Terribilia ; the first picture on the right hand, the Child brought to life, is one of the masterpieces of Tiarini, and was much admired by Lodovico Caracci. The great picture, represent- ing the Storm at Sea, in which St. Domenic is saving the sailors praying to the Virgin ; the Knight thrown from his horse, and brought to life by St. Domenic ; the stories in the lunettes, and the graceful figures representing the virtues of the saint, are by Mas- telletta. The fresco on the roof, repre- senting the glory of Paradise, with the Papal States.'] route 6. — bologna -Churches ; SanDomenico. 43 Saviour and the Virgin receiving the soul of the saint, amidst the music of the seraphin, is by Guido. *' In the highest circle of the dome, a soft ra- diance, emanating from the Holy Spirit, illuminates the picture, touching with partial lights the heads of our Sa- viour, of Mary, and the Saint, who are placed at equal distances, while a choir of angels, exquisitely designed and finely coloured, fills the space below. The composition of the whole rises in a fine pyramidical form, harmo- nizing at once with the subject, and the proportions of the dome." — Bell. The Saint burning tlie books of the converted heretics, a fine and expres- sive picture, is esteemed the master- piece of LionellQ Spada. The other chapels of this church present additional objects of interest : 1st, the Madonna, called *' Del Vel- luto," by Lippo Dalmasio. 3rd, St. Antoninus with the Saviour and the Virgin appearing to St. Francis, by Facini, the pupil of Annibale Caracci, who praised his skill in painting flesh ; below it is a Virgin, attributed to Francesco Fraficia, 4th, St. An- drew the Apostle preparing for his martyrdom, by Antonio Rossi. 9ih, St. Catherine of Siena by Francesco Brizzi, 1 0th, St. Thomas Aquinas writing on the subject of the eucharist, with two inspiring angels, by Guercino, Near the entrance of the Sacristy is the monument erected by the Clementine Academy to the memory of General Count Marsigli, the founder of the Institute, whose patriotic zeal for the welfare of Bologna, and whose con- nection with the science of England, have been noticed in a previous page. The high altar has the fine picture by Bartolommeo Cesi^ the Adoration of the Magi. The statues of the choir present an interesting example of tarsia, of the fifteenth century, by Fra Damiano da Bergamo assisted by Fra Antonio Asinelli, both Domenican monks ; the subjects are taken from the Old and New Testaments. The 1 3th chapel is remarkable for the tomb of King Enzius, the unfortunate son of the great Emperor Frederick II., made prisoner by the Bolognese in 1249, and retained here in captivity for twenty-two years, until his death in 1272. It bears the following inscrip- tion, in which the haughty republic makes the record of its royal captive the source of a much higher compli- ment to itself ; ' 'FeUina Sardiniae regem sibi vincla minantem Victrix captivum consule ovante trahit; Nec patris imperio cedit, nec capitur auro ; Sic cane non magno seepe tenetur aper." In singular and striking contrast to this tomb, the adjoining chapel (14th) contains the marble sarcophagus of Taddeo Pepoli, the celebrated repub- lican ruler of Bologna, by the Vene- tian artist Jacopo Lanfrani, erected about the middle of the fourteenth cen- tury. The sculptures on its front re- present Pepoli rendering justice to his fellow citizens. 15th, the Chapel of the Relics ; among the other relics here preserved is the head of S. Domenic in a silver case of 1141bs, weight, made in 1383 at the joint expense of the city, Benedict XI., and Cardinal Matteo Orsini. The body of the Beato Gia- como da Ulma, the celebrated painter, whose portrait by Bellini is in front of the adjoining chapel, is also preserved here. Behind the monument of King Enzius is the portrait of St. Thomas Aquinas, by Simo?ie da Bologna, proved by the annals of the Order to be an original and authentic likeness. 17th, the Annunciation, by Fiammingo (Calvart). 19th, this magnificent chapel, dedicated to the Madonna del Rosario, contains two tombs which inspire very difierent feelings from that of the founder of the Inquisition, or those of King Enzius and the Pepoli : they are those of Guido and his favourite pupil Elisabetta Sirani, who died of poison in her twenty-sixth year. The chapel contains a series of paintings representing the fifteen mys- teries of the Rosary ; the Presentation in the Temple is by Fiammingo (Cal- vart) ; the Descent of the Holy Spirit, by Cesi ; the Visitation, and the Fla- gellation of the Saviour, are by Lod, 44 ROUTE 6. — BOLOGNA. — ChiiTches; San Domenico^S^^c, [Sect. I. Caracci ; the Assumption is by Guido, The statues over the altar are by Angela Pid ; that of St. John the Evangelist is by Giuseppe Mmxhesi, The ceiling, painted in 1656, is an able work of Michele Colonna and Agosti?to Mitelli ; the Assumption of the Virgin, in the middle, is particularly worthy of ob- servation. In the vestibule of one of the siile doors is the tomb of the cele- brated jurisconsult, Alessandro Tar- tagni, surnamed ITmolese, by the Flo- rentine sculptor Francesco di Simone ; and opposite it, is that of the Volta family, with a marble statue of S. Procolo, by Lazzaro Casario. 22nd chapel, St. Raymond crossincr the sea on his mantle, by Lod. Cm^acci, another fine work which serves to prove the ori- ginality and invention of this remark- able painter. 23rd, this chapel con- tains a bust of S. Filippo Neri, from a cast taken after death. The Sacristy has also some pictures and other objects of interest : the Birth of the Saviour, or La Notte," by Luca Cangiasiy is considered by many as a repetition of the smaller painting pre- served in the academy, while others regard it as a copy. The Paschal Lamb is attributed to Giorgio Fa- sari. The S. Girolam.o is by Lionello Spada. The tarsie of the closets and of the entrance door are by the artists who executed those of the choir. The large statues of the Virgin and of San Domenico are of cypress wood, and, according to the verses inscribed under- neath, were carved out of a tree which S. Domenico himself had planted, one of those, perhaps, which Evelyn saw growing at the period of his visit, in the quadrangle of the convent. It is remarked by a recent traveller, that it was an appropriate tree for the founder of the Inquisition to have planted, and he deserved a statue sculptured of the wood of that gloomy and funereal tree. The Cloisters of the adjoining con- vent of San Domenico, the first of which is supposed to be that built in 1231 by Niccolo di Pisa, are remark- able for their inscriptions and ancient tombs. Among these are to be noticed that of Gio. d' Andrea Calderini, the work of the Venetian Jacopo Lanfrani, in 1238 ; and that of Bartolommeo Salicetti, by Andrea da Fiesole, in 1412. There is still preserved here a portion of a painting by Lippo Dalmasio, representing the Magdalen at the feet of Christ, which Malvasia describes as his earliest public work ; in one corner is a fragment of an inscription ...Imaxi f. Near it is a Crucifixion, with S. Lorenzo presenting a Doctor kneeling ; it bears the inscription Petrus Joha?iis (Pietro di Giovanni Lianori?), and is a very beautiful specimen of art of the fourteenth century. On leav- ing the convent, under the portico built by Nicola Barella leading up the Via di S. Domenico, on the left hand, is a picture of the Virgin and Child with St. John, by Bagnacavallo, an interesting work, much admired by Guido, and yet, such are the riches of Italy in art, it is quite exposed to the street. In connexion with the Domenican Convent the Bihlioteca Comunale, or Magnani Library, remains to be noticed. This library consists chiefly of the collections bequeathed to the city by the learned ecclesiastic Antonio Mag- nani, formerly librarian of the Scien- tific Institute; who has by will espe- cially provided that this library shall be available on those holidays and festas when every other is closed : the number of books is said to be upwards of 90,000, and it is continually in- creasing by the munificence of the city authorities. Besides its literary trea- sures, the lover of art will not fail to appreciate and admire the superb, though unfinished. Deposition from the Cross, by Federico Baroccio, said to be his last work : it is hardly sur- passed in effect and composition by any production of that great and esti- mable painter. The elegant Church of S, Barto- lommeo di Porta Ravegnajia was com- menced in 1653, on the site of a more ancient building erected in 1530, from the designs of Andrea da Formigine, at the cost of the Prior Gozzadini. Papal States J\ route 6. — bologna — Churches, 45 The original site was occupied by an ancient church built in the fifth cen- tury by S. Petrotiio on the foundations of a subterranean church of the early Christians, traces of which were visible when the present edifice was com- menced. The portico of Formiglne is still preserved, and the bas-reliefs of its pilasters, the work it is said of Lombard sculptors, are well worthy of observa- tion. The church contains some in- teresting paintings; in the 2nd chapel is S. Carlo Borromeo kneeling at the tomb of Varallo, by Lod. Caracci. 4th, the Annunciation, significantly called " del bell' Angelo," a beautiful and expressive work oiAlbani ; by whom also are the lateral pictures representing the Birth of the Saviour, and the Angel warning Joseph to fly out of Egypt. 7lh, " The altar-piece, by Francescldni, on the Martyrdom of St. Bartholomew, a grand but horrible picture, yet less sa- vage than the statue of Milan on the same subject, as here at least the actual representation of torture is spared. The saint is tied and drawn up high on a tree for sacrifice ; two ferocious figures are seen tightening the ropes, while a third is deliberately preparing to exco- riate one of his legs, where a little blood appears, but there only." — Bell, 9th, the Madonna and Child, bequeathed by the Canon Matteo Sagaci, is by Guido, an exquisite and touching pic- ture. 12th, S, Antony of Padua, by Tiarmi. 13th, the St. Bartholo- mew, the altar-piece of the old church, is by Ai^etusi, from the designs of Sahhatini. The frescoes representing the events in the life of S. Gaetano are by the pupils of Cignani, executed in two months from the designs, and with the aid of their master, who is also said to have retouched them. The roof of the church was painted by Colonna, who is said to have received in pay- ment the 3rd chapel, which he also decorated with his frescoes. The church of S. Bartolommeo di Reno is remarkable for some fine works of the Caracci. In the 6th chapel is the Nativity, by Agostino Caracci, painted at the age of twenty-seven, in which the Virgin is represented as si/ckUng. The two Prophets on the vault of the chapel are by the same master. The two admirable pictures of the Circumcision and the Adoration of the Magi are by Lod. Caracci ; the last of these has been engraved by Annlbale. The marble ornaments are by Gabriele Fiorini, the son of the painter. The 4th chapel (Capella Mag- giore) contains a miraculous image of the Virgin, of very high antiquity, called " La Madonna della Pioggia." On the wall opposite the stairs leading to the oratory is a large landscape in oil, tlie only example in painting of the copper-plate engraver MattioU. The oratory contains the St. Bartholo- mew, a good work of Alfonso Lomhardo. The Church of S. Benedetto has, in the 1st chapel, the Marriage of St. Catherine in the presence of John the Baptist, SS. Jerome, Mauro, and Pla- cido, by Lucio Massari, a pupil of the Caracci and the friend and favourite companion of Albani. In the 2nd, the four prophets are by Giacomo Cavedojie. In the 4th, S. Antonio Abate, beaten by demons and con- soled by Christ ; the beautiful Cha- rity," on the ceiling ; and the Virtues of God the Father, are also by Cavedone, 5th, S. Francesco di Paola, by Ga- bi^iele Fe^Tantini, called also Gab. dagli Occhiali, one of the masters of Guido. 7th, S. Antonio, by Cave- doni, 11th, the Virgin holding the crown of thorns, and conversing with the Magdalen on her son's death, a touching and expressive work of Tiarini ; by whom are also the pro- phets and the angels on the side walls. In the Sacristy is the beautiful picture of the Crucifixion, with the Virgin, the Archangel Michael, and St. Ca- therine, by Gio. Andrea Sirani^ re- touched by his master Guido, formerly in the suppressed Church of San Ma- rino. The Church della Carita, belonging to a convent of Franciscans suppressed in 1798, and converted into a military hospital, contains, in the 1st chapel, the celebrated Visitation by Galanirio 4P ROUTE 6. BOLOGNA. ChuTCheS, [Sect. L (Baldassare Aloisio), so macb extolled by Malvasia, whose enthusiasm is also confirmed by the praises of Lanzi. Galanino was one of the ablest pupils and a relative of the Caracci ; but his fortune, says Lanzi, was not equal to his merit, and he was obliged to become a portrait painter, like many artists of our own day, from lack of encourage- ment in the higher branches of the art. He retired to Rome, and was long at the head of portrait painters in that capital. The 3rd chapel contains the picture of St. Elizabeth, queen of Hungary, in a swoon at the Saviour's appearing to her, an able work by Franceschini, At the high altar is the Virgin and Child, Charity and St. Francis, another joint work of Fior'mi and Aretusi. 5th, the Virgin and Child, St. Joseph and St. Antony of Padua, by Felice, son of Carlo Cignani. 6th, Sta. Anna, by Bibiena the Elder (Gio. Maria Galli). Tlie ancient Church of Sta. Cecilia, once celebrated for its frescoes by Fran- cia, Costa, and other early painters of Bologna, was ruined by the French ; but it still exhibits many interesting fragments for study. The following enumeration of the subjects, commenc- ing on the left hand, may be useful. 1. The marriage of Valerian (or, as Coimt Malvasia says, of Tiburtius), with Sta. Cecilia, by Francesco Francia, 2. Valerian instructed in the faith by St. Urban, Pope, by Lor. Costa. 3. The baptism of Valerian, by Giacomo Francia. (?) 4. The Angel crowning the betrothed Saints with garlands of roses, by Chiodarolo. 5. The brothers Valerian and Tiburtius, beheaded in the presence of the prefect. 6. Their funeral. 7. Sta. Cecilia and the prefect : these three subjects are by Mastro Amico. 8. Sta. Cecilia placed in the boiling bath, by Giacomo Fran- cia. 9. The wealth distributed by the Saint, by Costa. 10. Her funeral, a very graceful composition, by Frari' cesco Francia, The Church of the Celestini, with a facade from the designs of Francesco Tadolini, has in its 1st chapel one of the best works of L?/cio Massari — the Saviour appearing to the Magdalen in the form of a dove. The painting at the high altar, representing the Virgin and Child, with John the Baptist, St. Luke, and S. Pietro Celestino, is by Franceschini. The sacristy and the cloisters of the convent were designed by the Tadolini. Tlie Church of the Corpus Domini, called also Delia Santa from Sta. Cate- rina Vigri of Bologna, is attached to the vast Franciscan nunnery of the same name. The frescoes of the cupola, the roof and the walls, are able works by MarcaJttonio Franceschini, assisted by Luigi Quaini, the cousin of Carlo Cignani. 1st chapel, St. Francis, with a fine landscape, by Fiammingo (Calvart). 4th, the Saviour ap- pearing to the Virgin, with the Patri- archs ; and the Apostles engaged in the burial of the Virgin, described by Malvasia as "la prima di maniera de- licata, la seconda terribile," are fine and interesting works by Lodovico Caracci. The Virgin and Child, the mysteries of the Rosary which sur- round them, and the two large Angels, are by Giuseppe Mazza, by whom are also the bas-reliefs of the high altar. The high altar-piece, re- presenting the Last Supper, is a cele- brated work by Marcantonio Frances- chini. 6 th, the Resurrection is a copy of the famous picture by Annibale Caracci, which was stolen by the French and never returned. Through a window in this chapel may be seen the blackened body of Sta. Caterina Vigri, sitting in all the pomp of dress, and decorated with a crown upon her head. 8th, the Annunciation, by Fra?iceschini, whose masterpiece, the Death of St. Joseph, is in the next (9th j chapel, the ceiling of which is painted in fresco by the same hand. The Chu7^ch of S. Cr^istina, attached to the Augustine Convent, is decorated with paintings executed almost entirely at the expense of different nuns. The Ascension, at the high altar, by Lodo- vico Caracci, was painted for the Madre Buttrigari ; the Nativity and tlie Jour- Papal States.'] route 6. — bologna. — Churches, 47 ney of the three Magi in the 1st chapel, by Giacomo F}^a?icia, were also ordered by one of the nuns; and others gave commissions for the six figures which occupy the niches between the pilas- ters. Among these, two are peculiarly interesting, the St. Peter and St. Paul, the production of Guido in his early youth. The Church of S. Giacomo Mag- (/lore, belonging to the Augustine her- mits, who have possessed the site since 120i, was founded in 1267, enlarged and vaulted in 1497, but never com- pleted. Some of its existing details, however, are interesting, as illustra- tions of early Italian Gothic. The door- way, said to have been erected at the expense of the Bentivoglio family, has a canopy, in which the shafts supporting it rest on lion bases, and the lateral compartments have each a large painted window, with tracery, Vv'liich lights the side aisles. Its immense vaulted roof has been much praised for the boldness of its structure. The paintings in the different chapels are the chief ob- jects of attraction. In the 1st chapel, the fresco of the Virgin, della Cin- tura," is by Francia. 4th. The fall of St, Paul, by Ercok Procaccini. 5th. Christ appearing to S. Gio. da S. Facondo, by Cavedonef who also painted the side walls. 6th. The Virgin throned, surrounded by John the Baptist, St. Stephen, St. Augustin, St. Anthony, and St. Nicholas ; a fiine work by Bartnlommeo Passarotti, much praised by the Caracci. 7th. St. Alexis bestowing charity on the poor, and the frescoes of the arch, by Prospero Fontana. 8th. The Marriage of St. Ca- therine, in the presence of Joseph, John the Baptist, and John the Evangelist, by Innocenzio da Imola, justly called an '* opera Raffaelesca,'' for it is almost worthy of that great master. The small Nativity, on the gradino underneath, is another beautiful work of Innocenzio da Imola. 10th. St. Roch struck with the plague, and comforted by an angel, by Lodovico Caracci : the glory of angels above, and the saints by the side, are by Francesco Brizzi, 11th. The four Evangelists, and the four Doctors of the Church are hy Lorenzo Sahhatini, The celebrated Angel Michael, by his able but impetuous scholar Fiammingo (Calvart), is said to have been retouch- ed by Sabbatini. Its merit was so much appreciated by Agostino Caracci, that he engraved it. 12th. The chapel of the Poggi family, designed by Pelle- grino Tibaldi. The altarpiece, repre- senting the Baptism of our Lord, was finished by Prospero Fontaiia, by de- sire of Tibaldi. The compartments of the roof are also fine works of Fontana. The grand picture of St. John baptizing, and that in illustration of Many are called but few are chosen," are by Pellegrino Tibaldi : they are charac' terised by great power of composition and expression, and are said to have been much studied by the Caracci and their school. They have been en- graved and published, together with the other works of Tibaldi in the Gal- lery, by Buratti, of Venice. 13th. The Virgin, with St. Catherine and St. Lucy, and the blessed Rainiero below, is by Fiammingo (Calvart). 14th. The Virgin and Child in the air, with SS. Cosmo and Damiano below, and the portrait of one of the Calcina family, patrons of this chapel, are by Lavinia Fontana. 15th, said to contain a relic of the the true cross. Among the 1,300 figures of this chapel, the Co- ronation of the Virgin is worthy of ob- servation, as bearing the name of Jacopo Avanzi. The Crucifixion bears the name of Simone (da Bologna), with the date 1 370. 1 Sth. The celebrated chapel of the Bentivoglio family, the ancient lords of Bologna in her high and palmy days. It is, on many accounts, the most interesting chapel in this church. The Virgin and Child, with four angels and four saints, is one of the most cele- brated works of Francesco Francia, " painter to Giovanni II. Bentivoglio." The signature of this glorious old master, whose works, as we have else- where remarked, have only lately been appreciated in England, is " Franciscus Francia aurifex,'' a proof that he had not then (1490) abandoned his early 48 ROUTE 6. BOLOGNA. — ChuTclieS. [Sect. I. profession of a goldsmith. The above is also attributed to this master. In the lunette, one of the visions of the apocalypse is by Lorenzo Costa^ re- touched by Felice Cignani, who painted the Annunciation. The picture of the Virgin throned, with Gio. II. Benti- voglio, and his numerous family in adoration, interesting as a study of costume and character, is by Lorenzo Costa, Francia's able scholar (1188). The alto-relievo of Annibale Benti- voglio on horseback is by Niccolo di Bari. The two triumphs opposite are supposed by some to be by Francia, while others attribute them to Lorenzo Costa, The marble bas-relief of Gio- vanni II., seen on one of the pilasters of this chapel, is said to have been sculptured by Francesco Fraiicia, 19th. The Christ in the garden ; and in the 20th chapel the St. Peter, St. Paul, and King Sigismund, are by E7^cole Pro- caccifii. 21st. The Virgin, with John the Baptist, S. Francis, and S. Bene- dict, by Cesi, one of his most pleasing works ; Guido is said to have spent hours, when a student, in the contem - plation of this picture. 22nd. This cha- pel contains the marble monument of Antonio Bentivoglio, the eminent juris- consult, father of Annibale I., and that of Niccolo Fava, Doctor of Philosophy and Medicine, with the date 1483. 27th. The Martyrdom of St. Catherine, by Tiburzio Passarotti, is said to have been painted under the direction of his father, Bartolommeo, of whose style it bears, indeed, abundant evidence. 29th. The Presentation in the Temple is the masterpiece of Orazio Samacchini, and was engraved by Agostino Caracci. The lateral figures are also by Samac- chini. 32nd. The monument to Car- dinal Agucchi, with the statues and bas-reliefs, are by Gahriele Fiori?ii, from the design, it is said, of Do- menichino. 35th. The Last Supper, long supposed to be a repetition or a copy of the celebrated picture by Baroccioj in the Church di S. M. sopra Minerva, at Rome. Ghiselli, in his History of Bologna, speaks of it as an original, and a few years ago, on clean- ing it, the name of Baroccio was dis- covered. The frescoes of Melchisedek and Elijah, and the Angels of the ceiling, are good works of Cavedojie. In the 37th chapel is a miraculous crucifix of wood, one of the most famous in Italy, the history of which can be traced as far back as 980. The Church of San Giorgio^ built by the Servite Fathers, contains a few in- teresting pictures. In the 4th chapel, S. Filippo Benizio, kneeling before the Mrgin and Child in the midst of Angels, was begun hy Simone da Pesaro, and finished in the lower part by Albani. The St. George, at the high altar, is by Camillo Procaccini. In the 7th chapel, the Annunciation is by Lodovico Ca- racci, and the graceful paintings under- neath are by Camillo Procaccini. 8th. The Probatica Piscina in this chapel is also by Lod. Caracci. 11th. The Flight out of Egypt, by Tiariiii. The Church of S. Giova?tni i?i Mo?ite, one of the most ancient in Bologna, founded by St. Petronius, in 433, and rebuilt in 1221, was completely mo- dernised in 1824. Some of its antique paintings contrast strangely with these recent changes and decorations. 1st chapel. The Saviour appearing to the Magdalen, by Giacoyno Francia. 2nd. The Crucifixion, by Cesi. 3rd. The St. Joseph and St. Jerome, in the ovals on the side walls, are by Guerci?io. 6th. The Madonna, placed below Mazzoni's picture of the Liberation of St. Peter, is by Lippo Dalmasio. 7th. The Virgin throned with Saints is a fine work of Lorenzo Costa. 8th. The miraculous figure of the Virgin, originally in the very ancient church of S. Eutropio, was formerly celebrated for its powers in curing the sick : it is of high an- tiquity. 9th. The S. Ubaldo Vescovo is a fine work of Bolognini the Elder : the frescoes of tlie ceiling, and the lunettes, are either by Samacchini or Sabbatini. The picture at the high altar, representing the Virgin, with the Almighty and the Saviour ; and John the Evangelist, St. Augustin, St. Victor, and other saints below, is by Lorenzo Costa, The busts of the twelve Papal States.} route 6. — bologna. — Churches. 49 Apostles and the two Evangelists, are by Alfonso da Ferrara ; the tarsie of the stalls in the choir are by Paolo Sacca, in 1523. The ancient Madonna, on the pilaster, a fresco detached from some suppressed church, and brought hither for preservation, is proved by authentic documents to be anterior to the year 1000. 12th. The divine picture of Sta. Cecilia, by Raphael, now in the gallery, was the altar-piece of this chapel until 1796. Beneath the altar is buried the B. Elena Duglioli dall' Olio, at whose expense the Sta. Cecilia was painted. 13th. Tlie figure of the Saviour, carved out of a single block of fig-tree wood, is attributed to Alfonso Lomhardo. 17th. The St. Francis, with arms crossed upon his breast, adoring the crucifix, which is here represented lying on the ground, is a touching and powerfully expressive work by Guer- cino. The adjoining convent, whose cloisters were designed by Terribilia, in 1548, has lost all trace of its ancient magnificence, and has been converted into a prison. The Church of S. Gregorio, almost entirely rebuilt after the earthquake of 1 779, contains, in the 6rh chapel, one of the first oil paintings of Annibale Caracci : it represents the Baptism of the Saviour, and is highly interesting as showing his early power of compo- sition, and the influence derived from his study of the Venetian school. In the 8th chapel, the St. George deliver- ing the Queen from the Dragon, with the angel Michael above pursuing the demons, and likewise the grand picture of God the Father, are by Lodovico Caracci. The high altarpiece, repre- senting St. Gregory's miracle of the Corporal e, is by Fiammingo (Calvart). The Church of S. Leonardo contains, in its 1st chapel, the superb Annun- ciation, by Tiarini, in which the Al- mighty, holding a dove as the symbol of the Holy Spirit, is represented as awaiting the answer of the Virgin to the announcement of the angel. The altarpiece, the Martyrdom of St. Ursula, in the Venetian style, and the St. Ca- therine in prison, converting the wife of Maximian and Porphyrus to Chris- tianity, are both excellent and interest- ing works by Lodovico Caracci. The Church of Sta. Lucia is, perhaps, more remarkable for a curious literary relic preserved there, than for its works of art, although there are several pic- tures which deserve a visit ; among which may be specified the Sta. Lucia and Sta. Anna, with the Virgin and Child, at the high altar, by Ercole Pro- caccini ; the Death of St. Francis Xavier, considered the best work of Carlo An- tonio Rambaldi, in the 6th chapel; the Virgin and Child, with John the Bap- tist, S. Carlo, and Sta. Teresa, by Carlo Cignani, in the 7th chapel ; and in the Sacrist}'-, the Crucifixion by Lavinia Fontana ; and the immaculate Concep- tion, one of the first works of Fiam- mingo (Calvart), while yet a pupil of Sabbatini. The literary relic is a long letter written by St. Francis Xavier, in Portuguese, which is exposed with sin- gular homage on the festival of that saint. In the adjoining college of the B^rnabite Fathers, a chamber, now converted into a chapel, is shown as that in which St. Francis was lodged, in 1531, by D. Girolamo Casalini, the rector of this church. The Church of the Madonna del Ba- raccano was so called from a Confra- ternita, established in 1403, in honour of the miracles performed by a picture of the Virgin painted on a bastion of the city walls, called II Baraccano di Strada Santo Stefano." Over the fine portico, constructed from the designs of Agostino Barelli, is a statue of the Virgin, by Alfonso Lombardo. At the high altar, the miraculous picture of the Virgin bears the name of Francesco Cossa, of Ferrara, who repainted it in 1450, with the addition of two portraits, of Gio. I., Bentivoglio, and of Maria Vinciguerra. The frieze of flowers which adorns this altar, and other sculptures of the chapel, are graceful works by Proper zia de^ Rossi, The Vir- gin and Child, with SS. Joseph and Joa- chim, in the 4th chapel, is by Lavinia Fontana ; and. the St. Catherine, in the 5th, is by Prospero Fontana. D 50 ROUTE 6. — BOLOGNA. ChuTclieS, [ScCt. I. The Madonna di S, Colomhano is remarkable for being covered inter- nally by frescoes, painted by various pupils of Lodovico Caracci as an oc- casion of practice, or as a trial of skill. The St, Francis on the right wall is by Antonio, son of Agosfino Caracci; the Virgin and Child, with Joseph gathering dates, is by Spada ; the Sibyl over the side door, and the Coronation of St. Catherine, are by Lorenzo Garhieri ; the Sta. Marta conversing with the Saviour, before whom the Magdalen is kneeling, is by Lucio Massari ; by whom are also the Sibyl over the other door, and the angel bearing the palm of martyrdom to Sta. Ursula ; the in- fant Saviour playing with St. John in the presence of little angels, is by Paolo, brother of Lodovico Caracci, who gave the design. In the upper oratory, the frescoes representing the Passion were all, it is said, the result of a trial of skill among the younger pupils of the Caracci ; among them, the fine picture of St. Peter going out weeping from Pilate's house, by Albani, may be par- ticularly noticed. The Virgin, over the altar of this church, is by Lippo Dalmasio. The Church of the Madonna di Galliera contains some interesting paintings. In the 1st chapel (del Crocifisso) the frescoes on the ceiling, representing the Death of Abel, and the Sacrifice of Abraham, are the last works of M. Angelo Colonna. In the 2nd, the St. Antony of Padua is by Girolamo Donifii, the able pupil of Cignani. In the 3rd, the Virgin and Child, with Joseph, S. Francesco di Sales, and S. Francesco d'Assisi, is by Franceschini, who painted the frescoes of this chapel with the assistance of Luigi Quaini, The 4th, or Capella Maggiore, contains a miraculous and very ancient painting of the Virgin and Child ; the beautiful figures of the angels adoring this painting are by Giuseppe Mazza, a clever sculptor and painter of the last century. In the 5th, the Incredulity of St. Thomas, is by Teresa Muratori, celebrated as much fur her talent in music as in painting; the angels in the sky of the picture, frequently praised for their delicacy and grace, are said to have been added by her master, Gian Gioseffo Dal Sole. The 6th chapel contains the infant Saviour in the midst of his kindred, showing to the Almighty the instruments of the Pas- sion, which are borne by angels, by Alhani ; the Adam and Eve in oil, the Cherubin, and the Virtues, in fresco, are by the same master. In the 7th, is the S. Filippo Neri in ecstacy, by Guercino. In the Sacristy, the St. Philip, the two blessed Ghi- silieri, the Conception, and the S. Francesco di Sales, are by Elisahetta Si?'ani. The Celestial Love, and the St. Elizabeth, Queen of Hungary, are by her father. The Assumption is by Alhani, The adjoining oratory, built from the designs of Torreggiani, has over the entrance door a fresco of the dead Christ shown 'to the people, by Lodovico Caracci. The Madonna del Soccorso contains the famous picture of Christ shown to the people, by Bartolommeo Passarotti, the eminent master who improved, if not instructed, Agostino Caracci'in the art of engraving, whose portraits were considered by Guido as second only to those of Titian, and are said by Lanzi to be often shown in galleries under the name of the Caracci. The frescoes of this church and oratory were painted gratuitously by Gioacchino Pizzoli, a painter of the seventeenth century, and a member of the order to which the church belonged. In the 5th chapel is shown a miraculous crucifix, for- merly in the suppressed church of St. Francis^ which is said by contempo- raneous documents to have spoken to Padre Giovanni Peciani, in 12421 Sta. Maria Maddalena contains, at the first altar, the Madonna, S. Onofrio, and S. Vitale, by Tihurzio, son of Bar- tolommeo Passarotti ; and at the third, the St. Francis, and St. James, by the same. The '*Noli me tangere,'' in the Sacristy, is by the father. The Virgin, witl) S. Sebastian and S. Roch, is by Bagnacavallo, The oratory contains Papal States. 1 route 6. — bologna. — Churches. 51 an altarpiece, by Ercole Procaccini, cleverly restored by Giovannini; the angel Gabriel and the Virgin, by Giuseppe Crespi, and other works by his two sons, the Canonico Luigi and Antonio. Another church, called also La Maddalena^ contains, among other paintings by Bolognese masters, the St. Catherine, one of the earliest works of Bartolommeo Passarotti. St a. Maria Maggiore, one of the ancient churches of the city, which is proved by a bull of Pope Gregory VII. to have existed prior to 535, contains some fine works by Tiarini. At the 1st altar, the St. John the Evangelist dictating to St. Jerome is, in spite of the anachronism, a pleasing example of this master. The 11th altar has one of his latest works, the Sta. Agata, Sta. Apollonia, and St. Antony of Padua. The 3rd altar has a crucifix of fig-tree wood, which tradition states to be prior to the year 1000. The 5th has a Madonna and Child, with St. James and St. Antony, by Orazio Samacchini. The 7th was decorated by Carlo Francesco Dotfi, at the ex- pense of Pope Benedict XIV. The 9th has a Virgin, Child, and St. John, painted, in 1570, by Ercole Procaccini, and retouched by Canonico Franceschini, The Church of Sta, Maria delta Vita, founded in 1260, by the Beato Riniero of Perugia, who devoted him- self on this spot to the relief of the sick, was entirely remodelled in the last century, under the direction of Tuber- tini. In the 2nd chapel are preserved the bones of the Beato Buonaparte Ghisilieri, brought here, in 1718, from the suppressed church of S. Eligio. It has been v/ell observed, that such a name seems rather to belong to the annals of ambition than to the legends of saints. The following is the inscrip. tion : — " Area Bonapartis corpus tenet ista beati ; Multos sanavit. sese sanctum esse probavit." The picture representing the blessed Buonaparte and St. Jerome, is a fine work of Aicreliano 3Iilani ; the Angels, in stucco, are by Angela Pio, The 3rd chapel contains an Annunciation, with S. Lorenzo underneath, painted by Tamburini from the design of Guido, who is said to have retouched it. At the high altar, the miraculous fresco of the Virgin and Child, brought here from the suppressed church for which it was painted, is by Simone de' Crocijissi ; the marble orna- ments are by Angelo Venturoli, from the designs of Fancelli and Bianconi. The two marble statues by the side are by Petronio Tadolini ; and those in plaster, by Giacomo Rossi. The most curious object, however, at this altar, is the medallion portrait of Louis XIV., painted by Petitot, and set in diamonds : it was given by the king to the Canon Count Malvasia, in return for his presentation copy of the " Felsina pittrice," and bequeathed to this church by that learned and accom- plished scholar. The occurrence of the name of Buonaparte is hardly more singular than the solemn exposition of this portrait of the Grand Monarque on the festivals of the Virgin. In the 5th chapel is another gift of Count Malvasia, the bust of S. Carlo Bor- romeo, the head of which is silver. In the Sacristy is a picture of S. Eligio, attributed to Annihale Caracci (? ), and in the oratory is the masterpiece of Alfonso Lombardo, a bas-relief", repre- senting the death of the Virgin in the presence of the apostles, whose heads are said to have inspired many painters of the Bolognese school. The blessed Riniero healing the sick during the plague is by Cavedone, whose history is scarcely less affecting than that of Properzia de' Rossi, and other artists of Bologna, whose lives form so striking an episode in the calamities of painters. Cavedone, at the death of his son, was so much oppressed with grief that he lost his talent, and with it his employ- ment : his old age was passed in beggary, and after having contributed so much in early life to the decoration of the churches and palaces of his native city, he was allowed to die in a stable. d2 52 ROUTE 6. — BOLOGNA. — ChuTches, [Scct. I. The splendid church of S. Mai'tino Maggiore belonged to the Carmelite Friars, from the thirteenth century up to the period of the French invasion. The Adoration of the Magi, in the 1st chapel, is one of the most graceful works of Girolamo da Carpi ; the An- nunciation, over the side door, is by Bartolommeo Passarotti, In the 4th chapel is a picture of St. Joachim and St. Anna, with the date 1558, and the inscription TAR, supposed to refer to Giovanni Taraschi, the Modenese painter ; though the Abbe Zani, in the Enciclopedia delle Belle Arte," sug- gests also the name of the Tarroni, a Bolognese family of painters. In the 5th is the picture of the Virgin and Child, with a sainted bishop on one side, and Sta. Lucia on the other, with St. Nicholas below, giving their dowry to three young girls, by Mastro Amico Aspertini, the pupil of Francia, called " dai due pennelle," because he worked with both hands, holding at the same time one for light and another for dark tints. The 7th chapel contains the only work in Bologna by Girolamo Siccio- lante (da Sermoneta), the well-known imitator of Raphael : it represents the Virgin and Child, with St. Martin, St. Jerome, &c., and contains a portrait of Matteo Malvezzi, for whom it was painted. Near the door of the Sacristy is the monument and bust of the elo- quent Filippo Beroaldi, the elder, by Vmcenzo Onofrio. Above it, is the Ascension, by Cavedone, said to be the first inferior work executed by him after the decline of his powers. In the 8th chapel is an Assumption, attri- buted to Perugino, although others re- gard it as one of the best works of Lorenzo Costa. In the 9th is the grand picture of St. Jerome imploring the Divine assistance in the explanation of the scriptures, by Lodovico Caracci ; '*quel S. Girolamo," says Lanzi, che sospesa la penna volgesi al cielo in atto SI grave e s! dignitoso." In the 10th is the Crucifixion, with St. Bartho- loiiiew, St. Andrew, and the blessed Pietro Toma, by Cesi. The 11th (the chapel of the Holy Sacrament) was entirely painted by Maura Tesi, an eminent artist of the last century, and the friend of Algarotti. In the 12th chapel is the Madonna and Child, with several saints, by Francia, who has left here one of those pleasant records of his early occupation which we have already noticed, in the inscription '* Francia aurifex." The St. Roch in the painted glass of the window over the altar, is by the blessed Gia- como da Ulma. The oratory, formerly the conventual library, was painted by Dentone ; the Dispute of St. Cyril, is by Lucio Massari. The altarpiece, representing the Incredulity of St, Thomas, is a fine work of Giampietro Zanoitij painted for the suppressed church of S. Tommaso del Mercato. In the cloister are several sepulchral monuments, among which we may par- ticularly notice the fine tomb of the two Saliceti, by Andrea da Fiesole in 1403. The Church of S. Mattea, formerly belonging to tlie Domenican Nuns, con- tains three interesting paintings : an Annunciation, , by Tintoretto^ at the third altar ; the Virgin, with Saints, God the Father above, and a gradino containing five small compositions, by Innocenzio da Imola ; and the ^^irgiii appearing to S. Giacinto, with two angels, by Guido, painted in his twenty- third year, and full of promise. The celebrated Church of Sta. Maria della Pieta, better known as / Mendicanti, which the great masters of the Bolognese school had enriched with some of their finest works, was stripped of its most valuable treasures at the first invasion of the French : the Ma- donna della Pieta by Guido, the St. Matthew by Lodovico Caracci, the S. Elo and S. Petronio of Cavedone, are in the gallery ; and the Job of Guido which accompanied them to France has never been restored. Among the most interesting paintings which remain are the following : at the 1st altar, the Sta. Ursula, by Bartolommeo Passarotti. 2nd, Christ feeding the Multitude, by Lavinia Fontana. 3rd, St. Francis with S. Luigi Gonzaga Papal States.'] route 6. — bologna. — Churches, 53 and S. Francesco Borgia, by Ercole | Graziani, 4th, the two miracles of S. A16, by Cavecfone, so highly praised by Scaramuccia for their gusto Tizianesco one representing the saint seizing the devil by the nose in the disguise of an old woman ; the other, the saint bringing back a horse's foot which he had carried to the forge in order to have it shod with more con- venience. 7th, entirely painted by Tiarini. 8th, the Flight out of Egypt, with a fine landscape, and the paintings on the side walls, by Mastelletta (Gio. Andrea Donducci), much admired by Guido and Annibale Caracci. 10th, the Sta. Anna adoring the Virgin in a vision, by Bartolommeo Cesi. 1 1th, the Crucifixion, with the Virgin, St. John and other saints, by the same estimable master. The Church of S. Michele de Lepro- setti is remarkable for the masterpiece of Francesco Gessi^ the picture at the ^high altar representing the Virgin and Child throned, crowned by angels, with the Archangel Michael, who com- mends to her protection the city of Bo- logna, then suffering from the plague. The St. Sebastian, at the 5th altar, is mentioned with praise by Lanzi, as one of the most beautiful works of Semeiiza, S. Niccold di S. Felice, modernised in the last century, has a fine painting by Annibale Caracci^ the Crucifixion, with the Madonna, S. Petronius, S. Fran- cis, S. John, and S. Bernardino. At the 5th altar, the Virgin and Child throned, with S. Joseph, S. Carlo, S. Catherine, and S. Cristina, a fine work of Gessi, has been ruined by retouching. Over the entrance door is a head by Alfonso Lombardo. The magnificent Church of S. Paolo, built by the Barnabite fathers in 1611, was restored in 1819 from the designs of Venturoli. The marble statues of St. Peter and St. Paul on the facade are by Domenico Blirandola, much praised by Agostino Caracci. At the 1st altar, the Christ in the Garden, and the Christ bearing the Cross, are by Mastelletta, At the 2nd is the I fine painting of Paradise, by Lodovico Caracci, one of those enumerated by Lanzi as a proof that Annibale him- self could not have given more grace- fulness to the figures of maidens and boys. The small Madonna underneath is by Lippo Dalmasio. In the 3rd, are the Nativity, and the Adoration of the Magi, by Cavedone, which the testimony of his contemporary artists and the judgment of modern critics hj3.ve agreed in regarding as his master- piece. Lanzi, in noticing his study of the Venetian school, states that Albani was so great an admirer of these two paintings, that when asked " whether there were any works of Titian at Bologna,'* he answered, " No, but the two of Cavedone which we have at S. Paolo may supply their place : they appear to be Titian's, and are besides characterised by more spirit." The frescoes of the ceiling, represerning the Circumcision, the Flight out of Egypt, and the Dispute with the Doctors, are also by Cavedone. At the 4tli altar is the Purgatory of Guercino, in which St. Gregory is re- presented as showing to the souls the Almighty, the Saviour, and the Virgin in heaven. At the high altar the two statues of St. Paul and the Execu- tioner are by Cav, Algardi, who is said to have given Facchetti the design of the Tribune, and to have sculptured the ivory Crucifix witli the symbols of the Evangelists. At the 7th, the S. Carlo Borromeo carrying the cross through Milan during the plague, and the other pictures of the same saint on the side walls, are by Lorenzo Garbieri, At the 8th, the Communion of St. Jerome, and the other paintings of this chapel, are by Massari. At the 9th, the Baptism of the Saviour, and the Birth and Burial of St. John the Bap- tist, are by Cavedone, The Church of S. Procolo belonged, previously to the French invasion, to the Benedictine monks of Monte Cas- sino; its foundation is traced as far back as the third century, but the pre- sent church was rebuilt in 1536. Over the principal entrance door is a Virgin 54 ROUTE 6. — BOLOGNA. — Ckurches, [Sect. I. and Child, with S. Sisto and S. Bene- detto, a beautiful example of Lippo Dalmasio, painted in oil, and therefore adduced by Malvasia and Tiarini as a proof of the much higher antiquity of oil painting than Vasari had imagined. Beneath the organ, is the Almighty surrounded by a glory of Angels over the Magi, in relief, copied by Cesi from the fine design of Baldassare da Siena, formerly in the Bentivoglio pa- lace, which was destroyed during its transmission to England. In the 2nd chapel, the St. Benedict in ecstacy, is also by Cesi, who is buried in this church. In the 6th, the Virgin in glory, with some Benedic- tine saints, is one of the last works of Ercole Graziani, the younger. In the 8th chapel, designed by Torreggiani, is the marble mausoleum in which are preserved the bodies of the two saints and martyrs who gave names to this church, S. Procolo Soldato, and S. Procolo Vescovo, found in the ancient subterranean church in 1380. In the 9th chapel, the S. Mauro is by Ercole Graziani. On a wall adjoining the church, the following inscription to the memory of a person called Procolo, buried in the church, who was killed by one of the bells falling on him as he was passing under the campanile, was much admired in the last century, when this kind of play upon words was more in fashion than it is now : — Si procul a Proculo Proculi campana fuisset, Jam procul a Proculo Procul us ipse foret." The Church of S, Rocco, converted in 1801 into a " Camera Mortuaria,'' is remarkable for one of those agreeable examples of generous and patriotic rivalry for which the school of Bologna was particularly distinguished. The oratory is covered with the frescoes of the young artists of the period, who, for no greater sum than two pistoles each, adorned its walls with paintings illustrating the life of S. Roch, and other suitable subjects. Their zealous emulation has been justly described as a " tournament of painting.*' Begin- ning with the first subject opposite the entrance door, is the mother of S. Roch praying for offspring, by Fra7i- cesco Camullo ; S. Roch giving to the poor, by Alessandro Provaglia ; the Saint healing the sick of the plague, by Valesio ; the cure of Card. Bri- tanno, by Pietro Desani ; Saint Roch wounded, by Sebastiano Razzali ; his flight, by Paolo Caracci ; his disco- very in the wood, by Cavedone ; his liberation by the angel, by Massari ; his apprehension as a spy, by Guercino ; the angel comforting him, by Ft^ancesco Caracci ; and his death in prison, by Gessi. The eighteen compartments of the ceiling are also filled with interest- ing works. Of the four protectors of the city, St. Petronius and St. Francis are by Gessi; the St. Proclus by Colonna. Of the four doctors of the church, St. Ambrose and St. Augus- tin are by Colonna, and are so beau- tiful, that they have been considered worthy of Domenichino. Of the Evan- gelists, St. Luke, St. Matthew, and St. Mark, are by Massari. Of the six Virtues, Faith and Charity are by Colonna, Hope and Divine Love by Gessi, Patience by CavedoTie, and Heavenly Glory by Falesio. These frescoes were published in 1831, by Gaetano Canuti, an ingenious engraver of Bologna. The Church of the Santissimo Salva- fore has some interesting paintings. In the 1st chapel is the blessed Arcangelo Canetoli refusing the archbishopric of Florence, by Ercole Graziani, In the 2nd is a Resurrection, by Mas- telletta. In the 3rd, the Magi, by Prospero Fontana. The miracle of the Crucifix bears the inscription, " Jacobi Coppi, civis Florentini opus, 1579," and is mentioned by Lanzi as one of the best pictures in Bologna prior to the time of the Caracci. Near the Sacristy is a picture of peculiar interest to British travellers, representing the Virgin with St. Thomas a Becket, S. Tommaso di Cantuaria, ' by Girolamo da Trevisi, formerly at the altar " de' Scolari Inglesi"' in the old church. The Judith going to meet the Hebrew damsels with the head of Holofernes, is by Mastelletta, The Papal States. route 6. — bologna. — Churches. 55 Virgin holding the infant Saviour to St. Catherine, with St. Sebastian and St. Roch, is a fine work of Girolamo da Carpi, The finely preserved paint- ing of the Virgin crowned, underneath this picture, is believed to be anterior to Giotto, In the choir, the Saviour bearing his cross, was designed by Guido, who painted the head, and re- touched the whole picture, after it was finished by Gessi. Of the four pro- phets, the David is by Cavedone. The subjects, illustrating the miracu- lous crucifix, are by Brizzi, and the St. Jerome is by Carlo Bononi. In the 6th chapel is a very beautiful Nativity by Tiarini ; in the 7th, a Crucifixion surrounded by Saints, by Innocenzio da Imola ; in the 8th, the Ascension, by Carlo Bononi; in the 9th, St. John kneeling before the aged Zacharias, by Garofalo. The four doctors of the church, painted over the four small chapels, are by Cavedone. The large picture over the door, representing the marriage in Cana of Galilee, is a fine work, by Gaetano Gandolfi^ a modern painter of Bologna. In the Sacristy, the frescoes of the roof are by Cave- done ; the S. Domenico is attributed to Guercino ; and the Sf. John the Baptist, with the Lamb, to Simofie de Pesaro ; the Madonna is by Mastellefta. Paolo Antonio Barbieri, the beloved brother of Guercino, is buried in this church; the atfectionate wish of the great painter to be buried in the same grave, although unfulfilled, de- serves to be commemorated by an in- scription. The grand Portico de' Servi, built upon marble columns, in 1392, by Fra Andrea Manfredi of Faenza, General of the Servites, presents a series of interesting frescoes in the lunettes, illustrating various events in the life of S. Filippo Benizzi. Of these twenty subjects, the principal are by Cignani, Giovanni Fiani, Peruzzini, Giuseppe Mitelli, Lorenzo Borgonzoni, &c. ; that on the first arch, by Cignani, represent- ing the boy brought to life, and the blind man at the tomb of S. Filippo, was so admirably painted, that it is supposed to have been destroyed from envy by some of his contemporaries. The Church of the Servi, also built by Fra Andrea Manfredi, is remark- able for some fine paintings. In the 2nd chapel, the Virgin giving the conventual dress to the seven founders of the order, is one of the last works of Franceschini, painted by him when nearly eighty-five years of age. 4th, the death of Sta. Giuliana Falconieri, and the St. Anthony above, are by Ercole Graziani. 5th, the Paradise, a large and elaborate work, by Fiam- mingo (Calvart). 7th, the Madonna del Mondovi, with angels, John the Baptist, S. James, and S. Francesco di Paolo, by Tiarini. In the 10th chapel is preserved a marble pitcher, said to have been used at the marriage of Cana, presented by Fra Vitale Bacilieri, General of the Servites, who had been ambassador to the Sultan of Egypt in 1359. At the cloister door is the monument of the senator Gian- Giacomo Grati, with a marble bust by Teodosio. The monument at the door of the Sacristy is that of Lodovico Fronti, by Giacomo di Ranuccio. In the 12th chapel, the miracle of S. Gregory at mass is by Aretusi; the Twelve thousand crucified, near this, is by Elisahetta Sirani. In the 14th, the Virgin and Child painted on the wall, and two saints by the side, are by Lippo Dalmasio : opposite, the Blessed Gioacchino Piccolomini faint- ing during the celebration of mass, is by Ercole Grazia?ii : the Madonna above it is another work of Lippo Dalmasio. 15th, St. Joachim and St. Anna, by Tiarini. On the front of the adjoining door is a sepulchral tablet to Fra Andrea Manfredi of Faenza, the eminent architect and general of the order, by whom the church was founded. 16th, S. Onofrio, by Fiam- mingo (Calvart). 17th, on one of the pilasters is a memorial of this celebrated artist, erected by Fantuzzi. The stalls of the choir were designed by Manfredi. In the 20th chapel, the fresco repre- senting the soul of S. Carlo in heaven was painted by Guido ^ gratuitously, in 56 ROUTE 6. BOLOGNA.— Fountain del Gigante. [Sect. I. a single night, by torchlight. 22nd, the Annunciation, a fine work by Innocenzio da Imola. The frescoes of the roof and side walls are by Barto- lommeo Ramenghi, retouched by Niccolo Bertuzzi. The paintings of this chapel were made the subject of a learned discourse by Luigi Crespi, in 1774. 24th, the St. Andrew adoring the cross prepared for his martyrdom, a fine picture by Albani. The monu- ment of the Cardinal Ulisse Gozzadini has a fine portrait of that prelate in Roman mosaic. 26th, the Noli- me-tangere is another fine work of Albani, The large painting of the Nativity of the ^'irgin, with numerous figures over the door, was the last work of Tiarini. In the Sacristy, the Nativity of John the Baptist, his Preach- ing, and the Baptism of the Saviour, are by Mastelletta. In the adjoining convent is the grand staircase designed by Terribilia, and a fine perspective by Dentone, much admired as one of the finest compositions of its class. The Church of the SS. Trinita has, at the 2nd altar, the Birth of the Virgin, by Lavinia Fontana. At the high altar is the S. Roch supplicating the Virgin, by Guercmo. At the 7th altar is the Madonna in glory, with SS. Girolamo, Francesco, Donino, and Apollonia, and some children playing with the cardinaVs hat, by Gio. Battista Gennari, of Cento, painted in 1606 for the Church of S. Biagio, and extolled by Lanzi for its resemblance to the Procaccini. The very ancient church of »S^. Vitals ed Agricola, consecrated in 428 by St. Petronius and St. Ambrose, has a graceful painting of Francesco Francia, covering the ancient image of the Madonna in the 8th chapel. Beside it, are two fine pictures, one represent- ing the Nativity, by Giacomo Francia, the son of Francesco, and the other the Visitation by Bagnacavallo, Opposite is an inscription recording the conse- cration of the church : the column, with a cross of the early christians, brought here in 1832, formerly stood on the spot in the adjoining street where S. Vitale and S. Agricola suf- fered martyrdom. The 2nd chapel has a picture by Tiarini, the Virgin mounting the ass, in the flight out of Egypt. The Nativity, in the 7th chapel, with St. Roch and St. Sebastian, has been attributed to Perugino, (?) The Piazza Maggiore, called also the Piazza del Gigante, was the Forum of Bologna in the middle ages : it is still surrounded by remarkable edifices rich in historical associations, tfie relics of the once formidable repub- lic. It is 370 feet long by 300 broad, and was considered by Evelyn, in his time, as the most stately piazza in Italy, with the single exception of San Marco at Venice. The church of San Petronio has been already described ; the other buildings which give an in- terest to this spot are the Palazzo del Pubblico, the Palazzo del Podesta, and the Portico de' Banchi. On entering the Piazza, the attention of the traveller is arrested by the magnificent fountain, called The Fontana Puhhlica, or the Fontana del Gigante, constructed in 1564, while Cardinal S. Carlo Borromeo was legate : the general design is by Lauretti ; the pedestal and the vase are by Antonio Lvpi ; and the Neptune, with the other figures and bronze orna- ments, are by John of Bologna. The Neptune, one of the most celebrated works of that great master, is eight feet high, and the weight of the bronze em- ployed in the figures is said to be 20,01 2 Bolognese pounds. The cost of the fountain, with its pipes and aqueducts, amounted to 70,000 golden scudi. The merits of the Neptune have been very differently estimated by different critics. Forsyth sa3'^she " saw nothing so grand in sculpture" at Bologna : "the Nep- tune is admired for the style, anatomy, and technical details : his air and ex- pression are truly noble, powerful, commanding — perhaps too commanding for his situation. Bell, on the other hand (a high authority on such a sub- ject), says, Neptune, who presides over Papal States.] route 6 — bologna. — Palazzo Pubhlico. 57 the fountain, is a colossal heavy figure, in the act of preaching and wondering at, rather than commanding, the waves of the ocean ; boys in the four corners are represented as having bathed small dolphins, which they are holding by the tail to make them spout water; while four female Tritons till the space beneath ; these fold their marine extre- mities between their limbs, and press their bosom with their hands, to cause the water to flow. The whole compo- sition and manner is quaint, somewhat in the French style, and such as I should have been less surprised to find at Versailles than at Bologna." The Palazzo Maggioredel Puhhlico, begun at the end of the thirteenth century, is one of the great public monuments of the city. It is the re- sidence of the Legate and of the Sena- tor. Its facade still exhibits some traces of the pointed style, but the building has been so altered at various periods that little uniformity remains. In the upper part of the facade is a Madonna in relief, by Niccold dalVArca^ in creta cotta gilt, erroneously de- scribed by Vasari as bronze. The orna- ments of the clock are by Tadolini. The entrance doorway is by Galeazzo Alessi of Perugia (1570) : the bronze statue of Gregory XIII. (Buoncom- pagni), in the niche above, was erected at the cost of his fellow citi- zens ; it is by Alessandro Minganti^ called by Agostino Caracci the un- known Michael Angelo.'' At the revolution of 1796, the tiara was changed into a mitre, and a pastoral staff inserted into the right hand, with the inscription " Divus Petronius Pro- tector et Pater." But another change was to follow, which Mr. Bell thus de- scribes : " The statue is good, but strangely disfigured from a whimsical accident : his crozier is like a Goliath's spear or a weaver's beam ; and on inquiring into the cause of this inconsis- tency, I was informed that the French, offended with the pastoral staff, had taken it and the cap away, and now the municipality thought they could not do too much to restore him, and | so gave him one as thick as his leg : they took down the old inscription, substituting this, '* Divus, Papa, Pa- tronus," On entering the building and proceeding to the third court, for- merly a garden, we find the beautiful cistern constructed by Terribilia, at the cost of 6,000 scudi. A grand staircase d cordoni, eighty- five feet in length, by Bramante, con- ducts us to the upper halls. The bronze bust of Benedict XIV., and the ornaments over the door where it is placed, are by Giohattista Bolognini. The great Hall of Hercules takes its name from a colossal statue of that god by Alfonso Lombardo. On the right is a hall, covered with frescoes, the archi- tectural portions of which are by An- tonio Bibiena ; the figures on the ceiling are by Angelo Bigari ; and those on the walls by ScarabelU. In the adjoining chapel is a fresco of the Madonna, called the Madonna del Terremoto, supposed to have been painted by the school of Francia in 1505. The gallery leading out of the Hall of Hercules is covered with frescoes illustrating the glories of Bologna by Colonna and Pizzoli. The Sala Far- nese, so called from a copper statue of Pope Paul III., is perhaps the most magnificent. Its roof and walls are covered with fine paintings representing the history of the city, by Cignani, Francesco Quaini, Scaramuccia, Pasi- nelli, the elder Bibiena, and other emi- nent artists. The Palazzo del Podestd, begun in 1201, with a fa9ade added in 1485 by Bartolommeo Fioravanti, although still an unfinished building, has an air of grandeur which accords with its character as the ancient seat of municipal authority. Its greatest in- terest however is derived from its having been the prison of King Enzius, son of the great Emperor Frederick II., who was captured by the Bolognese in 1249, and kept here a prisoner until his death in 1272, The history of this unfortunate monarch, whose tomb we have already noticed in the account of S. Domenico, offers a singular illus- d3 58 ROUTE 6. — BOLOGNA. — Povtico de^ Banchi; Palaces, [Sect. I. tration of the manners of the middle ages. The haughty republic rejected all the overtures of the emperor for the restitution of his son, and his threats and money were equally lost in the attempt to obtain his liberty. During his long imprisonment, Enzius em- ployed his time in poetical composi- tions ; some of these poems have been published, and are marked by con- siderable taste. The young king more- over was beloved in his captivity by a fair damsel of Bologna, Lucia Venda- goli, who succeeded in visiting him under various disguises ; and the Bentivoglio family are believed to de- rive their origin from these mysterious intrigues. The great hall is still called Sala del Re Enzio, although there is no proof that it was occupied by him ; indeed its size, 170 feet by 74, would almost seem conclusive against such a belief. This hall has likewise had its vicissitudes of fortune: in 1410, the conclave for the election of Pope John XXII. was held there: in the last century it was converted into a theatre ; it was afterwards used for the game of pallone ; and was latterly degraded into a workshop. In other parts of the building are the Sala de' Notari, and the public Archives. The latter are rich in rare and inedited materials for the history of Bologna, and indeed of Italy during the middle ages ; among them is pointed out the Bull called " Dello Spirito Santo,'' published at Florence, July 6, 1 439, byEugeniusIV., for the union of the (ireek and Latin churches. A picture of the Annun- ciation preserved here is by Jacopo di Paolo Avvanzi. The lofly tower, called Torrazzo dell armgo, built upon arcades, is a massive and imposing pile: it was erected in 1264, for the purpose, it is said, of watching Enzius. The statues of the four protectors of the city, on the columns which support its arcades, are in terra cotta, by Al- fonso Lomhardo, The Portico de' Banchi, occupying one side of the Piazza, 300 feet in length, was designed and executed by Fignola, who had to adapt it, amidst numerous difficulties, to the irregula- rities of the old building. Adjoining S. Petronio, is the build- ing called II Registroy formerly the College of Notaries, presented to that body in 1283 by the learned juriscon- sult and chief magistrate Rolandino Passaggeri. The hall, now converted into a chapel, is remarkable for little beyond a Madonna by Passarotti ; but the Sacristy contains, among other documents, a Diploma of the Emperor Frederick III., dated Jan. 3, 1462, and confirmed by a Bull of Julius II., dated Feb. 15, 1505, granting to the Correttore de' Notari the power of crea- ting apostolical and imperial notaries, and the singular privilege of legitima- tising natural children. Private Palaces. — The Palaces of Bologna are extremely numerous, but they are with few exceptions most unsatisfactory to visit : they are little better than marts for picture-dealers, and the works which formerly gave them celebrity are gradually disappear- ing; so that it would be difficult to give any description of their moveable works of art, which should hold good from one year to another. Their fres- coes, however, like their architecture, cannot be exported ; and it will be seen that in both these branches of art there is much to engage the attention of the traveller. The Palazzo Albergati^ agreeably placed in the Stiada Saragozza, is a fine example of the architecture of Baldassare da Siena (1540). The ceil- ings of the rooms on the ground floor are by Gessi ; and in the upper halls are some wainscots by the scholars of the Caracci. Under this palace several foundations of ancient Roman Baths have been discovered. The Palazzo Aldrova?idi, a name in itself full of interesting recollections, was almost entirely rebuilt in 1748, by Card. Pompeo Aldrovandi, on a scale of grandeur worthy the fame of that illustrious scholar. The fagade is or- namented with Islrian marble. The noble library, and the gallery of pic- tures collected by the Cardinal, and Papal States,] route 6. — bologna.^ — Palaces. 59 augmented by his successors, have been nearly all dispersed. At the end of the palace there was formerly a manufactory of earthenware, in imitation of English- ware, founded by Count Ulisse Aldro- vandi, but long since abandoned. The Palazzo Arcivescov'ile, the re- sidence of the archbishop, was built in 1577 by Tibaldi, and has been recently restored and decorated with considerable taste at the cost of the ami- able Cardinal Archbishop Oppizzoni. The apartments are painted by the most eminent modern artists of Bologna, Professor Frulli, Pedrini, Fancelli, Fantuzzi, Zanotti, &c. The Palazzo Baciocchi, formerly the Ranuzzi, is one of the most impo- sing specimens of domestic architecture in Bologna : its principal fagade is by Palladio^ by whom some of the other details were probably designed. The grand hall is by Bihiena ; the handsome staircase has been attributed to Giu- seppe Antonio Torri, and to Giobat- tista Piacentini. All these architec- tural details have been engraved and published. The fine Bentivoglio Palace, by an unknown architect, has been frequently the residence of sovereign princes dur- ing their visits to Bologna; it recalls the magnificence of the ancient Benti- voglio palace destroyed by the popu- lace at the instigation of Pope Julius II., who adopted this mode of revenging himself on his great rival Aimibale Bentivoglio. In the reprisal which followed, the vengeance of the populace and their chief fell, as we have already stated, on the statue of the Pope, the masterpiece of Michael Angelo, afford- ing another striking but melancholy instance of the fickleness of political mobs. The Palazzo Bevilacqua J whose grand architecture is attributed to Braman- tino da Milano, yields to few in the magnificence of its courts, staircases, and halls. In one of the chambers is an inscription recording that the Coun- cil of Trent assembled there in 1547, having been removed to Bologna by order of their celebrated physician Je- rome Fracastorio, under the pretext of contagion. The Palazzo Biagi, formerly the Odorici, in the Strada San Stefano, was built by Ambrosini ; it is remarkable for two ceilings painted by Guido and his school. The Palazzo de'' Bianchi, in the same street, has a fine ceiling by Gitido, re- presenting the Harpies infesting the table of ^neas. The Palazzo Fava, opposite the Church of the Madonna di Galliera, is rich in frescoes by the Caracci, who are here seen in all their glory. The great hall contains the first fresco painted by Agostino and Annibale, under the direction of Lodovico, after their return from Parma and Venice : it represents, in a series of eighteen pictures, the Expedition of Jason, and is one of the most interesting examples of the Eclectic school. The small chamber adjoining is painted by Lodo- vico, who has represented the Voyage of ^neas in twelve pictures ; two of them, the Polyphemus and the Harpies, were coloured by Armibale. The next cham- ber is painted by Albani, with the assistance of Lodovico Caracci : it pre- sents sixteen subjects, also taken from the ^neid. The next chamber is painted by Lucio Massari, with the assistance of the same great master. The decorations of the other chambers are by his other pupils, the last room being by Cesi ; the subject of the ^neid prevails throughout the whole. The paintings of a cabinet representing the Rape of Europa are by Annibale Ca- racci, in the style of Titian. The Palazzo Grassi has the magni- ficent fresco by Lodovico Caracci, re- presenting Hercules armed with a flam- beau treading on the Hydra ; and some extraordinary cameos by Properzia de"* Rossi, engraved on peach -stones, and illustrating different events of Scripture history. A description of these delicate works, with engravings, was published in 1829, by Canuti. The Palazzo Guidotti, formerly the Magnani, is an imposing design of Do- mertico Tibaldi. It is celebrated for the 60 ROUTE 6. — BOLOGNA. — Palaccs. [Sect. I. exquisite frescoes of tlie Cm^acci^ repre- senting the history of Romulus and Remus, and not inferior either in com- position or in colour to those in the Farnese palace. They are called by Lanzi ''the miracle of Coraccescan art." The Palazzo Hercolani, restored at the close of the last century from the designs of Venturoli^ was famous throughout Europe for its pictures, sculptures, and superb library, rich in MSS. and printed books ; but they have nearly all been sold. The Palazzo Malvezzi BonJioH, has, in its second court, an interesting series of frescoes illustrating the Gerusalemme Liberata, by Lionello Spada^ Lucio Massari, and Francesco Brizzi. In the gallery is a portrait by Domenichino^ a Sibyl by Guido in his early youth, and some other fine works of the Bolog- nese school. The Palazzo Malvezzi Campeggi, de- signed by the Formigini, is remarkable for some tapestries from the design of Luca von Leyden, presented to Cardi- nal Campeggi by Henry VIII. of England. The Palazzo Marescalchi, formerly so famous for its pictures by Correggio, the St. Peter of Guido, the St. Cecilia of Domenichino, and other master- pieces, has been despoiled of all its principal treasures. The fagade is at- tributed to Tthaldi ; the vestibule at the top of the stairs is painted in chiaro- scuro by Brizzi ; and so profusely has art lavished her resources at Bologna, that even the chimney-pieces are painted by the Caracci^ Guido, and Tthaldi. The Palazzo Pallavicini, formerly the Fibbia^ has a noble hall painted by Domenico Sanfi, and Canuti, The in- terior of the chapel, and the vestibule leading to it, are painted by Michael Angelo Colonna. Twelve busts of illus- trious ladies of Bologna are mostly the work of Algardi ; the rest are copied from Alf )nso da Ferrara. The Palazzo Pepoli^ built from the designs of Torri, in the begirming of the last century, occupies the site of the ancient palace of the great captain Taddeo Pepoli, which was sold in 1371 to Gregory XI. to establish there the Gregorian College, then recently found- ed by Guglielmo da Brescia for poor Bolognese students. On the suppres- sion of the College in 1452, it was granted to the Domenicans, who sold it back to the Pepoli family in 1474. It is a fine building, with frescoes of Colonna and Camiti, illustrating the history of Taddeo Pepoli : its halls and chambers are also painted in fresco by Donato Creti, Ercole Graziani, and other artists. The Palazzo Piella, formerly the Bocchi Palace, was built by Vignola for the learned Achille Bocchi, who is said to have had some share in its design. The hall on the ground floor has a ceiling painted by Prospero Fon- tana ; but with this exception, the chief interest of the palace consists in its connection with Bocchi, who while professor of Greek and Latin, rhetoric and poetry in the University, founded in this palace the academy which bore his name, and established a printing- office, from which several elegant edi- tions of valuable works were issued. He was created a chevalier and count palatine, w^ith the peculiar power of conferring knighthood and the diploma of doctor, and of legitimatising natural children. The senate of Bologna ap- pointed him historiographer, and em- ployed him in writing tlie history of the city. His principal works are the " Apologia in Plautum," " Carmina in laudem lo. Bapt. Pii," and the ** Sym- bolicarum Quaestionum de Universe Genere, quas serio ludebat," &c. The engravings of the second edition of the latter were retouched by Agostino Ca- racci. The Palazzo Ranuzzi, formerly the Lamhertini, built from the designs of Bartolommeo Triachini, is interesting for its paintings by Bolognese masters prior to the Caracci. The most re- markable of these works are the ceiling of the upper hall, by Tommaso Lauretti^ the Virtues by Lorenzo Sabbatini^ the Fall of Icarus by Orazio Samacchiniy and the Death of Hercules by Tibaldi, The Palazzo Sampieri, once so cele- Papal States.l route 6. — boi.ogna. — Palaces. 61 brated for the treasures of its gallery, has become a kind of auction mart ; its famous pictures have been sold, the greater part have been transferred to the Brera at Milan, and collections from other quarters are now sent to the palace to find a market. But its fine ceilings and chimney-pieces, by the Caracci and Guercino, are well pre- served and will amply repay a visit. — I. In the first hall, the ceiling, painted by Lodovico Caracci, represents Jupiter with the eagle and Hercules ; " in form, dignity of feature, and magnificence of character," says Mr. Bell, " finely suited to harmonize as a group. The muscular figure and gigantic bulk of Hercules is imposing without extravagance ; a perfect acquaintance with the human figure is displayed, with admirable foreshortening, and great skill and boldness in composition and execution. The artist's knowledge of anatomy is discoverable from his correct propor- tions and fine bendings, but is not ob- truded on the eye by caricatured or forced lines." The chimney-piece of the same apartment has a painting by Agostino Caracci, representing Ceres with her torch in search of Proserpine, and in the background the Rape of the Goddess. — II. The second hall has a ceiling by Annihale Caracci, repre- senting the Apotheosis of Hercules, conducted by Virtue. — III, The ceil- ing of the third hall, by Agostino Ca- racci, represents Hercules and Atlas supporting the globe. The chimney- piece of this hall, by the same master, represents Hercules holding down Cacus, preparing to pierce him with the sharp end of his club. — IV. In the fourth hall, the ceiling, representing Hercules strangling Antaeus, is by Guercino. " A superb piece, with fine deep-toned colouring, and wonderful power of chiaro-scuro. The figure of Hercules is very grand, but seems to have occupied rather too much of the artist's care. Antaeus is wanting in vigour ; the resisting arm is not drawn with force or bulk corresponding to the action ; neither are the figures suffici- ently connected. But the whole piece, although liable to these criticisms, is a work of great vigour, and unquestion- able merit. In one of the accompany- ing ornaments of the ceiling there is a beautiful little painting by Guercino, of Love (I think it should have been Ganymede) carrying off the spoils of Hercules, the skin of the Nemean lion, and the club. The motto under it is ' Haec ad superos gloria pandit.' " — Bell. The Palazzo Sedazzi, formerly the Leoni, has a facade designed by Giro- lamo Trevigi. Under this portico is the fine Nativity by Niccold dell' Abate, well known by the engraving of Gae- tano Gandolfi ; it was damaged, how- ever, by retouching in 1819, In the great hall and the adjoining chamber is a series of very beautiful paintings by the same master, illustrating the history of ^neas, which seems to have been a favourite subject of the Bolog- nese school. The Palazzo Tanara has several in- teresting paintings ; the Bath of Diana, the Toilette of V enus, St. Paul shaking off the viper, and the Last Supper, are by Agostino Caracci ; the Kiss of Judas and the Birth of Alexander, are by Lodovico ; the Assumption of the Vir- gin, and the Cumsean Sibyl, are by Guercino; a Madonna by Guido ; the portrait of Albani is by himself; the portrait of S. Carlo Borromeo, by Carlo Dolci ; the portrait of a Cardinal by Tintoretto ; but the gem of the gallery, Guido's Virgin suckling the infant Saviour, is sold. The Palazzo Zambeccari da S. Paolo has a fine gallery, rich in works of the Caracci and other masters of the Eclec- tic school. Among these may be noticed Jacob's Ladder, and Abraham at table with the Angels, by Lodovico Caracci ; the Dead Christ, by Agostino ; the Sibyl, the Elijah, and the Madonna and Child, by Guercino ; the Marriage of St. Catherine, by Albani ; portrait of Cardinal de'Medici, by Domejiichino ; his own portrait, by Baroccio ; St. John, by Caravaggio ; a St. Sebastian, and the portrait of Charles V., by Titian ; a fine Landscape by Salvator Rosa; and the six mistresses of Charles II., by 62 ROUTE 6. — BOLOGN A-Asinelli and Garisenda Towers. [Sect. 1. Sir Peter Lely, Besides these works, there is a Crucifixion, in silver, a very beautiful work of Benvenuto Cellini. Scarcely, if at all inferior in interest to these palaces, is the Casa Rossini, built in 1 825 for the great " Maestro di Musica," and covered with Latin in- scriptions in Icirge gold letters, taken chiefly from classic writers. These de- corations are not in the best taste, and were added it is said by the architect, during the absence and without the knowledge of Rossini, whose fair fame does not require so much ostentatious parade. Irt the front, is the following from Cicero : — *' Non dorao dominus, sed domino domus." On the side is an inscription from the iEneid : — *' Obliquitur numeris septem discrimina vocum Inter odoratum lauri nemus." Another interesting Casa is the house of Guercino, in which the great painter lived during his residence at Bologna : it is in the small piazza behind the Church of St. Niccolo degli Albari, No. 1647. Of the other public buildings and institutions of Bologna, one of the most interesting to the architectural anti- quary is the Foro de' Merca7iti, or Pa- lazzo della Mercanzia, the best pre- served example of Italian Gothic in the city. It was built in 1294 of moulded brick work, and restored by the Bentivoglio during their political ascendancy. It is the seat of a Cham- ber of Commerce ; but it has nothing beyond its architectural details to re- quire more particular description. Near the Foro de' Mercanti, are the two celebrated leaning towers, called the Torre Asinelli and the Torre Gari- senda, the most remarkable edifices in Bologna, but so destitute of architec- tural attractions, that Mr. Matthews likens them to the chimney of a steam- engine blown a little out of the perpen- dicular." The Torre Asinelli, begun in 1109 by Gerardo Asinelli, was proved by Tadolini, in his investiga- tions of 1779 and 1782, to have been finished at different periods. It is a square and massive brick tower, divided into three portions; the lowest has a projecting battlement, and is occupied by shops ; the others contract as they ascend, and the whole is surmounted by a cupola, used occasionally as an observatory. The height from the street to the apex of the cupola, is 256 Bo- lognese feet 7 inches, according to Bian- coni and other local authorities. The statements of travellers, Italian as well as English, on this point, offer an amusing instance of the manner in which errors of this kind are perpe- trated. Alidosi estimated the height at 260 feet without the cupola; Ta- rufii, at 263 feet, but without stating the point from which his measurement began; Fra Leandro Alberti gives it as 316 feet; and Masini as 376, the estimate which was followed by Mi- telli in his print of the Seven Towers of Italy, and thus propagated among succeeding writers, who have taken him as their guide. Of English tra- vellers, Mr. Woods, by far the best authority on architectural subjects, gives it as 256 feet ; Mrs. Starke 327 Paris feet ; Mr. Pennington, 376 feet ; and Mr. Williams, 476 feet! The in- clination of the tower was ascertained by careful measurements, in 1706, to be 3 feet 2 inches, as is recorded by an inscription under the statue of St. Michael the Archangel, in a niche of the western wall. After the earth- quake of 1779, it was again measured, but no alteration was discovered. In 1813, the Abbe Bacelli, professor of physics in the University, assisted by Professor Antolini, again measured the inclination, and found that it had slightly increased. A flight of 447 steps conducts to the summit by a winding staircase, which is one of the rudest and most impracticable in Italy. The view is fine, extending to the hills about Verona, embracing IModena, Fer- rara, and Imola ; and bounded on the south by the lower slopes of the Apen- nines, studded with villages and beau- tifully wooded. The other tower, the Torre Garisenda y Papal States.] route 6. — bologna. — Colleges. 63 built by the brothers Filippo and Oddo Garisenda, in 1110, is 130 feet high, according to the local authorities. Its inclination, measured from its axis, was, in 1792, 8 feet to the east, and 3 to the south ; but the experiments of Professors Bacelli and Antolini, in 1813, showed an increase of an inch and half over the former observations. Alidosi and other writers have endeavoured to maintain that the inclination of the Garisenda is the effect of art ; as if Italy did not present an abundance of such examples in situations where the ground is liable to gradual sinking and earthquakes are of common occurrence. The best answer to this absurd idea is the simple fact that the courses of brick and the holes to receive the timbers of the floors are horizontal, which they certainly would not have been if the tower had been built in its present in- clined form. The Garisenda, however, has a higher interest than that derived from this question, since it supplied Dante with a noble simile, in which he compares the giant Antaeus stooping to seize him and his guide, to this tower, as it is seen from beneath when the clouds are flying over it : — " Qual pare a riguardar la Carisenda Sotto il chinato, quando un nuvol vada Sovra essa si, ch' ella in contraiio pencla, Tal parve Anteo a me, ehe sitava a vada Di vederlo chinare, e fu tal ora Che io avrei voluto ir per altra strada." Inf. xxxi. The noble building called the Scuole Pie, the ancient seat of the university before it was transferred to the Insti- tute, is one of the finest edifices in Bologna. It was designed, in 1562, by Terribilia, and has often been erro- neously attributed to Vignola. The Scuole Pie were established here in 1808 ; and as a proof that the great Italian cities are not backward in their education of the poor, they afford gra- tuitous instruction to the poor children of the town, under the direction of able teachers, partly laymen and partly ec- clesiastics. The course of teaching em- braces writing, arithmetic, the Latin language, singing, and drawing ; and to these the munificent legacy of Pro- fessor Aldini has added chemistry and physics, as applicable to the arts. The apartments appropriated to the schools have some good paintings by Samac- chini, Sahhatini, and their scholars. In the loggie above are several interesting memorials of deceased professors : that of the physician Muratori is by his accomplished daughter Teresa, with the assistance of Gio Gioseffo dal Sole ; that of the Canonico Pier Francesco Peggi, the philosopher, erected by his pupils, is by Giuseppe Terzi ; that of the celebrated anatomist Malpighi is by Franceschini ; that of Mariani is by Carlo Cignani ; and that of the phi- losopher Sbaraglia is by Donato Creti. In the adjoining chapel of Sta. Maria de' Bui gar i are some paintings which deserve a visit : the Annunciation, at the high altar, is by Fiammingo (Cal- vart) ; and the tasteful frescoes on the walls, representing the history of the Virgin, sybils, and prophets, are by Cesi ; they are well preserved, and have been engraved by Canuti, the able artist who has done so much to perpe- tuate and diffuse the knowledge of the treasures which art has so prodigally scattered over his native city. The Collegio Jacobs^ or cW Fiammin- ghi, the Flemisli College, was founded in 1650, by Johann Jacobs, a Flemish goldsmith, for the education of young men of Brussels belonging to the parish of Notre Dame de la Chapelle, and elected by the Goldsmiths' Company of that city. The portrait of the founder, preserved here, was painted by his friend Guido. The Spanish College, with the high- sounding title of Almo Colkgio Reale della Illustrissima Nazione Spagnuola, was founded in 1364, by Cardinal Al- bornoz. It was formerly remarkable for the frescoes of its portico by Annibale Caracci, in his youth, but they have mostly disappeared. In the upper log- gia is the fine fresco by Bagjiacavalloy representing the Virgin and Child in the act of caressing her, St. Elizabeth, St. John, and St. Joseph, with an angel above scattering flowers, and the Car- dinal founder kneeling in veneration. 64 ROUTE 6.— BOLOGNA -Theatres ; Academy of Music, [Sect. L But the great fresco of Bagnacavallo, representing Charles V. crowned in S. Petronio by Clement VII., although much injured, is by far the most in- teresting work, because it is a con- temporary record. From this circum- stance we may regard the picture as a series of authentic portraits, in the pre- cise costume of the period ; and exa- mined with this view each head becomes a study of individual character. The Collegia di S. Luigi^ founded in 1645 by Count Carlo Zani, occupies a palace built by Torreggiani in the beginning of the last century. It has a small theatre, remarkable for its scenes by Bibiena, Scandellari, and Gaetano Alemani. The Collegia Fenfuroli, so called from the eminent architect of Bologna, who founded it for architectural studies in 1825, occupies the building formerly used as the Hungarian College. The pupils are educated here until their twentieth year. The establishment is well managed, and no doubt tends to keep alive the arts of design among the young students of Bologna, where such an institution is peculiarly appro- priate. The marble bust of Venturoli is by Professor Demaria. An inscrip- tion records the valuable legacy of books bequeathed to the college by the Marchese Luigi Conti Castelli. The Dogana, or Custom-house, occu- pies the ancient church of S. Francesco, a few years ago no less remarkable for its Gothic architecture than for the riches of its altars and convent : it was appropriated to its present profane uses at the revolution of 1798. It contains some interesting tombs, among which are that of Vianisio Albergati the younger, by Lazzaro Casario ; and that of the learned doctor Boccaferri, from the design of GiuUo Romano; with a bust of Girolamo Cortellini. Assu- redly," says Valery, " no other country than Italy can boast the work of a great master in a place generally so devoid of poetry." The adjacent portico pre- sents another remarkable instance of works of art lavished upon street deco- rations. In its lunettes are painted the miracles of St. Anthony of Padua ; the greater part of them are by Gio Maria Tamhurini, a favourite pupil of Guido ; three are by Gessi ; three by Tiarini ; two by Pietro Desani ; and one, repre- senting the saint preaching, by Michael Angela Colonna. The Mint, La Zecca, built, it is said, from the designs of Terrihilia in 1578, is tolerably well provided with modern machinery, and has been remodelled on the plan of the mint at Paris. The Teatro Comunale was built in 1756, on the site of the ancient palace of Giovanni II. Bentivoglio, which was destroyed by the populace at the insti- gation of Pope Julius II. The design of the theatre is by Bibiena, but it has been frequently altered and adapted to the purposes of the modern opera. The curtain representing the marriage of Alexander and Roxana, is considered the masterpiece of Signor Pietro Fan- celli, a living painter of Bologna, and the worthy coadjutor of Signor Ferri in the scenes and other decorations of the stage. The Teatro Contavalli was built in 1814, in a part of the suppressed Car- melite convent of S. Martino Maggiore. The old convent stairs serve for the approach to the modern theatre, — an- other of those strange contrasts so fre- quently met with in Italy. The Teatro del Corso was built in 1805, from the designs of Santini, and is one of the most popular places of amusement in the city. In the Palazzo Bolognini, near the Strada S. Stefano, a Casino, supplied with literary and political journals, was formed a few years ago for the conve- nience of the upper classes, with the addition of musical parties, conversa- zioni, and balls. The Accademia de" Filarmonici, and the Liceo Filarmonico, institutions pecu- liarly appropriate to a city which boasts of being the most musical in Italy, have acquired a European reputation. The academy was founded by Yincenzo Carrati, in 1666, and has numbered among its members the most eminent professors of the two last centuries Papal SlatesJ] route 6. — bologna. — Environs : Mezzaratta, 65 The Lyceum, founded in 1805, by the common council of the city as a school of music, is enriched with the unri- valled musical library and collections of the celebrated Padre Martini. The library contains no less than 17,000 volumes of priated music, and the finest collection of ancient manuscript music in existence. There is an interesting collection of portraits of professors and dilettanti, another of antique instru- ments, and a fine series of choir-books with miniatures. An institution like this, founded by the municipal autho- rities, would do honour to corporations nearer home than Bologna ; and yet we are told that travellers in Italy have nothing to see and nothing to learn until they arrive at its three great capitals, Florence, Rome, and Naples. Environs of Bologna. A short distance beyond the Porta Castiglione is the church of the Miseri- cordia, ruined in the wars of the fifteenth century, and partly rebuilt with little regard to the uniformity of the original plan. It contains some pictures of in- terest. The Annunciation, on the wall of the small nave, is by Passarotti ; the Virgin, at the 2nd altar, is by Lippo Dalmasio ; at the 5th, is the Descent of the Holy Spirit, by Cesi ; at the 6th, the Virgin, Child, and St. John, attri- buted to Imiocenzio da Imola ; at the high altar, the Annunciation and the Resurrection are by Francia ; 8th, the Tabernacle supported by four Doctors of the Church, is carved in cypress wood by Marco Tedesco of Cremona, an able sculptor in wood, who also carved the ornaments of the organ and singing gallery. Outside the Porta di S. Mamolo is the fine church of the Annunziata, be- longing to the Francescan convent. It has some interesting paintings, particu- larly some remarkable examples of Francia, which the traveller should lose no opportunity of studying. In the 2nd chapel is the Madonna and Child, with St. John, St. Paul, and St. Francis, by this glorious old master. In the 3rd is the Crucifixion, with the Magdalen, the Virgin, St. Jerome, and St. Francis, by the same, with the in- scription " Francia Aurifex.'' 4th, The Sposalizio, by Costa. 5th, St. Francis in ecstacy, by Gessi, a superb painting worthy of Guido. 8th, The Madonna del Monte, supposed by Masini to be a Greek painting, had the inscription on the back Opus Lippi Dalmasii but it was unfortunately cut away a few years back. 10th, The Annuncia- tion, with St. Francis and St. George, another beautiful work of Francia. 12th, The Adoration of the Magi, by Masm?^. 17th, The St. John the Evan- gelist is from the design of Lodovico Caracci by Jntonia Pinelli, who has added her name and the date, 1614. Outside the church is a long and beau- tiful portico, painted in fresco by Gia- como Lippo da Budrio and other pupils of the Caracci. The Shepherds wor- shipping the newly-born Saviour is by Paolo Caracci, from a design by his brother Lodovico. The ancient little church of the Madonna di Mezzaratta, built in 1106, was formerly one of the chief museums of sacred Italian art. Malvasia and Lanzi both regarded its frescoes as in- valuable illustrations of the first epoch of the Bolognese school. Lanzi indeed says, '* This church is, with respect to the Bolognese school, what the Campo Santo of Pisa is with regard to the Florentine, — an arena where the best artists of the 14th century, who flou- rished in those parts, wrought in com- petition with each other. They have not the simplicity, the elegance, the grouping, which constitute the merit of tlie Giotteschi ; but they evince a degree of fancy, a fire, a method of colouring, which Michael Angelo and the Caracci I considering the time in which they lived, thought by no means contemptible. On the contrary, when these pictures began to exhibit symp- toms of decay, they advised and pro- moted their restoration. Hence in this church there were painted at various times historical pieces from the Old and New Testament, not only by the scholars of Franco Bolognese, but by 66 ROUTE 6. — BOLOGN A.- Enviro7is : S,Michele in Bosco. [Sect. I. Galasso of Ferrara, and an unknown ' imitator of Giotto's style, whom Lamo in his MS. maintains to be Giotto him- self." The names of these early fresco painters, given by Lanzi as the scholars of Franco Bolognese, and by whom this church was painted, are Fitale da Bo- logna. Lorenzo, Simone dai Crocijissi, Jacopo Avanzt, and C?Hstoforo, recorded only as " Cristoforo pittore." But their frescoes have suffered severely from the effects of time, and more particularly from repairs and alterations for the convenience of the adjoining building. Of those which remain, the following may be enumerated. A Nativity, with a multitude of angels, over the great door, attributed by Malvasia to Fitale. On the right wall are two series of sub- jects from the Old Testament ; one illustrating the Creation ; Adam and Eve, with Cain and Abel, Eve repre- sented as spinning, Adam at work, and the two children gracefully at play ; Noah building the ark. In six other compartments is given the history of Moses : four of these are fortunately well preserved : the first represents Moses exhibiting the tables of the Law ; the second, the punishment of the rebels, believed to be by Giotto ; the third, the slaughter of the idola- ters ; and the fourth, the worship of the golden calf. On the left wall are two series of subjects from the New Testament : the upper begins with the Circumcision, but they have been spoiled by retouching. Of the other series only two remain, the first of which represents Christ healing the sick ; and the second, the Probatica Piscina, with the inscription Simon fecit. On the summit of the Strada del Monte are the church and convent of S. Paolo in 3Io?tte, recently constructed from the designs of Dr. Vannini. The church has some paintings by Passa- rotti, Cavedone, Elisabetta Sirani, Carlo Cignani, &c. Not far from this are the Bagni di Mario, an octagonal building, con- structed in 1564, by Tommaso Lau- retti, for the purpose of collecting and purifying the water for the fountain of Neptune. It derives its name from the ruins of the ancient aqueduct, built, it is said, by Marius, and restoied by Adrian and Antoninus Pius, as in- scriptions in the Museum prove. On the hill above Bologna, beau- tifully situated, stands the church of San Michele in Bosco, attached to the suppressed moiiastery of the Olivetans. This great establishment, in the time of Bishop Burnet one of the finest ex- amples of monastic splendour in Italy, was suppressed at the French invasion ; its magnificent halls were converted into barracks and prisons for con- demned criminals, and its best pictures were carried to Paris. The walls and ceilings painted by the Caracci and their school are gradually falling into ruin, and the famous court, which was entirely decorated by these great artists, is now a melancholy wreck. Many of the paintings have entirely disappeared, and of those which remain the subjects are hardly to be distinguished. They represented the history of St. Benedict and St. Cecilia; those by Guido were retouched only a few years before his death. The library of the convent, built from the designs of Giovanni Giacomo Monti, had in its several compart- ments paintings illustrating the subjects of the works contained in them ; they were executed by Canuti, a pupil of Guido, at the suggestion of the Abbe Pepoli, but they have shared in the general ruin. In the splendid dormi- tory, 427 feet in length, is preserved the dial of the clock painted by Innocenzio da Imola with figures and festoons of fruit. At the gate called La Porta di Sa- ragozza, is the magnificent arch de- signed by Monti in 1675, as a propy- laeum or entrance to the celebrated Portico leading to the Madonna di S. Luca. This extraordinary example of public spirit and devotion was pro- jected by the Canon ico Zeneroli of Pieve di Cento, who presented to the senate his memorial on the subject in 1672. On the 28th June, 1674, the Papal States.l route 6. — bowg^x -Environs : M. di S. Luca. 67 first stone was laid between what are now the 130th and 131st arches. The portico is twelve feet broad, a,nd fifteen feet high, and consists of two por- tions, one called the Portico di Pia- nura, the other the P. della Salita ; it is not in one continued line, but makes several angles in consequence of the irregularity of the ground. In 1676, the whole portico of the plain, con- sisting of 306 arches, was completed at the cost of 90,900 scudi. Here the Portico della Salita begins, and is united to the first portico by the grand arch, called, from the neighbouring torrent, the "Arco di Meloncello," built at the cost of the Monti family by Carlo Francesco Dotti, from the designs of Bibiena. The difficulties of the ascent were skilfully overcome by the architects, Gio. Antonio Conti, Torri, Albertoni, and Laghi ; and the money was raised by the voluntary contributions of the inhabitants, aided by the donations of the corporation and religious communities, as is shown by the inscriptions recording their be- nefactions. The theatres- even pro- moted the work by presenting the pro- ceeds of ditfeient performances given for the purpose. From 1676 to 1730, 329 arches of the ascent were finished, with the fifteen chapels of the Rosary, at the cost of 170,300 scudi; and in 1739 the entire portico was completed, including, from the Porta di Saragozza to the church, no less than 635 arches, covering a line little short of three miles in length. The magnificent church, occupying the summit of the Monte della Guardia, derives its name of the Madonna di S. Luca, from one of those numerous black images of the Virgin, tradition- ally attributed to St. Luke. It is said to have been brought to this spot in 1160, by a hermit from Constantinople ; and is still regarded with so much vene- ration, that its armual visit to the city is the scene of one of the greatest pub- lic festivals of the Bolognese. The church was built in the last century from the designs of Dotti, but not in the purest taste. It contains nu- merous paintings by modern artists, but none of the great Bolognese mas- ters, excepting a Madonna with S. Domenico, and the fifteen Mysteries of the Rosary, in the 3rd chapel, by Guido, remarkable chiefly as one of his earliest productions. The mi- raculous image of the Virgin is pre- served in a recess above the high altar, in a case of marble and bronze gilt, the donation of Cardinal Pallavicini, and is still the object of many pilgrimages. The view from Monte della Guardia is alone sufficient to repay a visit to the church. The rich and glowing plains, from the Adriatic to the Apen- nines, are seen spread out like a map in the foreground, studded with villages, churches, convents, and cities, among which Ferrara, Mantua, Modeiia, and Imola may be distinctly recognised. Towards the east the prospect is bounded by the Gulf of Venice, and on the west and south the eye ranges along the picturesque and broken line of Apennines. It is impossible to imagine a scene more charming or more beautiful. In returning to the city, the ancient Certosa, built in 1335 by the Carthu- sian monks, and suppressed in 1797, deserves a visit. It was consecrated in 1802 as the public cemetery, and has been much praised as a fine model for an extensive Campo Santo. It was the first result of the government of Napoleon, v/ho forbad the burial of the dead within the city ; and its regula- tions are remarkable as establishing no exclusion of sect, although a separate inclosure is set apart for Protestants and Jews. The church still retains many remarkable paintings : in the 1st chapel on the right hand, the Last Judgment, and the two saints by the side, are by Canuti ; the S. Bruno, at the altar, is by Cesi. The other large picture, representing the Ascension, is by Bibiena, the founder of the eminent Bolognese family of that name, and the pupil of Albani, whose style is evident in this work. In another chapel is the Supper in the House of the Pharisee, and the Magdalen at the 68 ROUTE 6. BOLOGNA. Environs : Casalecchio, [Sect. I. feet of Christ, by Andrea Sirani, The Baptism of Christ is a large and pow- erful composition, by his celebrated daughter EUsahetta Sirani, the fa- vourite pupil of Guido, painted in her twentieth year, and inscribed with her name. The miraculous draught of fishes, Christ driving the money- changers from the Temple, and the four Carthusian Saints, were the last works of Gessi. The two pictures represent- ing Christ entering Jerusalem, and Christ appearing to the Virgin with the host of patriarchs after the re- surrection, are by Lorenzo Pasinelli. At the high altar, the Crucifixion, the Christ praying in the garden, and the Deposition, are by Cesi. In the inner chapel, are the Annunciation, by Cesi ; Christ bearing the cross, a half-length in fresco, by Lodovico Caracci ; S. Bernardino in fresco, by Arnica Asper- tini ; and Christ bearing the cross, by Massar^i. The Cemetei-y occupies the spacious corridors and cloisters of the convent, which have been prepared with niches in the walls to receive the dead, on the plan of the ancient catacombs. The general effect is very fine, and some of the tombs and monuments are remark- able not only for the names they record, but for the character of their design. Three collections of engravings from these mormments have been published, as well as two volumes of inscriptions, composed by Professor Schiassi, and much admired for their pure Latinity. The ancient church of the Capuccini contains a fresco of the Virgin and Child, said to be one of the earliest productions of Annibale Caracci. At the 1st altar, the S. Giuseppe da Leon- essa is by Ercole Graziani ; the por- trait of the Blessed Imelda Lambertini in fresco, is a contemporaneous work (1333), and is therefore regarded as authentic. In the 3rd chapel, the Virgin and Child, with St. Francis and St. Jerome, half figures, are by Innocenzio da Tmola ; the Sposalizio, at the high altar, is by Orazio Samacchini; in the 8th chapel, the Crucifixion is by Passarotti ; and in the 9th, the Blessed Lorenzo da Brindisi is by Ercole Gra- ziani, The Madonna and Child, in fresco, on the side wall, is by Lippo Dalmasio, and was brought here from the ruins of some other church. The singular series of heads of saints is regarded as the work of the thirteenth or fourteenth century, as are also the symbolical paintings of the roof, but they are very probably of earlier origin. Leaving the city in the opposite di- rection, at the Porta Maggiore, is the Portico degli Scalzi, consisting of 167 arches, and 1700 feet in length, lead- ing to the church called Gli Scalzi, or the Madonna di Strada Maggiore, The church has some good paintings, among which may be remarked a very beautiful Holy Family by Pasinelli; the Sta. Teresa praying, by Canuti ; the Assumption of the Virgin, by ASa6- batini, and other works of the Bolognese school. The sulphureous Baths of Porretta^ discovered early in the thirteenth cem tury, and celebrated by rmmerous me- dical writers of the succeeding age, still maintain an undiminished po- pularity in cutaneous and glandular affections. They are situated in an elevated but sheltered nook of the Apennines, close to the frontier of Tuscany, and upon the Reno, which rises in the rocky recesses beyond them. A good road from Bologna, along the bank of the river, leads to the baths, where good accommodation is provided for visitors and invalids. To those who are disposed to devote a few days to excursions among the mountains, a more convenient spot for the purpose could hardly be discovered. In concluding this notice of the en- virons of Bologna, Casalecchio, the scene of the great battle in which Giovanni Bentivoglio was overthrown by the army of Gian Galeazzo, must not be forgotten. The allied army of Flo- rence and Bologna, under Bentivoglio and Bernardo de Serres, had encamped at Casalecchio, contrary to the judg- ment of the latter general, who was anxious to have retired within the Papal States.] route 6. — bologna. — Climate, Dialect, S^'C. 69 walls of the city. While they were awaiting reinforcements from Florence, the Milanese, under Alberigo da Bar- biano, gave them battle, June 26, 1402. The Bolognese troops, weary of the tyranny of Bentivoglio, refused to fight ; Bernardo de Serres was taken prisoner ; the inhabitants, encouraged by the faithless promises made to the Gozzadini and the other emigrants by Gian Galeazzo, that he would restore their republic, opened the gates to the Milanese, and two days afterwards Bentivoglio was massacred at the order of Barbiano. In 1511, Casalecchio was the scene of the victory gained by the Sieur de Chaumont, general of Louis Xll., over the troops of Julius II., commanded by the Duke of Ur- bino. It was fought on the 21st of May, and was called the " day of the ass-drivers," because the French knights returned driving asses loaded with their booty. The epithet of Grassa, given to Bo- logna by the historian Paul Van Merle, of Leyden, in the sixteenth century, applies as much to the living and culinary delicacies of the inhabit- ants as to the productions of its fertile territory. The wines of its neighbour- hood are very tolerable, and the fruits, particularly the grapes, are much es- teemed. The mortadella, everywhere known as the Bologna sausage, still keeps up its reputation ; and the cer- vellato, or pudding of raisins and fine kernels, a favourite dish at the table- d'hotes, is claimed as peculiar to the city. Mr. Beckford has designated Bologna as " a city of puppy dogs and sausages.'" The dogs of Bologna, so celebrated in the middle ages, which still figure in the city arms, and are alluded to in the epitaph on King Enzius in the church of S. Domenico, were worthy of more respect than is implied in this flippant remark : they have unfortu- nately disappeared, and no trace of their ancient breed can now be dis- covered. In a University town, so celebrated for its medical professors, the invalid can never be at a loss for good advice : the ordinary fee, either for physicians or surgeons is five pauls, and for simple consultation two scudi. The climate is considered healthy, but in winter Bologna is reputed to be the coldest, and in summer the hottest city in Italy ; it is fair, however, to say that no proof of these statements, founded upon actual observation, has yet been adduced. In other respects Bologna, from its beautiful situation, amply provided with the necessaries and luxuries of life, with a learned and intellectual society, to say nothing of its works of art, is peculiarly calcu- lated to be an agreeable residence. The Bolognese dialect, of all the forms of unwritten speech which the traveller will meet with in the provinces of Italy, is the most puzzling and corrupt. It was aptly described by the learned grammarian of the sixteenth century, Aulus Gellius Parrhasius, as the rau- cida Bononensium loquacitas. Forsyth says, " with all the learning in its bosom, Bologna has suffered its dialect, that dialect which Dante admired as the purest of Italy, to degenerate into a coarse, thick, truncated jargon, full of apocope, and unintelligible to strangers;"' and it would be difficult, we believe, to find one who has ever mastered it. In regard to the character of the Bo- lognese, we may refer to the well- known description by Tassoni : " II Bolognese e un popol del demonio Che non si pud fienar con alcuu freno." This character, at first sight so for- midable, would seem to refer to the independent spirit, and to the love of political freedom imbibed from their ancient republican institutions. It has been a fashion with many passing tourists of our own time to depreciate the Bolognese ; but the calumny, if there ever were any foundation for it, applies no longer ; and in education, in character, and in the arts and civi- lization of life, Bologna stands pro- minently forward in the first ranks of European cities. Travellers who may have occasion 70 ROUTE 7. — BOLOGNA TO FLORENCE — Pietramala. [Sect. I. to send works of art, &c. to England, will be glad to know that the Messrs. M'Cracken have two agents in Bologna, Signor Flavio Perotti, the British vice- consul, and the firm of Messrs. Landi and Roncadelli. A diligence which runs twice a week between Rome and Milan keeps up a constant communication with those two capitals, but it is a slow and tire- some conveyance. The time it re- quires for the journey between Bologna and Rome, without stopping to sleep on the road, is not less than ninety hours! The courier is more certain, but the traveller cannot secure a seat until he arrives, and must then take his chance of finding one vacant. A procaccio passes twice a week by the Canale Naviglio, between Bologna and Ferrara. Travellers who are desirous of pro- ceeding from Bologna to Rome, with- out passing through Florence (Route 7), may follow the interesting road through Fori!, and along the Adriatic to An- cona (Route 14), from whence, or indeed from Fano, higher up (Route 16), a post-road falls into the high Roman road at Foligno. This would also enable them to visit Ravenna (Route 12). ROUTE 7. BOLOGNA TO FLORENCE. Bologna to Filigare, the) ^ Tuscan Frontier . . J Filigare to Florence . 5 9 Posts. The road from Bologna to Florence crosses the Apennines, which separate the plains of Lombardy from Tuscany. It is an excellent road, well constructed, and well kept. Its slope is as gradual as that of the Simplon ; but oxen are considered necessary. The time occu- pied by a vetturino in performing the journey is from twelve to fifteen hours. The scenery of these Apennines is often picturesque and pleasing, but it wants the grandeur and boldness of the Alps. The vegetation appears stunted and colourless, and the outline of the moun- tains presents a series of gentle undula- tions without any precipitous or defined peaks ; but the aspect of the deep and well-wooded valleys by which they are intersected, and the occasional bursts of romantic scenery which the windings of the road disclose, are sufficient to make amends for these deficiencies. From Bologna to Pianoro the road proceeds along the rich plains which extend to the very base of the moun- tains; soon after leaving the city it crosses the Savena. I \ Pianoro. From hence to Lojano an additional horse is required for every pair, with oxen for the steep ascents. This regulation of course does not apply to carriages descending from Lojano to Pianoro. The price of the extra horse is fixed at five pauls. The road begins gradually to ascend at this point, pre- senting some fine views over the rich plains of Bologna. li Lojano. A post station with a good inn. From this elevated spot the view is very striking and extensive ; the eye ranges along the chain of distant Alps, embracing the vast basin of the Po from Turin to the Adriatic, Milan, Verona, Padua, Bologna, with occa- sional glimpses of the majestic river winding through these rich and fertile plains. The papal frontier is at La Ca, where the inn is so bad and overrun with vermin that travellers will do well to avoid it. 1 Filigare, the first station of the Tuscan frontier. At Pietramala, beyond it, is the custom-house, where passports are examined and viseed, and the trunks generally plumbed. There is a very tolerable inn here. This upper portion of the Pass being about mid- way between the two seas, is much exposed to storms, and is bitterly cold in winter. About a mile and a half from Pietramala is a singular pheno- menon, called the " Fuoco di legno," which deserves a visit, as it is very often the first appearance of the kind which the traveller has an opportunity of examining. It occurs in a hill of clay slate resting upon limestone at Papal States.] route 7. — bologna to Florence. — Pratolino, 71 the foot of the Monte di Fo, in a space of not more than a dozen yards in cir- cumference ; this spot is covered with loose stones, from among which flames ahout a foot high constantly issue, pre- senting an appearance like the fire of a coal-mine. The flames always burn brightest in stormy weather, when they crackle and rise to a height of three feet or more. They deposit a carbonaceous matter like soot, and give out consider- able heat. Tlie colour somewhat re- sembles the flame of spirits of wine, and is described by the country people as blue by day and yellow by night ! Volta investigated these phenomena, and attributed them to the disengage- ment of oxygen gas, having no con- nexion with the surface. Another phenomenon near Pietramala is the spring called the Acqim Buja, which bubbles up like boiling water ; it is, however, quite cold, and takes fire on applying a light, burning with a blue flame passing into yellow. From Pietramala a very steep ascent of about two hours brings us to — 1 Covigliajo, a solitary post-house, which had in former days a bad repu- tation. Monte Radicoso, near it, the highest summit of this part of the Apennines, was ascertained by the baro- metrical measurements of Sir George Shuckburgh, in 1775, to be 1,901 feet above the level of the sea; by the Italian authorities it is given as 2,718 Paris feet. Near the custom-house station of Futa^ between Covigliajo and Monte Carelli, the river Santerno has its origin. 1 Monte Carelli. From this post- station to Covigliajo, a third horse, or oxen, are required by the tariff. The road descends rapidly from this place into those beautiful valleys which are so famous in the history of the middle ages, and in Italian poetry, under the general name of Val di Mugello. On approaching the valley of the Sieve, about midway between Monte Carelli and Cafaggiolo, is Le Mascliere, for- merly a nobleman's country-seat, now converted into a good inn, and so pic- turesquely placed, that many travellers desirous of seeing more of the beauties of these Apennines make it their halting place for days, and even weeks. " Seated on the highest summit of the Apennines, it overlooks the brow of a mountain which, although covered with trees, is almost perpendicular; while on the plain far below lies the beautiful vale of Arno, bound by a circle of magni- ficent hills, sometimes rising in accli- vities, sometimes in polished knolls or bold promontories, cultivated to the very summit with the vine and olive, interspersed with fruit and forest trees, and thickly studded with villas, con- vents, and churches, presenting an aspect of extraordinary animation and beauty. Turning from the contempla- tion of this rich, lively, and cultivated landscape, to the bold country spread abroad among the Apennines behind the Maschere, you behold a prospect finely contrasting nature in all its most polished splendour with the wild and majestic grandeur of mountain scenery." — John Bell. 1 Cafaggiolo, a small post-station on the right bank of the Sieve. A short distance beyond it the old road from Bologna to Florence through Firenzuola and Scarperia falls into this route. About midway between this and the next station we pass the villages of Tagliaferro and Vaglia, both on the torrent Carza, whose left bank the road follows to Fontebuona, On an eminence on the left, surrounded by cypress plantations, is seen the pic- turesque convent of Monte Senario, be- longing to the Servites. 1 Fontebuona. A third horse is necessary from Florence to this station. A short distance beyond Fontebuona on the left is Pratolino, once the favourite seat of the Grand Dukes of Tuscany, situated on the southern slopes of a hill embosomed in fine trees. The beautiful villa, designed by the great Florentine architect Bernardo Buontalenti, for Francesco de' Medici, son of Cosmo I., to receive his cele- brated mistress Bianca Capello, has long been demolished. The money lavished upon its decorations, its giuochi ■72 ROUTE 8. — FLORENCE TO FORLI. [Sect. I. d'acqua, &c., most of which are in the worst taste, amounted to no less a sum than 782,000 crowns, an expenditure upon which the Grand Duke Ferdinand II. gave an expressive commentary when he said that the money there wasted would have built a hundred hospitals. Besides the grottoes, foun- tains, and labyrinths of Pratolino, there is a colossal monster, called the statue of the Apennines, sixty feet in height, conceived in the worst possible taste, and little fitted for the neighbourhood of such a city as Florence. The artist's name is happily unknown ; for although some recent travellers have hinted at John of Bologna and Benvenuto Cel- lini, no one who has studied their works can imagine for a moment that either of these great men is answerable for such a deformity. The beauties of Pratolino and of Bianca are frequently celebrated by Tasso ; ** Dianzi all' ombra di fama occulta e briina, Quasi giacesti, Pratolino, ascoso; Or la tua donna tanto onor t' aggiunge, Che piega alia seconda alta fortuna Gli antichi gioghi 1' Apennin nevoso ; Ed Atlante, ed Olimpo, ancor si lungo, Ne contin la tua gloria asconde e serra ; Ma del tuo picciol noma empi la terra." Rime, 360. The descent hence to Florence, along an excellent road, is one of the finest drives of the kind in Europe. Every eminence is studded with villas : the country rich in vineyards and olive- groves, seems literally " a land of oil and wine" ; cultivation appears in its highest perfection ; the Etruscan fortress of Fiesole, consecrated by the genius of Milton, rises magnificently from the opposite bank of the Mugnone; and Florerice, with its domes, and cam- paniles, and battlemented towers, bursts upon the view. This approach recalls the remark of Ariosto, that if all the villas which are scattered as if the soil produced them over the hills of the Val d'Arno, were collected within one wall, two Romes could not vie with Florence. " A veder pien di tante ville i colli, Per che' 1 terren vele germogli, come Vermene germogliar suole, e rampolli. Se dentro un mur, sotto im medesmo nome Fosser raccolti i tuoi palazzi sparsi, Non ti sarian da pareggiar due Rome." Rime, cap. xvi. Florence is entered by the Porta San Gallo, the only one which is kept open at night. 1 Florence; described in North- ern Handbook." ROUTE 8. FLORENCE TO FORLl. 70 Miles. This is a very excellent mountain road, recently opened by the Tuscan go- vernment, for the purpose of establish- ing a direct communication across the Apeiniines between Florence, Rimini, Ravenna, and the other towns on the north-western shore of the Adriatic. It is in admirable order, and is constructed on the best principles of modern en- gineering. A diligence, or rather a large vetturino carriage with the mail, leaves Florence three times a week for Forli, changing horses at Dicomano and Rocca. It leaves Florence at midnight, arrives at Dicomano about 6 a.m., reaches the summit of the pass about 11, arrives at Rocca about 2, and at Forli about 7 P.M. The fare is 25 pauls. The time occupied in the journey would be less in a private carriage or a hired vetturin, and different resting-places would pro- bably be chosen according to the con- venience of the parties. The journey, however, would be too long and too fatiguing for many travellers if per- formed in a single day, and in that case San Benedetto would be the best halt- ing-place for the first night. These matters should be arranged with the vetturino before departure from Flo- rence. A party of two or three would find it much more agreeable to hire a carriage for the journey than to travel by the diligence ; and it ought not to be much more expensive. Leaving Florence by the Roman road through Arezzo, we proceed along the banks of the Arno as far as the first post on that Route, Pontassieve, where Papal States,] routes 9, 10, 11 , FORLI, &C. TO RAVENNA. 73 the Fori! road strikes off to the north- east, and ascends the valley of the Sieve as far as Dicomano. The scenery is very fine in many parts, but it becomes wild and rugged as we approach the lofty chain of Apennines over which the road is carried. 20 m. Dicoma?io, the first stage. It is prettily situated at the foot of the Apennines, and has two inns, the Passe- rini and the Leone d'oro. It is an old town, but has little beyond its position to attract the attention of a passing tra- veller. On leaving the town, the road proceeds up the valley of the San Go- denzo. At Carbonile extra horses are put on, in order to master the ascent, which is extremely steep. The village of Sa?i Godenzo, through which the road passes, is situated among richly wooded and agreeable scenery. Beyond it the steepness of the ascent increases, but the road is admirably constructed, although it appears dangerous in parts from being insufficiently protected above the deep ravines. The summit is usually reached by the diligence about II a.m. The descent is gradual and well ma- naged ; the Osteria Nuova is soon passed, and the road shortly reaches the banks of the Montone, along which it is carried to Forli. 18 m. San Bejiedetto, This place is about half-way between Florence and Forli ; it has an excellent inn, the Leone d'oro, the best on the road, and although the diligence does not stop there, it would be the most eligible resting-place for travellers in a private carriage. If the journey be divided into two days, San Benedetto would be the proper sleeping place. Between this village and Rocca, the road passes through Portico, an old fortified town. 12 m. Rocca Saji Casciano^ the second stage of the diligence. (Inriy Locanda del Giglio, very tolerable.) A town situated on the junction of two small streams (the Flume di S. Antonio and the Ridazzo) with the Montone : it I contains nothing of interest. Leaving I Monte Grosso and Monte Col ombo on the right, the road proceeds hence to Dovadola, and soon arrives at the fron- 1 tier town of Terra del Sole. We here leave Tuscany, and enter the Papal States at Rovere, where luggage and passports are examined. A fee will save much trouble at the dogana, but it does not ensure civility from an in- solent inspector of police, who has too long been permitted to harass travellers by his vexatious interference. A short but pleasant drive through the village of Varano brings us to 20 m. Forli (described in Route 11). ROUTE 9. FORLI TO RAVENNA. A good country road of about 20 miles, lying along the left bank of the Ronco, which is confined in its narrow channel by high banks throughout its course to the sea. Like the following Route, this road presents a succession of farm-houses thickly scattered over a country which is surpassed by no dis- trict of Italy in fertility or cultivation. 20 m. Ravenna (Route 12). ROUTE 10. FAENZA TO RAVENNA. A cross-road of 2-J Posts. An agreeable drive of about three hours through a country of extraordi- nary fertility, having more the charac- ter of a succession of highly cultivated farms than a public road. To the English traveller, the neat appearance of the farm-houses with their gardens and poultry-yards will recall many recollections of home. Soon after leav- ing Faenza, the road crosses the Lamone. Between Russi and Godo, which lie on the right of the road, the present route falls into the high road from Bologna to Ravenna through Lugo. 2 J Ravenna (Route 12). ROUTE 11. VENICE TO RAVENNA, BY THE CANALS AND THE COMACCHIO. About 90 Miles. The traveller who is desirous of pro- ceeding from Venice to Raveima by E 74 ROUTE 11. VJiNICE TO RAVENNA. [Sect. r. the shortest route, may either do so by sea in one of the hirge grain-boats to be found in all the northern ports of the Adriatic ; or by means of the ca- nals with v/hich the vast lagunes be- tween the two cities are abundantly in- tersected. In the latter case, he will find that although only a short portion of the route can be performed in a car- riage, there is a series of post stations from Chioggia to Ravenna, the route being estimated at 11 posts. The dis- tance from V enice to Chioggia is 20 miles ; the posts from thence are as fol lows : — Cavanella 2, Itlesola 2, Pom - posa 2, Magnavacca 2, Primaro 1, Ravenna 2^11 posts. A person having his own carriage must be prepared to run all risks of trans-shipment from the ferry-boa*s he will meet with ; but a traveller not so encumbered will do well to rely on the canal boats and on the carriages of the country, which he will find at Mesola to convey him to Ravenna. It may be useful to premise, that persons proceeding by this route will have the best possible opportunity of visiting the famous Murazze^ or great wall of Venice, during their progress ; as the boat must pass along it, whether it follows the canal inside the island of Malamocco, or sails round it. The ordinary course is to proceed down the Malamocco canal, and from thence, inside the long narrov.'' island which lies beyond it, to Chioggia or Chioza. This would be the best resting-place for the first night. The time occupied in rowing the distance in a six-oared boat is about six hours : it would, of course, be much shorter in a sailing-boat, with a fair wind. Chioggia is a fine, v/ell-built town, with a convenient port, much frequeiited by the coast- ing traders of the Adriatic. Its his- tory and association with the naval achievements of Venice, recalling " the Doria's menace,'' so beautifully sung in " Childe Harold," belong to the description of that city, and need not be particularised here. Leaving the town, we proceed along the Canal di Valle, crossing the Bacchlglione (often called here the Brenta), and the Adlge, to Cavanella ; ascend the Adige for a short distance, and then follow the Canal di Loreo to Cavanella di Pd, on the left bank of that branch of the Po called the Po delta Maestra. The other branch farther south is the Po di Goro, and between the point of sepa- ration at Sta. Maria and the sea, these two arms of the river inclose an island, called Isola d Ai'iano, frequently sub- ject to the destructive inundations of both branches of the Po. On the northern shore of this island, nearly op- posite Cavanella di Po, is Taglio, to which, if the island be passable, the traveller should cross, and there leave his boat ; otherwise he must ascend the northern branch of the Po, and make a tedious detour round the western angle of the island at Sta. Maria, near the town of Ariano : in either case he will land at Mesola^ the frontier town of the Papal States. The difference of time occupied by these two modes is con- siderable : from Chioggia to Taglio the voyage by canal, direct, occupies about 8 hours ; from Taglio to Mesola, across the island, it is little more than 1 hour ; whereas the route from Chioggia to Mesola, going round by the Po, re- quires at least 14 hours. Mesola. This should be made the sleeping-place on the second day ; there is a tolerable inn here : and a country carriage, quite good enough for the roads, may be hired for the next day's journey. Mesola has a population of 4,000 souls : it appears to have been considered important as a frontier town, since it is recorded that it has been twice purchased of the House of Aus- tria by the Church ; by Pius VI , for a million of scudi ; and by Leo XII., in 1S22, for 467,000 scudi. The difii- culty and expenses of keeping up the embankments of the canals and rivers in this part of Italy, which are admi- rably constructed and managed, as the traveller will not fail to observe during his journey, are said by the inha- bitants to have made the acquisition a dear one to the Papal government. Papal States.] route 11. — venice to ravenna. •75 Leaving Mesola, the road proceeds along the flat sandy tract to Pomposa, and after crossing ihe Volano by a ferry, traver^-es the eastern line of the Fa lie di Comacchio, to Magnavacca, West of Magnavacca is the town of Comacchio, a fortiHed place of 5,500 souls, situated in the midst of the un- healthy salt marshes. The traveller appears to be constantly approaching the town without getting near it. These marshes, called the " Valleys of Comacchio," although unhealthy and desolate from humidity and fever, are still as celebrated for their fisheries as in the time of Ariosto and Tasso, who describe the contrivances for securing the fish which have come up from the sea, in order to prevent their return. " Come il posce cola, dove impaluda Ne' seni di Comacchio il nostro mare, Fugge dair onde impetuosa e cruda, Cercando in piacide acque, eve ripare, E vien, che da se stesso ei si rinehiuda In palustre prigion, ne pnu tornare ; Che quel senaglio e con mirabil uso Sempre all' entrar aperto, all' uscir chinso." Gerus. Lib. vii. 46, Ariosto calls Comacchio " La citta, che in mezzo alle piscose Paludi del Po teme ambe le loci." Orl. Fur. iii. 41, 3. tified; but it is generally supposed that it stood near the village of Argenta, on the left bank of the P6 di Primaro. Beyond Primaro the Lamone is crossed, and we soon enter the northern extremity of the Pineta, described in the account of Ravenna, in the suc- ceeding Route. After a drive of a few miles along the turf through this ve- nerable forest, we fall into the road near the tomb of Theodoric, and enter Ravenna by the Porta Serrata. The journey from Mesola to Ravenna occu- pies about 10 hours, and is a fair day's work. Ravenna, described in the next Route. [A recent traveller. Dr. Fraser, who performed the journey from Ravenna to Venice, gives the following ac- count of his progress : — " This route is not devoid of interest, although it is seldom followed. On leaving Ra- venna, the road passes by the tomb of Theodoric, and soon after enters the Pineta. The deep silence of the forest is unbroken by the noise of the car- riage, which now passes over the green turf, scarcely marked, and in some places not at all, by any track ; and j the traveller soon feels that without the From Magnavacca the road crosses | aid of a guide, or the instinct of the the southern branch of the Po, called j North American, his path would soon the Po di Primaro, the Spineticum Os- | be lost. We were told that wild boars tium of the ancients, passing between abound in the recesses of the forest ; the town of Primaro on the right, and : but we saw no game, nor indeed any its small port on the left, defended by i other living thing. After threading its the Torre Gregoriana. The ancient name of the Po di Pri- ! mazes for two hours, we observed with ! regret a thinning of the trees, and gra- maro recalls the celebrated Greek city ' dually entered on the open country. of Spina, situated on the left bank of the river, a few miles from the Adriatic. The high antiquity of Spina has been the subject of much controversy ; some writers, on the authority of Dionysius of Halicarnassus, referring it to the Pelasgi, who arrived on this coast from Epirus, long before the Trojan war ; while others, who dispute its foundation by the Pelasgi, admit that it was of Greek origin, and that it had acquired much celebrity in the age of road, so that we had been deceived by Croesus. There are no remains by the innkeeper at Ravenna, who had which its ancient site may be iden- agreed to convey us to Mesola in his E 2 An uninteresting drive brought us to Magnavacca, where, in addition to our own stock of provisions (for every person taking this route ought to carry a sup- ply), we found the means of making a tolerable breakfast. We changed horses and carriage at this place, by which we neither improved our vehicle, nor the quality of the horses. We were now given to understand that no one would take a good carriage by this 76 ROUTE 11. VENICE TO RAVENNA. [ScCt. I. snug barouche ; whereas the one to which we were now transferred was somewhat ruder in construction than a tax- cart. We had, however, no alter- native, and were given to understand that next day we should obtain a better carriage at Mesola, which we reached at sunset. We slept there, although our original intention was to make Ariano our resting-place for the first night ; but the usual road was cut up by the late floods, and that which we were to follow so increased the distance, that the landlord would not furnish us with horses that evening. As he had every- thing in his own hands, we submitted with as good grace as possible. Mesola is the frontier town of the Papal States, and consists of a large building, the residence of the governor, apparently constructed so as to be turned into a fort if necessary, and a few straggling houses, all lying below the level of the river, which is here magnificently embanked. During this day's journey we crossed five streams by means of ferry-boats ; but the steepness of their banks, and the bad arrangements of the boats, convinced us that no English carriage could be safely transported without improved means. On one oc- casion, indeed, our carriage, from its impetus in descending, was nearly thrown into the river, dragging the men and every thing after it. If this accident had happened, we should have had our baggage destroyed, if not lost, and should have been compelled to proceed for some distance on foot. W e started from Mesola the next morning at daybreak, and drove along the south bank of the P6 di Goro, or Po Piccolo, to the point opposite Vicolo, where we found numerous boatmen, and soon made an arrangement for our convey- ance to Chioggio. We were now dragged, as in a canal boat, by two men, up the Po to Sta. Maria in Ponto, without landing at Ariano. Before ar- riving at Sta. Maria we left the boat, in order to avoid the tiresome naviga- tion round the western point of the island. We reached Sta. Maria in this way, after a walk of a mile, while the boat did not arrive for three hours. Sta. Maria is the Austrian frontier station : we found the officers extremely civil and obliging, and were subjected to far less inconvenience than we had met with in many petty towns of the Papal States. The efiects of the floods on this island of Ariano were still visible in the broken banks, and in the vast masses of shingle thrown up on various parts of the sur- face. The inhabitants were unable to leave their houses for fifteen days, during the great flood of November 1839. On the arrival of our boat we proceeded on our voyage, passing through numerous canals, and seldom encountering a lock, in consequence of the level cha- racter of the country. We crossed the branch of the Po called Po Maestra, the Adige, and the Brenta, during the day ; but the only towns we passed were Cavanella di Po and Loreo. We arrived at Chioggio at 8 in the evening, and our anxiety to reach Venice was so great that we immediately hired a boat, and landed in that city at 2 in the morning. We ought to have slept at Chioggio, as we suffiered much from cold in passing the lagunes, and had but an imperfect view of the great wall, which is so well seen on this pas- sage. Our route altogether, in spite of the drawbacks mentioned, was far from being uninteresting; the swamps, ca- nals, and rivers were so unlike any- thing we had seen before, that we were amused by the novelty of the scene ; the time passed away pleasantly under the awning of the boat, or in walking along the banks of the canals, which the slow movement of our boat per- mitted ; we were struck by the simple manners of the peasantry, and still more by the extreme beauty of the women; we were not annoyed by beg- gars ; we enjoyed a freedom unknown to travellers in a diligence ; and at the close of our journey we almost regretted that it was the only one, and the last of the kind.''] Travellers will perceive from this that it is desirable to divide the journey into three days, sleeping at Mesola or Ariano on the first night, and at Chi- oggia on the second. They would thus reach Venice early on the third day. Papal States.] route 12. — ravenna. 11 ROUTE 12. BOLOGNA TO RAVENNA, BY IMOLA, LUGO, AND BAGNACAVALLO. 7i Posts. It Niccolo 1 o r> A. 1 A l±Imola } See Route 14. The route from Imola to Ravenna is somewhat longer than that from Faenza ; but the roads are excellent, and the country through which it passes is interesting on account of its high state of cultivation. Leaving Imola, the road proceeds along the left bank of the Santerno as far as Mordano, near which it leaves the Legation of Bologna, and enters that of Ravenna. Beyond the line of sepa- ration, after crossing the Santerno, it turns towards Lugo. Not far from this bend is the walled town of Massa Lom- harda^ generally supposed to have been so called from the Mantuan and Bres- cian emigrants, who fled from the per- secutions of Frederick Barbarossa, and settled here in 1232. There is no doubt that the establishment of this colony con- tributed to the prosperity of the district ; and it is recorded that Francesco d'Este , one of the generals of the Emperor Charles^ v., on his death-bed at Ferrara in 1573, directed that the Lombards of Massa should carry his body from Fer- rara to this town, where, in accordance with his wishes, it was buried. The present population is about 4,000. On the left bank of the Santerno, a branch road from Ferrara through the marshes of Argenta falls into this route. The road now crosses the Santerno, a short distance beyond which is 2 Lttgo, supposed to occupy the site of Lucus Diana, whose temple was in the neighbourhood, Lugo, now an im- portant provincial town of 9,343 souls, was raised to municipal rank by Julius IL, and was confirmed in its privileges by Pius VIL It was sacked by the French in 1796, and contains nothing to detain the traveller, unless indeed he happens to visit it at the period of its fair, which commences September 1st, and lasts till the 19th of the month. It is said to date from the time of Marcus Emilius, proconsul of Ravenna. It was confirmed by Pope John IV., in 640 ; by Clement VIIL, in 1598; and by Pius VIL During its continuance, the porticoes of the fine piazza are con- verted into shops. In the vicinity of Lugo are two small towns, each of which is in- teresting as the birthplace of personages whose names occupy a distinguished place in the Italian temple of fame. The first of these, Cotignohy lies to the south of Lugo, on the banks of the Senio, and is remarkable as the birth- place of Attendolo Sforza, the founder of that illustrious house which subse- quently played so important a part in Italian history. It was in this village that he threw his pickaxe into the branches of an oak, in order that it might decide by its fall, or by remain- ing fixed, whether he should remain a tiller of the ground, or join a company of adventurers. The other town is Fusignano, eastv/ard of Lugo, and likewise situated on the Senio, memo- rable as the birthplace of Angelo Co- relli the composer, and of Vincenzo Monti the poet. The castle of Cunio, so celebrated in the middle ages as one of the strongholds of Romagna, was in the immediate neighbourhood of Cotig- nola : its ruins may yet be traced. A short distance from Lugo the road crosses the Senio, and passes through Bagnacavallo, a small town of 3,491 souls, originally called Tiberiaco in honour of Tiberius. Several Roman inscriptions, and other antiquities of the time of the Empire, discovered there in 1605, prove its existence at that period as a Roman city. The pre- sent town is walled, and was formerly famous for its strong castle. It has a cathedral dedicated to St. Michael the Archangel, and a circus for the game of pallone, but it contains little to in- terest the stranger. The road now crosses the Lamone, and proceeds across the plain to Ra- venna. Near Godo the high road from Faenza falls into this route. 3 Ravenna. — (7;?^z, La Spada, very good, one of the most ancient inns of 78 ROUTE 12. RAVENNA. [Sect. I. Italy. Passports are demanded on en- tering the city, and a charge is made at the hotel lor entering the names of travellers! It is said that this unwor- thy tax is imposed by the police, but it ought at once to be abolished.) Ra- venna, the capital of the Western Em- pire, the seat of the Gothic and Longo- bardic kings and the metropolis of the Grecian exarchs, is one of those his- torical cities which are best iilustrated by their own monuments. Within its walls repose the remains of the cliil- dren of Theodosius, and amidst the tombs of exarchs and patriarchs rests all that was mortal of Dante. A short distance beyond the gates is the sepul- chre of Theodoric, king of the Goths : the city ramparts still retain the breaches of the barbarians, and the de- serted streets are tilled with Christian antiquitieSjwhich have known no change since the time of Justinian. As the traveller wanders through the streets, once traversed by the pomp and page- antry of the exarchs, their unbroken solitude recalls the feelings with which he may have rode round the walls of Constantinople ; but Ravenna has pre- served more memorials of her imperial masters, and possesses a far higher interest for the Christian antiquary than even that celebrated seat of em- pire. " Whoever loves early Christian monuments, whoever desires to see them in greater perfection than the lapse of fourteen centuries could warrant us in expecting, whoever desires to study them unaided by the remains of heathen an- tiquity, should make every effort to spend some days at least in this noble and imperial city. From Rome it dif- fers mainly in this, — that 3'^our medita- tions on its ornaments are not disturbed by the constant recurrence of pagan remains, nor your researches perplexed by the necessity of inquiring what was built and what was borrowed by the faithful. Ravenna has only one anti- quity, and that is Christian. Seated like Rome in the midst of an unheal- thy, desolate plain, except whenits un- rivalled pine-tbrests cast a shade of deeper solitude and melancholy over it ; quiet and lonely, without the sound of wheels upon its grass-grown j)ave- ment ; it has not merely to lament over the decay of ancient magniticence, but upon its total destruction — except what Religion has erected for herself. She was not in time to apply her saving as well as purifying unction to the basili- cas and temples of preceding ages ; or rather, she seemed to occupy what she could replace, and therefore, in the strength of imperial favour, raised new buildings for the Christian worship, such as no other city but Rome could boast of." — Dr, Wiseman, Dublin Rev. The history of Ravenna embraces a considerable portion of the history not only of Italy during the middle ages, but also of the Eastern and Western Empires. Without entering into these details, it will be absolutely necessary for the appreciation of its antiquities, to give a rapid sketch of its magnifi- cence under its ancient masters. The accounts of the classical writers prove that the ancient city was built on wooden piles in the midst of a vast lagune, extending fram the Po to the Savio, and so intersected with marshes that communication was kept up by numerous bridges, not only throughout the adjacent country, but even in the city itself. The sea, which is now from three to four miles distant, then flowed up to its walls. Ravenna be- came early a Roman colony, and judg- ing from an expression in Cicero, was an important naval station under Pom- pey the Great. Caesar occupied it pre- vious to his invasion of Italy, and set out from it to cross the Rubicon. Un- der Augustus its consequence was in- creased by the construction of an ample port, at the mouth of the Candianus, capable of affording shelter to 250 ships, and which superseded the old harbour at the mouth of the Ronco. He connected the new port with the Po by means of a canal, and carriecl a causeway to it from the city, which he made his frequent residence, and em - bellished with magnificent buildings. The new harbour was called Porftis Classis, a name still retained in the d is- Papal States.] ROUTE 12. RAVENNA. 19 t.inctive title of the noble basilica of S. Apolliiiare ; and the intermediate set- tlement which arose from the esta- blishment of the port was called Ccesa- rea, whose name also is still perpetuated hy the ruined basilica of S. Lorenzo in Cesarea. Subsequent emperors added to the natural strength of Ravenna by fortifying its walls, and maintaining its fame as a naval station. But its true interest does not commence until after the classical times. On the decline of the Roman empire, Honorius chose Ravenna as the seat of the Western Empire, a.d. 401. As early as this period the deposits of the Po had begun to accumulate on the coast ; tlie port of Augustus had gradually filled up, and the forest of pines, which supplied the Roman fleet with timber, had usurped the spot where that fleet had before anchored, and spread far along the shore, now becoming more and more distant from the city. These and other circumstances combined to make Ravenna a place of security, and Ho- norius, afraid of remaining defenceless at Milan, chose Ravenna as his resi- dence, where his personal safety was secure amidst the streams and morasses, which were then too shallow to admit the large vessels of the enemy. He availed himself of these changes to strengthen the city with additional for- tifications, and so far succeeded that its impregnable position saved it from the inroads of the northmen under Ra- dagaldus and Alaric. Without enter- ing into details of the administration of Ravenna under Placidia, the sister of Honorius, during the minority of Valentinian, it may be sufiicient to state that under his feeble successors even the natural advantages of the city were unable to ofl'er an effectual resist- ance to the wild tribes of Odoacer, who in little more than seventy years after the arrival of Honorius, made himself master of Ravenna and extinguished the Empire of the West. His rule, however, had lasted but fifteen years when Theodoric, king of the East Goths, crossed the Alps with a power- ful army, and after several gallant struggles overthrew Odoacer, and made Ravenna the capital of the Gothic kingdom. Theodoric was succeeded in the sovereignty of Italy by two of his descendants, and they in turn were succeeded by a series of elective kings, from the last of whom Justinian endea- voured to reconquer the lost provinces by the valour and military genius of Relisarius. The campaign of that great general, and his siege and capture of Ravenna, are well known to every reader of Gibbon. It is unnecessary to dwell upon the cir- cumstances attending the recall of Re- lisarius, and the appointment of Narses, the new general of Justinian, who drove the Goths out of Italy, and was in- trusted with the administration of the Italian kingdom by the title of Exarch of Ravenna. The title thus conferred upon the favourite lieutenant of the emperor was extended to his successors during the continuance of the Greek dominion ; the functions of the exarchs corresponded in some measure to those of the ancient praetorian prefects, and the imperial delegates who filled that office acquired a place in the chrono- logy of princes. Their administration comprised the entire kingdom of Italy, their jurisdiction extended over the city of Rome, and the pope or bishop of the christian capital v/as regarded as sub- ject to their authority, possessing merely a temporal barony in Rome dependant on the exarchate. The territory under- stood to be comprised in the Ejrarch- afe, included modern Romagna, the districts of Ferrara and Comacchio, the maritime Pentapolis or the line of towns extending from Rimini to Ancona, and a second or inland Pentapolis, includ- ing several towns as far as the range of the Apennines. The exarchate lasted 185 years, but its power soon began to decline : the Romans erected a kind of republic under their bishop, and Astolphus king of the Lombards, seeing that Ravenna would be an easy prey, drove out Eutichius, the last exarch, made himself master of the city, and created it the metropolis of the Longobardic kingdom, a.d. 754. 60 ROUTE 12. RAVENNA. [Sect. I. The attempt of the Lombards to seize Rome also as a dependency of the exarchate, brought to the aid of the church the powerful army of the Franks under Pepin and Charlemagne, by whom the Lombards were expelled, and Ravenna with the exarchate given to the Holy See as a temporal possession; " and the world beheld for the first time a christian bishop invested with the prerogatives of a temporal prince, the choice of magistrates, the exercise of justice, the imposition of taxes, and the wealth of the palace of Ravenna." During all these changes the city long preserved its town council and its municipal privileges : its elective ma- gistracy may be traced down to a.d. 625, and it was vested exclusively in prefects appointed by the sovereign. This rapid sketch of Ravenna during the high and palmy days of its pros- perity as the seat of sovereignty, will hardly be complete without tracing its history through its subsequent decline; •since many memorials of the events which occurred during this period will be found hereafter in the particular description of the city. After the re- storation of the exarchate to Rome by the Carloviugian princes, the fortunes of Ravenna began rapidly to decline ; its archbishops frequently seized the government, and it was the scene of re- peated commotions among its own citi- zens. In the thirteenth century the -constitution of Ravenna strongly tended to aristocracy ; the " Monumenti Ra- vennatis," a most valuable collection of statutes illustrative of the manners and society of the time show that its general council was composed of only 250, and its special council of oidy 70 persons. In the contests of the Guelphs and Ghibelines, Pietro Traversari, an ally of the former faction, declared himself Duke of Ravenna (1218), without changing the civil institutions of the city. His son and successor quarrelled with the Emperor Frederick II., who reduced Ravenna to obedience, and despoiled it of many of its treasures. The city was taken shortly after by Cardhial Ubaldini, legate of Innocent IV., and reduced again to the authority of the Roman pontiffs, who governed it by vicars. In 1275, it was subject to the family of Polenta, whose connection with it is commemorated by Dante un- der the image of an eagle which figured in their coat of arm.s ; " Ravenna sta com' e stata molti anni : L'aquila da Polenta la si cova, Si clie Cervia ricopre coi suoi vanni." Inf. xxvii. After some subsequent changes, the inhabitants were induced by civil tu- mults arising from the ambition or cupidity of its powerful citizens to throw themselves under the protection of Ve- nice, by which the government was seized in 1441. Ravenna flourished under the republic ; its public buildings were re- stored, its fortress was strengthened, and the laws were administered with justice and wisdom. After retaining it for 68 years, the Venetians finally ceded it to the church under Julius II. in 1509 ; and it then became the capital of Ro- magna, and was governed by the papal legates. In less than three years after this event, the general Italian war v/hich followed the league of Cambray brought into Italy the army of Louis Xll. under Gaston de Foix, who began his cam- paign of Romagna by the siege of Ra- venna. After a vain attempt to carry it by assault, in which he was bravely repulsed by the inhabitants, the arrival of the papal and Spanish troops induced him to give battle, on Easter Sun- day, April 11, 1512. Italy had never seen so bloody a battle; littie short of 20,000 men are said to have lain dead upon the field,when the Spanish infantry, )^et unbroken, slowly retreated. Gaston de Foix, furious at seeing them escape, rushed upon the formidable host in the vain hope of throwing them into dis- order, and perished in the attempt about three miles from the walls of Ra- venna. The French won the victory, but it was dearly purchased by the loss of their chivalrous commander. At the French invasion of 1790, Ra- venna was deprived of its rank as the capital of Romagna, which was given to Forli ; but it was restored by Austria Papal States.] route 12. — ravenna. — Cathedral. 81 in 1799, only to be again transferred by the French in the following year. On the fall of the Italian kingdom, Ra- venna was again made the chief city of the province, but its ancient glory was gone for ever, and only three towns and a few castles were left subject to its au- thority. Thus have dwindled away the pomp, power, and magnificence of a city, the residence of emperors and princes, and the capital of three king- doms. Ravenna, at the present time, is the chief city of a Legation comprehending by the returns of 1833 a population of 225,806 inhabitants, and a surface of 95 square leagues ; the city is inhabited by 10,582 persons, and its immediate territory, irrigated by seven rivers and numerous torrents, numbers 28,265 agriculturists. It is the seat of a car- dinal archbishop, who has the title of metropolitan, and to whom all the bishops of Romagnaare suffragans. Its bishopric, one of the most ancient in the christian v\rorld, was founded A.D.4i, by S. Apollinaris, a disciple of Peter : and it obtained the dignity of an archi- episcopal see as early as 439, under Pope Sixtus III. The circuit of the city is about three miles. Besides its churches and other objects of antiquarian interest, it contains a college, a museum, public schools, and an academy of the fine arts. Its port, communicating with tlie Adriatic by a canal, is still consi- dered one of the great outlets of Ro- magna, and carries on an extensive commerce with the Lombardo-Venetiaii kingdom. The Cathedral, once a remarkable ex- ample of the ancient Basilica, has lost all traces of its original character. It was built by S. Orso, archbishop of the see, in the fourth century, and called from him " Basilica Orsiana." It was rebuilt in the last century, and completely spoilt ; the cylindrical cam- panile, whose form recalls the minarets of Constantinople, alone remains of tlie original building. The chief interest of the present church is the celebrated painting by Guido in the chapel of the SS. Sacramento representing the fall of the manna, and the lunette above repre- senting the meeting of Melchisedeck and Abraham ; these are classed by Lanzi among Guido's best works. Among the other pictures which de- serve notice, are the grand banquet of Ahasuerus by Carlo Bononi, well known by the minute description of Lanzi, and the modern painting by Camuccini of the consecration of the church by St. Orso. The high altar contains an urn of Greek marble, in Avhich are deposited the remains of nine early bishops of the see. The silver crucifix is covered with sculptures of the sixth century. The clmpel of the Madonna del Sudore contains a large marble urn covered with bas-reliefs in which, as related by the inscription, are the ashes of St. Barbatian, confessor of Galla Placidia. Behind the choir are two slabs of Grecian marble, witii sym- bolical representations of animals, which formed part of the ancient pulpit, the work of the sixth century. In the vesti- bule of the sacristy is a Paschal ca- lendar on marble, much prized by an- tiquaries as a remarkable example of astronomical knowledge in the early times of Christianity. It was calculated for 95 years, beginning with 532, and ending in 626. Here is also a fine pic- ture by Guido, the angel offering bread and wine to Elijah. The Sacristy con- tains the pastoral chair of St. Maximiaii, formed entirely of ivory, with the mono- gram in front of " Maximianus Episco- pus." The bas-reliefs below the mono- gram represent the Saviour in the cha- racter of a shepherd and priest in the midst of the four evangelists: on the two exterior sides is the history of Jo- seph, and those which remain on the back represent various events in the life of the Saviour. It is precious as a specimen of art in the sixth century, but it has evidently suffered from in- judicious cleaning. Behind the grand door of the cathedral are still preserved some fragments of its celebrated door of vine wood, which has been superseded by one of modern construction. The original planks are said to have been 13 feet long and nearly 1|- wide — a e3 82 ROUTE 12. — 'RAVENNA. — San Vitale, [Sect. I. proof that the ancients were correct in stating that the vine attains a great size, and that we may rely on the assertion that the statue of Diana of Ephesus was made of the vine wood of Cyprus. It is probable that the wood of the Ra- venna doors was imported from Con- stantinople. The ancient Baptistery, called also *' S. Giovanni in Fonte." now separated from the cathedral by a street, is sup- posed to have been likewise founded by S. Orso : it was repaired in 451 by the archbishop Neo, and dedicated to St. John the Baptist. It is like most bap- tisteries of the early christians, an octa- gonal building; the interior has two circles, each of eight arcades, the lower resting on eight columns with different capitals, placed in each angle of the building ; the upper are twenty-four in number, dissimilar in form as well as in the capitals. The lower columns are considerably sunk, and both these and the upper series are supposed to have belonged to some ancient temple. The cupola is adorned with well-pre- served mosaics of the fifth century, re- presenting in the centre Christ baptized in the Jordan, and in the circumference the twelve apostles, with other orna- ments. The grand vase, which was formerly used for baptism by immer- sion, is composed of Greek marble and porphyry. There are two chapels in the building : that on the right contains a sculptured marble of the sixth cen- tury, which belonged to the ciborium of the old cathedral ; that on the left has a beautiful urn of Parian marble covered with symbols supposed to relate to the ancient nuptial purifications ; it was found in the temple of Jupiter at Cae- sarea. The ancient metal cross on the summit of the baptistery merits notice on account of its antiquity : it bears an inscription recording that it was erected in 688 by Archbishop Theodorus. The magnificent Basilica of San Vitale, in the pure Byzantine style, exhibits the octagonal form with all the accessories of Eastern splendour. As one of the earliest Christian tem- ples, it is of the highest interest in the history of art. It was built in the reign of Justinian by S. Ecclesius, the archbishop of the see, on the spot where St. Vitalis sufiered martyrdom, and was consecrated by St. Maximiari in 547. It was an imitation of Sta. Sophia at Constantinople, and was adopted by Charlemagne as the model of his church at Aix-la-Chapelle. The original pavement is considerably below the present floor, and is now covered with water. The architecture of the interior exhibits eight arches resting on as many piers, between which are semi- circular recesses of two stories, each divided into three small arches by two columns between the principal piers. The spaces between the lower columns open into the side aisles, and those be- tween the upper into a gallery. Above, the building becomes circular. The fourteen columns of the upper story have Gothic capitals, some of which bear an anchor, supposed to indicate that they belonged to a temple of Nep- tune. The fourteen columns of the lower story have also Gothic capitals ; and on the imposts of the arches are twenty-eight monograms. The pilasters and the walls are covered with large plates of Grecian marble, on which are still to be traced some fragments of a frieze. The colossal dome is painted with frescoes representing the fathers of the Old and New Testaments, with various decorations, such as festoons of roses hanging from the roof; all in the worst taste, and at variance with the architectural character of the building. The dome is constructed of earthen pots, and is perhaps the njost perfect specimen known of this kind of work. They are small twisted vessels, having the point of one inserted in the mouth of the other in a continued spiral, and placed horizontally. The spaiidrils are partially filled with others of larger size, twisted only at the point, and arranged vertically. The upper walls and vault of the choir are covered with mosaics of the time of Justinian, as beautiful and as fresh as on the day when they were first finished ; invalu- able as specimens of art during the Papal Stales.] route 12. — ravenna. — San Vitale. 83 middle ages, no less than as studies of costume. The most elaborate of these mosaics is tliat of the tribune, repre- senting on the right the Emperor Jus- tinian with a vase containing conse- cration offerings in his hand, surrounded by courtiers and soldiers, and accom- panied by St. Maximian and two priests. On the left the Empress I'heodora with a similar vase, attended by the ladies of her court. In the vault above is the Saviour throned on the globe between the archangels ; on the right hand is S. Vitalis receiving the crown of martyrdom ; and on the left S. Eutichius in the act of offering a model of the church. The vault is decorated with arabesques, urns, and other ornamental devices. The other mosaics represent the Saviour with the twelve apostles ; St. Gervase, and S. Protasius, sons of S. Vitalis; the offering of Abel, and of Melchisedeck ; Moses with the sheep of I^Iadan ; Moses on Mount Horeb, and again in the act of taking off his sandals at the com- mand of the Almighty, represented by a Imnd in the heavens ; the sacrifice of Isaac; the three angels foretelling the birth of a child to Abraham, while Sarah stands in the doorway ridiculing the prediction ; Moses on Mount Sinai ; the prophets Isaiah and Jeremiah ; and the four Evangelists with their emblems. The preservation of these extraordinary mosaics, still retaining the freshness of their colours amidst all the revolutions of Ravenna, is truly wonderful ; they have been the admiration of every writer, and they cannot fail to afford the highest interest not merely to the christian antiquary, but to all tra- vellers of taste. They are so ex- cellently preserved, that the figures, like all others of this kind at Ravenna^ seem really living ; in this choir a person might fancy himself at Con- stantinople : the features of Theodora, of that comedian who passed from a theatrical throne to the throne of the world, have still a wanton air that recalls her long debaucheries. When I contemplated the traces of Constan- tinople which exist at Ravenna, it seemed to me that tliis curious town was more Constantinople than Con- stantinople itself, the aspect of whiclj must have been materially clianged by the barbarous fanaticism of the Otto- mans. A citizen of Byzantium, my fancy pictured the concourse of her literati, legists, theologians, monks, dis- putants, a decrepit nation, and the splendour of the edifice did not conceal the weakness of the empire.'' — Falenj, The splendid marble columns will not escape the notice of the stranger ; many of them are of Greek marble, and others are considered unique. On the imposts of the arches of the right columns of tliis choir are two monograms of Ju- lia?ms, written on one of them in the reverse. Near the high altar, on the right, are the celebrated bas-reliefs, in Greek marble, called the " Throne of Neptune," compared for their execu- tion and design to the works of Phidias and Praxiteles. In them are seen the throne of the god, with a sea-monster extended in front of it ; a winged genius holds a trident on the right, and on the left two other genii are seen bearing a large shell. The ornaments of these sculptures are pilasters of the Corin- thian order, a cornice with tridents, dolphins, shells, and two sea-horses. It is recorded by M. Valery that these beautiful sculptures were mutilated *' by a too scrupulous priest, who nar- rowly escaped under the French admi- nistration being punished for his strange crime."' The Chapel of the SS. Sacr^a- mento contains a gilded ciborium attii- buted to Michael Angela, and a picture of St. Benedict by Francesco Gessi, a pupil of Guido. The assumption of St. Gertrude is by Andrea Barhiani. In the vestibule of the Sacristy is a superb bas-relief of Greek marble, sup- posed to be of the time of Claudius, representing the " Apotheosis of Au- gustus." It is divided into two por- tions : in the first is the goddess Rome, w^ith Claudius and Julius Cajsar bearing a star on the forehead as an emblem of divinity. Livia is repre- sented under the figure of Juno, and Augustus under that of Jupiter. The 84 ROUTE 12. — RAVENNA. — Churckes. [Sect. L second represents a sacrifice. This pre- cious sculpture is supposed to have been one of the decorations of a temple dedicated to Augustus. The pictures in the Sacristy are the Virgin and Child throned, with St. Sebastian and other saints, mentioned by Lanzi among the best works of Luca Longhi, a native artist ; the Sta. Agatais by his daughter Barbara, and the Annunciation by his son Francesco Longhi ; the martyrdom of S. Erasmus is by another native painter, Giambattista Ba7^bia?ii ; the martyrdom of St. James and St. Philip is by Camillo Procaccini. The Tomb of the Exarch Isaac, " the great orna- ment of Armenia," remains to be no- ticed. It was erected to his memory by liis wife Susanna, and bears a Greek inscription recording the glory he ac- quired in the east and in the west, and comparing her widowhood to that of the turtle dove. The urn containing his ashes is of Greek marble, with bas- reliefs of the adoration of the Magi, the raising of Lazarus, and Daniel in the lion's den. Isaac was the eighth exarch of Ravenna, and died in the city, according to Muratori, a.d. 644. The Basilica of S. Giovanni Evan- gelista was founded, in 425 by the Em- press Galla Placidia, in fulfilment of a vow made in a tempest during her voyage from Constantinople to Ravenna with her children. Like the cathedral it has lost much of its ancient cha- racter by restorations, and most of its mosaics have disappeared. The church tradition relates, that not knowing with what relic to enrich the church, the empress was praying on the subject v/hen St. John appeared to her in a vision ; she threw herself at his feet for the purpose of embracing them, but the evangelist disappeared, leaving one of his sandals as a relic. This vision is represented in a bas-relief over the trausom of its pointed doorway, the work probably of the twelfth century. The bas-relief is in Greek marble ; the lower part shows St. John incensing the altar, with the empress embracing •his feet; in the upper part she appears offering the sandal to the Saviour and St. John, while S. Barbatian and his attendants are seen on the other side. The doorway, especially in the small niches, is richly sculptured with figures of saints, and is an interesting example of the Gothic architecture of the period. The interior of the church, consisting of three naves supported by twenty- four ancient columns, contains the high altar, beneath which repose the remains of SS. Canzio, Canziano, and Canzi- anilla, martyrs ; the ancient altar of the confessional, constructed of Greek marble, porphyry, and serpentine, the work of the fifth century ; and some fragments of a mosaic, representing the storm and the vow of Galla Placidia. The vault of the second chapel is painted by Giotto, representing the four Evan- gelists with their symbols, and St. Gre- gory, St. Ambrose, St. Augustin, and St. Jerome. The other paintings in this church do not merit any particular attention; but the ancient quadran- gular Campanile, the articulations of which are ornamented with white and green mosaics, is remarkable for its two bells cast by Robert of Saxony in 1208. The Cfmrch of S. Giova?ini Battista, built by Galla Placidia for her con- fessor St« Barbatian in 438, was conse- crated by St. Peter Chrysologus, but it was almost entirely rebuilt in 1683. On the right of the entrance are three sepulchral urns or sarcophagi, the largest of which contains the ashes of Pietro Traversari, already mentioned as lord of Ravenna, who died in 1225, The marble and other columns of the interior are chiefly adapted from the ancient building ; some of them how- ever were found in the neighbourhood of the church on the supposed site of the imperial palace in which Galla Placidia resided. The church contaii.'s two paintings by Francesco Longhi, one representing the Virgin and Child with St. Clement and St. Jerome ; the other the Virghi and Child with St. Matthew and St. Francis of Assisi. The ancient Church of San Fittore contains a painting of St. Joseph and I the infant Saviour, with S. ^'ictor and Palpal States.] route 12. — ravenna. — Churches. 85 S. Eustachius, by Pasquali da For It, mentioned with praise by Lanzi. The Church of San Dornenico, a resto- ration of an ancient basilica founded by the exarchs, contains some fine works of Bondinello^ a native painter and pupil of Bellini. The Virgin and Child with S. Jerome, S. Domenico, S. Joseph, and S. Francis of Assisi, the two paintings of the Annunciation, the S. Domenico and St. Peter in the choir, and the Virgin and Child, with the Magdalen and other saints, are by this master. In the chapel of the Crucifix is an ancient wooden crucifix curiously covered Avith fine linen in imitation of human skin, which is said to have sweated blood during the battle of Ravenna under Gaston de Foix. The second chapel on the left contains the Fifteen Myste- ries of the Rosary, by Luca Longhi ; and the third chapel on the right has a fine picture by the same artist repre- senting the Invention of the Cross. The Church of S. Apollinare Nuovo, built by Theodoric in the beginning of the sixth century as the cathedral of his Arian bishops, was consecrated for Catholic worship by S. Agnello, arch- bishop, at the close of the Gothic king- dom, under the name of S. Martim. It was also called Chiesa di Cielo Aureo, on account of its magnificent decora- tions. It assumed its present name in the ninth century, from the belief that the archbishops had buried the body of St. ApoUinaris within its walls, in order to secure it from the attacks of the Saracens. The twenty-four columns of Greek marble with Gothic capitals dividing the nave from the aisles were brought from Constantinople. The walls of the nave are covered with superb mosaics, executed under the archbishop Agnello in the sixth cen- tury. On the left is represented the city of Classe, with the sea and ships ; in the foreground twenty-two virgins, each holding in her hand a crown, and accompanied by the magi, in the act of presenting their offerings to the Virgin and Child sitting on a throne between angels. On the opposite side of the nave, the mosaic presents us with a picture of Ravenna at that period, in which we distinguish the Basilica of S. Vitale, and the palace of Theodoric bearing the word Palatium on the fa- gade ; twenty -five saints holding crowns and receiving the benediction of the Saviour sitting on a throne between four angels. The rest of these walls as high as the gilded roof are covered with mosaics representing the fathers of the Old and New Testaments, and various miracles of the Saviour. It is said that another mosaic, representing the emperor Justinian, exists in toler- able preservation behind the organ. In the nave is the ancient pulpit of Greek marble covered with Gothic ornaments, supported by a mass of grey granite. The altars of this church are rich in rare marbles and verde antique. In the last lateral chapel is preserved the ancient marble chair of the Benedic- tine abbots, to whom the church for- merly belonged : it is supposed to be the work of the tenth century. The Church of S. Francesco^ sup- posed to have been erected in the middle of the fifth century by St. Peter Chrysologus on the site of a temple of Neptune, has sufiered from modern restorations. It has a nave and two aisles divided by twenty-two columns of Greek marble. In the right aisle is the urn containing the remains of S. Liberius, archbishop of the see, a fine work in Greek marble, referred to the fourth or fifth century. The chapel of the Crucifix contains two beautiful columns also of Greek marble, deco- rated with capitals sculptured by Pietro Lombardo, by whom likewise are the rich arabesques of the frieze and pilas- ters. In the left aisle is the tomb of Luffo Numai, of Forli, secretary of Pino Ordelaffi, lord of that city, the work of Tommaso Flamherti. On the right wall of the ent¥ance door is a sepulchral tablet with the figure in bas- relief of Ostasio da Polenta, lord of Ra- venna, clothed in the robes of a Fran- cescan monk, and bearing the follow- ing inscription in Lombard characters : " Hie jacet magnificus Dominus Hos- 86 ROUTE 1 2. RAVENNA. ChuTCkeS. [Sect. I. tasius de Polenta qui ante diem felix obiens occubuit mccclxxxvi die xiv mensis Maitii, cujus aiiima requiescat in pace." The Polenta family, so cele- brated for their hospitality to Dante, and for the fate of Francesca da Ri- mini, are all bm'ied in this church. On the left wall of the doorway is a similar sepulchral stone, on which is sculptured the figure of Enrico Alfieri, general of the Fiancescan order, who died at the age of 92, in 1405, as re- corded by the inscription. He was one of the Asti family, and was therefore an ancestor of the illustrious tragic poet who has given immortality to the name. We may here mention the monument called Braccio-forte, out- side this church, representing a dead warrior, whose name and history have not been preserved : it was highly praised by Canova. The Church of Sta. Agata, another ancient edifice dating from the fifth century, has a nave and two aisles divided by tv/enty columns partly of granite, partly of cipolino, with others of Greek marble. Two white columns marked like the skin of a serpent are pointed out by the ciceroni as worthy of observation. The choir contains a painting of the Crucifixion, by Fran- cesco da Colignola, praised by Vasari as a colourist; and in one of the chapels of the right nave is one of Luca Longhi's best works, reju'esenting St. Agata, St. Catherine, and St. Cecilia. The altar of this chapel contains the bodies of S. Sergius, martyr, and S. Agnello, archbishop ; and bears the two mono- grams of Sergius Diacomis, The ruined Church of S. Michele in Jffricisco, built in the sixth century, now profaned by a fish market, still re- tains the mosaics of its tribune and its ancient campanile. These mosaics, contemporaneous with the foundation of the church, represent the Saviour between the two archangels holding an open bock, on one page of which is written " Qui vidit me vidit et Patrem,'" and on the other Ego et Pater unum sumus.'" Above is the Saviour blessing the gospels, between two angels, ac- companied by the seven angels of the Apocalypse. The Chm^ch of the Santo Spirit o, called also the church of S. Teodoro, was built in the sixth century by Theo- doric, for the Arian bishops ; it assumed the name of S. Theodore after its con- secration to the Catholic worship by Archbishop S. Agnello, and afterwards took the present name. Besides its rich marbles, it contains the ancient pulpit of the sixth century with Gothic sculp- tures, which was used by the Arian prelates. The Church, or Oratory of Santa Maria in Cosmedim, near it, was the ancient Arian baptistery: its vault was decorated with mosaics in the sixth century, after it had passed to the Ca- tholic worship. It is an octagonal building. The mosaics of the roof re- present the baptism of the Saviour in the Jordan; the twelve apostles, each bearing a crown in his hand, with the exception of St. Peter, who carries the keys, and St. Paul, who bears two books. The large round block of Ori- ental granite in the centre of the floor is supposed to be the remains of the ancient baptismal vase. The Church di Santa Croce, built by Galla Placidia in the fifth century, and consecrated by St. Peter Chrysologus, has been sadly ruined ; the existing building contains a picture of the Virgin and Child on a throne, with St. Jerome and St. Catherine, by Niccolo Rondinello. The Church of S. Niccolo, built by Archbishop Sergius, in 768, in fulfil- ment of a vow, contains immerous paintings by P. Cesare Pronti, the Au- gustin, better known as P. Cesare di Ravenna , whose works are highly praised by Lanzi. Among these may be men- tioned the St. Thomas of Yillanova ; the St. Nicholas ; the St. Augustin, and the frescoes of the chapel ; the Virgin, with St. Nicholas of Tolentino, St. Thomas of Villanova, and other saints ; the Sta. Monica, considered his masterpiece ; and the San Francesco di Paola. The large painting of the Na- tivity over the entrance door, the Sebas- Papal States. 1 route 12. — rav ENNA. — Galla Piacidia, 87 tian on the left wall, and the St. Ca- therine on the right, are by Francesco da Cotignola ; the archangel Raphael is by Girola7no Genga of Urbino. The Church of Sfa. 3Iaria Maddalena has a painting of the Saviour appearing to the Magdalen in the form of a bird, by Fdippo Pasquali ; and some modern works of Domenico Corvi of Viterbo, and Tommaso Sciacca of IMazzara. The Church of S. Romimldo^ or Classe, originally belonging to the Carthusians, has become the chapel of the college of Ravenna. The cupola is painted in fresco by Gio. Battista Barhiani, who was also the painter of theS. Romualdo in the choir, and of the frescoes in the first chapel on the left of the entrance. The second chapel contains a picture of S. Romualdo, by Guercino. The first chapel on the right has a painting of S. Bartholomew and S. Severus, by Franceschini ; and the second a picture of S. Benedict, by Carh Cignani. The sacristy contains two fine columns of oriental porphyry, found near S. Apol- linare in Classe ; and the celebrated pic- ture of the raising of Lazarus, by Fran- cesco da Cotignola^ highly praised by Lanzi. The frescoes of the roof are by P. Cesare Pronti. In the refectory is a fine fresco of the marriage at Cana, by Lnca Longhi and his son Francesco ; the veil throw n over the woman on the left of the Saviour was added by his daughter Barbara, to satisfy the scru- ples, it is said, of Cardinal S. Carlo Borromeo, then legate of Ravenna. The altars of this church almost sur- pass in brilliancy all the others in the city ; many of the marbles they con- tain are precious on account of their extreme rarity. The Church of Sfa. Maria in Porto, built of the remains of the Basilica of S. Lorenzo in Cesarea, in 1553, with a facade erected in the last century, is perhaps the finest church of recent date in Ravenna. It is celebrated for an image of the Virgin, sculptured in marble, in oriental costume, and in the act of praying — a very early specimen of christian art, originally placed in the church of Sta. Maria in Porto Fuori, and transferred here in the sixteenth century. The third chapel contains the masterpiece of Palma Giovane, the mar- tyrdom of St. Mark. The sixth chapel of the opposite aisle has a painting by Luca Longhi, representing the Virgin, with St. Augustin, and other saints. The sacristy contains an ancient por- phyry vase, beautifully worked, sup- posed to have been a Roman sepul- chral urn. Near this church is The suppressed Convent of Sta. Chiara. founded in 1250 by Chiara da Polenta, and now almost entirely ruined. In the interior, however, may still be seen some of the frescoes of Giotto, by whom it was originally decorated. Mausoleum of Galla Placidia, called also the Church of SS. Nazario e Celso. This once magnificent sepulchre was built by the Empress Galla Placidia, the daughter of Theodosius the Great, and the mother of Valentinian, third emperor of the West, towards the end of the fifth century; It is in the form of a Latin cross, 55 Roman palms in length and 44 in breadth, and is paved with rich marbles, among which giallo antico predominates. The cupola is entirely covered with mosaics of the time of the empress, in which we see the four evangelists with their sym- bols, and on each wall two full- length figures of prophets. The arch over the door has a representation of the Saviour as the Good Shepherd ; over the tomb of the empress is the Saviour with the gospels in his hand ; and in each of the lateral arches are two stags at a fountain, surrounded by arabesques and other ornaments. The high altar in the centre of the mauso- leum, composed of three grand plates of Oriental alabaster, was formerly in the church of S. Vitale, and is referred to the sixth century. But the great attraction is the massive sarcophagus of Greek marble, resembling a large coffer with a convex lid, which con- tains the ashes of Galla Placidia. It was formerly covered with silver plates ; but these have disappeared, together with the other ornaments with which it was originally enriched. In the side 88 ROUTE 12. — RAVENNA. — Polace of Tlteodoi^ic. [Sect. I. next the wall was formerly a small aperture, through which the body of the empress was seen, sitting in a chair of cypress wood, clothed in her impe- rial robes. Some children having in- troduced a lighted candle, in 1577, the robes took fire, and the body was reduced to ashes; since that time the aperture has remained closed. On the right is another sarcophagus of Greek marble covered with Christian sym- bols, which contains the ashes of the Emperor Honorius, the brother of Galla Placidia. On the left is the sarco- phagus of Constantius, the Roman ge- neral, the second husband of Galla Placidia, and the father of Valentinian. On each side of the entrance door is a small sarcophagus, one containing the remains of the tutors of Valentinian, the other those of Honoria, his sister. The subterranean mausoleum of Galla Placidia is as a monument of the dreadful catastrophes of the Lower Em- pire. This daughter of Theodosius, sister of Honorius, mother of Valen- tinian III., who was born at Constan- tinople, and died at Rome, was a slave twice, a queen, an empress ; first the wife of the King of the Goths, Alaric's brother-in-law, v/ho fell in love with his captive, and afterwards of one of her brother s generals, whom she was equally successful in subjecting to her will ; a talented woman, but without generosity or greatness, who hastened the fall of the empire — whose ambition and vices have obscured and as it were polluted her misfortunes." — Valery. Palace of Theodoric. — Of this magni- ficent palace of the Gothic king, which served as the residence of his succes- sors, of the exarchs, and of the king of the Lombards, the only portion re- maining is a high wall, in the upper part of which are encrusted eight small marble columns. At its base is a por- phyry basin of large size, on which an inscription was placed in 1564, stating that it formerly contained the ashes of Theodoric, and that it was originally situated on the top of his mausoleum. Many antiquaries, however, now consi- der that it was a bath ; and that the only argument in favour of its having been the sarcophagus of Theodoric is the inconclusive fact that it was found near his mausoleum. They urge the diffi- culty of placing so great a mass on the roof of the mausoleum, and contend that the late date of the inscription must be received as an additional ground for suspicion. In regard, how- ever, to one of these objections, the size and weight of the vase, it must not be forgotten that the same machinery which raised the solid roof, calculated to weigh at least two hundred tons, would be equally efficient in elevating the porphyry vase. There is a flat pro- jection on the summit of the roof, on which tradition relates that a vase or urn containing the royal ashes ori- ginally stood. Mr. Hope, however, ob- serves that " The porphyry receptacle, now immured in the front of the build- ing at Ravenna called Theodoric's pa- lace, but more probably that of the late exarchs, supposed to have con- tained, on the top of Theodoric's mo- nument, the body of that king, like- wise in its form proclaims itself a bathy The palace was chiefly ruined by Charlemagne, who, with the consent of the Pope, carried away its ornaments and mosaics, and removed to France the equestrian statue of the king which stood in the adjoining piazza. The Tomb of Dante.— all the monuments of Raverma, there is none which excites so profound an interest as the tomb of Dante. In spite of the bad taste of the building in which it is placed, it is impossible to approach the last resting-place of the great poet without feeling that it is one of the first monuments of Italy. " Ungratefnl Florence ! Dante sleejas afar, Like Scipio, buried by the upbraidins; shore ; Thy factions, in their worse than civil war, Proscribed the bard whose name for ever- more Their children's children would in vain adore With the remorse of ages; and the crown Wliich Petrarch's laureate brow supremely wore. Upon a far and foreign soil had grown, His life, his fame, his grave, tliough rifled — not thine own." Byron, Papal States,'] route 12. — ravenna. — Tomb of Dante. 89 The remains of the poet were origi- nally interred in the church of San Francesco; but on the expulsion of his patron Guido da Polenta from Ravenna, they were with difficulty pro^ tected from the persecutions of the Florentines, and from the excommuni- cation of the Pope. Cardinal Bel- tramo del Poggetto ordered his bones to be burnt with his tract on " Mo- narchy," and they narrowly escaped the profanation of a disinterment. After the lapse of a century and a half, Bernardo Bembo, Podesta of Ra- venna for the republic of Venice in 1482, and father of the cardinal, did honour to his memory by erecting a mausoleum on the present site, from the designs of Pietro Lombardo. In 1692 this building was repaired and restored at the public expense by the cardinal legate, Domenico Corsi of Florence, and rebuilt in its present form in 1780, at the cost of Cardinal Gonzaga of Mantua, the legate of that period. It is a square building, inter- nally decorated with stucco ornaments little worthy of such a sepulchre. On the ceiling of the cupola are four me- dallions of Virgil, Brunetto Latini (the master of the poet), Can Grande della Scala^ and Guido da Polenta, his patron. On the walls are two Latin inscriptions, one in verse record- ing the foundation of Bembo, the other the dedication of Cardinal Gonzaga to the "Poetae sui temporis primo restitu- tori." The sarcophagus of Greek mar- ble which contains the ashes of the poet, bears his portrait, and is sur- mounted by a crown of laurel with the motto Virtuti et honori. The inscrip- tion is said to have been written by himself. Below it, in a marble case, is a long Latin history of the tomb, to which it is not necessary to refer more particularly, as all the leading facts it records have been given above. The feelings with which this se- pulchre was visited by three of the greatest names in modern literature deserve to be mentioned; Chateaubriand is said to have knelt bareheaded at the door before he entered ; Byron deposited on the tomb a copy of his works ; and Alfieri prostrated himself before it, and embodied his emotions in one of the finest sonnets in the Italian language : — O gran padre Alighier, se dal ciel miri Me tuo discepol iion indegno starmi, Dal cor tiaendo profondi sospiri, Prostrato innanzi a' tuoi fuiierei marrai/* &c. Lord Byron's lines commemorating the tomb of the poet and the monu- mental column of Gaston de Foix will scarcely fail to suggest themselves to the reader : — " I canter by the spot each afternoon Where perished in his fame the hero-boy Who lived too long for men, but died too soon For human vanity, the young De Foix ! A broken pillar, not uncouthly hewn. But which neglect is hastening to destroy. Records Ravenna's carnage on its face. While weeds and ordure rankle round the base. " I pass eacli day where Dante's bones are laid: A little cupola, more neat than solemn, Protects his dust, but reverence here is paid To the bard's tomb, and not the warrior's column: The time must come, when both alike de- cay' d, The chieftain's trophy, and the poet's volume. Will sink where lie the songs and wars of earth. Before Pelides' death, or Homer's birth. " With human blood that column was ce- mented, With human filth that column is defiled. As if the peasant's coarse contempt were vented To show his loathing of the spot he soil'd : Thus is the trophy used, and thus lamented Shouhi ever be those blood-hounds, from whose wild Instinct of gore and glory earth has known Those sufferings Dante saw in hell alone." Near the tomb of Dante is the house occupied by Lord Byron, whose name and memory are almost as much asso- ciated with Ravenna, as those of the great Poet-Sire of Italy." He de- clared himself more attached to Ra- venna than to any other place, except Greece ; he praised its " delightful climate," and says he was never tired of his rides in the pine forest ; he liked Ravenna, moreoverj because it was 90 ROUTE 12. — RAVENNA. PalaCSS. [Sect. I. (;ut of the beaten track of travellers, and because he found the higher classes of its society well educated and liberal beyond what was usually the case in other continental cities. He resided in it rather more than two years, and quitted it," savsthe Countess Guiccioli, " with the deepest regret, and with a presentiment that his departure would be the forerunner of a thousand evils : he was continually performing generous actions : many families owed to him the few prosperous days they ever en- joyed ; his arrival was spoken of as a piece of public good fortune, and his departure as a public calamity.'' The " Prophecy of Dante'' was composed there, at the suggestion of the Countess Guiccioli ; and the translation of the tale of " Francesca da Rimini " was " executed at Ravenna, where just five centuries before, and in the very house in which the unfortunate lady was born, Dante's poem had been com- posed." The " Morgante Maggiore,*' " Marino Faliero," the fifth canto of " Don Juan," " The Blues," " Sarda- napalus," " The Two Foscari," ^'Cain," " Heaven and Earth," and the ''Vision of Judgment," were also composed during his residence at " that place Of old renown, once in the Adrian sea, Ravenna! where from Dante's sacred tomb He had so oft, as many a verse declares, Drawn inspiration." Rogers. Palaces. — The Archbishop's Palace^ near the cathedral, is one of the most interesting edifices in Ravenna to the christian antiquary. The chapel, still used by the archbishops, is the one which was built and used by St. Peter Chry- sologus in the fifth century, without the slightest alteration or change : no pro- faning hand has yet been laid on its altar or mosaics. The walls are covered with large plates of Greek marble, and the ceiling still retains its mosaics as fresh as when they were first made. In the middle they represent the symbols of the evangelists; and below, arranged in circles, the Saviour, the apostles, and various saints. The altar has some mosaics which belonged to the tribune of the cathedral previous to its re-erec- tion. In one of the halls of the palace is a collection of ancient Roman and Christian inscriptions, with other frag- ments of antiquity. In the hall called the Appartamento Nobile" is a bust of Cardinal Capponi by Rernini, and one of St. Apollinaris by Thorwaldsen. On the third floor is the small Archiepiscopal lib) anjy formerly famous for its records ; but most of these disappeared during the political calamities of the city. It still however retains the celebrated MS. whose extraordinary size and preserva- tion have made it known to most lite- rary antiquaries : it is a brief of the twelfth century, by which Pope Pascal II. confirmed the privileges of the arch- bishops. The most ancient parchments preserved in these archives date from the fifth century. The Palazzo del Governo, a building of the seventeenth century, recently re- stored, contains nothing to interest the stranger. The portico is supported by eight granite columns, with Gothic ca- pitals, on four of which is the mono- gram of TlIEODORlCUS. The Palazzo Comunale has marble busts of seven cardinal legates, and a portion of the gates of Pavia, captured from that city by the inhabitants of Ravenna. The public archives for- merly contained a large collection of historical documents, but most of them have disappeared, and the oldest dates only from the fourteenth century. The Palazzo Cavalli, the P. Lova- telli^ the P. Rasponi, the P. Spreti, &c., had all of them small galleries of paint- ings ; but with few exceptions the pa- triotism of their noble owners induced them to transfer their collections to the Public Academy of the Fine Arts. The fine ceiling of the Pal. Giulio Ras- poni, representing the death of Camilla queen of the Yolsci, by Agricola, is interesting, because the figure of the queen is a portrait of Madame Murat, whose daughter married into the family. The Library, Biblioteca Comunale, founded by the Abate D. Pietro Ca- neti of Cremona, in 1714, and subse- quently enriched by private munifi- Papal States.] route 12. — ravenna. — Museum; Academy, 91 cence and by the libraries of suppressed conventSj contains upwards of 40,000 volumes, 700 manuscripts, and a large collection of first editions of the fifteenth century. Among its MS. collections, the most precious is the celebrated Co- dex of Aristophanes of the tenth century, long known as unique, and used by Bekker for the Invernizi edition, pub- lished at Leipzig in 1794. It is re- corded of this MS. that Eugene Beau- harnois wished to purchase it ; but the inhabitants being resolved not to lose so great a treasure, concealed the vo- lume. Cardinal Consalvi also endea- voured to deprive the citizens of it, and ordered them to sell it to the King of Denmark : but they were equally firm, and the affair at length terminated in two scholars from Copenhagen being sent to copy it. A MS. of Danfe, on vellum, with beautiful miniatures of the four- teenth century, is preserved here : its version is little known. Among the princeps editions, which range from 1465 to 1500, are the Decretals of Boniface J^IlI.j on vellum, Mayence, Faust and Schoefjfer, 1465; the Plmij the Younger, on vellum, 2 vols., Venice, Gio. Spira, 1468; The Bible, with miniatures, on kid, Venice, Ja?ison, 1478; the St. Au- gust in, De Civitate Dei, 1468; the Dante of Lodovico and Alberto Piemontesi, Mi- lan, 1478. Among the miscellaneous collection may be noticed, the Histonj of the Old and New Testament in Chi- nese, printed on silk, and a series of up- wards of 4,000 parchments, beginning with the eleventh and ending with the last century, chiefly relating to the order of Canonici Regulari Lateran- ensi. The Museum, besides a good mis- cellaneous collection of vases, idols, bronzes, and carved work in ivory, contains a rich cabinet of medals, an- cient and modern. The ancient are arranged in three classes: 1. Medals of the free cities ; 2. Consular ; and 3. Imperial. In the second class is one of Cicero, struck by the town of Mag- nesia, in Lydia : it bears on one side his profile and name in Greek charac- ters, and on the other a hand holding a crown with a branch of laurel, an ear of corn, a bough of the vine bearing a bunch of grapes, with the inscription in Greek " Theodore of the Magnesians near Mt. Sipylus." It is supposed to be an unique example. The modern collection is also arranged in three classes: 1. Medals of the Popes from Gregory III. ; 2. Medals of illustrious personages and of royal dynasties; 3. Coins of various Italian cities. In the first class is a fine medal of Benedict III., interesting because it is considered conclusive as to the fable of Pope Joan. In the second class is a complete series of the House of Medici, in eighty-four bronze medals of equal size. The Academy of the Fine Arts, an admirable institution of recent date, does honour to the patriotic and en- lightened feelings of the citizens. It contains a Pinacothek or museum of pictures, and a good collection of plas- ter casts of celebrated masterpieces both ancient and modern, contributed by dif- ferent benefactors at Rome and Flo- rence. Many of the resident nobility, desirous of promoting the design, have removed their family collections from their palaces and deposited them in this public museum, to which all classes of students have free access. The Co- mune likewise contributed the pic- tures in their possession ; and the ami- able Cardinal Archbishop Falconieri encouraged the institution by similar liberality and patronage. Among the works it contains may be mentioned the St. John Baptist and the St. Francis, by Leonardo da Vinci ; head of St. Anna, Correggio (?) ; sketch of a Fury, Michael Atigelo ; the Crucifixion, Da- niel da Volterra ; St. John, Guercino ; the Deposition, and a Portrait, Ba- roccio ; the Deposition, the Nativity, Guido; the'^ irgin throned, Sassoferrato ; Adam and Eve, the Magdalen, Alba?io ; two portraits, Tintoretto; the Holy Fa- mily, Portrait of Charles V., the Depo- sition, the Nativity, Virgin and Child throned, Luca Longhi ; a Nun, Barbara Longhi; the Deposition, Vasari ; the flight out of Egypt, Luca Giordano; the Virgin throned^ Fr^ancesco da Co- 92 ROUTE 12. — RAYE-^^N A -Hospital ; Theatre; Fortress. [Sect. 1. tignola : Descent of the Holy Spirit, Innocejizio da Imola ; St, Jerome, Albert Durer ; two hiiii\es, Rubens ; the che- mist, Gerard Dow ; a banquet, Teniers; landscapes, by F nndervelde and Berghem. The Hospital, formerly a convent, was founded by Archbishop Codronchi at his own expense, in order to supersede the old hospital in the Via del Girotto. In the court is a cistern supposed to have been designed by M. Angelo. The 7'/i(?a^re, erected in 1724 by Car- dinal Bentivoglio, has four tiers of boxes, and is generally well supplied with the leading performers of Milan and other great towns of Italy. The Piazza Maggiore, supposed to •correspond with the ancient Forum 'Sanatorium, has two granite columns erected by the Venetians, one of which bears the statue of St. Apollinaris by Pietro Lombard! ; the other a statue of St. Vitalis by Clemente Molli, which replaced one of St. Mark by Lom- bardo, in 1509, when Ravenna was re- stored to the church. Between them is the sitting statue of Clement XII., with an inscription recording that it was erected by the " S. P. Q." of Ravenna, in gratitude for the service Tendered by that pontiff in diverting the channel of the Ronco and Mon- tone, by which the city was threatened. The Piazza deW Aquila is so called from the Tuscan column of grey granite surmounted by an eagle, bearing the arms of Cardinal Gaetani, to whose memory it was erected in 1609. The Piazza del Duomo has a similar column of grey granite, surmounted with a statue of the Virgin, placed there in 1659. The Torre del Pubblico, a large square leaning tower, cannot fail to attract the notice of the stranger, but nothing is known of its history or origin. The Five Gates of Ravenna merit notice ; the Porta Adriana, a handsome gateway of the Doric order, was built in 1585 by Cardinal Ferrerio, on the supposed site of the famous Porta Aurea built by Claudian and ruined by the Emperor Frederick II. The Porta Alberoni, formerly called P. Corsini in honour of Clement XII., was built by Cardinal Alberoni in 1739. The Porta S. Mamante, of the Tuscan order, so called from a neighbouring monastery dedicated to S. Mama, was built in 1612, and called P.Borghesia, in honour of Paul V. Near this, the French army of 1512 effected the breach in the walls by which they entered and sacked the city. The Porta Ntwva, supposed to have been designed by Bernini, in the Corinthian order, occupies the site of the P. San Lorenzo, rebuilt in 1653 by Cardinal Donghi, under the name of P. Pantilia, in honour of Innocent X. ; but the common name still re- mains. The Po7^ta Serrata, so called because it was closed by the Venetians during their government of Ravenna, was re-opened by Julius II. under the name of P. Giulia, and restored in the seventeenth century by Cardinal Cibo under his own name ; but the old title commemorative of the Venetians has survived the names both of the pope and of the legate. The Porta Sisi, in the Doric style, formerly called P. Ursisina, and P. di Sarsina, was rebuilt in its present form in 1568, on the site of an ancient gateway, the origin of which is unknown. The Fortress of Ravenna, built by the Venetians in 1457, and then es- teemed one of the strongest in Italy, supplies us in its present state of ruin with a commentary on the fall of the imperial city : it was partly demolished in 1735 to furnish materials for the Ponte Nuovo over the united stream of the Ronco and Montone, and little now remains but the foundations. The Port of Ravenna is still much frequented by the trading barges of the Adriatic. The old Porto Candiano being rendered useless by the diversion of the Ronco and Montone, the Canale Naviglio was opened in 1737, for the purpose of effecting a direct commu- nication with the sea at the new Porto Corsini. The length of this canal is about five miles, and a broad road has been made along its right bank, which contributes much to the accommo- dation of the city. Convenient boats Papal States.] route 12. — ravenna. — Tomb of Theodoric. 93 may always be hired here for the pas- sage by the canals to Venice or Chi- oggia. (See the last Route.) About a mile beyond the Porta Serrata is the Mausoleum of Theochric, king of the Goths, now the church of Sta. Maria Rotonda : it was built by Theodoric himself, in the beginning of the sixth century. On the expulsion of the Arians, the zeal of the church in promoting the Catholic worship ejected the ashes of the king as an Arian heretic, and despoiled his sepulchre of its orna- ments. It is a rotunda, built of square blocks of marble, resting on a deca- gonal basement, each side of which has a deep recess covered with a semi- circular arch formed of eleven blocks of stone notched into each other. An oblique flight of steps on each side of the front leads to the upper story ; tbey were added to the building in 1780. The lower part of the upper story, though circular within, is de- cagonal externally. In one of these sides is the door ; in each of the other nine is a small square recess, said to have been formerly filled with a range of columns (?). Over these is a broad circular band, above which all the rest is also circular. The vault stones of the doorway are curiously notched into each other, forming a straight arch. Above the circular band is a row of small windows, over which is a massive cornice. The roof is a solid dome of marble, thirt y feet in its internal diameter, hollowed out to the depth of ten feet ; the thickness of the centre is about four feet, and of the edges about two feet nine inches. The weight of this enormous mass is esti- mated at above 200 tons. On the out- side are twelve large pointed projections perforated as if designed for handles : they bear the names of the twelve apostles, but it is difficult to conceive how any statues could have stood on them. The summit is flat, and upon it is supposed to have rested the porphyry vase containing the ashes of the king (?). It is now divided into two unequal portions by a large crack, produced it is said by lightning. The basement is filled with water, and the lower story is buried to the top of the arcades, in consequence of the raising of the soil. The interior of the build- ing is circular, with a niche opposite the door, apparently intended for an altar. About two miles from the city is the Church of Sta, Maria in Porto Fuori, built towards the end of the eleventh century by B. Pietro Onesti, called // Peccatore, in fulfilment of a vow to the A'irgin made during a storm at sea in 1096. The left nave on entering the church contains the ancient sarcophagus in which the body of the founder was deposited in 1119. The chief interest of this church arises from its frescoes by Giotto, in noticing which Lanzi justly alludes to the honour conferred upon Ravenna by the family of Po- lenta, in leaving behind them at their fall the memory of two such names as Dante and Giotto. It is believed that the entire church was covered with the frescoes of that great master ; and the lateral chapels, part of the left wall of the middle aisle, and other parts of the church still retain sufficient to give weight to this belief. The Choir is completely covered with his works ; on the left wall are the Nativity, and the Presentation of the Virgin : the right wall contains the Death, Assump- tion, and Coronation of the Virgin, and the Massacre of the Innocents. The frescoes of the tribune represent various events in the life of the Saviour; under the arches are different Fathers and Martyrs ; and on the ceiling are the four Evangelists with their symbols, and four Doctors of the Church, all undoubted works of Giotto. The altarpiece of the Conception is by Francesco Longhi. The quadrangular tower, which is the base of the Campa- nile, is considered by local antiquaries to be the remains of the ancient Faro of the port, which is supposed to have been situated on this spot; from this circumstance the church derives the name of " di Porto without the walls." 94 ROUTE 12. — RAVENNA. — Bas, of S. ApoUmare. [Sect. I. Basilica of S. ApolUna7'e in Classe. — No traveller should leave Raveima without visiting this magnificent basi- lica, which is a purer specimen of christian art than any which can be found even in Rome. It lies on the road to Rimini, and may therefore be visited in passing by persons pro- ceeding south; but the distance from the city (about three miles), will not deter the traveller interested in early Christian antiquities from devoting a day to it, as a separate excursion. About a quarter of a mile beyond the gates of the city a Greek cross on a small fluted marble column marks the site of the splendid Basilica of S. Lorenzo in Cesarea, founded by Lau- ritius, chamberlain of the Emperor Honorius, and destroyed in 1553 to supply materials for the Church of Sta. Maria in Porto within the city. This act of spoliation was opposed by the citizens ; but the monks to whom the basilica belonged had obtained the consent of the pope, and the cardinal legate, Capo di Ferro, completed the work of destruction by sending all its columns excepting two, together with its precious marbles, to Rome. The ancient basilica was the last relic of the city of Cesarea. A short distance beyond, the united stream of the Ronco and Montone is crossed by the Ponte Nuovo, a bridge of five arches, erected while Cardinal Alberoni was legate of Romagna. The road crosses the marshy plain for about two miles; and on the very skirts of the pine -forest is S, Apollinare in Classe. This grand basilica, whose antiquities carry us back to the early ages of Christianity, was built in 534, by Julian Argen- tarius, on the site of a temple of Apollo, and was consecrated by the archbishop, St. Maximian, in 549. It was formerly surrounded by a quadriporticus, but the lateral portions have been destroyed. It is built of thin bricks or tiles, in the manner of the ancient Roman edi- fices. The architrave of the door still retains the bronze nails, used to sustain the awning on solemn festivals. The interior is divided by columns of Greek marble into a nave and tv/o aisles of lofty and imposing proportions. These columns, surmounted by capitals in imitation of the Corinthian order, sup- port round-headed arches and a wall, with double semicircular windows. From the nave twelve steps lead to the altar, placed above a crypt, and to the absis, which is circular internally, and polygonal on ihe exterior, like that of St. John Lateran. The floor is green with damp, and many times in the year the subterranean chapel of the saint is full of water. The walls of the ?iave, and part of those of the aisles, are decorated with a chronological series of portraits of the bishops and archbishops of Ravenna, beginning with St. Apol- linaris of Antioch, a follower of St. Peter, who sufl'ered martyrdom under Vespasian, a.d. 74. The portraits in the nave are mosaics, those in the aisles are painted; they come down in un- broken succession to the present arch- bishop, Cardinal Falconieri, who is the 126th prelate from the commencement, giving an average of fourteen years to each. The other mosaics of the nave have disappeared, and the marbles which once covered the walls of the side aisles were carried ofl' by Sigis- mund Malatesta, to adorn his church of S. Francesco, at Rimini. In the middle of the nave is a small altar of Greek marble, dedicated to the Virgin by St. Maximian, in the sixth century. In the left aisle are four sarcophagi of Greek marble, covered with bas-reliefs and christian symbols, in which are bu- ried four archbishops of the see. On the wall between, there is an inscribed stone with an inscription, beginning Otho III. Rom. Imp., recording, as a proof of his remorse for the murder of Crescentius, that " ob patrata crimina," he walked barefooted from Rome to Monte Gar- gano, and passed forty days in penance in this basilica, " expiating his sins with sackcloth and voluntary scourging." In the right aisle are four sarcophagi, si- milar to those just described, and like- wise containing the remains of early Papal States."] route 12. — ravenna. — The Pineta. 95 archbishops of the diocese. All these tombs were placed in the early ages of the church under the external portico, and were removed to their present places as a measure of security. A long inscription in the wall of this aisle, beginning In hoc loco stetit Arca^'' records that the body of St. Apollinaris was formerly buried there. On each side of the grand doorway is a sarcophagus of Greek marble, larger than the preceding, but covered with similar ornaments and symbols. The high altar, beneath which rests the body of the saint, is rich in marbles and other ornaments; the baldacchino is supported by four precious columns of Oriental bianco" and nero an- tico/' The tribune or absis, and the arch immediately m front of it, are covered with mosaics of the sixth cen- tury, in the highest state of preserva- tion. The upper part represents the Transfiguration; the hand of the Al- mighty is seen pointing to a small figure of the Saviour, introduced into the centi-e of a large cross, surrounded by a blue circle studded with stars. On the top of the cross are the five Greek letters expressing " Jesus Christ, the Saviour, the Son of God." On the arms are the Alpha and Omega ; and at the foot the words " Salus Mundi." Outside the circle are Moses and Elijah ; and below are three sheep, indicating the three apostles — Peter, James, and John. In the middle mo- saic is St. Apollinaris, in archiepiscopal robes, preaching to a flock of sheep, a common symbol of a Christian congregation. Between the windov/s are the portraits of S. Ecclesius, S. Severus, S. Ursus, and S. Ursicinus, in pontifical robes, in the act of blessing the people. On the left wall is repre- sented the consecration of the church, by St. Maximian; on his left stand two priests ; and on his right the Em- peror Justinian, with his attendants, one of whom is supposed to be the founder of the church. On the right wall are represented the sacrifices of Abel, Melchisedek, and Abraham. On the arch is a series of five mosaics : that in the middle represents the Saviour, and the symbols of the four evangelists ; in the second are seen the cities of Bethlehem and Jerusalem, from which a number of the faithful, under the form of sheep, are issuing ; in the third is a palm, as a symbol of victory ; the fourth contains the arch- angels Michael and Gabriel ; and the fifth, St. Matthew and St. Luke. Under the high altar is the ancient tomb of St. Apollinaris, now damp and green from frequent inundations. The stone book by the side of the altar is called the breviary of Gregory the Great. The ancient town of Classis of whicli this noble basilica is the representative, was one of the three districts of Ravenna in the time of Augustus. It was, as its name imports, close to the sea, now four miles distant, and was the station of the Roman fleet. With the excep- tion of the present church, the town was totally destroyed by Luitprand, king of the Lombards, in 728. The celebrated Pineta, or Pine Forest, is approached not far beyond the basi- lica, and the road to Rimini skirts it as far as Cervia. This venerable forest, the most ancient perhaps in Italy, extends along the shores of the Adriatic for a distance of twenty-five miles, from the Lamone north of Ravenna, to Cervia on the south, and covers a flat sandy tract, varying in breadth from one to three miles. It affords abundant sport- ing ; and the produce of its cones, said to average 2000 rubbii annually and esteemed the best in Italy, yields a considerable revenue. It wants, how- ever, the picturesque appearance of a deciduous forest, as the foliage of the stone pine never descends low enough to unite with the low bushes, which oc- casionally fill up the vacant spaces. No forest in the world is more re- nov/ned in classical and poetical in- terest : it is celebrated by Dante, Boc- caccio, Dryden, and Byron ; it supplied Rome with timber for her fleets ; and upon the masts which it produced the banner of Venice floated in the days of her supremacy. One part of the forest 96 ROUTE 12. — RAVENNA. — Colonua de^ Francesi, [Sect. I. still retains the name of the Plcolo t/e' Poefi, from a tradition that it is the spot where Dante loved to meditate : — Tal, qual di ramo in ramo si raccoglie, Per la pineta in sul lito di Chiassi, Quando Eolo scirocco for discioglie." Purg. xxviii. 20. Boccaccio made the Pineta the scene of his singular tale Nastagio degli Onesti ; the incidents of which, ending in the amorous conversion of the ladies of Ravenna, have been made familiar to the English reader by Dryden's adoption of Ihem, in his Theodore and Honoria. Count Gamba relates that the first time he had a conversation with Lord Byron on the subject of re- ligion, was while riding through this forest, in 1820. The scene," he says, invited to religious meditation ; it was a fine day in spring. ' How,' said Byron, * raising our eyes to heaven, or directirig them to the earth, can we doubt of the existence of God? — or how, turning them to what is within us, can we doubt that there is some- thing more noble and durable than the clay of which we are formed ? ' The Pineta inspired also those beautiful lines in the third canto of Don Juan : — " Sweet hour of twilight!— in the solitude Of the pine-forest, and the silent shore Which bounds Ravenna's immemorial wood, Rooted where once the Adrian wave flow'd o'er, To where the last Caesarean fortress stood, Ex'ergreen forest ! which Boccaccio's lore And Dryden's lay made haunted ground to me. How have I loved the twilight hour and thee! " The shrill cicalas, people of the pine, Making their summer lives one ceaseless song, Were the sole echoes, save my steed's and mine, And vesper bell's that rose the boughs along : The spectre huntsman of Onesti' s line, His hell dogs, and their chase, and the fair throng Which learn' d from this example not to fly From a true lover, — shadow'd my mind's eye." Colonna de'' F?^a?icesi. About two miles from Ravenna, on the banks of the Ronco, is the square column or pilaster, erected in 1557 by Pietro Do- nato Cesi, president of Romagna, as a memorial of the battle gained by the combined army of Louis XII. and the Duke of Ferrara, over the troops of Julius II. and the King of Spain, April 11, 1512. Four inscriptions on the medallions of the pilaster, and an equal number on the four sides of the pe- destal, record the events of that memo- rable day. We have already alluded to this sanguinary battle in a preceding page. Lord Byron mentions the en- gagement and the column in a passage quoted in the description of the tomb of Dante, and commemorates the un- timely fate of the heroic Gaston de Foix, who fell in the very moment of victory. ^' The monument of such a terrible engagement, which left 20,000 men dead on the field, and made the Chevalier Bayard write from the spot : ' If the king has gained the battle, the poor gentlemen have truly lost it,' is little funereal or military ; it is orna- mented with elegant arabesques of vases, fruit, festoons, dolphins, and loaded with eight long tautological in- scriptions, and one of them is a rather ridiculous Jeu de mots. The speech that Guicciardini makes Gaston ad- dress to the soldiers on the banks of the Ronco, is one of the most lauded of those pieces, diffuse imitations of the harangues of ancient historians. Be- sides the illustrious captains present at this battle, such as Pescario, Fabrizio Colonna, the Marquis della Palude, the celebrated engineer Pedro Navarra, taken prisoners by the French, and Anne de Montmorency, yet a youth, afterwards constable of France under four kings, who began his long dis- astrous military career amid this tri- umph, several persons eminent in letters were there; Leo X., then Cardinal de' Medici and papal legate to the Spa- niards, was taken prisoner ; Castiglione and Ariosto were present. The bard of Orlando, who has alluded to the hor- rible carnage he witnessed there, must have been powerfully impressed by it, to paint his battles with so much fire* In several passages of his poem Ariosto Papal States.] routes 13, 14. — bologna to ancona. 97 attributes the victory on this occasion to the skill and courage of the Duke of Ferrara. It has been stated that Al- fonso, in reply to an observation that part of the French army was as much exposed to his artillery as the army of the allies, said to his gunners, in the heat of the conflict, ' Fire away ! fear no mistake — they are all our enemies!' Leo X. redeemed the Turkish horse which he rode on that day, and used it in the ceremony of his possesso (taking possession of the tiara at St. John La- teran), celebrated April 11, 1513, the anniversary of the battle. He had this horse carefully tended till it died, and permitted no one to mount it." — Valery, ROUTE 13. RAVENNA TO RIMINI. 35 Miles. This is a good road, although not supplied with post horses, it follows the coast of the Adriatic, but presents few objects of picturesque beauty, and the sea is generally concealed by banks of sand. The first portion of the Route, as far as S. Apollinare in Classe and the Pineta, has been described in the ac- count of that magnificent basilica in a previous page. After passing through the Pineta for several miles, the road crosses the Savio, and passes through Cervia, an episcopal town of 1,150 souls, in an unhealthy situation close to the salt works upon which its prosperit}'- depends. Farther south is Cesenatico, a town of about 4,000 souls, partly sur- rounded with walls, but presenting no object of any interest to detain the tra- veller. It is about half way between Ravenna and Rimini, and is therefore the usual resting place of the vetturini. Beyond this, we pass some small tor- rents which have been erroneously sup- posed to be the Rubicon. Farther on, at the distance of nine miles from Ri- mini, near San Martino, we cross a wooden bridge spanning a considerable and rapid stream flowing into the sea from Sant' Arcangelo, and called by the country people on the spot // Ruhicone. The reasons tor regarding this as the Rubicon, to the exclusion of the nu- merous streams whose pretensions to that honour have been advocated by former travellers, are stated at length in the next Route. The present road falls into the high post road shortly before it reaches the Marecchia, and Rimini is entered by the Bridge of Augustus. 35 miles, Rimini (Route 14). ROUTE 14. BOLOGNA TO ANCONA, BY FORLI, RIMINI, SAN MARINO, AND FANO. 16 Posts. The road from Bologna to Forli tra- verses part of the ancient Via Emilia, which extended from Piacenza to Ri- mini. It is the high post road, and is not only perfectly level, but pursues a straight line through Imola and Faenza to the walls of Forli. The country through which it passes is rich and highly cultivated, and is one of the most productive districts in the States of the Church. Leaving Bologna, the road crosses the Savena and the I dice (Idex), and pro- ceeds through the village of S. Laz- zaro, to S. Niccolo, a small village and post station. Between this and Imola we pass through Castel S. Pietro, on the Sillaro (^Silai^us^ a fortified town of the middle ages, whose castle was built by the Bolognese in the thirteenth cen- tury. It now contains, with Poggio, 5,068 inhabitants. Between Castel S. Pietro and Toscanella, we leave the Legation of Bologna and enter that of Ravenna. 1 J Imola {Inn, La Posta, dirty) . This ancient town occupies the site of Forum Cornel ii, and is situated on the San- terno, the ancient Vatrenus. It is gene- rally considered to have been founded by the Lombards after the decline of the Roman empire. In the middle ages, its position betv/een the Bolognese and Romagna made it an important acquisition in the contests for power, F 98 ROUTE 14. — BOLOGNA TO ANcoNA.-/mo/a ; Faeuza, [Sect. I. and it was successively held by the diiierent chiefs who exercised such im- portant sway in the cities of central Italy. It was united to the church un- der Julius 11. As Forum Cornelii, and one of the stations of the Flaminian way, it was a city of some importance ; it is mentioned by Cicero, and by Mar- tial in the following lines (iii. Ep. 3) : *' Si veneris unde requiret, iEmiliae dices de regione vise. Si quibus in terris, qua simus in urbe rogabit, Cornell referas me, licet, esse Foro." The present town, which has a popu- lation of 9,772 souls, contains little to detain the traveller. Among its public establishments are the Hospital, a The- aire whose architecture has been greatly overpraised, and a small Public Library, containing the celebrated MS. Hebrew Bible on parchment, of the thirteenth century, so highly praised and described by Cardinal Mezzofanti, and an Arabic MS. on legislation taken by Count Sas- satelli of Imola from the Turks, and attributed to the seventeenth century. The Cathedral, dedicated to S. Cas- ciano, martyr, contains the bodies of that saint, and of St. Peter Chry- sologus, the eloquent archbishop of Ravenna, who was born here about A.D. 400. Imola is also the birthplace of Vassalva, the celebrated anatomist, born here in 1666. The bishopric of Imola dates from 422, in the pontificate of Celestin I. ; S. Cornelius was the first bishop. Pius VII. was bishop of Imola at the period of his elevation to the pontificate in 1800. Tlie works of Innocenzio da Imola (Francucci) must not be looked for in this his native town ; the Palazzo Pub- blico contained two paintings from his hand, but, as Lanzi remarks, he lived almost entirely in Bologna, and probably found little patronage in the city of his birth. [A road leads from Imola to Ravenna, through Lugo, 5 posts (Route 12) ; but travellers not desirous of visiting Lugo will find it the more direct way to proceed to Faenza, where they will find a shorter and excellent road to the city of the exarchs through a most in- teresting country. See Route 10.] Leaving Imola, we pass the Santerno by a handsome bridge of recent con- struction. Midway between it and Faenza is Cast el Bolognese, so called from the strong fortress built there by the Bolognese in 1380. It was sur- rounded with walls in 1425, and in 1434 was the scene of the decisive battle between the Florentines and the army of the Duke of Milan. The war of that year, caused by the admission of a Mi- lanese garrison into Imola, in violation of a solemn treaty, was completely set- tled by this victory. It took place on the 28th of August, the Milanese being commanded by Piccinino, and the Flo- rentines by their general Niccolo di To- lentino, and Gattamelata, the Venetian captain. The army of the Florentines, amounting to 9,000 men, were com- pletely overthrown ; Tolentino, Orsini, and Astorre Manfredi lord of Faenza, were made prisoners, together with the entire arm}^, with the exception of 1,000 horse; and what is more remarkable, only four were left dead on the field, and only thirty wounded. The results however were immediate, and peace on a more permanent footing was esta- blished in the following year. Beyond Castel Bolognese, the Senio (^Sinuus) is crossed. 1 Faenza (Imi, LaPosta, good). This city occupies the site of the ancient Faventia, famous in the history of the civil wars for the victory of Sylla over the party of Carbo. It is situated on the Lamone (Anemo\ and contains a population of 19,752 souls. It has several fine buildings, and is built in the form of a square, divided by four principal streets which meet in the Piazza pubblica: it is entirely sur- rounded by walls. Faenza is memora- ble in Italian history for its capture and sack by the celebrated English condot- tiere. Sir John Hawkwood, of Little Hedingham, in Essex, then in the service of the pope (Gregory XI.) : he entered the town March 29, 1376, and delivered it up to a frightful military execution ; 4,000 persons, says Sismondi, were put Papal States. 1 route 14. — bologna to ancona. — Faenza, 99 to death, and their property pillaged. Among the masters under whose sove- reignty Faenza figures in the middle ages, the Pagani will not fail to sug- gest themselves to the reader of Dante. The divine poet, in the beautiful passage figuring Machinardo Pagano under his armorial bearings, a lion azare on a field argent, says in reply to the inquiry of Guido da Montefeltro, " La citta di Lamone e di Santerno Conduce il leoncel dal iiido bianco, Che muta parte dalla state al verno.'* Inf. xxvii. The old tradition that Faenza takes its name from Phaeton is alluded to by a modern poet, who unites the accom- plishments of a scholar with the dis- tinction of being the representative of one of the most illustrious families of Bologna ; " Ecco I'eecelsa Citta che prese nome di colui Chi si mal carreggio la via del sole E cadde in Val di Po," Count Carlo FepylVs Eremo, canto ii. Faenza is supposed to have been the first Italian city in which the manufac- ture of earthenware was introduced : its antiquity, indeed, as well as its ancient reputation beyond the Alps are proved by the adoption of the name fate?ice into the French language. The manufac- ture still flourishes, although it has been long surpassed by the productions of the north : the imitation of Etruscan vases is now pursued in these factories with success, and is a source of consi- derable profit. Anotlier branch of in- dustry inherited by the inhabitants from their ancestors, and still in operation, is the spinning and weaving of silk : the art is said to have been introduced into Faenza by two monks on their return from India, who erected their largest spinning machine here in 1559. The enterprising citizens have added to these manufactories a large paper-mill situ- ated about three miles beyond the walls: and the spirit of activity thus created exercises a most beneficial in- fluence not only on the condition of the people, but on the wealth and character of the town. The Liceo, or College, contains some examples of Jacomone^ one of the best imitators of Raphael, and the supposed painter of the cupola of S. Yitale at Ravenna, whose birth of the Virgin in the Domenican Church received the praise of Lanzi. The Cathediml, dedicated to S. Cos- tanzo, the first bishop of the see, a.d. 313, is remarkable for the celebrated picture of the Holy Family by Innocenzio da Imola^ which Lanzi calls a "quadro stupendo." The Capuchin Convent outside the town has a fine picture of the Virgin and St. John by Cm/^/o, which which was despatched by the French to the Louvre, but it fortunately only reached Milan, and was subsequently restored. Faenza has produced many native painters whose names and works are interesting rather as supplying con- necting links in the history of the Italian schools, than for any remarkable emi- nence as folloAvers of the school of Ra- phael. Among these Lanzi enumerates Jacomone, mentioned above, whom he identifies with Jacomo Bertucci ; Giulio Tondizzi, pupil of Giulio Romano, who painted an altarpiece for the church of St. Stephen ; Antonio da Faenza ; Fi- gurino da Faenza, identified with Marc Antonio Rocchetti, another pupil of Giulio Romano; Niccolo Paganelli, Marco Marchetti, or Marco da Faenza, painter pf the massacre of the Innocents in the Vatican ; Gio-Battista Arme- nini, author of Veri Precetti della Pittura;" Niccolo Pappanelli, who painted a St. Martin for the cathedral, " si bel condotto," says Lanzi, " e per la parte di disegno, e pel forte colorito, e per la espressione, ch' e una maravi- glia." In addition to these native paint- ers, Faenza claims the honour of being the birthplace of Torricelli, the cele- brated philosopher and mathematician. Among the public establishments of Faenza, the Hospital and Lunatic ylsy- lum will engage the attention of, at least, the professional tourist. " The Hospital, when I visited it in 1839, was extremely dirty and ill-arranged ; the Lunatic Asylum was under the same roof The insane patients were badly F 2 100 ROUTE 14. — BOLOGNA TO A-i^coN A. - Faeuza ; Forli. [Sect. I. attended to, and no system of treatment was pursued : indeed, so far from finding there the philanthropic improvements mentioned by some former travellers, I witnessed scenes within its walls which realized all those humiliating details respecting the treatment of lunatics, which form so dark a page in the history of medicine during the worst periods of civilization." — Dr. Eraser. The Palazzo Comujiale was formerly the palace of the Manfredi, lords of Faenza. Its middle window, covered with iron grating, is pointed out as the scene of one of those domestic atrocities which figure so conspicuously in the annals of Italian families during the middle ages. It recalls the fate of *' Galeotto Manfredi, killed by his wife Francesca Bentivoglio, a jealous and injured Italian, who seeing that he was getting the advantage of the four assas- sins she had concealed under the bed, leaped out of her bed, snatched up a sword and despatched him, a crime which renewed and surpassed at the end of the fifteenth century the tragic attempts recounted in the fable of Cly- temnestra, and of Rosamond in the history of the middle ages. Monti wrote a fine tragedy on Galeotto Man- fredi. The window of the chamber that witnessed the murder may still be seen ; the marks of the blood are said to have disappeared within these few years under the Italian whitewashing. Lorenzo de' Medici subsequently inte- rested himself in the fate of Francesca, kept imprisoned by the inhabitants of Faenza, and obtained her release; he even consented, at the prayer of her father Bentivoglio to intercede with the pope, that she might be relieved from ecclesiastical censures. The motive that Bentivoglio stated to Lorenzo, in persuading him to take this step, may seem strange: he intended to find her another husba?id.''' — Valery. The Zanelli Canal, so called from Signor Scipione Zanelli, by whom it was opened in 1782, connects Faenza with the Adriatic. It begins at the Porta Pi a, and after traversing Romag- ria for the distance of thirty- four miles, falls into the large canal called II Po di Primaro, at S. Alberto. About four miles from Faenza are the saline springs and baths of San Cristoforo, known since the close of the fifteenth century ; and at an equal dis- tance from the town are the ferruginous springs of Chiusa, both of which are held in high repute for their medicinal properties. The country around Faenza is not to be surpassed in richness and fertility : it was praised by Pliny, Varro, and Columella, and is still the theme of every traveller. [An excellent road, not yet made a post road, leads from Faenza to Raven- na, distant about twenty-four miles. Route 10.] Leaving Faenza, the Lam one is crossed, and the road proceeds along the plain, passing the Montone ( Utens) between it and Forli. This stream divides the Legation of Ravenna from that of Forli, and after uniting with the Ronco (^Be- desis) below the city, falls into the Adriatic near Ravenna. 1 Forli (/wz, La Posta, good). This city, situated at the foot of the Apennines, in a pleasant and fertile plain watered by the Ronco and Mon- tone, is the capital of a legation com- prehending 100 square leagues and 194,399 inhabitants. The city itself, by the census of 1833, contains a popu- lation of 15,637 souls, and is the resi- dence of the cardinal legate. It is said to occupy the site of Forum Livii, founded by Livius Salinator after the defeat of Asdrubal. During the middle ages it was a place of some importance as a free city, but it at length fell into the power of the Malatesta and Orde- laffi. This illustrious family, whose name was so well known from the end of the thirteenth to the beginning of the sixteenth century as princes of Forli, became extinct in the person of Luigi Ordelaffi, who died in exile at Venice about 1504, after having in vain offered to sell the principality to that republic, j Forli was attached to the church almost ' immediately after that event by Pope Julius II. The Ordelafii are mentioned Papal States.] route 14. — bologna to ancona. — Forli. 101 by Dante under the figure of the green lion borne on their coats of arms, in a fine passage containing an allusion to the defeat of the French army at Forli by Guido da Montefeltro : " La terra, che fe' la lunga prova, E di Franceschi sauguinoso mucchio, Sotto le branche verdi si ritrova." Inf. xxvii. It is a handsome and finely built city ; its architecture, particularly in many of the private palaces, is remark- ably imposing: the Palazzo Guerini, built after the designs of Michael An- gelo, the Palazz(^ Comunale, and the Monte di Pieta may be more especially mentioned among its best public edi- fices. It has a circus for the game of pallone, and a public garden. The Cathedral di Santa Croce is cele- brated for the chapel of the Madonna del Fuoco, the cupola of which was painted by Carlo Cigiiatii after a labour of twenty years, pursued with such un- tiring interest that it was necessary to commence the removal of the scaffold- ing before he would complete it. He passed,-' says Lanzi, " the last years of his long life at Forli, where he esta- blished his family and left the grandest monument of his genius in that fine cu- pola, which is perhaps the most remark- able work of art which the eighteenth century produced. The subject, like that in the cathedral of Parma, is the Assumption of the Virgin ; and here as there is painted a true paradise, which is loved the more it is contemplated. He spent twenty years on his work, visiting Ravenna from time to time to consult the cupola of Guido, from which he borrowed the fine St. Michael and some other ideas. They say that they removed the scaffolding against his will, as he never made an end of retouching and finishing his work in his accustomed style of excellence {uonfacendoesso mai fine di ritoccare, e di ridurre il lavoro alia usata sua squisitezza)." A cibo- rium in this cathedral is shown as the design of Michael Angelo, with a reli- quiary of carved and enamelled work of the fourteenth century, supposed with great probability to be the work of German artists. The magnificent door of the grand entrance is ornamented in the same style as that of Rimini with sculptures and bas-reliefs of the fifteenth century. The Church of S. Fillppo Neri con- tains a picture of S. Francesco di Sales, by Carlo Ma7^atta, considered by Lanzi to be one of his most carefully studied works; aS. Giuseppe, by Cigna?ii ; and two fine works, by Guerclno — the Christ, and the Annunciation, in which the angel is represented as receiving the commands of the Almighty. Tlie Church of >S. Girolamo contains the superb picture of the Conception, one of the masterpieces of Guido ; it re- presents the Madonna surrounded by a cloud of angels. This church con- tains the tomb of Giobattista Morgagni the celebrated anatomist, and the mau- soleum of Barbara Ordelaffi (1466). The chapel adjoining is said to be by Mantegna. The Church of S. Mercuriak, dedi- cated to the first bishop of Forli, and belonging to the monks of Vallombrosa, contains the chapel de' Ferri, which has a beautiful painting by Innocenzio da Imola, and is decorated with fine sculp- tures of 1536. The campanile is re- markable for its architecture and great height. The house adjoining the Spezeria Mo- ra jidi still exhibits some traces of the extraordinary frescoes with which its exterior was adorned by the famous Melozzo da Forli. This celebrated painter and mathematician, called by his contemporaries the splendour of all Italy,'' and ranked by Paccioli among the famosi e supremi'''' per- spective draughtsmen of his time, was, as his name imports, a native of the city ; and he is supposed by many writers to have been a pupil of Pietro della Francesca, from whom probably his mathematical knowledge was de- rived. Lanzi, describing these frescoes, says he covered ^' the front of a spezeria with arabesques of the best style, and over the entrance a half figure remarli- ably well painted, in the act of pound- ing drugs." It is much to be regretted. 102 ROUTE 14. — BOLOGNA TO ANcoNA. — ForlimpopoH, [Scct. I. that these remains of so interesting a master have not been more carefully preserved : they are now nearly de- stroyed, and in a few years will not be even traceable. Forii has a very fine piazza, a uni- versity, and numerous wealthy palaces. The Palazzo Comimale has a fine bust by Desiderio daSettignano : and in the Casa Manzoni is a repetition of the Danzatrice of Canova. Cornelius Gal- lus the poet, Flavio Biondi the his- torian, and Morgagni the anatomist, whose tomb has been already noticed, were natives of this town. The Citadel was founded by Cardinal Albornoz in 1361, and enlarged by the Ordelafii and Riarii under Innocent VI. ; it is now used as a prison. The ruined Ramparts recall many historical associations of the middle ages. In the fifteenth century the sovereignty of Forli and Rimini was vested in Girolamo Riario the nephew, or as some suppose the son, of Sixtus IV. He v/as one of the chief actors in the conspiracy of the Pazzi, and had married Catherine Sforza, the natural daughter of Gian Galeazzo, an alliance by which he secured the powerful protection of the house of Sforza. His enemies did not venture to attack openly a prince so protected ; but at the instigation it is said of Lo- renzo de' Medici, the captain of his guard and two of his ov/n officers stabbed him while at dinner in his palace of Forli. The conspirators threw the body out of the window, and the populace dragged it round the walls. The insurgents having seized his wife and children and thrown them into prison, proceeded to demand the keys of the citadel; but the commander refused to surrender unless ordered to do so by Catherine Sforza herself. The conspirators accord- ingly allowed her to enter the gates, retaining her children as hostages for her return ; but she had no sooner passed within the walls, than she gave orders to fire on the besiegers. When they threatened to resent this by inflict- ing summary vengeance on her chil- dren, she mounted the ramparts between the gates of Cesena and Ravenna, and exclaimed ^^Si vous les tuez, j'ai un tils a Imola, j' en porte un autre dans mon sein, qui grandiront pour etre les vengeurs d'un semblable crime." The populace, intimidated by her courage, did not execute their threat, and the house of Sforza shortly afterwards avenged the indignities she had suf- fered. In 1499, Catherine again de- fended Forli against the combined forces of France and the Church under Cesar Borgia and Ives d' Allegre ; but after an heroic struggle, in which she is de- scribed as contesting every inch of ground, retreating before her assailants from tower to tower, she was captured and sent a prisoner to the castle of St. Angelo. Machiavelli, although the counsellor of the alliance with Borgia, celebrates the magnanimous resolu- tion " of this remarkable woman, and her conduct is recorded with admi- ration by most of the contemporary historians. [A road leads from Forli along the left bank of the Ronco to Ravenna, about twenty miles distant (Route 9) ; and there is an excellent road across the Apennines to Florence, Route 8.] The road to Rimini crosses the Ronco soon after leaving Forli, and is generally in excellent order, being constructed on the ancient f^ia Emilia throughout its entire course. Beyond Forli is the small town of For/S'. Girola7no has a fine painting of the Saint by Guercino ; the chapel is painted by Pronti, and round the choir are small pictures in bistre representing the history of the Saviour. Rimini was made a bishopric a.d. 260 ; its first prelate is supposed to have been S. Gaudenzio. At the Capuccini are the reputed ruins of the amphitheatre of Publius Sempronius, but there are no good grounds for the belief. In the market-place is a pedestal v/ith the following inscription, record- ing that it served as the suggestum from which Cassar harangued his army after the passage of the Rubicon : — C. Caesar Dict. Rubicone superato civili bel. commilit. suos hic in FoRO Ar. adlocut. This is probably as apocryphal as the Senatus Con- sultum on the column at Savignano. Near this is pointed out the spot where St. Antony preached to the people, and near the canal is a chapel where the saint is said to have preached to the fishes because the people would not listen to him. In the square of the Palazzo Pubblico may be noticed a handsome fountain and a bronze statue of Pope Paul V. (Borghese.) The ancient port of Rimini, situated at the mouth of the Marecchia, has been gradually destroyed by the sands Papal States,] route 14.— bologna to ANCONA.-S'a?i Marino. 107 brought down by that stream ; and the marbles of the Roman harbour v/ere appropriated by Sigismund Malatesta to the construction of his cathedral. Tlieodoric is said to have embarked his army in this port for the siege of Ravenna. It is now the resort of an immense number of vessels exclusively occupied in the fisheries ; half the po- pulation of Rimini are said to be fishermen. The Castel Malatesta^ or the fortress, now mutilated and disfigured by un- sightly barracks, bears the name of its founder : the rose and elephant are again seen traced upon its walls. The Library^ founded in 1617, by Gambalunga the jurist, is rich in works and manuscripts relating to the history of the city. It contains about 30,000 volumes. With the exception of a few classical MSS., and a papyrus known by Marini's Commenta'ry, the interest of its manuscript collection is purely local. The house of Francesca da Rimini is identified with that occupied by Count Cisterni, formerly the Palazzo Ruffi ; or rather, it is supposed to have occupied the site of the existing build- ing. There is, perhaps, no part of the Divina Commedia so full of touching pathos and tenderness as the tale of guilty love in which Francesca reveals to Dante the secret of her soul, and of her soul's master. Its interest is increased by the recollection that Fran- cesca was the daughter of Guido da Polenta, Lord of Ravenna, who was the friend and generous protector of Dante in his old age. The delicacy with which she conveys in a single sentence the story of her crime, is surpassed only by the passage where the poet represents the bitter weeping of the condemned shades as so far overcoming his feelings that he faints •with compassion for their misery : — " Noi leij;^iavamo un giorno per diletto Di Lancilotto, come amor lo strinse : Soli eravamo, e senz' alcun sospetto. Per piu fiate li occhi ci sospinse Quella lettura, e scolorocci '1 vise : Ma solo un punto i\i quel, clie ci viiise. Quando leggemmo il disiato liso Esser basiato da cotanto amante, Questi, che mai dame non lia diviso, La bocca mi basio tutto tremante : Galeotto fu il libro, e chi lo scrisse : Quel giorno piu uon vi leggemmo avante , Mentre clie lo uno spii to questo disse, Lo altro piangeva si, che di pietade lo venni men cosi come io morisse, E caddi, come corpo morto cade." The Villa Zollio, a short distance out of the town, is celebrated for fifteen or sixteen fine works of Guercino, painted by him during frequent visits to the family of that name. The Castel di S. Leo, in the neigh- bourhood of Rimini, is remarkable as the place where Cagliostro the cele» brated impostor died in exile and dis- grace, in 1794. There is a good road to S. Leo, and from thence to the great sanctuaries of Tuscany, Camaldoli and Vallom- brosa, practicable for horses as far as Florence. It is the road of the fishermen who supply the Tuscan capital with the produce of the Adriatic. The hills over which it passes are highly picturesque, and command a view of both seas. EXCURSION TO SAN MARINO. About thirteen miles from Rimini, isolated in the heart of the Papal States like the rock on which it stands, is San Marino, the last surviving represent- ative of the Italian republics. This miniature State, the smallest which the world has seen since the days of an- cient Greece, and whose unwritten con- stitution has lasted for fourteen cen- turies, has retained its independence while all the rest of the peninsula, from the spurs of the Alps to the gulf of Taranto, has been convulsed by political change. Yet, with all this, the republic has made but little pro- gress, rather studying to preserve itself unaltered by communication with its neighbours, than keeping pace with the improvements of the time. The print- ing press has not yet found its way into its territory, mendicity is common, and a gaming table very recently con - tributed its share to the public re- venues. The constitution of this singular 108 ROUTE 14. — BOLOGNA TO ANCONA. — Sau Marino. [Sect. I. republic is remarkaLle. Tiiere is a general council composed promiscu- ously of sixty nobles and plebeians, elected by the people, and forming the legislative body. Their voting is by ballot, and two-thirds are necessary to confirm all official acts. A council of twelve, two-thirds of whom are changed every year, communicate between the legislative body and two captains — one appointed for the town, the other for the country — who are charged with the executive power, and are elected every six months. The judicial office is not confided to any citizen of the republic, but a stranger possessing a diploma of doctor of laws is appointed to discharge its functions, and is elected for three years: a physician and surgeon are also chosen from persons who are not citizens, and are elected only for three years. In a state so constituted it might be expected that great simplicity of manners would prevail : hence the chief magistrate will often be found farming his own land, and the senators ])runing their own vines. The territory of the republic is seventeen square miles, its population is under 7,000, and its miniature army does not num- ber more than forty men. It has three castles, four convents, and five churches, one very recently built of hewn stone, with a handsome portico. The city occupies the crest of the rocky mountain which forms so con- spicuous an object from the high road, and contains about 700 inhabitants. Only one road, that from Rimini, leads to it ; although steep and rugged, it is broad and practicable for carriages. The hamlet of Borgo, at the foot of the mountain, is the place where the principal inhabitants reside; it con- tains about 500 souls. The soil of the lower grounds is fertile, and the little town of Serravalle is said to have a thriving trade with several towns in the plain. S. Marino itself, from its high situation, is exposed to a cold and variable climate, and snow frequently lies there when the lowlands enjoy a comparatively summer temperature. The origin of the republic is as romantic as its position. According to the legend, a mason of Dalmatia called Marino, who had embraced Christianity, after working thirty years at Rimini, withdrew to this mountain to escape the persecutions of Diocletian. Lead- ing the life of an austere anchorite, his fame soon spread, and he obtained disciples as well as a reputation for sanctity. The princess to whom the mountain belonged presented it to him, and instead of founding a convent after the example of the time, he esta- blished a republic. During the middle ages the independence of the state was often threatened by the dangerous vici- nity of the Malatesta. In the last century Cardinal Alberoni, then legate of Romagna, intrigued against it, and on the pretence that the government had become an oligarchy, invaded and took possession of its territory in the name of the church. An appeal to Pope Clement XII. obtained an order that the citizens should determine their own fate; at a general assembly they unanimously voted against submission to the church, and the papal troops were withdrawn. But the events which subsequently convulsed Europe threat- ened the republic more than the in- trigues of the church ; and it would doubtless have long since ceased to exist except in history, if it had not been saved by the magnanimous con- duct of Antonio Onofri, who deserved the title of " Father of his country," inscribed by his fellow-citizens upon his tomb. This remarkable man spent his life in its service, and by his bold and decided patriotism induced Na- poleon to rescind his decree for the suppression of the republic. When summoned before the emperor, he said, " Sire, the only thing you can do for us, is to leave us just where we are." In spite of all subsequent overtures, Onofri maintained so perfect a neu- trality, that he was enabled to vindicate his country before the Congress of Vienna, and obtain the recognition of its independence. Unlike other re- publics, San Marino did not forget its debt of gratitude to the preserver of its Papal States.] route 14. — bologna to ancona, — Pesaro. 109 liberties, for besides the inscription on Onofri's tomb, a marble bust in the council chamber records his services, and their acknowledgment by the state. There are few objects of interest to be found in San Marino, if we ex- cept the picture of the Holy Family in the council chamber, attributed to GiuUo Romano. At Borgo there is a singular cavern, into which a strong and dangerous current of cold air per- petually rushes from the crevices of the mountain. The view from the summit, and from various points of the declivities of the mountain, is suffi- cient to repay a visit : on a clear day, the deep gulf of the Adriatic is traced as far as the coast of Dalmatia, and a wide prospect of the chain of Apennines is commanded, singularly in contrast with the sea view. But the great in- terest of San Marino at the present time, independently of its historical associations, is derived from the Cava- liere Borghese, one of the first scholars of modern Italy, whose superb cabinet of medals, rich in consular and im- perial examples, has obtained a Euro- pean celebrity. This learned man is an adopted citizen, and his archaeolo- gical acquirements have made a pil- grimage to San Marino a labour of love to the most eminent antiquarian travellers. His collection amounts to upwards of 40,000, and besides the interest he finds in its arrangement, he has profited by his retirement to com- pose an elaborate work on the consular annals. The house in which Melchiore Delfico composed his historical memoir of San Marino is marked by an inscrip- tion expressive of the author's gratitude for the hospitality he experienced there during his exile. The road from Rimini to Fano fol- lows the coast, and is perfectly flat almost as far as Pesaro. Near the hamlet of S. Lorenzo it crosses the Morano, and before arriving at Cat- tolica the Conca (the Crustumius rapax of Lucan), one of those mountain streams which so frequently overflow the eastern coast of Italy when swollen by the melted snows. 1^ La Cattolica, a small village of 1,300 inhabitants, so called from the shelter it aflbrded to the orthodox pre- lates who separated themselves from the Arian bishops at the Council of Rimini. The country between La Cattolica and Pesaro is rich, and scat- tered with numerous villas. The road ascends the high ground of Poggio be- fore it enters 1 Pesaro (Pisaurum). (Imis^ La Posta; Villa di Parma; Tre Re.) This ancient town is built on a rocky and wooded hill, pleasantly situated above the m.outh of the Foglia, the ancient Isaurus. It was one of the cities of Pentapolis, and was celebrated during many centuries for its intellectual cha- racter, and for the distinguished persons it produced. It passed to the church in the pontificate of Urban YIIL, and it shares with Urbino the honour of being the capital of a legation comprising a population of 225,806 souls, and a superficies of 180 square leagues. It is the residence of the legate. The po- pulation of the town amounts to 17,519 souls. It is a fine episcopal town, surrounded by walls and bastions, and has a small but convenient port. In the sixteenth century, Pesaro, as the court of the dukes of Rovere, became the rallying point of the literary men, poets, and painters of the time. It is described in the Cortegiano of Casti- glione, and is celebrated by Ariosto as the refuge of poets : — " La feltresca corte Ove col formator del Cortigiano Col Bembo e gli altri sacvi al divo Apollo Facea 1' esilio suo men dure e strano." Sat. 3. The Princess of L^rbino, Lucrezia d'Este, induced Bernardo Tasso and his son to settle at Pesaro : in the garden of the Palazzo Machirelli is the casino they inhabited, and in which Bernardo composed the Amadis. Among the eminent men whom Pesaro has pro- duced in modern times, are Perticari, Rossini, Count Paoli the chemist, the Marchese Petrucci the naturalist, and 110 ROUTE 14. BOLOGNA TO ANCONA." PesaW- [ScCt. I. Count Cassi, the translator of Lucan. Pesaro was formerly famous for its col- lection of paintings : they were removed to Paris, and nearly all which were re- stored were carried to Rome, whence few have found their way back to their original situation. Among the historical recollections of Pesaro, it may be men- tioned tiiat Pietro da Morrone was elected Pope here in 1294, under the title of Celestine V. The Cathedral, with the exception of its fine picture of S. Girolamo by GuidOf contains little to interest the stranger. The church of S. Francesco has one of the best works of Giovanni Bellini, the Coronation of the Virgin ; on the predella and the pilasters are some beautiful little pictures by the same artist. S. Domenico contains some works by Vincenzo Severino. The church of the Servites contains a re- markable painting by Girolamo da Cotignola, dated 1513, representing the Madonna on a throne, with S. Jerome and S. Catherine, and a bishop ; at her feet are the Marchesa Ginevra Sforza, widow of Giovanni Sforza, and her son Costanzo II. The church of the SS. Sacramento has a Last Supper by Niccold da Pesaro, in his best style. S. Cassiano has a tine picture of Sta. Barbara, by Simoiie da Pesaro. S. Giovanni de Riformafi was built by Bartolommeo Genga, the engineer and architect to the Duke of Urbino : the alfcarpiece, by Guey^cino, has suffered from the carelessness of restorers. St. Fabian v/as the first bishop of Pesaro on the establishment of the See, a.d. 247. The Biblioieca Olivieri, founded and bequeathed to his native town by the learned antiquary and abbe of that name, is interesting for some curious MSS. which it contains; among which are Tasso's notes on the Convivio of Dante; various readings of the Rime in his own hand ; some of his in- edited letters ; MS. poems by Serafino d'Aquila; inedited MSS. of Pandolfo Coilenuccio, strangled here in prison by Giovanni Sforza on account of his con- nexion with Cesar Borgia; and various readings of the Stanze of Politian. The greatest treasure, however, tlie edition of Dante with notes by Tasso, has dis- appeared. The ancient palace of the Dukes of Urbino is now occupied by the legate : its grand saloon is on a scale of princely magnificence, perfectly in character with the pomp of tlieir court. The large building opposite the palace, now converted into shops, was occupied by the pages. Close to Pesaro is Monte S. Bartolo, the ancient Accius, so called from the Latin tragedian L. Accius, who was a native of the town, and was buried on the mountain. On its lower slopes, at the distance of about two miles from the town, is the Imperiale, once the favourite villa of the dukes of Urbino, built by the Duchess Vittoria Gonzaga, wife of Francesco Maria II., in order to surprise him on his return from his military campaign. It was decorated by the pencil of Raffaele del Colle ; on the walls of one of the courts are verses in honour of the duke's return written by Bembo, whose residence here is celebrated by Tasso, Rime ii. 38. This once beautiful villa is described by Bernardo Tasso, who represents it as one of the most delightful spots in Italy ; but it fell into decay in the last century, when it became the refuge for the Portuguese Jesuits expelled by the Marquis de Pombal. Its rich stair- cases and galleries, and its broad ter^ race, from which the valley of the Fo- glia is commanded to its junction with the sea, are sufficient to show that there was much truth in the poet's description. About a mile from Pesaro is another villa, which has acquired notoriety as the residence of Queen Caroline of Eng- land, while Princess of Wales : in the garden may still be seen a small monu- ment she erected to the memory of the Princess Charlotte, and another to her brother, the Duke of Brunswick, who fell at Waterloo. The fortress of Pesaro was begun in 1474 by Costanzo Sforza, from the designs of Lauranna Dalmatino, and finished by Giovanni Sforza. The port is formed by the embouchure Papal States,'] route 14.— bologna to ancona, — Fano. Ill of the Foglia: it was enlarged by Fran- cesco Maria II. delta Rovere, but has subsequently become shallow; Pius TII. contributed to its safety by the addition of a fort, in 1821. Pesaro was one of the first places in Italy where pottery and earthenware were manu- factured, dating as far back as the time of the Roman emperors. The manufacture revived in 1300 under Boniface VIII., and attained considerable perfection under Alexander VI. Pesaro is famous for its figs, which are celebrated by Tasso, Bembo, and Castiglione. It only remains to mention at Pesaro the fine promenade of the Belvedere San Benedetto, which unites the Bo- tanical Garden and the Lapidarian Museum, constructed under the admi- nistration of Count Cassi, when gon- falonier, to whom the town is indebted for many other liberal improvements. [There is a direct road from Pesaro to UrbinOj ascending the course of the Foglia, and passing under the villages of Colbordolo, Coldazzo, and Riccei. A diligence runs between the two towns three times a week. For Urbino, see Route 17.] Leaving Pesaro, a beautiful drive along the coast brings us to 1 Fano, the ancient Fanum Fortunse, and one of the cities of Pentapolis. {Inns, II Moro ; Tre Re.) Fano is a well built and agreeable town, adorned with many handsome edifices, and sur- rounded by walls no longer necessary for the purposes of defence, but still recalling the remembrance of its once celebrated fortress. Its situation in a rich and fertile plain ensures it an abundant supply of fresh air; the cli- mate is said to be extremely healthy, but cold in the winter and spring. During the summer months Fano would afford one of the most agreeable resi- dences in Italy ; and the stranger would derive additional gratification from the resources offered him by its refined and intellectual society. The scenery of the neighbourhood is very beautiful, and numerous excellent roads ensure the most perfect facilities of coinmuni- cation with all the great towns. The high road passes round the walls with- out entering the town, so that unless the traveller be aware beforehand how many objects of interest it contains, it is very probable that he would be driven on without having an opportunity of discovering them himself. The ancient name of the town is com- memorated by a modern statue of For- tune in the middle of the public foun- tain, which is probably the representa- tive of one more ancient. The principal object of classical interest in Fano is the Triumjihal Arch of white marble, erected in honour of Augustus, upon which Constantine built an attic with columns, two of which remain. On the adjoining chapel, by the side of its arabesque door post, is carved a repre- sentation of the arch as it originally stood with the two inscriptions on the arch and attic. This interesting monu- ment is the last representative of the riches and magnificence of Fano under its Roman rulers, who adorned the city with sumptuous baths and with a basi- lica designed by Vitruvius on the mo- del of the Palatine at Rome. The town walls were erected by Augustus, and restored by the sons of Constantine. There is no town of the same extent on the east coast of Italy so rich in churches and pictures ; and it is chiefly by the treasures of art which it contains that the intelligent stranger, attracted by the many inducements it holds out as a summer residence, would be ena- bled to combine profit with pleasure and health. The Cathedral, dedicated to S. For- tunato, is still an interesting building, though it has sufiered from modern in- novations. The first object which at- tracts attention on its exterior are four recumbent lions, on which the columns of the Gothic portico evidently rested. On entering the church, on the left hand is the chapel of S.Girolamo, con- taining the monument of a member of the Raynalducci famih^, v/ith his por- trait painted on stone by Vandyke, The altarpiece of this chapel is a good picture of the Crucifixion by an unknown artist. 112 ROUTE 14. — BOLOGNA TO ANCONA, — Fano. [Sect. I. Nearly opposite to this is a chapel con- taining sixteen frescoes by Domenichifio, the whole of which merit attentive study : they are among his most beau- tiful and expressive works, but they have sutlered much from injudicious attempts at restoration. The Annun- ciation, the Salutation, the Marriage of the Virgin, the Nativity, and the Presentation in the Temple, are among the finest conceptions of this master. In the chapel of the Sacristy, on the same side, is a Madonna with two saints in adoration by Lod. Caracci. The cor- responding chapel in the opposite aisle has a fine painting of the Fall of the Maima by an unknown artist. The Church of St a. Maria Nuova con- tains two striking works by Perugino ; one a very beautiful picture of the An- nunciation, the other in a chapel op- posite to it representing the Virgin and Child — a still finer work. Above and below this painting are small pictures ascribed to Raphael ; the lunette above represents a Pieta, with St. John, Nico- demus, and Joseph of Arimathea ; the gradino underneath has five compart- ments illustrating the life of the Saviour and the Virgin ; both of these paintings have been attributed to Raphael, but many consider the latter to be the work of Genga, Behind the altar is a splendid Madonna by Sassoferrato, and in the first chapel on the left on enter- ing the church, is the visitation of St. Elizabeth, by the father of Raphael, Giovamti Santi, The Church of S. Paterniano^ de- dicated to the first bishop of Fano (elected a.d. 300) is a noble edifice ; it contains the Sposalizio of Guerc'mo, well known by the engraving of Volpato. In a chapel opposite to this is the death of S. Joseph by the Cav, d^Arpi7io, and the Virgin and Child, with S. Carlo Borromeo and S. Sebastian, by Claudio Ridolfi, the pupil of Baroccio. The altarpiece is by Akssandro Tiarini, the friend of Guido ; the chapel of the saint has some frescoes by Fiviani, and tViree others representing events in the life of S. Paterniano by Carlo Bonone. The small church of S. Tommaso has an altarpiece of the saint by Pomjceo and Bartolommeo Prescitdti, two native artists, who are noticed by Lanzi as following the dry style of the early christian artists of the fourteenth cen- tury, in preference to the adoption of those reforms which painting had un- dergone in their own time. " Fa ma- raviglia il vedere quanto poco curino la riforma che la pittura avea fatta per tutto il mondo. Essi sieguono il secco disegno dei quattrocentisti ; e lascian dire i moderni. Ne il figlio par che si rimodernasse, uscito dello studio pa- terno." The Churchof S.Pietro, another splen- did building, rich in marbles, frescoes, and paintings, contains a magnificent picture, considered to be the master- piece of Guido. It is in the Gabrielle chapel, and represents the Annuncia- tion : it is a work of surpassing beauty, and was described by Simone Canta- rini, the rival of Guido, as the finest picture in the world. On one side of the altar is another painting considered to be a masterpiece, representing a mi- racle of S. Peter by Cantarini. The frescoes of Viviani are also regarded as masterpieces of that artist. The Church of Agostino contains an exquisite Guardian Angel by Guer- cino. The Church of S. Filippo has a Magdalen by the same master. In the Church of >S'. Domenico is a picture of St. Thomas by Palma Fecchio. St a. Croce, now the hospital, has an altarpiece representing the Virgin and Child with several saints by Giovanni Santi. In the Chiesa del Suffragio is a St. Francis by Muziani. In Sta. Teresa there is a fine altarpiece by Alhani. In S. Mi- chele, adjoining the Arch of Augustus, is another very elaborate and character- istic work of the Presciutti. The Ca- pucci?ii contains two works regarded as the masterpieces of Mancini and CeC' carelli ; indeed there is scarcely a church which does not present some work by the best, or by less known artists, the study of which would be highly interesting to the traveller who is anxious to trace the history of art in its several schools. Papal States. 1 route 14. — bologna to ANC0NA-5'mz^a/&, 113 In the Folji College is preserved the celebrated painting of David with the head of Goliath, by Dome?iichi?io, one of the finest works of that great master ; with copies of his frescoes in the ca- thedral. ^' His David,'' says Lanzi, " is an object of curiosity to all foreigners of any pretensions to taste : it is a figure as large as life, and would alone suffice to render an artist's name immortal." The Church of S. Francesco presents us with an interesting example of sculp- ture, as an addition to the catalogue of works of art already described, in the tombs of Pandolfo Malatesta and his wife. These remarkable monuments are placed under the portico of the church. The door in the centre is extremely rich, and has a round-headed arch and pilasters, covered with arabesques and foliage. On the right of this is the tomb erected by Sigismund Pandolfo to his father Pandolfo Malatesta, in 1460. On the left is the superb sarcophagus of the wife, erected in 1398 : it is orna- mented with busts of saints on the front, and is placed under a rich Gothic canopy divided into three compart- ments, and elaborately carved. It is interesting no less as an example of art, than as a memorial of the illustrious family whose name and works are so much associated with the eastern coast of Italy. The Theatre of Fano is one of the most famous, if not the oldest now extant : it was built by a native artist, Torelli, and is ornamented with curious paintings. The scenes are so arranged as to be really what they appear, and not mere painted representations. The stage is of great depth, and the scenes are the work of the celebrated Bibiena, The Port was once a well-known resort of the traders of the Adriatic : it was repaired by Paul V., in 1616, under the direction of Rinaldi, and de- rived from that pope the name of Porto Borghese. The commerce of the town however has declined, and the har- bour is now choked with sand. Pope Clement VIII. was a native of this town. It will ever remain an ho- nour to Fano that the first printing- press known in Europe with Arabic types was established here, at the ex- pense of Pope Julius II., in 1514. [An excellent road leads from Fano to tJrbino (Route 17), and from thence to Florence by Arezzo, or to Rome by Perugia (Routes 18, 21), There is also a post road from Fano to Foligno, by the Strada del Furlo (Route 16) J. ^ The road from Fano to Sinigallia fol- lows the shores of the Adriatic, and would be an agreeable drive if the dunes or sand hills did not shut out the view of the country, and give a dreary monotony to the scene. On leaving Fano the road crosses the celebrated Metaurus, now the Me- tauro or Metro, a broad and rapid stream, recalling the fate of Asdrubal : *' Quid debeas o ! Roma Neronibus Testis Metaiirum flumen, et Asdrubal Devictus." /for. iv. 4. 1 La Marotta, a post station. Be- yond it the Cesano, the Sena of Lucan, is crossed, near which is a road west- w^ard ascending the stream to Pergola, a small town of 3,000 inhabitants. 1 Sinigallia (//^w, Locanda della Formica), the ancient Sena, known by the appellative of Gallica to distin- guish it from the Etruscan Sena. It is an important episcopal town, contain- ing a population of about 8,000 inha- bitants, placed in a situation peculiarly favourable to commerce, at the mouth of the Misa, which nearly retains its classic name of Misus. The port, enlarged and improved by Sigismund Malatesta, affords convenient accommo- dation to numerous fishing and trading vessels. This ancient town of the Galli Senones was sacked by Pompey in the wars of Marius and Sylla : it became in later ages one of the cities of Pen- tapolis ; but it suffered so much from fire and sword during the troubles of the middle ages, that the present town is almost entirely modern. Sinigallia has acquired an infamous celebrity in history from the massacre of the confederate chiefs, or condot- tieri, • by their ally Cesar Borgia, De- cember 22nd, 1502. Borgia, through 114 ROUTE 14. — BOLOGNA TO ANCONA. — SlnigalUa^ [Sect. L whose services his father Alexander V. had reduced nearly all his rebellious vassals of Romagna, found himself unexpectedly deserted by a large body of his French troops, and determined, in order to counteract the influence of this defection, to attack Sinigallia. This little principality was then go- verned by a daughter of Federigo duke of Urbino, brother of Guid' Ubaldo, the reigning duke. On the ap- proach of the hostile force the princess retired to Venice, leaving the town in the command of the confederate cap- tains, who refused to surrender unless Borgia invested it in person. In order to allay suspicions, Borgia dismissed a large portion of his forces, and re- quested the confederates to disperse their troops in the neighbouring vil- lages, in order that his own might find quarters in the city. On the 21st De- cember he left Fano, and arrived at Sinigallia the same night, with 2,000 horse and 10,000 foot. Three of the captains, Vitellozzo Vitelli, Paolo and Francesco Orsini, went out unarmed to meet him as an ally ; they were re- ceived by Borgia with courtesy, but were placed under the surveillance of two gentlemen of his suite. The fourth captain, Oliverotto, the only one who had not dispersed his troops, met Borgia near the town, and like his companions was placed under surveillance, under a similar pretext of honour. They all alighted together at the palace, and the four captains had no sooner entered than they were arrested. Borgia immedi- ately gave orders to attack the bar- racks in which the company of Oli- verotto was quartered, and every man was destroyed. The same evening he had Vitellozzo and Oliverotto stran- gled ; and on the 1 8th January follow- ing Paolo Orsini and his Drother under- went the same fate. This terrible per- fidy, although it did not excite the wrath of a people already weary of the military tyrarmy of their late masters, has scarcely a parallel even in that depraved chapter of Italian history in which Alexander VI. and his family were the chief actors. It has been at- tributed by Roscoe and others to the instigation or connivance of Machia- velli ; but the great Florentine has been defended by Sismondi, on the evidence which his own letters afford against such a suspicion. He considers that Roscoe's strongest argument, that Ma- chiavelli does not indulge in any reflec- tions on the crime, is not admissible, since he was only bound ro state facts, and a diplomatic dispatch is not ex- pected to convey the expression of pri- vate feelings. Sinigallia contains few objects of interest, and most of its pictures have disappeared. The convent appropriated to the P. P. Riformati, about a mile outside the gates, was built by Gio- vaimi della Rovere and Giovanna di Montefeltro his wife, who are both buried witliin its walls. Sinigallia became a bishopric in the fourth century ; its cathedral is dedicated to St. Peter. It may be considered a proof of the com- mercial character of the town that it contains a Jewish synagogue. Many of the houses and public edifices are well built, and the town wears an air of general neatness, expressive of life and energy on the part of its inhabit- ants. In recent times it has become remarkable as the birthplace of Ma- dame Catalani. But the great interest of Sinigallia is the celebrated Fair of St, Mary Mag- dalen, tracing its remote antiquity for more than 600 years, and still preserv- ing its freedom from customs and tri- bute. It was established by Sergius, Count of Sinigallia in 1200, and was made free by Paul 11. in 1464, a privi- lege which the political and domestic changes of successive ages have not affected. It commences on the 20th July, and lasts to the 8th August; during these twenty days the town is crowded with visitors from all parts of Italy, with merchants from countries beyond the Alps and even from the Le- vant, mingling the manufactures of the North with the rich produce of the East. There is scarcely a language of Europe which is not heard on this occasion, and there is no place where the different Ita- Papal States !\ route 14. — bologna to ancona, — Jesu 115 lian dialects may be studied in so great perfection. The city wears the aspect of a bazaar, and as every house is con- verted into a shop and every street is covered with awnings, the eastern tra- veller may almost imagine himself in Constantinople. It is beyond all com- parison the richest and best attended fair in the States. As the merchan- dize pays duty on passing out of the town, every art and device are prac- tised to elude the vigilance of the offi- cers of customs; and yet, in spite of much smuggling, the revenue it affords to the State is of immense amount. " Every article, from costly jewellery for the noble to the coarsest wares for the peasantry, may be met in this universal emporium. Tradesmen from Venice, Geneva, Trieste, France, Germany, and the Levant display their various mer- chandize, not in small parcels to tempt the casual stroller, but in bales and cases for the supply of the inland deal- ers. Every dialect of the Italian lan- guage, cut into by the rougher tones of the transalpine or the guttural jargon of transmarine languages, is heard, ge- nerating a Babel of sounds. On all sides are greeting of dear friends, who only meet once a year at the fair, yet are as loud and hearty in their saluta- tions as though they were sworn bro- thers. From a semicircle of fifty miles radius (the city being upon the sea) the population pours in, with serious intentions of laying out their money to gome purpose ; while crowds of Roman, Tuscan, and other idlers, come to enjoy a lounge through this bazaar-city, or partake of its amusements. In the thoughts of the former the custom- house officers have a considerable place; for as all the merchandize comes in free and pays its duty upon passing the gates to enter into tlie country, many are the schemes and devices for escaping the vigilance of these most inconvenient and inconsiderate officials. Much that is bought is concealed in the town, so as to evade the minute domiciliary visit which closes the fair, and then is gra- dually conveyed home. What is in use passes of course free ; hence troops of countrymen, tanned to colour of bronze, as they go out of the gates shade their delicate complexions from the sun with their new umbrellas ; and young men protect themselves against the chill of Italian dog-days with well- lined and fur-collared cloaks wrapped close around them. Dropsies too look very common, and pocket handkerchiefs seem vastly like shawls. A sudden fashion seems to have come in of wearing double apparel, and many can no longer tell the time without at least three watches in their pockets. Yet great is the squab- bling, the entreating, the bullying at the gates; and many faint just at that particular moment, and cannot recover unless they drive outside and feel the country air. In fact, it is an epoch in the year to which everything is referred : a person is said to have died or to have gone abroad, before or after the last fair of Sinigallia; many know only those two periods in the year." — Dr. Wiseman, The English traveller, who so often seeks in vain for fresh objects of excitement, will do well to visit the town at this period of general enjoyment : it is a scene where national character and cos- tume may be studied more effectually than in any other place perhaps in Italy. Leaving Sinigallia, the line of road follows the seashore as far as 1 Case Bruciate, a post station, close to the river Esino, where it begins to turn inland. The road is generally level, but very monotonous, and the coast scene contrasts strongly with the picturesque beauty of the Mediterranean. [Before crossing the Esino, a road leading westward ascends the left bank of the river to Jesi, one of the most im- portant towns of the delegation of An- cona, with a population of 1 8,326 souls. It is the ancient CEsium, the (Esis of Ptolemy, a Pelasgic city dating fifteen centuries before Rome. It is remark- able also as the birthplace of the great emperor Frederick II., on which ac- count it was designated by the title of a " royal city." Its cathedral is dedi- cated to St. Septimius Martyr, its first bishop on the creation of the see, a.d. 308, A road leading due south through 116 ROUTE 14. , — ANCONA. [Sect. I. Filotrano, and crossing the Esino and Musone, falls into the high post road from Ancona to Foligno, on the banks of the Potenza, immediately below Ma- cerata.] A custom-house is encountered on entering the gate of Ancona (the Porta Pia), where passports are viseed both on entering and leaving the town. 1^ Ancona (^In7is, Albergo Reale ; La Pace (post); La Gran Bretagna). This ancient city still retains its Greek name, descriptive of the angular form of the Monte Comero, the Cumerium promontorium, on which the tov/n is placed. It has the best harbour on the Italian shores of the Adriatic, and is the most important naval station in the States of the Church. The city is beau- tifully situated on the slopes of a natural amphitheatre, spreading between the two promontories of Monte Ciriaco and Monte Comero, the latter of which is also known as Monte Guasco. Ancona is supposed to have been founded by a Doric colony, or by the Syracusans who fled from the tyranny of Dionysius. It was a famous port of the Romans, and was occupied by Caesar after the passage of the Rubicon. Its importance in the time of Trajan is proved by the magnificent works un- dertaken by that emperor, and still remaining with scarcely any change. It was one of the cities of the Pentapolis, and during the middle ages sustained more vicissitudes than almost any other town on the coast. In 550 it was be- sieged by Totila, king of the Goths, and was plundered in the same century by the Lombards, who placed over it an officer whose title (marchese) gave rise to the general name of the March, which the territory of Ancona still re- tains. After having recovered from the sack of the Saracens it became a free city, and in the twelfth century was one of the most important cities of the league of Lombardy. When Frede- rick Barbarossa in 1173 sent Christian archbishop of Mentz into Italy as his representative, the warlike prelate suc- ceeded in inducing the Ghibelhie cities of Tuscany and Romagna to second the attack upon Ancona, which he com- menced during the following spring. It was during the famine occasioned by this siege that the young mother, called the " heroine of Ancona," gained im- mortality. The detailed account of the transaction will be found at length in Sismondi, who says that observing one day a soldier summoned to battle but too much exhausted to proceed, this young and beautiful woman refused her breast to the child she suckled, ofiered it to the warrior, and sent him forth thus refreshed to shed his blood for his country. Ancona enjoyed its privileges until 1532, when it was sur- prised by Gonzaga, general of Clement VIL, who under the pretence of de- fending it against the incursions of the Turks, erected a fort and filled the city with papal troops. The first result of this measure was the overthrow of the aristocratic constitution, which had pre- vailed for about two centuries ; the senators or Anziani were expelled, the principal nobles were banished, and the absolute dominion of the Holy See was established beyond the power of the inhabitants to resist the encroachment. From that time it has remained attached to the Church, excepting during those periods when political convulsions filled Italy with the armies of the north. In 1798 it was seized by the French, and in the following year it sustained under General Meunier the memorable siege which terminated in its surrender to the allies, after a long and gallant resist- ance. Under the kingdom of Napoleon it was the capital of the department of the Metaurus; but in 1814 it was finally settled on the Church by the congress of Vienna. In 1832 it was again occupied by the French to balance the Austrians in the north, and was not evacuated by them until 1838. It is now the capital of the March, aud the chief city of a Delegation com- prehending a superficies of seventy- five square leagues and a population of 160,000 souls. The population of the city and its suburbs amounts- to 35,271. It is divided into two portions, the Citta Vecchia and the Citta Nuova, Papal States,'] route 14. — ancona. — Arch of Trajan, ^-c, 117 the former occupies the highest ground and is inhabited by the poorer classes ; the latter is situated on the lower slopes and along the shores of the sea. The city contains some fine buildings, but it is badly arranged, and the narrow and irregular streets have a dreary aspect ; almost the only exception being the new line of houses on the Marina, begun by Pius VI. In spite of these disadvantages Ancona is an interesting place, and is full of curious objects to engage the attention of the traveller. The famous Port, begun by Trajan after that of Civita Vecchia. is one of the best in Italy : it was enlarged by Clement XII., who made it a free har- bour as an encouragement to its com- merce, which had declined considerably after the discovery of the passage to India by the Cape. It has two moles, one erected by Trajan, the other by Clement XII. The T7iumj)hal Arch of Trajan, which has been pronounced the finest marble arch in the world, stands on the old mole, in singular and striking contrast to everything around it. It was formerly the entrance to the old harbour, but subsequent altera- tions have left it elevated above the quay, and consequently it is not now used for its original purpose. This superb monument is constructed en- tirely of white Grecian marble without cement, and is a noble specimen of the Corinthian order. It was erected in honour of Trajan, a.d. 112, by Plotina his wife and Marciana his sister ; it was ornamented by bronze statues, tro- phies, and bas-reliefs, but all these have disappeared, and its marble bas- reliefs alone remain to attest the mag- nificence of its decorations. The sides have two Corinthian columns elevated on their pedestals, and the attic bears an inscription recording the motives of its erection. The remarkable white- ness of the marble, the elegant pro- portions of the arch, and its ele- vated position, combine to make it one of the most imposing monuments of Roman grandeur which Italy now retains. The new Mole is also decorated with a triumphal arch erected by Clement XII., from the designs of Vanvitelli/ the well-known architect of the palace of Caserta. It is a fine example of the great Roman architect, but its effect, contrasted with that of the arch of Trajan, is somewhat heavy. Forsyth criticises these arches in the following passage : — The ancient part of the mole is crowned by Trajan's arch, and the modern by a pope's. But what business has a priest with triumphal arches? And what business has any arch on a mole? Arches like these suppose a triumph, a procession, a road, the entry into a city. The mole of Trajan called for a different monu- ment. Here an historical column like his own might have risen into a Pharos, at once to record his naval merits, to illuminate his harbour, and realise the compliment which the senate inscribed on this arch, by- making the access to Italy safer for sailors." The harbour is defended by several forts ; one was built by Clement VII. in 1532, from the designs of Antonio di Sangallo, enlarged by Gregory XIII. in 1575, and improved by the Germans and the French in recent years. Near the Capuccini is another fort, restored by the French in 1832; and other strong fortifications occupy the heights of Monte Pelago and Monte Cardeto. Within the harbour, in a convenient position on its shores, is the Lazzaretto, built in the form of a pentagon by Clement XII. in 1732, and completed by Vanvitelli. Its domestic and sana- tory arrangements are still far inferior to those of Malta, but great improve- ments have taken place since the esta- blishment of the Austrian steamers between Trieste and the Levant. The Cathedral, dedicated to S. Ciri- aco, the first bishop of Ancona when it was made a see in 362, stands on an eminence overlooking the town and harbour, and occupies the site of the ancient temple of Venus, round which the original town is supposed to I have been built. It is mentioned by 118 ROUTE 14. — ANCONA. — Churches, [Sect. I. Juvenal, Sat. iv., in a passage expres- sive of the Greek origin of the city, which will be found quoted in the next page.^ It is an edifice of the tenth century, with the exception of the facade, which is said to be the work of Margaritone of Arezzo, in the thirteenth century. The columns of the ancient temple have contributed to the embellishment of the Christian church; and independently of the fine prospect which its elevated position commands, its architectural and other relics will repay the trouble of the ascent. The exterior of the edifice was once ornamented with a wheel window which is now closed up, but the Gothic doorway still remains, and is a superb example of its kind. It has nine columns and a pointed arch, the first frieze of which has thirty-one busts of saints ; the se- cond has grotesque animals and other similar devices. The projecting porch is supported by four columns, the two outer resting on colossal lions of red marble ; on one side of the inner vault of the porch are an angel and a winged lion, and on the other an eagle with a book and a winged bull; on the left of the porch are low bas reliefs of saints. The interior exhibits the fine columns of the temple of Venus ; the two naves or side aisles are ascended by steps. The cupola is octangular, and is considered by D'Agincourt as the oldest in Italy. In one of the subterranean churches is a splendid sarcophagus of Titus Gorgonius, praetor of Ancona. In the other are the tombs of St. Ciriaco and two other saints, a copy of the Pieta of Genoa, and por- traits of Pius VI. and VII. In a chapel above is a painting by Podesfi, representing the martyrdom of S. Lo- renzo ; and in another, over the monu- ment of the Villa family, is a fine portrait of a child by Tihaldi, The Giannelli monument is an interesting specimen of the cinque cento style : that of Lucio Basso is also worthy of examination. In addition to these objects, the church contains a fine re- petition of the Madonna of Sassof errato. The Church of S. Francescone, now a hospital, has a very rich Gothic door- way with a pointed arch and a pro- jecting transom covered with heads of saints. The canopy is of great richness, containing statues of saints in niches, surmounted by fretwork pinnacles ; the arch is an imitation of the escalop shell. S. Agostino has another rich door- way, in which Corinthian columns are introduced, exhibiting an interesting example of the transition from the Gothic to the classic style. It is the only vestige of its Gothic architecture, for the interior was entirely rebuilt by Vanvitelli. The fine picture of St. John baptizing, by Tibaldi, was painted for Giorgio Morato the Armenian mer- chant, who first brought the artist to the city. But the principal works in the church are by Lelio, known as Andrea di Ancona^ a painter of the Roman school in the last century, a pupil and imitator of Baroccio ; his best production is the Madonna crown- ing St. Nicholas of Tolentino. The sacristy contains fourteen small pic- tures illustrating the history of the saint by the same hand. The St. Francis praying is mentioned by Lanzi as one of the best works of Roncalli. Sfa. Maria delta Piazza exhibits the most curious prodigality of Gothic ornament. Its small facade has three parallel rows of round-headed arches, with enriched mouldings resting on low columns in imitation of the Co- rinthian order; the door has likewise a round-headed arch, with knotted columns. The frieze is full of birds, animals, grotesque figures, and leaves ; the side door is pointed and has a porch. Animals and birds are lavished over all the decorations of this church, which deserve to be perpetuated by the architectural draughtsman. The inte- rior contains a picture of the Madonna going to the temple in childhood, a tine example of the. Roman painter Marco Benejial ; and a Virgin throned, by Lorenzo Lotto, the Venetian painter of the sixteenth century. S, Domenico was rebuilt in 1788 : it Papal States.] route 15. — ancona to foligno. 119 contains a Crucifixion by Titian, and the grave of Rinaldo degli Albizzi, the rival of Cosmo de' Medici, who died here in exile in 1452. A sim]ile inscription recording his name and the year of his death is the only monu- ment of the great Florentine. The church contains also the tombs of Tar- cagnota the historian, and of Marullo the poet. S. Francesco contains three interest- ing paintings : a Madonna by Titian, painted in 1520 for Aloysa Gozzi of Ragusa; an Annunciation by Guido ; and a Crucifixion by Bellini. Sfa. Pelagia contains a fine picture by Gi^ercino, representing the saint and an angel ; the church of the P'ergifie della Miserico7^dia has a curious door, ornamented with fruits, and presenting another example of tlie transition period. The Loggia de Mercanti, or Ex- cliange, is another remarkable adapta- tion of Gothic architecture, designed by Tihaldi, who covered the interior with productions of his pencil. The ornaments of its fagade are most ela- borate, and the arches have a Sara- cenic character. The bas-reliefs are said by Vasari to be the work of Mocrio. The roof is covered with the superb frescoes of Tibaldi, representing Hercules taming the monsters. Near the cathedral are some remains of the ancient amphitheatre, supposed to be more ancient than that of Verona ; but they are so filled up with houses, that it is diflicult to trace them. The Palazzo del Governo contains a small gallery of pictures, and is the residence of the legate. The Palazzo Ferretti affords a fine example of the twofold powers of Tibaldi, as an ar- chitect and painter. The Piazza di S. Domenico has a marble statue of Clement XII., less remarkable as a work of art than as a memorial of the benefits conferred upon the city by that enlightened pontiff. The foun- tain called del Calamo is the work of Tibaldi. The Prisons are surpassed in size only by those of Civita Vecchiaand Spoleto. They will hold 450 criminals ; the num- ber actually confined generally exceeds 400. The Jews settled at Ancona are said to number 5,000 ; they have a sepa- rate quarter and a synagogue. It is one of the characteristics of the city that all religious sects enjoy complete toleration. Ancona is the birthplace of many eminent men, among whom may be mentioned Carlo Maratta ; the poets Cavallo (praised by Ariosto), Leoni, and Ferretti ; the philosopher Scacchi ; and Rinardini the mathematician. " It would be ungallant," says For- syth, to pass through Ancona with- out paying homage to the multitude of fine women whom you meet there. Wherever there is wealth or even com- fort in Italy, the sex runs naturally into beauty ; and where should beauty be found if not here — " 'Ante domum Veneris quam Dorica sus- tinet Ancon ?"' The diligence leaves Ancona for Rome on Tuesdays at noon, and on Saturdays at 9 p.m. ; and for Ferrara and Bologna on Tuesdays at noon, and on Saturdays at midnight. The steamers belonging to the Lloyd's Anstriaco leave Ancona for Corfu, Patras, Syra, Athens, Smyrna, Con- stantinople, and Alexandria, on the 2nd and 17th, and return to Trieste on the 18th and 3rd of every month, de- pending of course on the weather. There is also a steamer twice or thrice a month between Trieste and Ancona. It is possible to pursue the journey from Ancona direct to Naples, without passing through Rome (Route 33). ROUTE 15. ANCONA TO FOLIGNO, BY LORETO, MACERATA, AND TOLENTINO. Hi Posts. The high post road from Ancona to Loreto strikes inland on leaving the town, and ascends the hills to Osimo ; but there is another very hilly but more direct road following the coast, without approaching it, through Camerano and 120 ROUTE 15. ANCONA TO FOLIGNO. LovetO. [Scct. I. Crocelle, a drive of about three hours through a highly cultivated and pretty country : the latter is generally fol- lowed by the vetturini. \\ Osimo {hm, La Posta). An ad- ditional horse is required from Ancona to Osimo. but not vice-versa, Osimo is a town of high antiquity, and is con- sidered by many to have been the ca- pital of Picenum. We easily recog- nise the classical Auximum in the mo- dern name. Lucan mentions it as Admotse pulsarunt Auximon alae." Belisarius nearly lost his life in the siege of Osimo ; the arrow from its walls must have transpierced him " if the mortal stroke had not been intercepted by one of his guards, who lost in that pious oflice the use of his hand." — See Gibbon, xli. The modern town is si- tuated in the midst of a fertile and beautiful country, and from its great elevation it is a position of extraordi- nary strength. The cathedral is dedi- cated to St. Tecla : it is a place of some sanctity as containing the body of S. Giuseppe di Copertino. In the Casa Galli, Roncalli painted a fresco of the Judgment of Solomon, considered by Lanzi to be his best performance of that class ; and in the Church of Sta. Palazia a picture of the saint, also pro- nounced by the same authority to be one of his finest works. The Palazzo Pubblico has a small museum of an- cient statues and inscribed stones, dug up from the foundations of the Roman city. Leaving Osimo, the road turns again towards the coast, and the Mu- sone is crossed immediately below the hill of Loreto. 1 Loreto (Imis, La Campana; La Posta). This small city, whose entire circuit may be made in less than half an hour, has obtained a higher celebrity as a religious sanctuary than any other on the map of Chris- tendom. For upwards of five cen- turies Loreto has been the great place of pilgrimage of the Catholic church, and the most pious pontiffs and the most ambitious monarchs have swelled the crowd of votaries whom its fame and sanctity have drawn together from the remotest parts of the Christian world. The original name of the town was the Villa di Sta. Maria; it was afterwards called the Castello di Sta. Maria; and the present name is derived either from a grove of laurels in which the Santa Casa is said to have rested, or from the person to whom the grove belonged. The foundation dates from the 10th December, 1294, in the pontificate of Celestin V., when the Santa Casa arrived from Nazareth. The tradition of the church relates that this sacred house was the birth- place of the Virgin, the scene of the Annunciation and Incarnation, as well as the place where the Holy Family found shelter after the flight out of Egypt. The house was held in ex- traordinary veneration throughout Pa- lestine after the pilgrimage of the Empress Helena, who built over it a magnificent temple bearing the in- scription " Hsec est ara, in qua primo jactum est humanse salutis fundamen- tum." The fame of the sanctuary drew many of the early fathers of the church into Palestine ; among these pilgrims was St. Louis of France. The subsequent inroads of the Saracens into the Holy Land led to the destruc- tion of the basilica which Helena had erected; and the legend goes on to state that by a miracle the house was conveyed by angels from Nazareth to the coast of Dalmatia, where it was deposited at a place called Kaunizza, between Tersatto and Fiume. This occurrence is placed by the tradition in 1291, during the pontificate of Ni- cholas IV. In 1294 it is said to have suddenly appeared in the night in a grove near Loreto : and according to the legend the Virgin appeared in a vision to St. Nicliolas of Tolentino, to announce its arrival to the faithful. After three times changing its posi- tion the Santa Casa at length fixed itself, in 1295, on the spot it now oc- cupies. The concourse of pilgrims soon created tlie necessity for means of ac- commodation, and by the pious zeal of the inhabitants of Recanati the found a- Papal States.] route 15. — ancona to foligno. — Loreto, 121 tions of the present town were speedily laid. Loreto became a city in 1586, when Sixtus V. surrounded it with walls, to resist the attacks of Turkish pirates, who were tempted by the known riches of the sanctuary to make fre- quent descents upon the coast. The city is built on a hill, about three miles from the sea, commanding an extensive prospect over the sur- rounding country and visible to the mariner for a distance of many leagues from the coast. It may be said to be composed of one long and narrow street, filled with shops for the sale of crowns, medals, and pictures of the " Ma- donna di Loreto a trade which is said to produce an annual return of from 80,000 to 100,000 pauls. On first en- tering the town the traveller is almost led to imagine that it is peopled with beg- gars, for he is at once beset with appeals to his charity and piety, a singular con- trast to a shrine rich in gold and dia- monds ; but it is remarkable that there is no poverty so apparent as that met with in the great sanctuaries of Italy. The piazza in which the church is situated is occupied on one side by the convent of Jesuits, and on the other by the noble palace of the governor, erected from the designs of Bramante. In the middle is the fine bronze statue of Sixtus v., representing him seated and givhig his benediction: it is the work of Calcagni of Recanati, pupil of Girolamo Lombardo of Siena, in 1589. The Church called the Chiesa della Santa Casa occupies the third side of the square. Its fagade, built by Sixtus V., is in the worst possible taste. Over the grand door is the full length bronze statue of the Virgin and Child by Girolamo Lombardo. The great orna- ments of the exterior are the three superb bronze doors, inferior only to those of John of Bologna in the Duomo of Pisa. The central one was cast by the four sons of Girolamo Lombardo, in the sixteenth century. It is divided into compartments, containing bas-re- liefs illustrating various events in the history of the Old Testament, from the creation to the flight of Cain, with sym- bolical representations of the progress and triumphs of the Church. The left door was cast by Tiburzio FerzelU, of Camerino, also a pupil of the elder Lombardo. It represents, amidst the richest arabesques and figures of pro- phets and sybils, various events in the Old and New Testaments, so arranged as to make every symbol of the old law a figure of the new. The right door is the work of Calcagni, assisted by Jaco- metti and Sebastiani, also natives of Recanati. It represents, in the same manner as the preceding, different events of both Testaments. These fine works were finished in the pontificate of Paul V. The campanile was designed by Vanvitelli, and finished in the ponti- ficate of Benedict XIV. It is of great height, and exhibits a combination of the four orders. It is surmounted by an octagonal pyramid, and contains a bell said to weigh 22,000 lbs., cast by Bernardino da Rimini in 1516, at the expense of Leo X. On entering the church, the vault of the middle aisle presents various paint- ings of the prophets in chiaroscuro by Luca Sigjiorelli ; the three last towards the arch above the high altar are the work of Cristofano Roncalli. The great attraction and wonder of the church is the Santa Casa, and the marble casing in which it is in- closed. The Santa Casa is a small brick house, 19 Roman palms 4 inches in height, 42,10 in length, and 18.4 in breadth. It has a door in the north side, and a window on the west ; its construction is of the rudest kind, and its general form is that of the humblest dwelling. Over the window is pointed out the ancient cross, ann- sons of Civita Vecchia are the largest in the Papal States; they are calcu- lated to hold 1200 persons, and the number in confinement is seldom much below that amount. Nearly a third of the criminals recently confined there had been guilty of homicide; a fifth were under sentence of imprisonment for life, and nearly one half for the term of twenty years. The most notorious per- sonage in these prisons is the brigand Gasperoni, who has been confined there with twenty followers for upwards of fourteen years. He is frequently visited by travellers, who obtain the required permission through the consul. He is visible between the hours of ten and twelve. He admits that he committed thirty murders, and protests against the accusation of having killed hundreds as a calumny! Yet, in spite of this con- fession, visitors are not wanting who compassionate him, and even make him presents of money. He says that the greatest prize he ever took was 4000 scudi, and that he paid the police 100 scudi a month for information. Numerous antiquities and coins have been found in the vicinity of the town. About three miles distant are tlie Bagni Papal States.'] route 25. — civita vecchia to rome. 16T di Ferraia,mmeval springs mentioned by Pliny as the Aquae Tauii. The aque- duct of Trajan is a remarkable work by which water is conveyed from the Mignone, a distance, it is said, of twenty-three miles. At Tolfa, fifteen miles distant, are the government alum- works, farmed by the Camera, to which they yield considerable revenue; there is a paved road from the works to the port, by which the alum is brought down for shipment. Civita Yecchia is the most conve- nient point from which travellers who may desire to visit the ruins of the ancient cities of Etruria can take their depar- ture. Many however who are anxious to reach Rome will hardly be induced to delay their journey for the purpose of making a complete tour through these interesting localities; and as there are many travellers who do not enter Italy by Civita Vecchia, it has been con- sidered desirable to give an account of the tour under " Excursions from Rome," where good introductions may be obtained. Corneto, however, is within an easy distance of Civita Yecchia, and travellers who are detained here for a day cannot employ it more profit- ably than by devoting it to an excursion to that town. A calessa for one person to go and return costs two scudi. There is a small gallery of Etruscan anti- quities at Civita Yecchia which de- serves a visit ; it belongs to Signor Pucci, and is, we believe, entirely for sale. A new road along the coast, recently constructed by the 'J'uscan government as a part of their extensive operations on the Maremma, has brought Civita Yecchia within twenty-four hours' jour- ney of Leghorn : there can be little doubt that this road will eventually be- come one of the chief lines of commu- nication between Florence and Rome. The present road from Civita Yecchia to Rome follows the Yia Amelia to within three miles of the walls of Rome. Many traces of the ancient pavement existed prior to 1821, when it was de- stroyed to make the present road, which is now so bad as to render a new line necessary. This new road will keep more to the coast than the old one, and will be provided with three post-stations ; 1, Santa Severa (2 posts); 2, Palo (IJ post); 3, Castel di Guido (IJ) ; 4, Rome (2 posts). The time occu- pied in posting is about 7J- hours. By the official ordinance issued by Cardi- nal Pacca, as cardinal chamberlain, in 1816, the following are the fixed charges for posting on this line : — between Civita Yecchia and Monterone, 3 scudi 5 pauls ; between Monterone and Rome, 3 scudi 5 pauls for every pair of horses ; to the postillion, for each of the same stages, 1 scudo ; to the stable-boy 1 paul. After leaving Civita Yecchia the pre- sent road skirts the sea-coast for se- veral miles, passing at the base of the Monte Rossi. The coast makes a sud- den bend to the east at the Torre Chia- ruccia, and soon afterwards passes Santa Marinella, supposed to be the ancient Punicum. Beyond this is a small stream, with some fine ruins of the an- cient bridge by which the Aurelian Way was carried over it ; they consist of square massive blocks of masonry, and date, no doubt, from the first formation of the road. About six miles further the road leaves on the right a pictu- resque fortress of the middle ages, called Sa7ita Severa, originally belonging to the counts of Galera, and held hi the fourteenth and fifteenth centuries by the Orsini, as their representatives. It was also at one time attached to the famous monastery of Farfa; in the six- teenth century it passed to the hospital of Santo Spirito, and is still one of the vast possessions of that opulent esta- blishment. It occupies very nearly the site of Pyrgos, supposed by many an- tiquaries to have been the port and arsenal of Caere. The name denotes its Greek origin; it is celebrated by Strabo for its fine walls and towers, and for its Pelasgic temple of Lucina, plundered by Dionysius of Syracuse. Many remains of its ancient port still exist, and the harbour continues to afford shelter to the small craft of the coast. About six miles further, in crossing the plain to Monterone, the little stream Yaccina, the Amnis Cseretanus of Pliny 168 ROUTE 25. CIYITA VECCHIA. [Sect. I. and Virgil, is passed. The town of Cervefere, the modern representative of the Greek Caere or Agylla, is seen on the left hand from many parts of the road. It is memorable not only on ac- count of the valuable Etruscan remains discovered there, but as one of the most important cities of Etruria ; its anti- quity was so great, that Pliny mentions the paintings which existed there in his day as being long anterior to the found- ation of Rome. It is celebrated also by Herodotus and by Virgil, who de- scribes it as governed by Mezentius when ^neas arrived in Italy. A more detailed account of its antiquities will be found in the tour of the Etruscan cities, under Excursions from Rome." Beyond the Vaccina the road crosses another small stream, called the San- guinara, near which is the post-station and osteria of 3 J m. Mo7iterone. This is the oidy place where horses are changed, according to the recent regulations of this road ; the tavern affords little accommodation, and travellers generally lose no time in proceeding to Rome. There is nothing at Monterone to detain the traveller, except the singular tumuli called the Colle Tufarini, which the researches of the Duchess of Sermoneta, in 1838, proved to be sepulchral. The result of the first excavations of the duchess was considered an event by the Roman antiquaries, as considerable doubt existed in regard to the real charac- ter of the tumuli, whether they were natural or artificial mounds. In the first opened, the chambers were found hollowed out of the solid tufa, the doors contracted towards the top in the Egyptian style, like those of the cavern tombs at Castel d'Asso, and the walls exhibited the ordinary painted figures of leopards, dolphins, &c. Some of these tombs are remarkable as being supplied with wells and galleries ; but, so far as they have been explored, they appear to have been already plundered bytheRomans. A road leads from Mon- terone to the village of Palo^ on the coast, occupying the site of Alsium, near which Pompey had a villa. After leaving Monterone, several small streams are crossed, at Statua, Pa- lidoro, &c. ; one of these, shortly before the commencement of the ascent to Castel di Guido, is the Arrone, the na- tural emissary of the lake of Bracciano ; it has preserved its ancient bridge of two arches, built of quadrilateral stones, which is worthy of observation. Castel di Guido. belonging to the Orsini family, is supposed to mark the site of Lorium, celebrated in the personal history of Antoninus Pius as the scene of his early education and of his death. The road becomes hilly as it approaches Rome. After passing Botacchia, we reach the old post-station and osteria of 2 m. Malagrotta, now no longer sup- plied with horses. We cross here the Fossa d'Acqua Sona (the Galera), and about three miles further the little stream of the Maglianella. The Via Aurelia proceeds in a straight line by the grounds of the Villa Pam- fili Doria, but the present road branches off to the left soon after passing the Maglianella. The aqueduct called the Acqua Paola crosses the road near this, and Rome is entered by the Porta Cavalleggieri. Passports are demanded here, and the carriage is usually con- ducted to the Dogana, where the lug- gage is again examined ; but a timely fee will often obviate this inconveni- ence. This is the only entrance to, Rome by which the first object which meets the eye of the traveller on passing through its gate is St. Peter's. The stranger forgets the dullness of the road, as he traverses the piazza of St. Peter's and recognises further on the Castle of St. Angelo, and the bridge of the same name, the ancient Pons iElius, by which he crosses the Tiber. These well- known objects give an interest to this entrance, although the streets through which it passes are not otherwise re- markable. \\ m. Rome, described in Route 27. Papal States.] route 26. — Florence to rome. — 169- ROUTE 26. FLORENCE TO ROME BY SIENA. 23^ Posts. This is the shortest road from Flo- rence to Rome, but it is less interesting and presents fewer objects of pictu- resque beauty than that through Arezzo and Perugia. A diligence performs the journey in thirty-six hours ; the courier's carriage, in which places may be secured on Tuesdays and Thurs- days, is still more expeditious. The vetturini require at least five days, and generally six. With post-horses it may be done in four days; by starting early from Florence, in order to have some hours for seeing Siena, and by making Radicofani and Viterbo the sleeping- places between Siena and Rome, the traveller may reach Rome in good time on the fourth day. This division of the stages on this route is in perfect accordance with the rapid manner in which it is usually travelled ; for in consequence of the almost irrepressible desire to reach Rome — a feeling which all those who visit Italy for the first time will readily appreciate — the dis- tance between the two great capitals is generally regarded as a tract of country which cannot be too soon passed over. Those tourists, however, who are really interested in Italian art will hardly find a week too long to devote to Siena, and it will be seen that other places on the route are not unworthy of more time than is commonly bestowed upon them. [For passports, &c., see Route 27.] The first stage out of Florence being a royal post, an additional horse is required by the tariff. The country between Florence and Siena is the only part of the journey between the Tuscan capital and the frontier which presents any scenes of natural beauty ; it is generally well cultivated, and olive- grounds and vineyards occur in nearly all the valleys ; but the hills want that broken and precipitous outline which the eye, after having been accustomed to the bolder scenery of the north, seems almost to require. Here they present nothing but long waving lines rising occasionally into obtuse summits and frequently covered with cypresses and pines ; as we advance further south they lose more and more the defined and picturesque forms which add so much to the beauty of Florence. Near Galluzzo the road passes on the right the Certosa, the celebrated Car- thusian convent, situated on a com- manding eminence above the bright stream of the Greve. It was founded by the famous Niccolo Acciajoli, grand seneschal of the kingdom of Naples, well known by the description of Boccaccio. The subterranean chapel contains the tombs of Acciajoli, by Orcagna, and of some other members of his family ; that of Cardinal Angelo Acciajoli is by Donatello and Giuliano Sangallo. In this convent Pius VI. found a re- treat during those political troubles which marked the latter years of his eventful pontificate : he was arrested within its walls, and carried a prisoner to France. The road crosses the Greve under Monte Buoni. On a hill on the left hand a short distance beyond this point is the church of Sta. Maria delF Impruneta, celebrated for its miracu- lous image of the Virgin, whose fame extends to all parts of Tuscany. On certain festivals and in times of public calamity she is even carried in proces- sion to Florence, where she is received by the authorities and by the grand- ducal family with peculiar honours. 1 San Casciano (^Inn, La Campana. An additional horse, in consideration of its being a royal post, is required be- tween this place and Florence, both ways ; an additional horse from S. Cas- ciano to Tavernelle). In the neighbour- hood of San Casciano is the villa of Machiavelli, now the property of the Maffei family, and little regarded by travellers. In this house it is said that he wrote "The Prince" and several other works. The road for some dis- tance towards Poggibonsi is paved. On leaving the town we descend to the right bank of the Pesa. Near the bridge another road to Siena branches off, much shorter than the post-road. It proceeds through Sambuca and Castellina almost 170 ROUTE 26. FLORENCE TO ROME. — Certaldo, [Sect. L in a direct line, avoiding the curve to Poggibonsi. The post-road crosses the Pesa and the Yirginio before it reaches 1 Tavernelle, a post-station. Beyond Tavernelle, on the right hand, is the village of Barberino di Valdelsa, from which the road descends into the nar- row valley watered by the torrent called the Drove, which joins the Elsa and the Staggia at Poggibonsi. There is a small inn at Barberino, standing in a beautiful situation and said to be good. 1 Poggibonsi (In?is : Aquila Nera ; La Corona ; both very tolerable), a consider- able manufacturing town, with a palace belonging to the Grand-Duke. The high road from Leghorn and Pisa to Siena falls into the present route at this place. It ascends the right branch of the Elsa, and passes through Castel Fiorentino and Certaldo, beautifully situated above the river, and immortalised by its con- nexion with Boccaccio, who took the name of Certaldese to commemorate the origin of his family. It would carry us beyond the limits of this work to describe this route, but Certaldo would well repay a visit. Boccaccio spent the greater part of his life there on his return from Paris, and was buried in the church of St. Michael and St. James, still called the Canonica. " Boccaccio to his parent earth bequeath'd His dust— and lies it not her Great among, With many a sweet and solemn requiem breathed O'er him who form'd the Tuscan's siren tongue ? Ttiat music in itself, whose sounds are song, The poetry of speech? No;— even his tomb ITptorn, must bear the hyaena bigot's wrong, No more amidst the meaner dead find room, Nor claim a passing sigh, because it told for whom /" Childe Harold. Boccaccio's sepulchre," says M. Valery, " formerly stood in the centre of the church ; against the wall close by was the epitaph made by himself, and an additional one by his illustrious friend Colluccio Salutati, chancellor of the Seigniory of Florence. The podesta of Certaldo, Lattanzio Tedaldi, erected a more magnificent monument to him, in 1503, on the interior front of the church, which was honourably trans- ferred to a spot facing the pulpit on the construction of an orchestra. Boc- caccio is represented half-length, hold- ing on his breast, with both hands, a folio volume on which is written De- cameron, a singular book to be placed just facing a preacher, and a proof of liberality on the part of the clergy. The tomb has experienced the most melancholy changes. For more than four centuries it had been the honour of Certaldo, and had attracted many tra- vellers to the Canonica, when in 1783 it was removed by a false interpretation of the law of Leopold against burying in churches ; the hyaena bigots of Cer- taldo, against whom Childe Harold and his annotator declaim, had nothing to do with it. The stone that covered this tomb was broken and thrown aside as useless in the cloister adjoining. It is said that Boccaccio's skull and bones were then exhumed, and a copper or lead tube containing sundry parchments of the same century. These precious frag- ments, now lost, were long preserved by the rector of the church, who ten years after accepted a benefice in the upper Val d'Arno. It is stated by tra- dition that they were still at that epoch an object of curiosity to strangers, who went to the rector's house to see them. It is difficult to explain the culpable negligence that allowed the remains of Boccaccio to be lost, when we consider the unceasing popularity, at Certaldo, of this eloquent admirable writer, this limner, so true, graceful, touching, profound, and mirthful, the perfect impersonation of Tuscan genius." Boccaccio's house, built of brick, with a small tower, was repaired in 1823 by the Marchioness Lanzoni Medici, who " reconstructed the staircase, decorated Boccaccio's chamber with his portrait, a large fresco by Benvenuti, and a book- case of his works. The small windows are of the time. The furniture is the oldest that could be found at Certaldo, with some imitated from different pic- tures of that period. The lamp seems the most authentic article of the whole, as it was found in the house and the hardness of the oil proved its antiquity. Papal States,] route 26.— Florence to rome. — Volterra. 171 A well, a bath, and a terrace are shown, which, according to an old tradition, belonged to Boccaccio. The stone which covered his grave for more than four centuries was religiously collected by Signora Lanzoni in 1826, and placed in this house, with an inscription by Signor Giordani." EXCURSION TO VOLTERRA. From Poggibonsi the traveller may make an interesting excursion to Fol- terra, distant about twenty miles. There is a more level but longer road from Florence through Empoli and Ponti- dera : but those who have had no pre- vious opportunity of visiting Volterra should on no account fail to devote a day or two to the excursion from this place. About three miles from Poggi- bonsi is the town of Colle, prettily situ- ated on a hill, and divided into the upper and lower town. It is celebrated for its paper-mills worked by the Elsa, which date from the invention of paper. There were twenty-two mills at the end of the fourteenth century ; and. Lorenzo Lippi, said to have been the first person who established a printing-press in Italy, was a native of the town. The Cathedral contains a bronze statue of Christ, by John of Bologna. The magnificent church of S. Agostino has a Deposition by Agostino della Porta, formerly attri- buted to Ghirlandajo, and another fine painting of the same subject by Cigoli. The tower of Arnolfo di Lapo, who was a native of the town, was formerly inha- bited by his descendants, but it has been recently abandoned as an un- healthy situation. Leaving Colle, the road crosses the torrent called Bottino, beyond Le Gra- zie, and ascends the mountains above the sources of the Era. From this high ground numerous streams and torrents flow down into the Cecina, which is seen occasionally on the south. Volterra (Inns: L'Unione, very clean and comfortable ; La Corona, tolera- ble). This is one of the most interesting towns in Italy, and travellers who are desirous of investigating the remains of one of the ancient Etruscan cities should on no account lose an opportu- nity of visiting it. Volterra is more easily accessible, and retains more of its ancient character than any other Etruscan settlement ; and those who have thoroughly investigated its anti- quities will find that they have little to learn respecting the habits and customs of ancient Etruria, which may not be acquired in the museums of the great capitals. The remark of Maftei, that those who have not been at Volterra know nothing of Etruscan antiquity, is too true to be regarded as a partial testimony : " Non sa che sia Etrusca antichitd Jigurata, chi non e stato a Volterra.''' The town is situated on a lofty and commanding eminence, capped by a tertiary sandstone full of marine shells, which rests upon a bed of white clay 200 or 300 feet thick. It is sur- rounded by smaller hills of similar formation, whose soft porous soil is so frequently washed away by the rains and torrents, that the neighbouring country presents a singular appearance of wild and sterile desolation. The hill of Volterra is bounded by the Era on the north, and by the Cecina on the south; it is said to be about 1870 feet above the level of the sea* From almost all sides the ascent to the town is long and gradual. In spite of the dreary aspect of the coimtry, the view from the summit of the hill, and especially from the citadel, is particularly striking: in clear weather it extends to Pisa, and commands a long line of sea, including Corsica and Elba. The population of the town is 4500. Volterra nearly retains its ancient name of Velithrae or Voliterra. Al- though less is known of its early his- tory than of that of Cortona, there is no doubt that it was a city of the league, and one of the most ancient settlements of Etruria. Its interest is so entirely Etruscan, that it would al- most appear out of place to enter into details of its history during the middle ages, when its strong position in the midst of the Marerama, between the republics of Pisa, Florence, and Siena, naturally made it a place of great im- 172 ROUTE 26. — FLORENCE TO ROME » — Volterv a, [Sect. I. portance in the contests of the free cities. Like many other small towns of central Italy, it was for some time able to assert its independence, and was governed by its own consuls; but it gradually fell under the power of Flo- rence, and from that time its history is to be traced in that of the Florentine republic. The ancient walls are among the very finest specimens of Etruscan architec- ture ; they are constructed in horizontal courses without cement, and are com- posed of massive blocks of tertiary sand- stone, full of marine shells. The greater part of the walls were ruined during the sieges of the middle ages, particularly in the capture of the city by Federigo di Montefeltro in 1472. They are sup- posed, from the remains still visible, to have been six miles in circuit, or about double the size of those of Cortona and Fiesole. The most perfect fragments are seen outside the modern gates, at the distance of about half an hour's walk from the inn ; they are frequently about fourteen feet in thickness. The soil near them is gradually wasting away by the encroachments of the ravines, which threaten to undermine the foundations at no very distant period. One of the ancient gates is still standing, in a fine state of preservation. It is called the Porta alV Arco^ and is a circular arch, formed of nineteen immense masses, put together without cement, and beauti- fully worked on the exterior face. The keystone and the two pilasters have three colossal heads sculptured in the stone, which were formerly supposed to be lions; but a bas-relief on one of the cinerary urns in the Museum, which appears to represent this gate, shows that they were human heads, indicating probably the tutelary deities of the city. Another gate, called that of Diana, has been much altered; near it the ancient walls may be traced for a considerable distance. Beyond this, about half-way down the hill, is the ancient Necro- polis, in the tombs of which were found the sarcophagi, &c. now in the Mu- seum. One tomb has been preserved in its original state, for the sake of travellers, who should on no account fail to visit it. The chamber is sup- ported by a natural column in the centre, and is surrounded by steps, on which the sarcophagi were placed. Of the other antiquities, of which some vestiges are still traceable, the most remarkable are the piscina and the baths. The Piscina^ in the castello, to which an entrance has been made in recent years, is a fine specimen of Etruscan architecture; the arches are sustained by six columns, and con- structed with blocks of great solidity ; in the vault are some apertures, evidently for the water-pipes. The Thermce near the fountain of San Felice were discovered in 1760 by Monsignore Mario Guarnacci ; they consist of two baths and some smaller chambers, in which we may trace some fragments of columns, and a few letters of an in- scription. One bath is circular, the other square ; from the substructions they appear to have been vapour-baths. In the Borgo di Montebradoni are some remains of an Etruscan hypogeum, with some cinerary urns, &c. Near the Florence gate some traces of the am- phitheatre have been discovered; but all these remains yield in interest to the museum in the Palazzo Pubblico, where everything discovered in the tombs and ruins has been carefully preserved. The Palazzo Puhhlico was begun in 1208, and finished in 1257, as recorded in an inscription in the quaint Latin rhyme of the period. The Gothic fagade is covered with coats of arms ; but the windows, as in most of the buildings which surround it, have been mo- dernized. The two lions sustaining the arms of Florence were added when the Florentine republic assumed the sove- reignty of Volterra, and appointed one of its own citizens as the captain of the people. The Palazzo contains the mu- seum and public library. The Museum is one of the most extraordinary col- lections in Italy, and alone repays a visit to Volterra ; it was opened in 1731, and is chiefly indebted for its treasures to the munificence of Monsignore Mario Guarnacci, who bequeathed his Etrus- Papal States.'] route 26. — Florence to rome. — Volterra. 173 can collections to the town in 1761 ; it is full of tombs collected in the Necropolis, statues, vases, coins, bronzes, paterae, gold ornaments, mosaics, &c. The whole are arranged in nine small rooms. There are upwards of 400 cine- rary urns, mostly of alabaster; some however are of tufa, and a few of terra- cotta; they are square, and about a yard in length. On the lids are the recumbent figures of the dead. Several have inscriptions, among which the Caecina, Paccia, Gracchia, and many other well-known Etruscan families, may be recognised. The bas-reliefs of these sarcophagi, independently of their interest as works of art, are as instruc- tive in aftbrding an insight into the costumes and manners of the ancient Etruscans, as the paintings in the Egyp- tian tombs are in developing the do- mestic habits and ceremonies of Egypt. There is no place in Italy Avhere the customs and civilization of Etruria can be so well studied as in this museum ; the bas-reliefs on some of the sarcophagi are coloured red, and one still retains traces of gilding. These sculptures re- present various incidents of domestic life, families at their banquets, sacri- fices, marriages, dances, hunting-scenes, battles, events in ancient mythology, and particularly the history of Ulysses and the Syrens, which appears from its frequent repetition to have been a fa- vourite subject. The battles of the Cen- taurs and Lapith8e,the history of Py lades and Orestes,&c., may also be recognised. Two of the sarcophagi are rather more than five feet long, and are supposed to have belonged to theFlavian family. The walls of the eighth chamber are covered with Etruscan inscriptions, and with fragments from the ancient baths. In the ninth is a portion of a mosaic found in the baths in 1761; and a female statue, discovered by Ratt. Mafi(ei in the amphitheatre of Vallebuona, sup- posed by Gori to be the Dea Norcia of the Etruscans. It bears an inscription on the right arm, which has been illus- strated by Lanzi. A bas-relief repre- senting a bearded soldier, is considered by Micali, Gori, and other archaeo- logists, as the oldest relic in the mu- seum. In a chamber above the museum is the Public Library, founded and endowed by Monsignore Guarnacci in the last century. It contains 12,000 volumes, some cinquecento editions of the classics, and 4200 volumes of the acts of the city tribunals, beginrnng A.D. 1300. The Cathedral, consecrated by Ca- lixtus II. in 1120, was enlarged in 1254 by Niccold di Pisa, and restored and embellished in the sixteenth cen- tury by Leonardo Ricciarelli, a nephew of Daniele da Volterra. The facade is entirely of the thirteenth century, but the door of black and white marble ap- pears to be more recent. The interior is imposing. It is in the form of a Latin cross, and retains all the charac- teristics of the original design of Niccold di Pisa. The Corinthian capitals were added in stucco to the columns in 1574 by Leo?iardo Ricciarelli, who adorned the roof of the side aisles with the armorial bearings of the families which had contributed to the embellish- ment of the fabric. Inside the princi- pal door are bas-reliefs representing the translation of the body of St. Octavian to tliis cathedral ; it was originally in- terred in the church dedicated to the saint on a hill four miles north of Vol- terra, and was brought hither in the year 820 by Bishop Andrea. The bas- reliefs were formerly placed on the exterior wall of the cathedral, and were removed to their present position in 1767. Near this is an altar of mosaic, a great part of which was the work of Mino da Fiesole in 1471, the sculptor of the two kneeling angels on the beautiful spiral columns on each side of the choir. On the left of the great door is the marble tomb of the learned Matteo Matiei, bishop of Cavaillon, secretary of the Sacred College, and Nuncio of Julius II. at Paris. The choir was once covered with frescoes by Pomarancio (Niccolo Circignani) ; no- thing now remains of these works but the painting on the vault representing the Almighty. The marble pulpit is covered with bas-reliefs, which are pro- 174 ROUTE 26. FLORENCE TO ROME. VolteVTa. [Scct. T. bably not later than the thirteenth cen- tury. It is supported by four columns of Elba granite, resting on the backs of monsters. The bas-relief in the front represents the Last Supper ; in the interior are three others, Abraham sa- crificing Isaac, the Salutation, and the Annunciation, with the names of each person engraved above them. In the chapel of St. Paul belonging to the Inghirami family, are the line frescoes of Giovanni di S. Giovanni, illustrating the history of St. Paul, and the paint ing representing his conversion, by Domenichino, much injured by the re- touching of Franchini and others : it is said that Domenichino received for this work 800 scudi. The other pic- tures of the chapel are the Martyrdom of St. Paul by Cav. Francesco Ci/rradi, formerly attributed to Guercino; and the Saint receiving Letters relating to the Christians of Damascus, by Matteo Rosselli. This chapel was built in 1615 by Gen. Jacopo Inghirami, a celebrated captain of the sixteenth cen- tury, called the tlagello de' Barberes- chi e de' Turchi." In the chapel of the SS.. Sacramento, built by Bishop Serguidi, is the Resurrection of Lazarus by Santi Titi, with the inscription Santi Titi, F. 1592. The altar was designed by Vasari. The side walls are painted by Giovan?ii Balducci ; and the stuccoes of the vault are by Leo- 7iardo Ricciarelli^ whose portrait has been introduced by Balducci. In the Gherardi chapel is an Annunciation, with an inscription on the back, " Bar- tolommeo me fece;" it was formerly attributed to Ghirlandajo. The fine Presentation in the Temple is by Gio- hattista Naldini. Over the door of the cloister is a bust of S. Lino by Luca della Rohbia. In the chapel of the Rosary is the St. Sebastian, by Fr-an- cesco Cungi of Borgo S. Sepolcro, painted in 1587 for forty scudi. In the chapel dedicated to St. Octavian is the beautiful marble tomb of the saint, executed by Raifaele di Giova7ini Cioli of Settignano, "in 1525, for 130 scudi, at the expense of the people of YoliGxxd^y who were desirous of com- memorating their delivery from the plague of 1522 through the supposed intercession of the saint. The two angels at the sides are by Andrea di Piero di Marco Ferruzziy mentioned by Vasari in his life of that artist. The fine picture of the Virgin, with St. Francis, St. John, and other saints, at the high altar, is considered the master- piece of Volterrano (Baldassare Fraii- ceschini) : the beauty of the head of St. John is particularly remarkable. The oratory of San Carlo contains the Deposition by Sodoina ; an Annuncia- tion by Luca Signorelli, painted in 1491 ; the Virgin with saints and angels, by Leonardo da Pistoja ; the Magdalen della Radice, by Camillo Inco7itri, a scholar of Guido, who retouched the head and some other portions ; and the Nativity by Benvetmto da Sie?ia. dated 1470, with a gradino, said to be by Giotto. The chapel of the Virgin con- tains the frescoes of Benozzo Gozzoli, representing the Nativity and the Ado- ration of the Magi ; the St. Joseph is one of the earliest works of Folterrano ; the representation of the SS. Nome di Gesu, executed on wood by S. Bernar- dino da Siena, was presented by him to the town in 1424, when he introduced his new religious order. The Sacristy, celebrated for its relics, contains four small pictures, one of which, represent- ing the Deposition from the Cross, is supposed to be by Sodoma, The silver reliquiary, containing four pieces of the true cross, is remarkable for its elaborate workmanship. In the clois- ters of the Canonica are preserved some interesting fragments of the marble ciborium which formerly stood on the high altar. Its beautiful sculptures are by Mino da Fiesoie, and are justly classed among his finest works. The neighbouring church of S. Gio- van7ii, supposed to occupy the site of a Temple of the Sun, is an octagonal Gothic building, referred to the seventh century. The doorway of black and white nnarble is very curious, and the capitals of the Gothic columns are full of animals and birds. Over the archi- trave are thirteen heads in bas-relief Papal States,] route 26. — Florence to rome. — Volterra. 1^5 representing the Virgin and the Twelve Apostles. The rich arch of the high allar is covered with festoons of flowers and fruits, beautifully sculptured by Balsamelli da SetfiS. Antonio, erected in 1172, is remarkable for its altar-piece by Domenico Ghirlandajo, representing the Virgin, with St. Antony, abbot, and St. Bartholomew ; and for the fresco in the sacristy by Taddeo Bartolo, men- tioned by V asari, and bearing his name and the date 14.. (1418). The church of San Dalmazio, built by Bartolommeo Ammanato, contains the Deposition from the Cross, by Gio, Paolo Rossetfi, the nephew and pupil of Daniele da Volterra, mentioned by Lanzi and Vasari as a work of merit. The Citadel is divided into two por- tions : the Cassero, or the Rocca Vec- chia, and the Rocca Nuova. The Cas- sero was built in 1343 by Gualtiere di Brienne, duke of Athens, then lord of Volterra. Its foundations partly rest on the ancient Etruscan walls. The Rocca Nuova was built in the four- teenth century by the Florentines, after they had reduced the city to obedience and placed over it a Florentine as cap- tain of the people. At the same time they constructed, on the site of the old episcopal palace, the famous prison called // Mastio. This is one of the most formidable prisons of Tuscany, and was formerly used for state oftend- ers. It has acquired some celebrity as the scene of the long confinement of the great mathematician Lorenzo Loren- zini, the scholar of Viviani. He was imprisoned here in 1682 by Cosmo III., on the unfounded suspicion of being one of the chief instruments in the correspondence between the Grand- Duchess Margaret of Orleans and Prince Ferdinand, to whose court he 'was at- tached. He remained a prisoner until the prince's death in 1693. During the eleven years of his captivity he com- posed the work on conic sections, which still exists in manuscript in four folio volumes in the Magliabecchiana library at Florence. The citadel was converted in 1818 into a House of Industry, or Casa de' Lavori, for prisoners whose crimes do not justify their employment on public works. Woollen cloths and other fabrics are made here. The esta- blishment is well managed, and the houses and workshops are clean and neat. Behind the hospital of S. Maria Mad- dalena is a building erroneously called the Torre degli Auguri. An inscrip- tion still visible over the door in Gothic characters shows that it was built in 1299 by the Hospitalers of S. Giacomo in Altopascio. It is supposed to have been used as a magazine for salt. The Casa Guarnacci with its three towers has an inscription over the door in Gothic characters, which shows that the first tower was erected at the begin- ning of the thirteenth century, and re- cords the name of its architect, Giroldo da Lugano. This house contains, among other works of art, a fine antique mar- ble statue of Hercules as large as life, and evidently of Grecian workmanship. The Casa Ducci is remarkable for the inscription on the facade, comme- morating a young child of the family of Persius, who is claimed as a native of Volterra. The inscription is as fol- lows : A. PERSIVS A. F. SEVERVS V. ANN. VIII.M.III.D.XIX. The Casa Ricciarelli, still occupied by the descendants of Da?iiele da Vol- terra, will doubtless be regarded by the traveller as one of the most interesting in the town. It contains a fine oil painting of Elijah by that great artist, who was born here in 1509, and died in Paris in 1566. The Casa Masselli in the Via del Crocifisso contains an- other example of this rare master in the ceiling of a small room, which he painted in fresco. Papal States.] route 26. — Florence to rome. — Volterra, 177 The Fountain of San Felice, near the gate of the same name, has obtained some repute for its mineral waters, proved by analysis to possess the pro- perties of the sea-water of the coast. They are much used in dyspeptic and cutaneous maladies. The Alabaster Manufactories here are well worth visiting. Nearly all the vases and other ornamental works which are found in the shops at Florence and Leghorn are made at Volterra ; but the statues and figures are manufactured in Florence. The articles sculptured here are cheaper than those sold at Flo- rence by about one-half ; and travellers who intend to send home any specimens of this beautiful work will do well to make their selection on the spot. The Messrs. M'Cracken, whose excellent arrangements oiler so many facilities to travellers in Italy, have a correspondent at Volterra, Signor Ottaviano Callai, the respectable landlord of the Unione. He undertakes to transmit all goods to their correspondents at Leghorn, where they are shipped for England. The Environs of Volterra abound in objects which would afford interesting occupation to the traveller for many days. In the immediate neighbourhood one of the most remarkable objects is the deep chasm called the Baize, pro- duced by the action of water during many centuries on the soft porous soil of the surrounding hills. There is no place in Tuscany where the operation of this cause has been attended with more disastrous consequences. The upper part of the ravine is composed, like the hill of Volterra, of a tertiary sandstone resting on a thick bed of white clay ; large portions of the rock are continually falling from the summit, without having any apparent effect in filling up the abyss. It is known from authentic documents that the ravine in the seventh century was a highly culti- vated spot, well wooded, and covered with habitations ; about the end of the 16th century the sides were observed to be gradually undermined by the water which had penetrated through the porous strata ; in 1627 it engulfed the church of San Giusto ; and in 1651 its rapid increase compelled the removal of an- other church, which had previously appeared beyond the reach of danger. Cosmo II. made an attempt to check the progress of this mischief, and several plans were subsequently tried to collect the waters into another channel ; but all have been unsuccessful, and the inhabitants observe with great regret that the danger is gradually approach- ing the ancient Etruscan walls on this side, and the celebrated Camaldolese monastery of S. Salvatore. The proba- ble cause of the continued voracity of this chasm seems to be a subterranean stream or river, which having at this point crossed a vast bed of salt which underlies this country, has worked out the excavation, and continually^ removes the clay and rocks which fall into it. The Camaldolese monastery, called the Badia di San Salvatore, situated on the north of Volterra, was founded in the eleventh century for the Camal- dolese monks. It has a noble cloister, and contains many works of art which deserve to be better known to the intel- ligent traveller. At the altar of S. Romualdo is the fine picture by Do- menico Ghirlandajo representing S. Ro- mualdo, S. Benedict, S. Attinia, and S. Greciniana, mentioned by Lanzi among his best works. It is admirably preserved, and is well-known to artists by the engraving of Diana Mantovana, wife of the architect Capriani. At the altar of the SS. Sacramento is the Nativity of the Virgin, by Donato Mascagni (1599). At the altar della Pieta is the Deposi- tion from the Cross, by Gio. Paolo Rossetti, engraved by Diana Manto- vana ; and at another altar is the Na- tivity of the Saviour by the same master. The S. Benedict and S. Romualdo at the sides of the organ are by Folterra?io (Franceschini), who painted the superb fresco of Elijah sleeping, in the Fores- tieria. In the apartment of the Abbot is the fine picture of Job by Donato Mascagni^ by whom are the frescoes illustrating the life of S. Giusto, and the oil painting of the Marriage of Cana, in the Refectory. In one of the adjoin- i3 178 ROUTE 26. — FLORENCE TO ROME. — Tfw Maremma, [Sect. I. ing rooms is a series of pictures repre- senting various events in the history of Volterra, attributed to Ghirlandajo. The country around Volterra abounds more in mineral riches than any other district of Italy, and large fortunes have been acquired there by the enter- prising proprietors within a period of about ten years. The Alabaster quarries, upon which so much of the industry of Tuscany depends, are at Ulignano, a small village on the north-east of Vol- terra, and at S. Anastasio, near the road to CoUe. They occur in the tertiary marine marls. The largest and whitest masses are found at Castellina, a few miles west of Monte Catini. At this place is the Motite di Caporciano, where the celebrated Copper-mines of Monte Catini occur. These works are of con- siderable antiquity ; they were aban- doned in 1630, during the great plague which desolated the Maremma in that year, and were never systematically restored until 1827, when they were reopened by Signor Luigi Porte. At that time Tuscany imported her supply of copper, whereas at the present time the metal is exported to different parts of the Mediterranean. The ore is a very rich sulphuret, occurring between the gabbro, or altered limestone, and the serpentine. The annual produce of the mines of Monte Cerboli recently amounted to 100,000 lbs. There are other copper-mines farther south in the heart of the Maremma, at Mo?itieri^ Massa, andRocca Tederighi, which were worked for a short time by a joint-stock company under Signor Luigi Porte ; the veins of ore were found to be extremely rich, but the enterprise was unsuccess- ful, chiefly in consequence of the absence of machinery and other modern improvements. The Salt-works and the brine-springs are about five miles from Volterra, along both banks of the Ce- cina. They consist of rmmerous artificial wells sunk to the depth of about 100 feet, from which the brine is pumped up by horses, and conveyed in conduits to the factories called the Moje, where it is evaporated. The shafts of the wells, although of course built perpendi- cularly, are all more or less inclined, owing to the shifting nature of the clay through which they pass, and also to the continual renewal of the salt which supports it. The wood of the neigh- bourhood supplies abundant fuel for the evaporating-pans. The principal wells on the right bank of the Cecina are those of S. Giovanni, S. Lorenzo, S. Luca, S. Antonio in Casicci, S. Maria, Buriano, Colizione, &c. On the left bank are those of Monte Ge- moli, Tollena, Querceto, S, Benedetto, and Marsanella. The Pozzo of San Giusto was long famous as one of the most productive; it is said to have occasionally yielded as much as 36 lbs. of salt from 100 lbs. of water. The most modern and the best managed of the works is that of San Leopoldo, which promises under the auspices of the government to surpass all the others in the amount of its produce. About 1 6 miles south of Volterra are the Boracic acid works, called the Lagoni di Monte Cerboli, They occur in the secondary limestone. The road leading to them crosses the Cecina below Vol- terra, and passes through Le Pomarance, from which Monte Cerboli is about 6 miles distant. Mr. Babbage has given us the following description of the works : — " The district in which the Lagoni occur is one of the most singular coun- tries in the world. Near the village of Monte Cerboli, in the midst of a deep rugged and broken ravine, is one of the eight establishments for extracting bo- racic acid from the earth. From the whole surface of a large space, probably a square mile of the broken ground, there issues a large volume of steam, which rises high in the atmosphere before it is absorbed, and may be seen at the distance of many miles. In the midst of this fog of steam, on a small plain forming a kind of island, stands a village containing the cottages of the workmen, the evaporating-chambers, the storehouses, and a church recently built. The process of preparing the boracic acid is the following : — on ex- cavating a few inches into any part of the broken ground steam issues with Papal States,} route 26. — Florence to home -The 3Iaremma, 119 great force, driving with it mud and even stones with a violent noise. One or two feet is quite deep enough for the object required. A small dwarf wall is rudely made round this opening, and thus a large cup-shaped pool is formed of from ten to forty feet in diameter. Into this cavity a small stream of water is conveyed until it is nearly full. The cold water going dovvn into the cavity becomes greatly heated, and is driven violently upward by the steam thus formed. The whole of the water be- comes heated by this constant regurgi- tation from the heated cavity, and at the end of about twenty-four hours it has absorbed nearly one per cent, of boracic acid. After a period of repose in another excavation, in which the mud is deposited, this solution is conveyed into large evaporating-pans. A power- ful jet of steam from one of the large holes made in the broken ground is conveyed in a kind of drain to the evaporating-house, and passes in flues under every part of the evaporating- vessels. The water is thus carried otf into the atmosphere, and the boracic acid remains. These works are now in the most flourishing condition owing to the sagacity of the Chevalier Larderel, now Count of Le Pomarance. About ten years since, the cost of the fuel by which the water was evaporated was so great that little boracic acid was procured, and it scarcely repaid the labour and cost of production. The Count conceived the happy idea of employing the heat which nature so plentifully oflered, and thus dispensed with the whole expense of fuel. The result of this plan of converting volcanic heat to commercial purposes has been the establishment of villages and a thriving population in a locality which was previously almost a desert. About ten years ago the whole of the borax consumed in England was im- ported from the East Indies ; at present more than half the demand is supplied from the boracic-acid works of Tus- cany." The localities of these works are all south of the Cecina ; they are mostly at Monte Cerboli, on the Possera, a small tributary of the Cecina; at Castel Nuovo, on the ridge between the Possera and the Pavone; atSasso, near the source of the Cornia ; at Monte Rotondo, on the hills above the source of the Milia ; at Lustignano and Serazzano, on the right bank of the Cornia ; at Lugo, and at San Federigo al Lago. The average pro- duce of the lagoons is said to be about 600,000 lbs. of boracic acid annually ; of which one-sixth is used in the manu- facture of borax and the rest exported : the quantity, however, varies according to circumstances; in 1836 it was as much as two millions and a half lbs. In the neighbourhood of Monte Cerboli are the warm mineral -waters called the Bagni a Morba, celebrated for their medicinal qualities in the time of the Florentine republic. The bath called delta Perla was much used by Lorenzo de' Medici. They were restored a few years since by Signor Francesco Lamotte, and are visited by large numbers from various parts of the grand-duchy during the season. Tuscany was the last state in Italy which began to drain her Maremma, and the first which succeeded in bring- ing the enterprise to completion. The works were begun in 1829 under the direction of the celebrated Count Fos- sombroni, who adopted the system which had been so successfully employed in the Val di Cliiana in the previous cen- tury. The remarkable works in that valley, under the patronage of Leopoldl had literally fulfilled the prophecy of Torricelli, who said that the beds of the rivers, when employed to fill up the pestilential marshes, would pour forth gold, and that the stream of Pactolus would then cease to be a fable. Count Fossombroni therefore, in undertaking the drainage of the Maremma, adopted the plan of the river deposits, which had proved so eff'ectual in the former instance. He directed into the marshes the torrents which descended from the clay hills, and allowed them to deposit the mud with which they were charged before the clear water ran ofl*. In this way the bottom of the marshes was gradually raised, and an immense ex- 180 ROUTE 26, — FLORENCE TO ROME, — Siena, [Sect. T. tent of marsh land was converted into fertile ground. Wheat is now grown in places which a few years back were visited by no one but the sickly fisherman of the coast; and the time is probably not far distant when the whole Maremma will be converted into a rich agricultural district. Tra- vellers who are desirous of visiting the country reclaimed by the draining should go from Volterra to Grosseto, from whence they might proceed direct to Corneto in the Papal States by the new road recently constructed by the grand-duke. The distance from Vol- terra to Massa is 40 miles ; //^^^,Locanda di Giobbi. From Massa to Grosseto the distance is 30 miles ; Inn, Loc. di Polan- dri. From Grosseto to Orhetello ohoui 25 miles. From Orbetello to Corneto about 30 miles. There is a road from Gros- seto to Siena, 60 miles distant. Not- withstanding the improved condition of the Maremma, it is not yet free from malaria, and travellers should be cau- tious in visiting it during the extreme heats of summer. Travellers returning from Volterra to Florence should proceed through Pon- tedera and Empoli. The distance is 54 miles, about 10 more than that through Colle and Poggibonsi ; but it is com- paratively level, and consequently more expeditious than that route. It de- scends rapidly from Volterra. After crossing the rocky bed of the Sterza, it passes on the right hand the town of Peccioli, finely situated on a hill above the right bank of the Era. Further on, following the course of the Era, it passes, about midway between the vil- lages of Capannoli and Ponsacco, the villa of Camugliano, the seat of the Marchese Niccolini. At Pontedera it falls into the high post-road from Flo- rence to Pisa and Leghorn. Pontedera is about midway between the post- stations of C. del Bosco and Fornacette. The best inn is the Ancora d'Oro. The road hence to Florence ascends the left bank of the Arno, and commands some beautiful views of the plains and hills around Pisa and Lucca. Leaving Poggibonsi for Siena, we ascend the valley of the Staggia, leav- ing on the left hand the extensive mountainous tract called the Chianti, which gives name to a wine well known to travellers on this route, and thus celebrated by Redi : " Del buon Cliianti il vin decrepito. Maestoso, Imperioso, Mi passeggia dentro il core ; Esso scaccia senza strepito Ogni atfanno e ogni dolore." 1 Castiglioncello ; an additional horse for this stage, but not vice vei^sd. Shortly before arriving at Siena we pass a column erected on the spot where the Emperor Frederick III. met his consort Eleonora of Portugal, con- ducted by ^neas Sylvius, and accom- panied by four hundred ladies of the city. Siena is entered by the Porta Camollia, over which is the inscription said to have been put up in 1604 for the Grand-Duke Ferdinand : " Cor magis tibi Sena pandit." 1 SiENA {^Lins : Aquila Nera, best, but capable of improvement ; Le Arme d' Inghilterra, moderate ; 1 tre Re). Passports are demanded on entering Siena, and a fee is necessary to prevent annoyance in the examination of bag- gage. This ancient city occupies the irregular summit of a hill of tertiary sandstone, rising on the borders of the dreary and barren tract which forms the southern boundary of Tuscany. The whole district bears the same desolate appearance, and like that of Volterra, consists of bare clay hills capped with tertiary marine sandstone. The street entered at the Porta Camollia, or the Florentine gate, divides the city into two nearly equal portions ; the streets are generally narrow and irre- gular, frequently so steep as to be im- passable in carriages, and many of them are mere narrow lanes ; they are mostly paved with tiles, in the manner de- scribed by Pliny as the " spicata tes- tacea." The streets are generally bor- dered with immense mansions called palaces, although they have neither the aspect nor the architectural features of a palace. Many of them have lofty Papal States.] route 26.— Florence to rome. — Siena. 181 towers, and rings near the entrance, like the old mansions of Florence. In the days when Siena, as a republic, was the great rival of Florence, she could send a hundred thousand armed men out of her gates ; the present population is little more than 18,000, and in the ex- ti'eme quarters of the city grass is grow- ing on the pavement. Siena preserves, almost without change, the name of Sena Julia, al- though its antiquity is much higher than that of the Caesars, as its Etruscan walls are still visible near the church of S. Antonio. But the real interest of Siena is derived from its prominent posi- tion among the free cities of the middle ages. In the early part of the twelfth century it had thrown off the yoke of the Countess Matilda, and declared itself an independent republic. The nobles fell early before the power of the people, and were compelled to re- tire from the city. The popular party, although divided by the rivalry of their leaders, warmly embraced the Ghibe- line cause; and on the expulsion of Farinata degli Uberti from Florence, all the Florentine Ghibelines who were im- plicated in the conspiracy of that cele- brated personage were received favour- ably at Siena. During the hostilities which followed, the whole power of the Guelph party in Tuscany was defeated by the combined forces of Siena and Pisa, under the command of Farinata and the generals of Manfred, at Monte Aperto, about five miles from Siena. This memorable batde, commemorated by Dante, in which the Guelphs left no less than 10,000 dead upon the field, was fought on the 4th September, 1260; it not only established the supre- macy of the Ghibelines, but left in the hands of the Sienese the great standard of Florence, whose poles are still pre- served in the cathedral. This decisive action brought back to Siena a great number of her exiled nobles, either to become citizens and traders, or to live a distinct and isolated class in a separate quarter of the city, which still retains the name of Ca- sato." After numerous contests be- tween the people and the rich merchants, who formed a kind of burgher aristo- cracy on the overthrow of the nobles, Charles IV. in vain endeavoured to acquire the signoria ; but the city, al- though able to resist his schemes, was too much weakened in her principles of liberty by the tyranny of Pandolfo Petrucci and other popular usurpers to withstand the encroachments of the Medici, who found means to destroy by treachery the last remnant of her free- dom. It was during this last struggle that the ferocious Marquis de Marignano, whom Cosmo de' Medici had commis- sioned to reduce the citizens by famine, inhumanly destroyed the population of the Sienese Maremma, and carried de- solation into the whole of that once fertile district. Malaria inevitably fol- lowed this cruel policy, and those," says Sismondi, " who at the peace re- turned to reap the inheritance of the victims of Marignano, soon fell them- selves the victims of that disease." During the period of its freedom the territory of Siena was large and popu- lous; 100,000 men were found within its walls ; it had thirty-nine gates, of which all but eight are now closed ; the arts were encouraged, the city be- came the seat of a school of painting, and its commerce was so extensive as to excite the jealousy even of the Flo- rentines. Siena is now the chief city of one of the five Compartimenti of Tuscany, the seat of an archbishop, of a military governor, of a criminal tribunal, a Court of the First Instance, and a civil Ruota. Its population in 1832 was 18,630. The School of Siena is so remarkable a feature in the history of the city, that it will be desirable to give a brief epi- tome of its character and its masters, in order that the works of art scattered over its churches and palaces may be the more thoroughly appreciated. The prevailing characteristics of this school are deep religious feeling, and a pe- culiar beauty and tenderness of ex- pression inspired by devotional en- 182 ROUTE 26, — FLORENCE TO ROME. Sieua^ [Scct. I. thusiasm, diilTerir.g altogether from that style which classical study had introduced into the northern schools of Italy. In antiquity the Sieriese school is nearly equal to that of Florence, and there is no doubt that it exercised an important influence on the great masters of the fifteenth century. The patronage of the republic as early as the thirteenth encouraged if it did not create a society of artists, of which Guiduccio, Dietisalvi, Guido da Siena, and Duccio di Buoninsegna were the leading members. The most remarkable among the early masters is Simone Memmi, or rather Simone di Martino, the contemporary of Giotto and friend of Petrarch, who dedicated to him two of his sonnets as the painter of Laura's portrait. He died in 1344 ; among his scholars were his relative Lippo Memmi, and Pietro and Am- brogio Lorenzetti. In the fifteenth century Andrea di Vanni, Berna da Siena, Taddeo Bartolo, and Jacopo Pacchiarotto were the principal repre - sentatives of the school. Bartolo, in- deed, gave it additional lustre by the refinement and deep feeling of his works ; but at his death the school de- clined, although Sano and Lorenzo di Pietro and Matteo da Siena gave it a temporary celebrity. It did not re- cover its character until the introduc- tion of the modern style. The most eminent artist of this period was Gian- antonio Razzi, better known as So- doma, a follower and perhaps a pupil of Leonardo da Vinci, whose merits were so great that he was employed on the decorations of the Vatican and the Farnesina Palace, and was considered by Annibale Caracci as one of the great masters. Among his pupils were Michaelangelo da Siena (Anselmi) and BartolommeoNeroni (Riccio). But the most eminent was Beccafumi, well known by the pavement of the cathe- dral. The last names of any note are those of Baldassare Peruzzi, the cele- brated architect, and Matteo da Pino, or da Siena, generally considered as his pupil. The subsequent history of the Sienese school presents no names of eminence, although Salimbeni, Fran- cesco Vanni, and a few others occur during the middle and latter half of the sixteenth century. The Accademia delle Belle Arte con- tains a rich collection of works by the older Sienese masters. The most re- markable of them are, the Christ by Guiduccio (1215), the Virgin by Gilio di Pietro (1249), the Adoration of the Shepherds, by Duccio da Siena, the Annunciation, S. Romualdo, and St, Paul, in four compartments, by Segna di Buonventuray and the S. Michael by Simone Mem?ni (di Martino). Of the subsequent painters of this school there are the following among many other examples : — the St. Sebas- tian by Andrea di Famii, the Annun- ciation by Taddeo Bartolo, a Nativity by Francesco di Giorgio, a large altar- piece with saints by Andrea del Bt^es- cianino, a Visitation and an Annuncia- tion, by PacchiarotfOySiliolj Family by Sodoma, a beautiful altarpiece of St. Catherine by Beccafumi, a Paradise by Riccio (Bart. Neroni), a Madonna and a Nativity by Perugino, and two small pictures of the Magdalen and Sta. Reina by Fra Bartolommeo, The Duomo, or Cathedral, has been described with very different feelings by different travellers, some dwelling with admiration on its elaborate de- tails, and others condemning it as an architectural absurdity deformed by the bands of coloured marble so fre- quently observed in Italian churches of this period, and always producing a disagreeable effect in the eyes of an English traveller. In spite of this diversity of criticism, the cathedral of Siena is beyond all question one of the most characteristic examples of the Italian Gothic, which Professor Willis has proved, by a masterly analysis of its component parts, to be susceptible of much more extended generalization in its principles than is commonly sup- posed. It was " begun," says Mr. Hope, *' in the eleventh century, and consecrated about 1180 by Pope Alexander III, The front was first completed about the Papal States.] route 26. — Florence to rome, — Siena, 183 middle of the thirteenth century by Giovanni da Siena ; but not being ap- proved of, was demolished, the nave lengthened, and the new front begun, in 1284, it is supposed, on the designs of Niccolo Pisano, and finished by Lo- renzo Mai tan i, a native of Siena, in 1290. It is inlaid with black, red, and white marble, relieved with other co- lours, painting, and gilding, and olfers a bastard pointed style, or rather a jumble of different styles ; the centre porch being round, and those of the sides pointed, and the higher parts not rising insensibly out of the lower, but seeming stuck on these apres coup ; the pediments only like triangular screens or plates, placed before and unconnected with the roof." The fagade is covered with ornaments and sculptures, among which are several animals symbolical of the cities which were allied to Siena at different periods during the struggles of the Guelphs and Ghibelines. The she-wolf represents Siena ; the stork, Perugia ; the goose, Orvieto ; the ele- phant and castle, Rome ; the dragon, Pistoia ; the hare, Pisa ; the unicorn, Viterbo ; the horse, Arezzo ; the vul- ture, Volferra; the lynx, Lucca; and the kid, Grosseto. Over the door are busts of the three saints, Catherine, Bernardin, and Ansan, who were na- tives of the city. The most remarkable sculptures of this front are the Prophets and the two Angels by Jacopo della Quercia. The columns of the great doorway rest on lions, the emblems of Florence and Massa. The Campanile was built by the Bisdomini, and is con- sequently a more ancient structure than the cathedral ; it has some resemblance to that of San Zeno at V erona. The marble coating and all its ornaments are by Agostino and Angelo da Siena. One of the bells bears the date of 1148. The interior exhibits but a small por- tion of the building as it was originally designed ; it was intended to have formed only one of the side aisles of the projected edifice, which was aban- doned on account of the plague in 1348. This fact does not rest on mere tradition, but many fragments of parts begun and left unfinished still show the gigantic scale of the first design. The pillars are clustered, and the capi- tals are ornamented with foliage and figures. The lower arches are semicir- cular, but those of the clerestory and its windows are pointed. The choir is lighter, and in both ends is a rich wheel- window. Over the lower arches of the nave the frieze is ornamented with a series of terra-cotta heads of all the popes down to Alexander III. in alto- relievo, among which that of Pope Za- charias was originally the bust of Pope Joan, and had the inscription, Johannes Vlll.y Femina de Anglia. It was meta- morphosed in 1600 by the grand-duke, at the suggestion, it is said, of Clement VIII. and Cardinal Tarugi. Many of the antipopes are in the series, but, like all collections professing to be complete, several are either inventions or dupli- cates. The roof is divided into panels, painted blue, and studded with silver stars. The two large columns of the door, sculptured in 1483, sustain an elegant tribune with four bas-reliefs, representing the Visitation, the Mar- riage of the Virgin, the Raising of her Body, and her Assumption. The beau- tiful painted glass of the wheel-window was designed by Perino del Vaga, and executed by Pastorino di Giovanni Micheli of Siena, in 1549. The cupola is an irregular hexagon, with a zone of small pillars running round the tym- panum. The pavement is unique and unrivalled as a work of art in its own peculiar class, but it wants distance to give it effect, and would probably be better appreciated if it could be seen from above. It has not the tessellation of mosaic, but it consists of a dark grey marble inlaid upon white, with lines of shading resembling niello. The oldest of these works are the Samson, Judas Maccabseus, Moses, the five kings of the Amorites taken in the cave of Mak- kedah (Joshua x. 16), and the Deliver- ance of Bethuliah, by Duccio di Buonin- segna : Absalom hanging by his Hair is also attributed to this master. The grandest compositions are those by Bee- cafumif particularly the Sacrifice of 184 ROUTE 26. — FLORENCE TO ROME." — Siena, [Sect. I, Isaac, the Adam and Eve after the Fall, and the Moses on Mount Sinai, said to have been his latest work. The symbols of Siona and her allied cities — the Hermes Trismegistus offering the Pi- mandra to a Gentile and a Christian, Socrates and Crates climbing the Moun- tain of Virtue, the Wheel of Fortune, with the Four Philosophers in the angles, are among the most curious of these works. The most recent are those exe- cuted at the close of the sixteenth cen- tury : among which are the Ten Sibyls. The Erythraean, the Seven Ages of Man, the figures of Religion, Faith, Hope, and Charity, are by Antonio Federighi, who also designed the Battle of Jeph- thah, executed by Bastiano di Francesco, The pavement of the choir was covered with boards about two centuries ago, in consequence of the injury it received from the constant tread of visitors. On great festivals the planks are removed, but at other times there is no difficulty in obtaining permission to raise them in order to examine the pavement. In the choir the carvings of the stalls were begun in 1387 by Francesco Tonghi, and completed by Bartolini of Siena SLudBenedetti of Montepulciano, from the designs of Bartolommeo Neroni (^Riccio). The high altar is by Baldassare Peruzzi. The magnificent tabernacle in bronze, the work of Lorenzo di Pietro, was com- pleted in 1472, after a labour of nine years. On the consoles are eight angels in bronze, by Beccafumi. The octagonal pulpit of white marble, supported by a circle of columns, one in the centre and eight around it, four of which rest on lions playing with their cubs, is a re- markable work of JSiccold di Pisa, with the date 1226 ; the Last Judgment, represented in one of its bas-reliefs, is perhaps one of the finest productions of this illustrious artist. On two pilasters of the cupola are fastened two poles of the Carroccio, captured by the Sienese at the great battle of Monte Aperto in 1260. On one of the neighbouring altars is still preserved the crucifix carried by the Sienese in this battle. In the choir is a painting by Duccio di Buoninsegna, which is extremely inte- resting in the history of art ; it is in- scribed with his name, and was so highly prized at the period of its exe- cution, that it was honoured with a public procession like that of Cimabue at Florence. It was originally painted on both sides ; but these have been se- parated, and are both attached to the walls of the choir. One of these repre- sents the Passion of Cln*ist, and the other the Madonna and Child, with several Saints. The Chapel of St, John the Baptist, a circular building, was designed by Baldassare Peruzzi; it con- tains some bas-reliefs of the history of Adam and Eve, by Jacopo delta Quercia^ and the statue of St. John by Donatello, besides several ornamental works by Sienese sculptors of less eminence. In this chapel is said to be preserved the relic of the Baptist "s arm, presented by Thomas Palaeologus to Pius II. The Capella del Voto, or the Chigi Chapel^ built by Alexander VII., is rich in lapis lazuli, marbles, and gilding. It contains a statue of St. Jerome and a Magdalen by Bernini, who is said to have transformed the latter from a statue of Andromeda; St. Catherine and St. Bernardino are by his pupils Raggi and Etxole Ferrata, who also executed the statue of the Pope from Bernini's designs. The Visitation is a copy in mosaic of a picture by Carlo Maratta, and the St. Bernardino is by Calabresi, Opposite the Chigi Chapel is the room called the Library, decorated with ten frescoes, illustrating different events in the life of Pius II. (^neas Sylvius) ; outside is an eleventh, representing the coronation of his nephew Pius III. These works, which are particularly remarkable for the preservation of their colours, were painted, as a commission from the latter pontifl', when Cardinal Piccolomini, by Pinturicchio, assisted by the advice of Raphael, then in his twentieth year, who furnished some of the designs, two of which are still pie- served — one at Florence, the other in the Casa Baldeschi at Perugia. An examination of these beautiful draw- ings would afibrd the best proof that Raphael did not paint any one of these Papal States, 1 route 26. — Florence to rome. — Siena, 185 frescoes, as the Sienese pretend. The roof is covered with mythological pic- tures. In the library is also preserved the exquisite antique group of the Graces in Greek marble, found under the foundations in the thirteenth cen- tury. This group, one of the finest known examples of Grecian sculpture, was copied by Canova, and was so much admired by Raphael that he made a sketch of it, which is still pre- served in the Academy of Venice. It is also supposed to have suggested the pic- tare of the Graces by Raphael, formerly in Sir Thomas Lawrence's collection, and afterwards in that of the late Lord Dudley. The choir books, which give the name of library to this apartment, contain some beautiful miniatures by Fra Benedetto da Matera, a Benedic- tine of Monte Casino, and Fra Gabriele Mattel of Siena ; one of the missals is illuminated by Liberate of Verona. The collection was formerly much larger, but many of them were carried to Spain by Cardinal Burgos. Two monuments here deserve notice : one is to a former governor, Giulio Bianchi, by Tenerani; the other to Mascagni, the anatomist, by Ricci. Another and more interesting monument is that of Bandino Bandini, remarkable for a statue of Christ risen from the dead, a Seraph, and two Angels by Michael Angela in his early youth. There is also a bronze bas-relief on the floor of the church by Donatelloy covering the grave of Giovanni Pecci, bishop of Grosseto. Of the two vases for holy water, one is an ancient candelabrum, covered with mythological sculptures ; the other is an able work of Jacopo delta Quercia. The Sacristy contains several small pictures attributed to Duccio, and one by Pietro Lorenzetti, Under the cathedral, or rather under the choir, is the ancient Baptistery, now the church of St. John the Baptist ; a long flight of steps descends into it. Its front is a much purer Gothic than the cathedral ; the floor bears the date of 1486. " Its pilasters are pannelled in lozenges, alternately with quatrefoils, heads of St. John the Baptist, and lions' heads exquisitely beautiful. Its in- terior is very shallow, and to the north of it a lofty flight of steps leads through a beautiful marble gate, in the pointed style, to the piazza of the duomo." — Hope. Among its beautiful ornaments are the Baptism of the Savi- our, and the St. John before Herod, by Lorenzo Ghiberti ; the Banquet of Herod, by Pieti^o Pollajolo, an able Flo- rentine sculptor and goldsmith of the 15th century; the St. Joachim by Do- natello; the Birth of St. John, and his Preaching in the Desert hy Jacopo della Quercia, The bas-reliefs in the taber- nacle are by Vecchietta. Several of the other churches in Siena are remarkable for their paintings. The church of S. Agostino, restored and finished by Vanvitelli, has a Na- tivity, by Sodoma ; Christ at the Cross, by Perugino ; the Massacre of the In- nocents, a celebrated picture by Matteo da Siena ; the Communion of St. Jerome, by Petrazzi; the St. Jerome by Spagnoletto ; and the Baptism of Constantine by Francesco Vanni. The adjoining Convent is now appropriated to the use of the Tolomei college, and the Academy degl' Innominati. La Concezzioney a fine church from the designs of Baldassare Peruzzi, has a Coronation of the Virgin, by Bernardino Fu7igai, two Annunciations, by Fran- cesco Vanni ; a Massacre of the Inno- cents, by Matteo di Giovanni; the Nativity of the Virgin, by Manet ti ; and a good Nativity, by Casolani, whose works in Siena were so much admired by Guido that he said painting had taken refuge in Casolani. San Cristoforo, a small church, mo- dernised in 1 800, has a fine Madonna, with St. Paul and the Blessed Bernardo, by Pacchiarotto. The conventual church of the Car- mine is remarkable for its steeple and cloisters, by Baldassare Peruzzi. The Madonna throned in the choir, is by Bernardino Fungai^ 1503. The St. Michael is by Beccafumi ; the Mar- tyrdom of St. Bartholomew, by Caso^ lani ; the Nativity was begun by Riccio, and finished by Arcangelo Salimbeni. 186 ROUTE 26. — FLORENCE TO ROME. — Siena, [Sect. I. In the court of the convent is a deep well, called the Pozzo di Diana, which was believed to communicate with the fabulous mine of Diana, ridiculed by Dante (Purgat. xiii.). San Domenico^ begun in 1220 and not finished till 1465, is an interesting and imposing edifice, seventy-five feet wide ; spanned by a pointed arch of singular boldness, which sustains the transepts, and is well worthy the study of architects. Among its pictures are the celebrated Madonna by Guido da Siena, with the date 1221, nineteen years before the birth of Cimabue, on the strength of which the Sienese claim the honour of being the earliest school of art ; a Crucifix, attributed to Giotto (?) ; a Madonna and Saints, with a dead Christ in the lunette above, by Matteo da Siena, dated 1479; a Crucifixion, by Ventura Salimheni ; the Martyrdom of St. Peter, by Arcangelo Salimheni ; the Adoration of the Shepherds, by Luca Signoi'elli ; the Nativity of the Virgin, by Casola?ii. On one side of the altar is the fine picture of St. Catherine faint- ing in the arms of two nuns at the appearance of the Saviour, by Sodoma ; on the other side of the altar is St. Ca- therine in ecstasy, and the Almighty, with the Madonna and Child, attended by angels, appearing to her. The De- moniac is by Francesco Fantii, and the portrait of St. Catherine is by her friend and correspondent, Andrea di Vanni, called by Lanzi the Rubens of his age. The marble tabernacle and the two Angels are attributed to Michael An*' gelo (?). San Francesco, a fine and spacious church built from the designs of Angelo and Agostino da Siena, contains two masterpieces of Sodoma^ the Christ at the column, one of the finest frescoes in Italy, injured in the lower part by damp, and much damaged by musket balls during the revolutionary troubles which followed the French invasion ; the other is the Deposition, which Annibale Caracci admired so much as to say he found few pictures equal to it. The Holy Fathers in Purgatory is by Beccafumi, Fonte Giusta,SL church built in com- memoration of the victory of Siena over Florence in 1482, contains the cele- brated picture by Baldassare Peruzzi, representing the Sibyl announcing to Augustus the birth of Christ, a noble painting, justly regarded as the master- piece of this accomplished artist. The Sibyl is a sublime and expressive figure, but the other parts of the composition are not equal to it. So highly was this picture admired by Lanzi, that he says Peruzzi " gave it so divine an enthu- siasm, that Raphael treating the same subject, as well as Guido and Guercino, whose sibyls are so often met with, probably never surpassed it." The Coronation of the Virgin is an admired work of Bernardino Fungai, The marble altar sculptured in 1517 by Mazzini is an elaborate and beautiful work. Among the ex voto offerings preserved in this church are a sword, a small wooden shield bound with iron, and a large whale-bone consecrated to the Madonna of Fonte Giusta by Columbus on his return to Europe. San Giorgio contains the tomb of Francesco A'anni, the painter. The tower has thirty-eight windows, said to allude to the thirty-eight companies which fought at the great battle of Monte Aperto. The bell of the Car- roccio, called the Martinella, captured from the Florentines, was also preserved here as a memorial of that decisive victory. Saji Giovannino in Fantaneto, is re- markable for the tomb of Francesco Gori Gandellini, one of the rich mer- chants of Siena, at wdiose request Alfieri wrote his " Congiura de' Pazzi." The poet commemorates the virtues of his friend not only in a Latin epitaph on his tomb, but in his sonnets, where he touchingly does honour to his mental qualities, and to their mutual friend- ship : — " O solo Vero amico ch'io avessi al mondo mai." Sia. Lucia, the church of a Confra- ternita of the same name, has a very fine picture of the Death of the Saint, by Francesco Vannx, Papal States,'] route 26. — Florence to rome. — Siena. 181 Sta. Maria di Provenzano, built in the IGth century, contains an Annun- ciation, by Rustichino (Francesco Rus- tici), praised by Lanzi ; and a Holy Family, long attributed, but errone- ously, to Andrea del Sarto. San Martino, a handsome church with a front built by Giovanni Fon- tana, of Cosmo, an architect of the 17th century, and not, as it has been sup- posed, by liis great namesake Domenico, is remarkable for the Circumcision, by Gtddo, the Martyrdom of St. Bartho- lomew, by Guercino^ for which he was partly paid in peluzzo^ or plush, for the manufacture of which Siena was then celebrated. The picture of the Vic- tory of the Sienese at the Porta Camollia in 1526, is by Lorenzo Cini. There are several interesting statues in terra- cotta, by Jacopo delta Querela, which have been coloured in recent years. San Paolo has a fine Ascension by Brescianino, the clever pupil of Sodoma. San Pietro in Castel Vecchio has an Assumption, by Rustichino ; and a Re- pose of the Holy Family, one of the best works of Manetti, who is buried in this church. San Pietro ah Ovile has a good work of Ventura Salimbeni, the Death of St. Joseph, and a Holy Family, by Folli, Sa?i QuiricO) in the highest part of the town, supposed to occupy the site of a Temple of Romulus, has two fine works by Francesco Fanni, the Flight out of Egypt, and the Ecce Homo. The Deposition, by Casolani^ and some beau- tiful angels by Salimbeni are also to be noticed. Sa7t Spirito^ with a noble doorway by Baldassare Peruzzi, has some fine paintings; the most remarkable are, the Madonna throned with Saints, by So- doma ; four subjects from the life of S. Jacinto, by Salimbeni; a fresco of the Madonna, the Saviour, St. John, and the Magdalen, by Fra Bartolommeo ; the Coronation of the Virgin, by Pac- chiat^otto ; S. Jacinto, by Fi^ancesco F inni. The Church of Sta, Maria de Servi has some frescoes of the old Sienese masters, a Madonna throned, by Dieti- salvi, 1281 ; a Madonna, over the door of the Sacristy, by Bonavetiiura da Siena ^ 1319 ; and others by Gregorio da Siena, 1420. La Tinnita is remarkable for its fine ceiling by Ventura Salimbeni ; a Ma- donna by Matteo di Giovanni ; and the Victory of Clovis over Alaric, by Raff. Vanni. Of the numerous Oratories, the most interesting are those occupying the house of St. Catherine of Siena, and the ancient Fullonica of her father, who was a dyer and fuller. In the latter are the St. Catherine receiving the Stigmata, by Sodoma ; her Pilgrimage to the tomb of St. Agnes of Montepulciano, by Pacchi^ arotfo ; and her pursuit by the Floren- tines, by Ventura Salimbeni. In the house are representations of various mar- vellous events in the life of the Saint by Vanni, Serri, Nasini, &c., and the Miraculous Crucifix, by Giuntada Pisa, from which the church tradition states that she received the stigmata. The Oratory of Sa?i Bernardino is rich in paintings, among which may be spe- cified the Visitation, the Presentation in the Temple, the Assumption, and the St. Louis, remarkable works by Sodoma; the Annunciation and the^ Nativity of the Virgin, very graceful works by Pacchiarotto ; the Sposalizio, by Beccafumi ; the Dying Woman and three Angels, by Manetti ; the Virgin, St. Catherine, and St. Bernardin, by Fra?icesca Vanrii ; and several Miracles of the Saint, by Ventura Salimbeni. In the sacristy is a bas-relief of the Virgin with St. John the Baptist and two Angels, by Giovanni da Siena. The Oratory of S. Giuseppe, designed by Baldassare Peruzzi, has a very beautiful Madonna by Bartolini, the pupil of Vanni, That of S. Justus has a fine work of Manetti, the Madonna, St. John the Baptist, and several saints. The Oratory c/e/Za Selva is an interesting example of the architecture of Peruzzi; it contains an Epiphany, by Petrazzi, and a St. Sebastian, by Soi^ri. Tlie Palazzo Pubblico, with its lofty tower Delia Mangia, stands in the Piazza del Campo, a large open space 188 ROUTE 26. — FLORENCE TO ROME. — Siena. [Sect. I. more nearly resembling the form of an escalop shell than anything else to which it has been compared. Its en- tire circuit is said to be 1000 feet; it is sloped like an ancient theatre for public games, and its artificial soil is supported by strong walls. It is diffi- cult to imagine any thing more perfectly in accordance with the idea of repub- lican greatness than the aspect and arrangement of this forum ; it was the scene of many popular tumults during the middle ages, and derives its name, del campo," from the passage of Dante : Quando vivea piii glorioso, disse, Liberamente nel Campo di Siena, Ogni vergogna deposta, si affisse." Purg., xi. It is now the scene of the annual horse-race, called the Palio, which takes place on the i5th August, and is contested by the several wards of the city with a spirit of rivalry which re- calls the factions of ancient Rome. The Loggia di San Paolo, built in 1417 by the merchants of the city, and now called the Casino de* Nobili, was re- markable in the middle ages as the most impartial commercial tribunal in Italy ; its laws were recognised by nearly all the other republics, and its decisions were considered equally bind- ing. The marble seat was designed by Peruzzi. The statues of St. Peter and St. Paul are by Antonio di Federigo ; the S. Vittore and S. Ansano are by Urbane da Cortona ; the latter is said to have been much admired by Michael Angel 0. The Palazzo Pubblico was begun in 1295 and finished in 1327, from the designs of Angel o and Agostino da Siena ; it is now converted into public offices, courts of law, and prisons. The chajjel dedicated to the Virgin was built to commemorate the cessation of the plague of 1348, which carried off 80,000 persons. The halls of the an- cient tribunal di Biccherna, instituted for the management of the taxes and civil alfairs of the republic, contain numerous paintings of the native school : among these are the Madonna with saints, by Sodoma ; and the Coronation of the Virgin, by Pietro Lorenzetti^ in 1445. The ceiling is painted chiefly by Petrazzi : the principal subjects are the Coronation of Pius II., the Dona- tion of Radicofani by the same pope, and the privileges conferred by him on his adopted city. TheSaladelle Bales- tre is covered with frescoes by Ambrogio Lorenzetti (1338), illustrating the re- sults of good and bad government. The Sala del gran Consiglio contains the immense fresco of the Madonna and Child with saints under a baldac- chino, the poles of which are held by the apostles and patrons of the city, by Sermino di Simone, in 1287, retouched by Simo?ie Memmi (di Martino) in 1321. The fresco in chiaro-scuro, re- presenting Guido Ricci at the assault of Monte IMassi, is attributed to Simone Memmiy and is curious for the great variety of military engines introduced. The S. Ansan, S. Victor, and S. Ber- nardin, are by Sodoma. The adjoining Chapel is covered with very graceful and expressive frescoes, illustrating the history of the Virgin, by Taddeo Bar- tolo ; the altarpiece of the Holy Family and S. Calisto is by Sodoma. The ad- joining room has a curious gallery of portraits of illustrious persons, repub- licans and others, among whom Cicero, Cato, heathen gods, and warriors, are found ranged with Judas Maccabaeus and St, Ambrose ; they are also by Taddeo Bar tolo (1414). In the Sala del Consistorio, the roof painted by Beccafumi, and so much admired by Vasari and Lanzi, represents the burn- ing of the enemies of Rome ; the walls are hung with portraits of eight popes and thirty -nine cardinals, natives of the city. The paintings of Spinello Are- tino are also remarkable : they repre- sent the leading facts in the history of Frederick Barbarossa and Alexander III., from their first election to the tri- umph of the pope over the emperor, and their final reconciliation. The archives, which were stolen by the French and restored at the peace, contain an invaluable collection of state papers during the republican Papal States.] route 26. — Florence to rome, — Siena. 189 times, some of which are illustrated with miniatures. The council-chamber was converted into a theatre from the designs of Bibi- ena : operas are occasionally performed here. The tower, called della Mangia^ begun in 1325, is said to have been greatly admired by Leonardo da Vinci, who came here to examine its construc- tion in 1502. The Fountain, called the Fo7ite Gaja, gave the name " della Fonte " to Jacopo della Querela, who executed the marble bas-reliefs, representing various sub- jects of Scripture history, now unfortu- nately damaged. The subterranean aqueducts which supply it occupied two centuries in their construction, and are fifteen miles in length. It is related that Charles V., when he examined them, declared that Siena was more admirable below than above ground. Among the many remarkable events which have taken place in this piazza, the summary punishment of Charles IV. for his attempt to seize the signoria in 1369 is not the least singular. The people on the first inanifestation of his design broke into the palace in which he was lodged, disarmed his followers, and left him alone in this square, " ad- dressing himself in turn to the armed troops which closed the entrance of every street, and which, immoveable and silent, remained insensible to all his entreaties. It was not till he began to suffer from hunger that his equipages were restored to him, and he was per- mitted to leave the town." The Palaces of Siena are more re- markable as examples of the domestic architecture of the middle ages, than for the works of art which they con- tain. They present almost every variety of simple and compound Gothic, — that peculiar style which marks all the works of Agostino and Angelo, the two great architects of the republic. A few of these have small galleries of paintings by the native school, but they present the works of few masters who may not be better studied in the churches already described. The Palazzo del Magnijico^ with its fine bronze ornaments and rings, cast by Marzini and Cozzarelli, is remark- able as having been erected in 1504 by Pandolfo Petrucci, the celebrated tyrant of Siena. The Palazzo Sarazini has a collection of painters by the Sienese masters, the most interesting of which is the Christ in the Garden, by Sodoma. The Palazzo Buonsignori is a fine example of Gothic, with a terra- cotta front. The Palazzo Piccolo- mini has two halls painted by Bernhard van Orley, a favourite pupil of Raphael. The Balazzo Piccolomini-Bellanti has a gallery containing some interesting works, among which are Savonarola preaching, by Fr^a Ba^^tolommeo ; a Ma- donna, by Beccafumi; a Madonna, by Pacchiarotto ; the fine fresco of Scipio restoring the wife of a Spanish chieftain to her husband, hj Baldassare Peruzzi ; and a medallion portrait of Laura in Pvovengal costume, long regarded as the work of Simone Memmi (?). The Palazzo Piccolomineo, now the Palazzo del Governo, one of the finest in the city, is remarkable for its elegant log- gia, built by Pius II. from the designs of Francesco di Giorgio. The Pa- lazzo Fannalini, supposed to be the de- sign of Baldassare Peruzzi, contains some mythological subjects by this master. The Palazzo Pollini, also attri- buted to Peruzzi, has some frescoes by Sodoma, the principal of which are the Susanna, the Scipio, and the Burning of Troy, with the Judgment of Paris, afterwards altered to represent the his- tory of Lot. The House of Beccafumi, a small brick building erected by him- self, is interesting among the other re- cords of the Sienese school : it is in the street still called " dei Maestri," from the number of artists who occupied it during the flourishing times of the re- public. Opposite the large building erected by the manufacturers of Siena for dyeing cloth is the House of the Brigata Spendereccia,'''' or "Goderec- cia," a club of young men, whose chief object was to collect a purse of 200,000 ducats, and spend it in twenty months. Their pheasants were roasted with fires made of cloves, and their horses were 190 ROUTE 26. — FLORENCE TO ROME. — Siena, [Sect. I. shod with silver. Dante has perpetuated the memory of these young prodigals in the twenty-ninth chapter of the In- ferno. Near the Piccolomini Palace is the Fonte di Fullonica^ begun in 1249, and presented to the city by the native archi- tect Francesco di Giorgio in 1489. The ancient Gothic Fonte Braiida, con- structed by Bellamino in 1193 at the command of the consuls of Siena, is immortalised by Dante : *' Ma se io vedessiqui Tanima trista Di Guido o di Alessaiidro, o di lor frate, Per fonte Branda non darei la vista." Inf. XXX. It is, however, doubtful whether its position corresponds v/ith the descrip- tion of the poet. The Fonta Nuova, built in 1259, is also a remarkable work. Many of the houses in Siena present specimens of street painting. On the tomb of the Casa Mensini is a Pieta by Folli; on that of the Casa Bambacini is a Pieta by Sodoma, much admired by Vasari, and a Madonna with St. John the Baptist, by Peruzzi. On the Casa Nastasi is a painting in chiaro- scuro by Giacomo del Capanna, The University, which dates from 1203, has considerably fallen off in re- cent years. It contains the tomb of the celebrated jurist Nicolao Arring- hieri (1374), remarkable for its bas-re- liefs, and attributed by Cicognara to Goro di Gregorio da Siena. The Library occupies the great hall of the Accademia degli Intronati, consi- dered to be the oldest in Europe. This academy was one of the most famous among the sixteen for which Siena was remarkable in the sixteenth and seventeenth centuries. Indeed, so great was the passion of the citizens for aca- demies, that one for females was founded here in the seventeenth century by the Duchess Vittoria of Urbino. The li- brary contains about 50,000 volumes, and from 5000 to 6000 MSS. The most ancient of the latter are the Greek gospels of the eighth or ninth century, with miniatures, originally in the Im- perial chapel at Constantinople, and purchased at Venice on the fall of the Greek empire for the great hospital of this city. An Italian prose translation of the '^iieid,'of the thirteenth century, is curious as one of the earliest exam- ples of Italian versions of the classics. The Ordo ofliciorum Senensis Eccle* sise " is remarkable for its miniatures of 1213 by Oderigo da Gnbbio, the friend of Dante, who has immortalised him in a fine passage of the " Paradiso," quoted in a previous page. The manuscript notes of Francesco di Giorgio on architecture and engi- neering, illustrated with drawings, are exceedingly curious ; the engineer will find them full of valuable suggestions, many of which were adopted at a later period in military tactics by Pietro Navarra and others, who appropriated the merit of their discovery. Two ob- jects of even higher interest are the portfolios of Baldassare Peruzzi and Giuliano Sangallo. Both of them contain sketches, ornaments, and archi- tectural subjects; among those of the former is the original study for the Sibyl in the church of Fonte Giusta. Among the autograph letters pre- served here are those of St. Catherine of Siena, Metastasio, and Socinus. The letters of St. Catherine are in the hand- writing of an amanuensis, as she could not write ; they bear stronger evidence of the frenzy of enthusiasm than any other example in the history of the Roman church, and many of them are quite irreconcileable with Protestant ideas of propriety. Her works, includ- ing some of the letters, poems, and de- votional pieces, were published in 1707, in four volumes, 4to. In strik- ing contrast to the fervour of her letters are those of Faustus and Laelius Soci- nus, the impious founders of the Soci- nian heresy, who were also natives of Siena. The letters of Metastasio, beau- tifully writt;en, will interest those who read the character of a man in his handwriting ; many of them have been published. The Hospital (Spedale di Santa Maria della Scala), a spacious Gothic building, is one of the most ancient Papal States.'] route 26. — Florence to rome. — Siena. 191 hospitals in Europe: it was founded by Fra Sorore, an Augustin monk, in 832. In contains upwards of 300 beds, and has in late years derived great honour from the pathological dis- coveries of Mascagni, one of its most distinguished professors. The Church attached to it dates from the middle of the fifteenth century ; it has five remarkable frescoes by Domsnico Bar- ^/o, representing, 1. Several saints and patriarchs ; 2. The Life of the Blessed Agostino Novello ; 3. The indulgence granted to the hospital by Celestin III. ; 4. The marriage of the young maidens of Siena ; 5. Acts of charity towards the sick and infirm. The large paint- ing of the Pool of Bethesda is by Sebas- tiano Conca ; the bas-relief of the dead body of Christ is by Giuseppe Mazzuola of Volterra, a sculptor of the last cen- tury ; the bronze statue of the Saviour at the high altar is by Vecchietta. The Gates of Siena are in many re- spects remarkable ; we have already stated that during the flourishing period of its history the city was entered by no less than thirty-nine gates, of which all but eight are now closed. The most interesting of these are the Porta Camollia, already described; the Porta San Viene ; and the Porta Romana. The P. San Viene or di Pispini takes its name from the exclamations of the people during the solemn entry of the body of St. Ansan, which was welcomed by a public procession of the citizens shouting " II santo viene." The gate was built by Moccio in 1326, and is ornamented by a Nativity by Sodoma. The Porta Romana, built in 1327 by Agostino and Angelo da Siena, is an interesting example of those great ar- chitects ; like San Viene,- it has also its painting — the Coronation of the Virgin, by Sano Lorenzetti^ in 1422. The Citadel of Siena was built by Cosmo I. in the form of a pentagon with five bastions ; it is at the north- west extremity of the town. The Lizza, celebrated by Alfieri for " il fresco ventolino," occupies the site of a fortress erected by Charles V. in 1551, and destroyed by the citizens; it is ornamented with statues, and is the favourite walk of the inhabitants. The great festival of Siena is that in honour of St. Catherine. This popular saint was the daughter of a dyer ; she was born in 1347, and took the vows when only eight years of age. Her revelations and miracles gained her so high a repute, that she succeeded in inducing Gregory XI. to remove the Holy See from Avignon after it had been fixed there for seventy years. She died in 1380, and was canonised in 1461. The other saint of Siena, San Bernardino, was born in 1380; he joined the Franciscans, by whom he was sent on a mission to the Holy Land. On his return he founded 300 monas- teries, and died in 1444. His works, in four volumes, 4to., are well known. In the neighbourhood of Siena is the large Franciscan Convent of VOsser- vanza, remarkable for the tomb of Pan- dolfo Petrucci, the celebrated tyrant of Siena, cited by his friend Machiavelli as one of the best types of a usurper. He died in 1512 ; the tomb is the work of the scholars of Peruzzi. The church also contains some fine works by Luca della Rohbia, in terra- cotta, re- presenting the Coronation of the Virgin. About three miles from Siena is the Castle of Belcaro, celebrated in the history of the treacherous siege of Siena by Cosmo I. in 1554, when it was the head-quarters of the Marquis di Ma- rignano mentioned in a previous page. The ramparts still preserve several can-- non balls imbedded in the walls. Dur- ing the thirteenth century Belcaro was chosen by St. Catherine as the seat of a convent; in the sixteenth century it became more famous as the residence of Crescentius Turamini, the rich banker of Siena. Unlike his fellow citizen Buonsignori, who emigrated to France to found the ^' Bank of the Great Table," or his vain contemporary Agos- tino Chigi, who ordered the silver plate used at the banquet he gave to Leo X. at the Farnesina Palace, to be thrown into the Tiber as it was removed from table, Turamini devoted his wealth to the encouragement of native art, and 192 ROUTE 26. — FLORENCE TO ROME. — Siena, [Sect. L em-ploy edBaldassarePeruzzi to decorate Belcaro with his pencil. The loggia was entirely covered with his frescoes ; they were unfortunately defaced in the last century, but the whitewash has lately been removed, and several of the subjects are now cleverly restored The chapel was entirely built by this great artist ; its roof was ornamented by him with the most delicate frescoes, showing that in fancy and in grace he had derived no common inspiration from the woiks of Raphael, of whom he professed to be an imitator. The vestibule of the villa presents, however, on its ceiling a still more celebrated work, the great fresco of the Judgment of Paris, considered by Lanzi to be one of those in which Peruzzi most closely approached the genius of Ra- phael. It is now believed to have been painted from his design, since the engraving of Marc Antonio, professing to be from a drawing by Raphael, pre- cisely corresponds with this fresco. The manners and language of the Sienese remain to be noticed. The epithet which Dante fixed upon the citizens in more than one passage, has probably tended to give a notoriety, if not a celebrity, to their national vanity, which promises to outlive the failing ; " Ed io dissi al poeta: or fii giammai Gente si vana come la Sanese ? Certo non la Francesca si di assai." Inf. xxix. The distinction of ranks is still kept up with an hereditary tenacity to forms ; even in some of the schools proofs of nobility are required ; but the Tolomei College, under the management of the amiable professors of the Scolopii, has at length emancipated itself from these antiquated pretensions, which cease to be harmless when they insinuate them- selves into systems of education. The pronunciation and accent of the Sienese are celebrated for their purity, and the Tuscan dialect is said to be spoken there without that guttural harshness or those strong aspirates which are so disagreeable at Florence. The travel- ler, however, will hardly have an op- portunity of judging how far this re- putation is well founded, unless he en- ters into society ; and even then he will not un frequently be reminded that the Tuscan pronunciation is not altogether discarded. Perhaps, however, in spite of the claims of Siena, the more an English traveller becomes acquainted with Italy, the more will he be disposed to assent to the proverb, " Lingua Toscana in bocca Romana.'* Siena is one of the places selected as a summer residence by English visitors who pass the season in Italy ; it is free from mosquitoes, and its climate is considered healthy. The inhabitants boast, as a proof of this fact, that they escaped both visitations of the cholera. " Siena," says Sir James Clark, "affords a healthy summer residence for persons who are not very liable to suffer from rapid changes of temperature, which often occur here during the summer, owing to the high and exposed situa- tion of the place. Siena is considerably cooler in the summer, and much colder in the winter than Naples, Rome, Pisa, or Nice. The annual mean tempera- ture is 550. 60, being 6° less than Naples, and only about 5© more than London ; but this arises from the cold- ness of its winter, which is only 1°. 38 warmer than that of London. Its sum- mer temperature is about the same as that of Capo di Monte at Naples, but 30 warmer than that of the baths of Lucca. Its daily range of temperature is very great. It is a dry and healthy climate, and altogether a safe summer residence. For persons disposed to, or labouring under pulmonary disease, however, Siena is an unfavourable cli- mate at all seasons. For nervous re- laxed people it forms a better summer retreat than either Naples or the baths of Lucca." The road from Siena to the Papal frontier passes over one of the most dreary and barren districts in the whole of Italy. Its bare and desolate clay hills, capped with tertiary sandstone, are generally destitute of a single tree, and the entire country as far as the eye can reach seems to have been desolated by Papal States.] route 26. — Florence to ROME.-Radicofam, 193 some natural convulsion. On leaving Siena the road descends into the valley of the Arbia, and follows its right bank for nearly two stages. 1 Monterone. The Arbia and the Ombrone are crossed shortly before reaching 1 Buoneonvento, situated near the junction of the two streams. [There are two Luis here : the Cavallo Inglese, and the Europa; the vetturini fre- quently make the latter one of the sleeping-places between Florence and Rome.] The ancient castle of Buon- convento, one of the best preserved in Tuscany, is infamous in Italian liistory as the scene of the death of the Emperor Henry VII. The emperor was on his march towards Rome, in order to give battle to the Guelph party under Robert of Naples, when he stopped here to celebrate the feast of St. Bartholomew, August 21, 1313. He received the communion from the hands of a Dominican monk, Politian of Montepulciano, and expired in a few hours. " It Avas said," says Sismondi, " that the monk had mixed the juice of napel in the consecrated cup; it was said also that Henry was already at- tacked by a malady which he con- cealed — a carbuncle had manifested itself below the knee, and a cold bath, which he took to calm the burning irri- tation, perhaps occasioned his sudden and unexpected death." The contem- porary writers nearly all agree in as- cribing the event to poison, but recent critics appear inclined to regard it as a fiction of the Ghibelines, who found the people too willing to believe it. If even this explanation be accepted, the popular credulity on the subject must be received as a collateral proof of the depraved morals of the clergy in the fourteenth century. From Buoncon- vento a road leads up the valley of the Ombrone to the Benedictine convent of Monte Uliveto Maggiore ; worth visiting on account of its fine frescoes by Luca S'ig?iorelli, illustrating the life of St. Benedict, and for some of the earliest productions of Sodoma. The Pereta and the Seriate are crossed between Buon- convento and Torrinieri. The road is a continued and wearisome ascent ; on a hill on the right the little town of Montalvino is passed. 1 Torrinieri (an additional horse from this place to Poderina, and vice versa). Beyond this station the Asso and the Tuoma are crossed. Another steep as- cent over dreary and barren hills brings us to San Quirico, where a road on the left hand leads to Pienza, the birth- place of Pius II. (^neas Sylvius), and of his nephew Pius III., who built a handsome palace in the town. An in- teresting excursion might be made from this point to Montepulciano and Chiusi, both Etruscan cities of high antiquity, from whence a good road leads through Citta della Pieve to Orvieto, and from thence to Montefiascoue. — (See Route 23.) San Quirico has two small Imis : the Aquila Nera, said to be clean and moderate ; and II Sole, which the vet- turini generally make one of their sleeping-places. The Gothic church, the Chigi palace, and the old square tower, supposed to be of Roman origin, are the only objects in the village which require observation. 1 Poderina, on the river Orcia. A few miles beyond it is the osteria of La Scala, one of the resting-places of the vetturini. Numerous torrents flow down from the hills into the Orcia between this and 1 Ricorsi. (An additional horse to Radicofani.) Close to this place are the baths of San Filippo, the deposit of whose calcareous waters is turned to a profitable account in the manufac- ture of casts. The water, when allowed to fall upon medals or gems, leaves a deposit which hardens into the most beautiful casts ; and when moulds are used, very fine cameos are produced. A wild and dreary road winds up the barren volcanic mountain of Radico- fani, through the deep ravine of the Formone. Nothing can exceed the de- solation of the scene ; huge masses of basalt encumber the mountain, and ve* getation seems to be entirely arrested. 1 Radicofani (Inn, La Posta : the best sleeping-place for the second night K 194 ROUTE 26. FLORENCE TO ROME.- Acquapendente. [Sect. T. from Florence ; it was formerly a Imnt- irig-palace of the grand- dukes. Its vast range of apartments, with their high black raftered roofs and the long pas- sages, were considered by Mr. Beckford a fitting scene of a sabbath of witches). The mountain of Radicofani is said to be 2470 feet above the sea, and from its great height it commands all the surrounding country, which is as bleak and dreary as itself. The geology of the mountain is interesting ; it is com- posed of Subapennine marl, covered with enormous fragments of volcanic matter, among v/hich are several small basaltic columns. It was one of the numerous cluster of volcanic vents, which relieved the northern extremity of the present Campagna, and which we may easily trace from the heights around Bolsena and Aaterbo. The vil- lage is considerably higher up the moun- tain than the road ; it is surrounded with strong walls, but contains nothing to attract attention, except the wild dress and appearance of its inhabitants. Still higher, occupying the summit of the cone, is the ruined castle of Ghino di Tacco, the robber-knight, whose seizure of the abbot of Clugny when on his way to take the mineral waters of Tuscany is celebrated by Boccaccio. The abbot's ailments appeared to Ghino capable of a simple remedy, for he put him on a regimen of bread and white wine, and it is said so effectually ciu'ed him, that he found it quite un- necessary to drink the waters. The Fort was a place of some importance in much later times; during the last cen- tury it was garrisoned, but, the powder- magazine having blown up, the Tuscan government has not thought it worth while to restore it. At the Dogana, by the road -side, passports are examined and viseed. A rapid descent leads down to the valley of the Rigo, passing the osteria of Novella before crossing the Rigo, which here falls into the Paglia. Fol- lowing the course of the torrent, we cross the Elvella, which divides Tus- cany from the Papal States at the osteria of Torricella, and arrive at li Ponte CentinOy the Papal frontier station and custom-house, on the left bank of the Elvella, near the point where that torrent and the Siele fall into the Paglia. Passports are exa- mined and viseed here, and travellers unprepared with a Lascia passare are generally obliged to have their luggage plumbed ; but here, as at other frontier stations, a fee will greatly facilitate matters, and prevent vexatious de- tention. [An additional horse from Ponte Centino to Radicofani. For carriages with four or six horses, besides the two additional required by the tariff, the postmaster of Ponte Centino is allowed to attach a pair of oxen from the oste- ria di Novella to Radicofani, at a charge of 60 bajocchi. In this case the course for the two additional horses, estimated at IJ post, is fixed at 60 bajocchi per horse. Carriages of couriers and others with only two horses are not subject to the regulation as regards the oxen. An additional horse from Ponte Centino to Acquapendente.] The road proceeds along the left side of the Paglia, which receives so many torrents in its course that the route be- tween Radicofani and Acquapendente is often impassable after heavy rains. The scenery of the frontier continues, for some miles, of the most dreary cha- racter, but it improves as we approach Acquapendente. The Paglia is crossed by the Ponte Gregoriano, and a long and beautiful ascent leads up to 1 Acquapendente (^Inn, Aquila d'Oro, very bad). Passports are again examined here, and sealed ; a charge of one paul is made for each seal. The approach to this, the first town of the Papal States, offers the most cheering contrast to the wild ravines and dreary hills of the Tuscan frontier. The road winds up the hill amidst fine old oaks and terraces covered with vegetation. The town is picturesquely situated on the summit of a precipitous mass of rock, over which several pretty cas- cades, from which it derives its name, dash into the ravine below. This hill is composed chiefly of the Subapennine Papal States."] route 26. — Florence to rome. — Bolsena. 195 marls, capped with volcanic tufa and basalt. During the ascent, on the right hand, some short basaltic columns are seen, presenting in some instances a prism of seven or eight sides. Acqua- pendente is a dull and dirty episcopal town, in the delegation of Viterbo, pos- sessing no interest whatever except that derived from its romantic position. It was previously to the seventeenth cen- tury a mere stronghold, with few inha- bitants, but it became a place of some importance after Innocent X., in 1647, removed here the episcopal see from Castro, which was destroyed as a pu- nishment upon the inhabitants for the murder of their bishop. The popula- tion in 1833 was 3310. The medical traveller will not pass through the town without recollecting the fame of Fabri- cius ab Acquapendente, born here in 1537. Fabricius was the successor of the celebrated Fallopius atPadua, where he filled the professor's chair for nearly half a century. His name is immor- talised in medical literature as the dis- coverer of the valves of the veins, and other important facts in anatomy. To the English traveller it is particularly interesting, since Harvey studied under him at Padua, and probably received from his discoveries his first impulse in investigating the circulation of the blood. Fabricius died in 1619, the year in which his illustrious pupil began to teach publicly in London the doctrine of the circulation. The aspect of the country gradually improves after leaving this town ; many of the tufa hills are filled with grottoes, "which serve as habitations to the shep- herds. A gradual ascent brings us to •f San Lozenzo Nuovo {Inn, Aquila Nera), a formal village built in a circle on the brow of the hill by Pope Pius VI., at his own cost, as an asylum for the inhabitants of the old town, which was afflicted with malaria. From this point the traveller enjoys the first view of the lake of Bolsena, with its picturesque shores surrounded by lofty hills covered with oaks to their very summit. On the descent, the ruined town of San Lorenzo Rovinato, surmounted by an old tower covered with ivy, forms a striking feature in the landscape. 1 Bolsena (^Inn^ Aquila d'Oro), a small town of 1732 souls, beautifully situated on the margin of the lake, on the site of the Etruscan city of Volsinium. It is celebrated in the history of the Roman church as the scene of the mi- racle of the wafer. At the entrance of the town is a confused heap of archi- tectural fragments which deserve exa- mination. Among them are broken columns, Corinthian capitals, several altars, and inscribed stones. Nearer the gate are numerous granite columns, the remains of an ancient temple, supposed to be that of the Etruscan goddess Norcia. Among the ruins is a Roman sarcophagus of white marble, with a fine bas-relief of the triumph of Bacchus. Volsinium was one of the first cities of the Etruscan league, and was so opu- lent when taken by the Romans, that it is stated by Pliny to have contained no less than 2000 statues (b.c. 265). An account of its contest with Rome is given in the fifth book of Livy, who notices the worship of Norcia, and states that the years were marked by fixing nails in her temple. At a later period Volsinium was remarkable as the birth- place of Sejanus. Besides the antiquities already mentioned, numerous sepul- chres and tumuli exist in the neigh- bourhood of the town, together with considerable remains of an amphithe- atre and some Roman arches. Large quantities of Etruscan vases, statues, and other relics have been found here in recent years ; the statue called the Ar- ringatore, now in the gallery at Florence, is perhaps the most remarkable of these discoveries. The triple church of Sta. Cristina has a fagade ornamented with some bas-reliefs collected from the an- cient temple in 1512 by Cardinal de' Medici. It is more interesting, how- ever, as the alleged scene of the famous miracle, to which the genius of Raphael has given immortal celebrity. The miracle is said to have taken place in 1263, when a Bohemian priest, who doubted the doctrine of transubstan- tiation, was convinced by blood flowing k2 196 ROUTE 26. FLORENCE TO ROME. — Bolsena. [Sect. I. fi om the Host he was consecrating. In commemoration of this event Urban IV., then residing at Orvieto, instituted the festival of Corpus Domini. A dark and dirty vault, forming a kind of chapel, is pointed out as the actual scene of the miracle. The spot where the blood fell is covered with an iron grating. The Lake of Bolsena is a noble ex- panse of water, whose circumference is estimated by Calindri at 43,000 metres, which would give about 26J English miles. It has the form of an extinct crater, and, being bounded by volcanic rocks, has been frequently regarded as such ; but Dr. Daubeny points out the necessity of more conclusive evidence than we possess before the hypothesis be admitted, especially when the great extent of the lake is considered. The investigation of its geology would, how- ever, be a dangerous task, for the trea- cherous beauty of the lake conceals malaria in its most fatal forms ; and the shores, although there are no traces of a marsh, are completely deserted, ex- cepting where a few sickly hamlets are scattered on their western slopes. The ground is cultivated in many parts down to the water's edge, but the la- bourers dare not sleep for a single night on the plains where they work by day ; and a vast tract of beautiful and pro- ductive country, presenting no appre- ciable condition of soil to account for the existence of malaria, is reduced to a perfect solitude by this invisible ca- lamity. Nothing can be more striking than the appearance of the lake, with- out a single sail upon its waters, and with scarcely a human habitation within sight of Bolsena ; and nothing perhaps can give the traveller who visits Italy for the first time a more impressive idea of the influence of malaria. The two small islands, the largest called Bisen- ti7ia, and the smallest Mariana^ are picturesque objects from the hills. The latter is memorable as the scene of the imprisonment and murder of Amala- sontha, queen of the Goths, the only daughter of Theodoric, and the niece of Clovis; she was strangled in her bath, A.D. 535, by the order or with the connivance of her cousin Theodatus, whom she had raised to a share in the kingdom. Some steps in the rock are shown as the stair which led to her prison. The church on the Bisentina was built by the Farnese family, and decorated by the Caracci ; it contains the relics of Sta. Cristina di Bol- sena. The Farnesi had two villas on these islands, where Leo X., after visiting Viterbo for the pleasures of the chase, resided for a short time, for the purpose of fishing. The lake has al- ways been famous for its fish ; its eels are commemorated by Dante, who says that Pope Martin IV. killed himself by eating them to excess : " E quell a faccia Di la da lui, piii che le altre trapunta, Ebbe la santa chiesa in le sue braccia ; Dal Torso fu, e puvga per digiuna Le anguille di Bolsena e la veinaceia." Pwr^af.,xxiv. In the south-west bend of the lake, near the island of Martana, is the little river Marta, by which it is drained ; it flows beneath Toscanella, and falls into the sea at Corneto. Pliny's de- scription of the lake, which he calls the Tarquiniari lake, and his account of its two floating islands, will interest the classical tourist (Epist. ii. 96) ; the islands, if they ever existed, have disappeared, for the description cannot apply to Bisentina and Martana. [An additional horse is required from Bolsena to San Lorenzo ; and also from Bolsena to Montefiascone, but not vice versa in either case.] About a mile from Bolsena, tl)e tra- veller should leave the carriage, to examine the basaltic columns on the steep slopes of the hill overlooking the lake. They are thickly clustered, and present generally five or six sided prisms, from two to four feet in height. The ascent of the hill now leads us through a wood abounding in majestic oaks, and presenting some exquisite prospects over the lake. The wood has been cleared for some hundred yards on either side of the road, in order to prevent the concealment of Papal States.] route 26. — Florence to rome. — Viterbo, 197 banditti, who formerly gave the hill of Bolseiia a disagreeable notoriety. After a long ascent we reach the town of Monteiiascone, situated on an isolated hill crowned by an old castle of the middle ages, and commanding an ex- tensive view of the lake and its sur- rounding scenery. 1 Montefiascone (//^;^, Aquila Nera, at the foot of the hill beyond the gate). An episcopal town of 4809 souls, occu- pying the site of an ancient Etruscan city, of which some remains of walls and numerous sepulchres still exist. The cathedral, dedicated to St. Mar- garet, in spite of its unfinished front has an imposing air ; its octagonal cupola is one of the earliest and most interesting works of San Michele, whose designs are also recognised in several palaces and public buildings. Near the gate is the church of Sa?t Flaviano, a Gothic building founded in 1030, and restored by Urban IV. in 1262, presenting a singular mixture of round and pointed arches. From the gal- lery in front this pope is said to have given his benediction to the people. In the subterranean chapel is the monu- ment of Bishop Johann Fugger, of the wealthy and distinguished family of Fugger of Augsburg, who so fre- quently replernshed the coffers of the emperors and entertained them at their palace, now well known to travellers in Germany as the hotel of the Drei Mohren. The bishop is represented lying on his tomb, with two goblets on each side of his mitre and under his arms. The death of this prelate, which took place in the town, was caused by his drinking too freely of the wine to which he has given such extraordinary celebrity. Tiie follow- ing is his epitaph, written by his valet: Est, Est, Est. Propter nimium est, Joannes de Foucris, Dominus mens, mortuus est. The explanation of this singular inscription, which has given rise to abundant controversy, appears to be simply this : the bishop was in the habit of sending on his valet before- hand in order to ascertain whether the wines were good, in which case he wrote on the walls the word est (^it is good). At Montefiascone he is said to have been so pleased with its sweet wine, that he wrote the est three times, a mode of expressing the superiority of liquors which recalls the XXX of the London brewers. The fact is likely to be perpetuated much longer than the luxurious prelate would probably have desired, for the best wine still bears the name of the fatal treble est. Near the inn at Montefiascone an interesting road branches off to Orvieto and Citta della Pieve, from whence the traveller may proceed either to Pe- rugia, or to Chiusi and Monte pulciano. (See Route 23.) From Montefiascone to Viterbo the road crosses a dreary and unenclosed country destitute of interest. About midway between the towns near the Fontanile, a few yards from the road on the right hand, is a considerable portion of the Fia Cassia, which com- municated between Florence and Rome, passing through Chiusi, Bol- sena, Bagni di Serpa, Trosso, Vetralla, and Sutri, and joining the Via Ame- rina at Baccano, from which place the united roads entered Rome under the name of the Via Cassia. Beyond this fragment of the ancient road, and at about the distance of two miles from Viterbo, a small column of vapour marks the position of the warm sul- phureous lake called the Bulicame, ce- lebrated by Dante : " Quale del BiiUcame esce ruscello, Che parton poi tra lor le peccatrici, Tal per r arena f^iu sen giva quella." Inf. xiv. 1 Viterbo {Inns, Aquila Nera, just inside the Florence gate, excellent ; Angelo, in the Piazza). From Viterbo to Montefiascone the post is reckoned at \\, and an additional horse is required by the tariff, but not vice versa. Viterbo, situated at the foot of Monte Cimino, is the capital of one of the most extensive delegations of the Papal States, embracing a supierficial extent of 205 square leagues, and a popu- lation of 113,041 souls. It is the seat of a bishopric, and the residence of the 198 ROUTE 26. FLORENCE TO ROME. — Viterho. [Sect. I. delegate. The population of the city is 13,849. It is surrounded by walls and towers built chiefly by the Lom- bard kings ; it is generally well built, and its streets, though narrow and dirty, are paved with flag-stones, like those of Florence. By the old Italian writers it is called the city of handsome foun- tains and beautiful women. It is supposed to occupy the site of the ancient Fanum Voltumnce^ cele- brated as the spot where the Etruscan cities held their general assemblies. The present town was raised to the rank of a city by Celeslin III., about 1194; in the thirteenth century it was the residence of several popes, and the scene of numerous conclaves of the sacred college, at which the following pontiffs were elected: Urban IV., in 1261 ; Clement IV., in 1264 ; B. Gre- gory X., in 1271 ; John XXI., in 1276 ; Nicholas III., in 1277; and Martin IV., at the dictation of Charles of Anjou, in 1281. It was the chief city of those allodial possessions of the Countess Matilda, extending from Rome to Bolsena, and embracing the whole coast, from the mouth of the Tiber to the Tuscan frontier, which that princess bequeathed to the Holy See in the twelfth century, and which constitutes what is now known as the patrimony of St. Peter. The Cathedral^ dedicated to San Lorenzo, is a Gothic editice, built, it is supposed, on the site of a temple of Hercules. It contains the tombs of four popes, John XXI., Alexander IV., Adrian V., and Clement IV. At the high altar is the picture of the Glory of S. Lorenzo, by Fi'ancesco Romanelli^ a native painter, wdio died here while preparing to remove his family to Paris, where he had previously obtained the patronage of Cardinal Mazaiin. The pictures illustrating various incidents in the history of S. Lorenzo are by his son IJrhano^ aiid are cited by Lanzi as works of considerable promise, but he likewise died young. The subjects from the life of S. Lorenzo and St. Stephen, by Marco Benefial, are also noticed by Lanzi among the best works of that unequal follower of Dome- nichino and his school. In the Sacristy is a large picture of the Saviour and the four Evangelists, attributed to Albert Durer (?) ; the medallion on the roof is by Carlo Maratti. But these works of art will fail to interest the English traveller as much as the re- collection of the atrocity which has associated this ancient edifice with the history of England. It was at the high altar of this cathedral that Prince Henry of England, son of the Earl of Cornwall, was murdered by Guy de Montfort, the fourth sun of Simon de Montfort, Earl of Leicester, who was killed in 1265, at the battle of Eve- sham, fighting against Henry III, On that occasion the body of the earl was dragged in the dust by the royal- ists ; his son, Guy de Montfort, who was also present in the battle, vowed vengeance against the king and his family for this outrage. No oppor- tunity, however, occurred for a few years; but the grandson of the notorious persecutor of the Albigenses was not likely to forget his vow, and an acci- dental visit to this city at length threw one of the young princes of England in his way. After the battle of Taglia- cozzo, Charles of Anjou was sum- moned from his conquests to accom- pan)'- his brother St. Louis on a second crusade against Tunis. His stay, how- ever, was short, and he soon returned to Naples. The College of Cardinals being then at Viterbo, Charles pro- ceeded to that city in order to induce the cardinals to bring the long inter- regnum to a close, and elect a suc- cessor to the chair of St. Peter. During his residence at Viterbo, many of the crusaders who had returned from Tunis had assembled there, together with his great officers of state. Among the latter was Guy de Montfort, the lieutenant of Charles in Tuscany. On a certain day he met, in this cathedral, Henry, son of Richard, earl of Cornv/all, king of the Romans, and brother of king Henry III. of England. The prince was passing through Viterbo on his return from Africa, whither he had ac- Papal States."] route 26. — Florence to rome. — Viterho, 199 companied his cousin Edward. The young prince was kneeling at tbe altar during the celebration of mass, when Guy de Montfort rushed upon him and ran him through with his sword. Tlie prince instantly expired, and the mur- derer walked out of the church unmo- lested. He said to his attendants at the door, " I have been avenged." How said one of them, " was not your father ciragged in the dust?" At these words he returned to the altar, seized the body of the prince by the liair, and dragged it into the public square. He then fled and took refuge in the Ma- remma, but Charles was afraid to punish him for the crime. Prince Edward, the son and successor of Henry III., and Philippe le Hardi, of France, were both in Viterbo at the time, but they quitted it immediate]}^, indignant at the weakness of Charles in allowing the murderer to go un- punished. Giovanni Villani, the prin- cipal authority for these facts, states that " the heart of Henry was put into a golden cup, and placed on a pillar at London Bridge, over the river Thames, for a memorial to the English of the said outrage." (Lib. vii., c. 40.) Dante, the true historian of the middle ages, has also commemorated this cir- cumstance, and has placed the mur- derer in hell, in that seventh circle guarded by the Minotaur and tlie Cen- taurs, which is surrounded by a river of boiling blood, in which those whose sins have been tyranny or cruelty towards mankind are punished : '* Poco pin oltre il Centauro si afTissi Sovra una genie, die infino alia gola Parca che di quel bulieame ascisse. Mostrocei una ombi a dalla un canto sola, Dicendo : colui (esse in giembo a dio Lo cor, clie in su Tamigi ancor si cola." Inf. xii. Besides this event, there is another historical incident which gives the cathedral of Viterbo additional in- terest in the estimation of English travellers : it was in its piazza that Adrian IV., the only Englishman who ever wore the tiara, compelled Frede- rick Barbarossa to humble himself in the presence of the papal and im- perial courts by holding his stirrup while he dismounted from his mule. The haughty emperor only yielded at the persuasion of his courtiers, who suggested the precedent of Lothario ; but Frederick deeply felt the injury, and consoled himself, according to the contemporary historians, by declaring that he paid this homage not to the pope, but to the apostle of whom he was the recognised representative. Close to the cathedral is the Epis- copal Palace of the thirteenth century, now greatly ruined, but still retaining many points of interest connected with the history of the popes. I'he great hall is still shown in Vv'hich the con- clave was assembled at the command of Charles of Anjou, at the time of the murder of Prince Henry, when, after a deliberation of thirty-three months, they elected Tebaldo Visconti to the papal chair, under the name of Gregory X. In the same hall the cardinals after- wards elected Martin IV., after an in- terregnum of six months, though not until Charles of Anjou had excited an insurrection against them among the inhabitants of Viterbo. At the sug- gestion of that monarch the citizens removed the roof in order to force them to an election ; and then arrested and imprisoned the cardinals Orsini and Latino, whom Charles, for his own personal interests, wished to be re- moved from the council. It is said that the municipal archives still pre- serve letters of these cardinals dated from ''the roofless palace.'' Another chamber is shown, in which John XXL was killed by the fail of the roof in 1277, The church of the Cojivent of Sia, Rosa contains the body of the saint, one of the heroines of the thirteenth century, whose history, like that of Joan of Arc, presents a strange com- bination of religious and political en- thusiasm. She roused the people against the emperor Frederick II. ; after the success of the Ghibeline party she retired into exile, and on the death of the great emperor returned in triumph to Viterbo, where she died at 200 ROUTE 26. — FLORENCE TO ROME. — Viterbo, [Sect. I. the age of eighteen, and was soon after- wards canonized by the Guelph party. Her body, resembling that of a black mummy, is preserved in a gilt tomb, and is the object of great reverence on account of her numerous reputed mi- racles. The Gothic church of >S. Francesco, behind the hotel, contains the celebrated Deposition from the Cross, by Sebastian del Piambo, painted, as we learn from Vasari, from the designs of Michael Angelo : L'invenzione pero ed il car- tone fu di Michelagnolo ; fu quelF opera tenuta da chiunque lo vide vera- mente bellissima, onde acquisto Sebas- tiano giandissimo credito, e confermo il dire di coloro che lo favorivano."' Lanzi also cites this work as one of those in which Sebastian del Piombo was assisted by Michael Angelo, who patronised him after the death of Ra- phael, to the prejudice of Giulio Ro- mano and the other eminent followers of the rival school. The picture is badly placed, and requires a much stronger light, but its effect, notwith- standing these disadvantages, is very strikhig. The church of the Osservanti del Paradiso has another work of Sebastian del Piombo, the Flagellation, which, according to Lanzi, was considered the finest picture in Yiterbo. On the out- side is a fresco of the Madonna with saints, attributed to Leonardo da Vinci, The church called della Morte has a picture of the Incredulity of St. Tho- mas, by Salvator Rosa. S, Jgnazio has a picture of the saint at the high altar, by Cuv. d Arpi?io, and in the sacristy a small painting of Christ in the Garden, by Marcello Ve- niistiy another artist, whom Lanzi men- tions with great praise for his skill in embodying the ideas of Michael An- gelo, by whom this work is supposed to have been designed. Sta, Maria della Verita has a re- markable fresco of the Sposalizio, by Lorenzo di Giacomo da Fiferbo, who completed it in 1469, after a labour of twenty-five years. It is highly curious in the history of art, independently of the fact that all the heads in the pic- ture are portraits of the principal citi- zens, and it is scarcely less interesting as a study of the costume of the fifteenth century. 8, Angelo in Spaia presents in its facade an ancient sarcophagus, with a fine bas-relief of a boar-hunt, and an inscription recording that it contains the ashes of Galiana, the most beauti- ful woman in Italy. This celebrated personage is described as the Helen of the middle ages, and her beauty is said to have given rise to a war between Rome and Yiterbo, during which the Romans were defeated. In the capitu- lation which followed, the Romans sti- pulated that they were to be allowed a last sight of Galiana, who was accord- ingly shown to them," says Yalery, " from one of the windows still existing in the exterior of an old tower of the ancient gate of St. Antony." The Palazzo Pubblico, begun in 1264, deserves a visit. Its court contains two large Etruscan tombs, with figures in relief and inscriptions, and an elegant fountain. In the hall of the Accademia degli Ardenti are the frescoes of Bal- dassare Croce, the scholar of Annibale Caracci, and, according to Malvasia, the imitator of Guido. Their style is men- tioned by Lanzi as " facile, naturale, da meritargli nome di buon pratico e di buon frescanti ; di caraccesco non cosi facilmente.'* The museum of the aca- demy is interesting on account of its local antiquities : it contains some fine Etruscan tombs in terra-cotta, vases, and other Etruscan remains, some Ro- man inscriptions and sarcophagi. Among the paintings is a Yisitation, by Fran- cesco Romanelli, whose San Lorenzo at the cathedral has been noticed in a pre- vious page. The principal Fountains of Yiterbo, which divide with its pretty women the honour of the proverb already men- tioned, are the Fontana Grande, begun in 1206 ; the fountain in the market- place ; that in the Piazza della Rocca, constructed in J 566 by Cardinal Far- nese, and attributed to Yignola ; and that in the court of the Palazzo Pubblico. Papal States.] route 26. — Florence to rome. — Orte, 201 Outside the Roman gate is the Do- minican Convent^ remarkable as the residence of Fra Giovanni Nanni, bet- ter known as Aunius of Viterbo, who wrote seventeen books which he repre- sented to be the lost works of ancient writers, particularly of Xenophon, Ar- chitochus, and Manetho; they were printed in 1498, and for a considerable time were believed by scholars in dif- ferent parts of Europe. Like most other authors of literary forgeries, Annius found that those who were deceived into an admiration of his discoveries not only never forgave the deception, but accorded him less credit for his learning than he deserved. The Palazzo San Martino, belonging to the Doria family, deserves a visit for its noble staircase a cor^/o/z/, by which a carriage may ascend to the upper stories. It also contains the portrait of the dis- solute Olimpia Maidalchini Pamfili, niece of Innocent X., with her bed and its leather furniture. Numerous tales are related of the intrigues of Olimpia in this palace, and of the mysterious disappearance of her lovers through a trap-door, the ordinary fate which tra- dition has assigned to the humble lovers of intriguing princesses in the middle ages. On the road to Orte and Narni are two objects of some interest: the cele- brated sanctuary and Domenican con- vent of the Madonna della Querela, and the Filla Lante at Bagnaja, The Ma- donna della Querela, built from the designs of Bramante, is remarkable for its splendid roof, an imitation of that of Sta. Maria Maggiore. Over its three doors are some beautiful bas-reliefs in terra-cotta, by Luca della Robhia. Be- hind the altar is the image of the Ma- donna on the oak from which it was found suspended, and which gives name to the church. The campanile contains a bell said by Calindri to weigh 13,500 lbs. The ground in front of this con- vent is the scene of the two famous fairs of Viterbo : the first, established by Leo X. in 1513, begins on the day of Pentecost, and lasts fifteen days; the second, founded bv the emperor Fre- derick 11. in 1240, begins on the 22nd September and ends on the 6th October. The Filla Lante is remarkable for its imposing architecture, and is ascribed to Vignola. It was begun by the cele- brated Cardinal Riario, and finished by Cardinal Gambera, in allusion to whose name the cascade is made to assume in its fall from the mountain the form of an immense lobster. It is now almost deserted. It is related that, when St. Carlo Borromeo visited the villa, he suggested how much good the money lavished upon it would have done if distributed among the poor ; to which Cardinal Gambera replied that he had made them earn it by their labours. Orte, a few miles beyond this, occu- pies the site of ancient Horta, one of the military colonies of Augustus. It has the ruins of a fine bridge, called the bridge of Augustus, and some ex- tensive remains of baths. To the south, Bassanello marks the site of Castellum Amerinum, near which was the estate of Calpurnius, father-in-law of Pliny the younger. In the Val d'Orte the small lake called the Valdemone, filled up with rushes, is the ancient Lake Vadimon, whose floating islands are beautifully described in the eighth epistle of Pliny, whose residence at the villa of his father-in-law gave him lei- sure and opportunity to observe them. The banks of the lake are celebrated for the total defeat of the Etruscans by the Romans, B.C. 309, which completely destroyed their political existence as an independent nation. A subsequent battle was fought here by the Etrus- cans in alliance with the Gauls and Boii, but they were again defeated by the Romans under Dolabella. A few miles south of Bassanello, Gallese, a town of some consequence in the mid- dle ages, marks the site of ancient Fesceiniium, noted for the nuptial songs to which it gave the name of Carmina Fescennina. By far the most interesting excursion which can be made from this road is that to the valley of Castel d'Asso, the necropolis of the Etruscan city of Vol- K 3 202 ROUTE 26.— :FLOREKCE TO ROME. — Castel d'Asso. [Sect. I. tumna, distant about six miles from Viterbo. When it is stated that the cliffs of this and the four adjoining valleys are excavated into a continued series of cavern- sepulchres of enormous size, resembling nothing else in Europe, and only to be compared with the tombs of the kings at Thel)es, the tra- veller may perhaps be induced to pro- long his journey for the purpose of visiting so remarkable a spot. It will be much more desirable to hire horses or donkeys for the excursion, than to attempt it in a carriage; and those who do not wish to return to A iterbo may proceed by Vetralla and Cappanacce, along the western margin of the Lago di Yico, to Ronciglione, the next post- station on the high road to Rome. It will also be necessary to carry provi- sions from Viterbo, and on no account to omit to take torches, without which it is impossible to examine the tombs. As there is much to explore, travellers should start from Viterbo at a very early hour, in order to have the day before them ; they may then visit the four valleys, and reach Viterbo or Ron- ciglione in good time before dark. The principal of these valleys are those of Bieda (the Blera of Cicero) and San Giovanni di Bieda, to which a path- way leads off the high road of Vetralla. The first object which attracts attention after leaving the road is the magnificent ruined fortress of the fifteenth cen- tury, called Castel d'Asso, marking by its name, as well as by its Etruscan foundations, the site of the ancient Cas- tellum Axiee, mentioned by Cicero as one of the strongholds of Etruria. No- thing can be imagined more grand or imposing than the appearance of this noble fortress from all parts of the val- ley, and the artist might find abundant occupation in the fine combinations it makes with the surrounding sceiiery. Immediately in front of the castle, and far down in the glen, commences the long line of cavern-sepulchres, com- pletely occupying the face of the cliff opposite the castle, and running up both sides of the valleys which fall into it. These extraordinary tombs were first made known by Professor Orioli of Bologna. Their general ap- pearance resembles the Egyptian style, particularly in the doors, which are narrower at top than at bottom ; over many of them are deep inscriptions in the oldest Etruscan character, the letters of which in several instances are a foot high. They are also inter- esting in the history of Etruscan archi- tecture, as presenting some fine exam- ples of mouldings ; but they want the projecting cornice which would be ne- cessary to give them a complete resem- blance to Egyptian structures. These lofty doorways, however, are merely sculptured in the cliff*; a smaller door at their base, easily concealed by earth, leads into the sepulchral chambers. Most of these are single chambers, but some are double, the inner apartment being much smaller and lower than the outer. They present a great diversity of size, and the roofs are frequently vaulted. In the neighbourhood of Bieda bronze and marble figures, vases, and scarabsei are said to have been discovered in great abundance; but all the tombs have evidently been plundered, proba- bly by the Romans. After exploring the valley of Castel d'Asso, travellers should follow up the valley of S. Gio- varmi, and visit Bieda, which is still a considerable town, occupying the site of Blera on the V^ia Clodia, which passed through the town, and of which the ancient bridge still exists under the name of the Ponte della Rocca. The valley of Norchia also falls into those just mentioned, and is remarkable for the Doric style of its tombs. In regard to the inscriptions, tlie visitor will be struck by the frequent repetition of the word Ecasn, or Ecasuth, so commonly met with in Etruscan tombs in other parts of the country. It has been sup- posed to signify " adieu,'''' and " it would seem," says Sir William Gell, " that some general meaning must be expressed by words so frequently repeated, but nothing satisfactory has yet appeared as an interpretation. The interpretation of the inscription at Cas- tel d'Asso and other Etrurian cities has Papal States.] route 26. — Florence to roue -Caprarola. 203 hitherto wholly defied the efforts of the learned. It is in vain that Lanzi and Passeri have with great toil and learning succeeded to a c-ertain degree in the interpretation of the Umbrian or Eugu- bian tables: notwithstanding the nume- rous remains of Etruscan, ' Ril avW (vixit annos, or annos vixit) and some proper names are all that have ever been satisfactorily made out in this language. It may be observed that brass arms have been found in these sepulchres, which seem to refer them to a very an- cient period. It is remarkable tliat scarabaei also, in carnelian and other stones, are frequently met with here, as in Egypt, but always with Greek or Etruscan subjects engraved upon them." If an examination of these extraordi- nary valleys should lead the traveller to desire a more minute acquaintance with this district of Etruria, he will be able to make an excursion from Viterbo to Tarquinii and Corneto ; but as this would lead him altogether away from the Roman road, and would require preparations in the way of introduc- tions, it must be made the subject of a separate journey, and will therefore be described under Excursions from Rome." The immediate neighbourhood of Viterbo is memorable for a battle fought there in 1234, between the army of the emperor in conjunction with the forces of the pope, and the troops of Rome, then in opposition to their own pontiff, who by a more singular coin- cidence formed an alliance with his hereditary enemy for the purpose of repressing the insurrection of his sub- jects. The papal forces on this occasion were commanded by an English pre- late, Peter de Rupibus, bishop of Win- chester, by whom the Romans were defeated with immense loss. [An additional horse is required by the tariff from Viterbo to I'lmposta.] The road on leaving Viterbo begins immediately to ascend the steep vol- canic hill of Monte Cimino, the clas- si'oal Ciminus, whose dense forests served as a barrier to Etruria against Rome for so many ages prior to the memora- ble march of Fabius. It is clothed with Spanish broom, heath, and brush- wood, among which tower some noble oaks and chesnut-trees, interspersed occasionally with stone-pines. The summit commands an extensive view, reaching as far north as Radicofani, and embracing within its range Soracte, the eastern ridge of the Apennines, and the Mediterranean. Below is the Lago di Vico, or Lacus Cimini : Et Cimini cum monte lacum, lucosque Capenos." Virg. JEn., vii. 1 L'Imposta, a post-station. The road now descends the moun- tain, skirting the eastern margin of the lake, a beautiful basin about tin*ee miles in circumference, whose steep sides are covered with luxuriant forests. It has all the appearance of a crater, and its volcanic origin is proved by the phy- sical structure of the surrounding hills, and partly confirmed by the ancient traditions that it was caused by a sudden sinking, during which a city called Succinium was swallowed up. Several ancient writers mention that when the water was clear the ruins of this city might be seen at the bottom of the lake. Before reaching Ronciglione a narrow road on the left hand leads through a forest abounding in some charming scenes to the celebrated castle of Caprarola^ the undoubted masterpiece of Vignola. It was built by that illus- trious architect for Cardhial Alessandro Farnese, nephew of Paul III., on the lower slopes of Monte Cimino. As a specimen of the fortified dom.estic ar- chitecture of the sixteenth century, it is perhaps unrivalled, at least in Italy. It is pentagonal in form, and is sur- rounded with bastions and a fosse. The substructions of the palace are of the most solid and imposing kind. The apartments are decorated with frescoes and arabesques, by Federico, Ottaviano, and Taddeo Zuccari, by Tempesta, and by Vignola himself, whose perspectives are by no means the least remarkable of the many interest- ing works of art for which this majestic castle is remarkable. Each room is 204 ROUTE 26. — FLORENCE TO ROME. — Rouciglione, [Sect. L devoted to some incident in the history of the Farnese family, or to some alle- gorical subject ; Niuna cosa," says Lanzi, speaking of Taddeo Zuccari, " gli fa nome al mondo quanto le pit- ture del palazzo Farnese di Caprarola, che si trovano intagliate in giusto vo- lume dal Prenner nel 1748 ; contengono le geste de' Farnesi, illustri in toga e in armi ; vi ha pure altre istorie profane e sacri." The Sala degli Annali has the fine fresco of Taddeo Zuccari, re- presenting the entry of Charles V. info Paris between Francis I. and Cardi- nal Farnese, who is riding on a mule ; Taddeo has introduced himself and his two brothers as the supporters of the canopy. The Stanza del Sonno is re- markable for its fine poetical subjects, now nearly destroyed, which were sug- gested by Annibale Caro, whose letter on the subject has been published in the ' Lettere Pittoriche,' and the * Bi- blioteca Scelta,' of Silvestri at Milan. All the subjects illustrated by the Zuccari are engraved in Prenner's * Illustri Fatti Farnesiani coloriti nel Real Pal. di Caprarola,' quoted by Lanzi, and published at Rome in 1748. The arabesques of Tempesta are also interesting ; on the top of the stairs he has represented himself on horseback in the female dress which he assumed for the purpose of escaping from his work, but he was pursued and overtaken by the people of the castle, who compelled him to return and complete his engage- ments. In the gardens is the elegant PulazzuolOj designed by Vignola as the casino of the castle ; travellers should on no account fail to visit it, if it be only for the sake of the beautiful prospect from its upper terrace. It is stated that Cardinal Borromeo, during his visit to Caprarola, made an observa- tion similar to that already recorded in the account of the Villa Lanti at Viterbo : " Che sara il paradiso T' he remarked; " Oh! meglio sarebbe stato aver dato a' poveri tanto denaro spe- sovi." The answer of Cardinal Far- nese may be regarded as a suitable reply to all similar observations of mistaken philanthropists: Di averlo egli dato a' poveri a poco a poco, ma fattoglielo guadagnare co7i i loro sudor i.^* 1 Rouciglione (^Lms^ Leone d' Oro, post ; Aquila Nera : both dirty and in- ferior. If the traveller can manage to do so, he should arrange to sleep at some other station; though almost all vet- turini try to stop here). An additional horse from Rouciglione up the moun- tain to ITmposta. This is the last place entirely free from malaria be- tween Viterbo and Rome. It is a pic- turesque town of 4600 souls, prettily situated on a precipitous point of rock above a deep and wooded ravine, in the sides of which are several sepulchral chambers. Its ruined Gothic castle is a striking object on approaching the town. Ronciglione was burnt by the French during the first invasion, but it has since risen into importance as a manufacturing town, and its iron-works and paper-mills are particularly flou- rishing. The iron is imported from Elba, and is smelted at Bracciano be- fore it reaches Ronciglione. Notwith- standing the impulse given to the town by these establishments, many of its fine old palaces are still compara- tively deserted, and fast falling to decay 0 The Roman gate bears the name of Odoardo Farnese. On leav- ing the town we enter upon the cele- brated plain, so well known as the Campagna of Rome, a tract of country stretching from the hills of Etruria to the Circaean promontory near Terra- cina, bounded on the east by the moun- tains, and by the Mediterranean on the west : its length is estimated at about 90 miles, and its greatest breadth at about 30 miles. From Ronciglione a road, practica- ble for carriages, leads to the Etruscan town of Sutri, from whence another tolerable road communicates with the high post-roail near Monterosi ; so that travellers encumbered with heavy car- riages might make a detour from Ron- ciglione, either in the light caritelle of the country or on horseback, and rejoin their carriages at Monterosi. Stit?i occupies the precise site of the ancient Etruscan town of Sutrium, one Papal States.1 route 27 -Florence to rome by perugia. 205 of the cities whose alliance with Rome exposed it to frequent attacks from the other tribes of Etruria. It is situated on a long insulated rock of volcanic tufa, forming, in combination with the ravines by which it is surrounded, an exceedingly striking picture. A bridge formerly connected it with the high table-land adjoining, but it was de- stroyed by the French in 1798. In the deep valley passed on approaching the gate from this side are numerous sepul- chral chambers, but they are not so remarkable as those we shall observe in the lower valley on leaving the town for Monterosi. In many parts the an- cient walls may still be traced. At the foot of another insulated eminence is the ancient amphitheatre of Statilius Taurus, excavated in the tufa, and so perfect as to deserve perhaps to be re- garded as unique. The steps are worn in some places, but all its corridors and vomitories and six rows of its stages are preserved. In a few places some brick- work may be recognised, but only where there existed obvious deficiencies in the rock ; with this exception the amphi- theatre has no masonry. Its length is given by Calindri at 290 feet, and its breadth at about 270. Nearer the town is a sepulchral chamber with a pillar in the centre, called the " Grotta d' Orlando," in which tradition relates that Charlemagne's celebrated Paladin was born; the inhabitants also claim Pontius Pilate as a native of Sutri. The modern town has a population of 2000 souls, but, although several popes in the eleventh and twelfth centuries held councils there, it contains nothing of remarkable interest ; the views from some of its old houses overlooking the valley are very beautiful. On descend- ing from the Porta Romana, a perpen- dicular face of rock, on the right hand, is seen tilled with sepulchral cliambers, many of which have traces of columns, pediments, and architectural facades. Several of these have apparently been fronted with stone of a ditierent quality, but these ornaments have been removed, and nothing remains but the cavities which received them. These chambers are well worthy of examination ; and indeed Sutri has been so little explored that it oft'ers a more ample field per- haps than any other Etruscan settle- ment so easily accessible from the high road. We again join the Roman road near the junction of the two roads from Siena and Perugia, and soon reach Monterosi. The direct road from Ronciglione to Monterosi presents nothing worthy of particular notice. 1 Monterosi, ^ 1 Baccano, I Described in 1 La Storta, ( Route 27. li Rome, J ROUTE 27. FLORENCE TO ROME BY AREZZO AND PERUGIA. 27A -Posts. [Before leaving Florence persons tra- velling with their own carriage should write to their correspondent or banker at Rome, or to the British consul, for a lascia passare for the frontier custom- house at Monte Gualandro, and for the Porta del Popolo. ^ 2. Passports must have the visa of the British minister at Florence, the police, and the Papal nuncio. § 1.] This beautiful road is five posts and a quarter longer than that by Siena, but surpasses it both in picturesque and in historical in- terest. On leaving Florence it ascends the upper Yal d'Arno, on the right bank of the river, and follows the curve of the Arno as far as Incisa. There is a more direct road from Florence to Incisa through >S'. Donato ; which is generally followed by the vetturini. It is seven miles shorter : but as it crosses the chain of the Chianti, it is much more hilly tlian the post- road. From the summit of the pass of S. Donato the view looking back over the valley of Florence is extremely fine, and in clear v/eather extends to the snowy mountains of Pistoja. On the other side is a noble view of the upper Val d'Arno. The road winds round the hill on which stands the villa di Torre 206 ROUTE 27. — FLORENCE TO ROME. — Poutassieve, [Sect I. a Cona, belonging to the Marquis Ri- nuccini, whose family constructed this portion of the road in order to bring it near their house, while a perfectly level road might have been formed in the valley below. The post-road is less hilly than that by San Donato, but the beauties of the upper valley of the Arno do not begin until we approach Iiicisa. About a mile from Florence, on the left hand, before reaching Rovizzano, is the ancient mo- nastery of S. Salvi, the refectory of which contains a fresco of St. Benedict and other saints, and a Last Supper, considered to be the masterpiece of Andrea del Sario. It is also memora- ble as the spot where the emperor Henry VIT. encamped in 1312, prior to the siege of Florence, undertaken at the suggestion of Dante, who v»as soon to be banished from it for ever. 1^ Pontassieve, a small town and post-station on the Sieve, a little above its junction with the Arno. The new mountain-road to Forli branches off at this place. (Route 8.) From Pontas- sieve excursions are generally made to the three great sanctuaries of Tuscany^ — Vallombrosa, Carnal doli, and LaVerna ; the first of which is peculiarly interest- ing to the English traveller as the scene which furnished our great poet with the details of his " delicious Paradise." \_See Northern Hand Book,'] The road soon after leaving Pontassieve, following the bend of the river, turns rapidly to the south, and presents a succession of rich and beautiful landscapes which are not surpassed in Italy. About mid- way between Pontassieve and Incisa, a bridge over the Arno leads to Ponte a Rignano. The Arno is crossed imme- diately opposite to \\ Incisa (^Inn, La Posta, indifferent), a small town in which the family of Petrarch had its origin. We now pro- ceed along the left bank of the Arno, passing through Figline to S. Gio- vaimi. Large quantities of fossil bones have at various times been discovered in the valleys north of Figline, at Monte Carlo, near San Giovanni, associated with fresh- water shells, near Levane and Montevarchi, and in the plain of Arezzo. The Italian antiquaries, ig- norant of natural history, and eager to connect everything on this road with Hannibal, at once proclaimed them to be the remains of the Carthaginian elc" phants. The fossil bones include those of the mastodon, hippopotamus, ele- phant, rhinoceros, and hyena. The upper A'^al d' Arno is remarkable for its interesting strata, abounding in fresh- water testacea, which may be studied with great advantage at Monte Carlo, about a mile south-east of San Gio- vanni. These curious formations, evi- dently the deposits of a fresh-water lake, will aflbrd much interest to the geologist who has time to linger on this road. 1 S. Giovanni. This little town is memorable as the birthplace of Masac- cio ; it recalls also the name of another native painter, Giovanni Manozzi, better known as Giovanni da S. Gio- vanni, extolled by Lanzi as one of the best fresco-painters of Italy. In the Cathedral are still to be seen some in- teresting examples of his bold and original style : on the left steps ascend- ing to it is his fresco of the Annuncia- tion ; on the right, the Sposalizio ; at the high altar is the Reheading of St. John, and in the right aisle the St. Joseph. In the adjoining church of S. Lorenzo is a painting of the Virgin and. Child, with saints, by the school of Siena; the Madorma at the altar of the right aisle is by Masaccio. On the left of the door is shown the miserable spectacle of a withered body of a man, built up in the church-wall, and dis- covered a few years ago during some repairs. It still remains in its original position, but nothing is known of its history. At Montevarchi, the chief market and agricultural town of the valley, the road begins to leave the Arno, and crosses a small stream called the Am- bra, shortly before it arrives at Levane. Montevarchi is often made a sleeping- place by the vetturini. It is the seat of the Accademia Val d' Ancese, the mu- Papal States.] route 27.— Florence to ROUE.—Arezzo, 207 seum of which, rich in fossil remains, is well worth a visit from the scientific traveller. 1 Levane (Lw, La Posta, tolerable). 1 Ponticino, a mere post-station. A few miles before reaching Arezzo, near the village of Prafantico, the road crosses the Chiana canal, by which the beautiful and fertile Val di Chiana, the ancient " Palus Clusina," regarded as the granary of Tuscany, is drained. 1 Arezzo. (I?uis: Albergo Reale degli Armi d'Inghil terra ; La Posta, very good.) This ancient Etruscan city, one of the most powerful cities of the league, is beautifully situated on the declivity of a range of hills which give it the form of an amphitheatre. Its walls are undoubtedly Etruscan, and it abounds not only in ecclesiastical an- tiquities of the middle ages, but in his- torical associations with many illustri- ous names in Italian literature and art. It was the birthplace of Mecaenas, Petrarch, Vasari, and a long list of eminent men in every branch of human knowledge — so long, indeed, that the historian Villani attributes their number to the influence of the air; and Michael Angel 0, who was born at Caprese in the neighbourhood, good-humouredly complimented Vasari, by attributing his talent to its climate : Se io ho nulla di buono nell' ingegno, egli e venuto dal nascere nella sottilita delF aria del vostro paese di Arezzo." One of the most celebrated natives of Arezzo in modern times is Count Fossombroni, tlie present prime minister of Tuscany. The renown acquired by this patriotic nobleman as an engineer and mathe- matician, in connection with the drain- ing of the Maremma, has been already noticed (p. 179), and his history of the works in the Val di Chiana is justly regarded as the record of a new era in hydraulic engineering. The popula- tion of Arezzo is rather more than 10,000 souls. It is a neat and well- paved city, with wide and even hand- sorhe sti-eets ; and its houses wear an appearance of comfort which gives it a homely and pleasing character. Independently of its interest as an Etruscan city, Arretium was famous in very early times for its vases of red clay of a bright coral colour, which Plinj'- says were equal to those of Samos and Saguntum. It twice contended against the Romans, but without success, and was the head-quarters of Flaminius and the Roman army prior to the disastrous battle of Thrasimene. In the middle ages, during the contests of the Guelphs and Ghibelioes, Arezzo contended vi- gorously against Florence, but at length fell under her power. During the re- volutionary excitement of 1799 the inhabitants rose in insurrection against the French authorities, and committed very great atrocities. They afterwards had the rashness to oppose the army of Mounier at Prat'antico ; which the French general resented by sacking a large portion of the town and destroying its defences. In the Piazza 3Iaggiore are the mag- nificent Loggie constructed by Vasari^ and considered his masterpiece in architecture ; they comprise also the theatre and custom-house. The Church of St a. Maria della Pieve, the most ancient in the city, dates from the beginning of the ninth century, and is supposed to occupy the site of a temple of Bacchus. It was repaired in 1216, by Marchione, a na- tive architect, with the addition of the front and campanile. In these re- pairs, however, the paintings of the old church, by the school of Giotto, un- fortunately perished. The front has three open colonnades, like the Duomo of Pisa, containing no less than fifty- eight columns, some of which are round, some multangular, and some twisted ; indeed the whole church bears evidence of being composed of frag- ments from other buildings. The middle column of the third story is a Caryatid. The doorway is round- headed, resting on six columns with Corinthian capitals, and various bas- reliefs and statues. The campanile has five stories of columns with fantastic capitals. The whole building presents a singular mixture of facility of style with irregularity of detail. In the in- 208 ROUTE 27. — FLORENCE TO ROME. — ^r^<^:^0. [Sect. 1. terior the arches are either semicircular or obtusely pointed ; behind the high altar is the fine picture of St. George, by P^asari, The Cathedral, in the Upper Town, is an imposing specimen of Italian Gothic. The piazza in which it stands recalls in many characteristic features the English cathedral close. It was commenced in 1256, and completed by Marchione at the end of that century : the altar and the Ubertini chapel were added about 1290. The interior of this majestic edifice is characterised by a gloomy magnificence which gives it a sombre and perhaps overpowering elfect. The compartments of its ceiling, orna- mented with gold stars on an azure ground, were painted by Andrea and Balducci in 1341 ; and its brilliant painted windows were executed early in the sixteenth century by Guillaume de Marseilles, a French Dominican, who was afterwards prior of Arezzo. It is difficult to imagine anything finer than these paintings. The tall lancet- windows of the Tribune have been com- pared and even preferred to the Five Sisters" of York Minster; and one, re- presenting the Calling of Matthew, was so highly prized by Vasari, that he says " it cannot be considered glass, but rather something rained down from heaven for the consolation of men." At the high altar, the marble screen by Gio- vamii di Pisa, in 1286, covered with bas- reliefs illustrating the life of S. Donato, patron of the city, and with numerous small statues, is one of the best exam- ples of that great sculptor : in the mid- dle compartment are the Madonna and Child ; on one side is St. Donato, and on the other is St. Gregory, whose bust is a portrait of Pope Honorius IV. The series representing the actions of S. Donato, and the bas-relief of the Death of the Virgin, are very fine. Vasari, in his description of this monu- ment, says that it cost 30,000 golden florins, and was esteemed so precious and so rare, that Frederick Barbarossa passing through Arezzo after his coro- nation at Rome, extolled and infinitely admired ic; ed, in vero," he adds, a gran ragione." In the chapel of St. Matthew are the remarkable paint- ings by the Florentine Franciabigio. The Crucifixion is hj Spinello AretinOy di una vivissima fantasia," as Lanzi calls him. The Magdalen, by Pietro delta Francesca, the celebrated painter of Borgo San Sepolcro, and his other works executed in Arezzo, are ex- tremely interesting, as they are said to have given Raphael the idea of some of his frescoes in the Vatican. The fine tomb of Guido Tarlati, of Pietramala, the warrior bishop and chief of the Ghibelines, excommuni- cated by the pope, whose life was one of the most dramatic in the personal his- tory of the period, is another interesting examj^le of the revival. It was executed between 1320 and 1330 hy J gostino and A?igelo da Siena, from the design, as Vasari supposed, of Giotto ; it appears doubtful, however, whether the great painter gave the design, but he certainly recommended Angelo and Agostino as the fittest sculptors for the work. The history of the ambitious prelate is given in sixteen compartments, in which the figures, although small, are worked out with singular delicacy and precision, surprising works for the time, and worthy of the highest place among the early specimens of art al'ter its re- vival. The subjects are as follows: — 1. Guido taking possession of his bishopric ; 2. His election as their ge- neral-in-chief by the people of Arezzo in 1321. 3. Plunder of the city, which is represented under the form of an old man. 4. Guido installed Lord of Arezzo. 5. His restoration of the walls. 6. His capture of the fortress of Lu- cignano. 7. Capture of Chiusi ; 8. of Fronzola ; 9. of Focognano; 10. of Rondine ; 11. of Bucine ; 12. of Ca- prese; 13. of Laterina; 14. of Monte Sansovino. 15. The Coronation of the Emperor Louis of Bavaria, in S. Am- brogio, at Milan. 16. The Death of the Bishop. — Besides these subjects, the figures of priests and bishops on the columns separating the compartments are beautiful as works of art. The tomb of Pope Gregory X., exe- Papal States.] route 27. — Florence to rome. — Arezzo. 209 cuted shortly after his death, by Marga- ritone, is also worthy of attentive study. This able and enlightened pope, whose glorious pontificate comes upon us like an oasis in the desert of Italian his- tory during the thirteenth century, was seized with illness at Arezzo, and died there suddenly in 1276. He was on his return to Rome to make the final pre- parations for a new crusade to the Holy Land, in which he had enlisted Ru-. dolph of Hapsburg, Philippe le Hardi, Edward of England, the King of Ar- ragon, and indeed all the principal potentates of Europe. In the Baptistery is a fresco of St. Jerome in the Desert, attributed to Giotto, Near it is a modern work, the Martyrdom of S. Donato, which first established the re- putation of Benvenuti. His great pic- ture, Judith showing the head of Holo- fernes, one of the finest productions of modern art, is in the chapel conse- crated, about 1802, to the miraculous image of the Virgin. In this same chapel is the fine painting of Abigail going to meet David, by Sabatelli, a contemporary and not inferior artist. Over one of the side doors of this ca- thedral are suspended some fossil tusks, which the citizens still regard as relics of the elephants of Hannibal. Among other tombs of eminent natives, that of Redi, the natural philosopher, poet, and physician, whose style was con- sidered of such high authority by the Accademia dell a Crusca, when com- piling their dictionary, may be par- ticularly mentioned. He died in 1698. The archives of the cathedral are worthy of a visit : they contain about 2000 do- cuments, among which is an almost com- plete series of Imperial diph>mas, from Charlemagne to Frederick II., in favour of the church of Arezzo. The marble statue of Ferdinand de' Medici is by John of Bologna, assisted by his pupil Francavilla. The church of the Badia di Sta, Flora is remarkable for the architec- tural painting on its cupola, by the famous master of perspective Padre Pozzi ; it is one of the wonders of Arezzo. In the refectory is the im- mense painting of the Banquet of Aha- suerus, by Vasari, who has introduced his own portrait under the disguise of an old man with a long beard. The church of aS. Francesco is cele- brated for the remains of the remark- able frescoes by Pietro ddla Francesca^ so much praised by Vasari ; they re- present the History of the Cross, and the Vision and Victory of Constantine, the latter of which gave Raphael the idea of his great Battle in the Vatican. They were much damaged a few years back by retouching. The sketch for the Vision was in Sir Thomas Lawrence's collection, and was published in Lon- don by Mr. Ottley. The church of S. Angelo and its celebrated fresco by Spinello Aretino have been lately destroyed. This fresco represented the Fall of the Angels, and Vasari and Lanzi relate that the artist had given Satan so monstrous an aspect that he haunted him in his dreams, and demanded why he had painted him in so horrible a form. Spinello is said to have died mad shortly after this adventure. The Palazzo Pubblico, built in 1332, was originally Gothic, but has been modernised without the least regard to its ancient architecture. It contains a small collection of paintings by native artists ; on the front is a curious series of armorial bearings of the suc- cessive Podestas, amounting to many hundreds, and including some remark- able names. The Fraternita, built in the four- teenth century, has a majestic Gothic front and porch of exceeding richness flanked by two lancet windows ; it was founded originally for the relief of the poor, and as a provision for widows and orphans; with these objects are now combined a museum of antiquities and natural history, and a library contain- ing upwards of 10,000 volumes. The museum is very interesting, particu- larly its collection of Roman and Etruscan remains. The Museo Bacci, formed by the Cav. Bacci, with the addition of the valuable Rossi museum, has a reputa- tion which is not confined to Italy. 210 ROUTE 27. — FLORENCE TO ROME. — Val di Chiana. [Sect. I. The large Etruscan vase found near Arezzo, representing the Combat of the Amazons, is well known to the archaeo- logists of the north. It has also an in- teresting collection of the vases of red stamped clay described by Pliny, and for the manufacture of which Arezzo in his day was famous. A large Etruscan coin in the museum weighs upwards of two pounds. Little now remains of the Roman ruins of Arezzo ; the massive walls in the gardens of a monastery, which are shown as the most important, are sup- posed to be those of an amphitheatre. The spot, moreover, is interesting for the fine view which it commands over the whole town. Like Venice and Bologna, Arezzo has its illustrious houses, associated with the memories of great names. They are generally marked by tablets or lapidi, inscribed with the names of those who were born within their walls ; and they occur so numerously, that scarcely a street is without its record. This custom has been greatly ridiculed by recent travellers, and we think unjustly; few persons are so much instructed by these memorials as strangers, and their more frequent em- ployment in England would associate many an interesting house, not only in the older streets of London, but in most of our provincial towns, with the greatest names in our history. The most remarkalde house in Arezzo is that in the Sobborgo del' Orto, close to the cathedral, in which Petrarch first drew breath, Monday, July 20, 1504. A long inscription put up in 1810 records the fact; the room shown as the scene of his birth has re- tained no traces of antiquity. Close to it is the well near which Boccaccio has placed the comic scene of Tofano and Monna Ghita, his wife; Tofano, being shut out at night, feigned to jump in, but merely threw down a large stone, — a stratagem which was successful in frightening his wife, and immediately obtained him admission. In the Strada San Vito is the house of Fasariy still preserved nearly in its original state, and containing several excellent works by that accomplished and industrious artist. Among the eminent natives of Arezzo, beside those already mentioned, may be noticed Leonardo Aretino, the Florentine historian; Pietro Aretino, the satirist; Fra Guittone, the inventor of musical notation ; Guittone, the poet, mentioned by Dante in the Pur- gatorio ; and Margaritone, the painter, sculptor, and architect of the thir- teenth century. The red sparkling wine of Arezzo has been celebrated for ages, and still enjoys its reputation ; Redi notices its fine qualities in the following lines : " O di quel che vermigliuzzo, Brillantuzzo, Fa superbo T Aretino." An excellent road leads from Arezzo to Borgo San Sepolcro and Citta di Castello ; communicating with the new road across the Apennines from Borgo (Route 19), and with the roads from Citta di Castello to Gubbio (Route 20), and from Citta di Castello to Perugia (Route 21). [An interesting excursion may be made from Arezzo through the Val di Chiana to Chiusi and Citta della Pieve (Route 23), one of the richest agricultural districts in Italy, or per- haps in Europe. The valley of the Chiana (Clanis), extending from the lake of Chiusi to the Chiusa de' Monaci, near where it enters the Arno, remained a pestilential marsh until towards the middle of the last century, when a mode of drainage was adopted pecu- liar to Italian hydraulic engineering, — that of Colmates, which is etTected by carrying the torrents charged with alluvium into the marshy portions, allowing them to deposit the mud thus brought down, by which the subjacent soil is raised, and a fall for all stagnant waters procured. By this means the valley of the Chiana, by which Dante illustrates the pestilent fevers of the tenth bolgia of the Inferno — '■' Qual dolor fora, se degli Spedali Di Val di Chiana, tra' Luglio e'l Settembre Inf. xxix.— Papal States. 1 route 27 . — Florence to rome. — Cortona. 211 is now reduced to one of the most fertile districts of Tuscany, rich in corn, vines, and hemp, peopled by a healthy pea- santry, and studded with numerous vil- lages. These operations, begun under the direction of the celebrated mathe- maticians of the school of Galileo — Tor- ricelli and Viviani — have been com- pleted under that of the present patriotic prime minister of Tuscany, Count Fos- sombroni, one of the last of that cele- brated school of mathematicians and engineers, which, commencing with Galileo, will close with himself. The agriculturist will do well to visit some of the different farm-houses erected by the grand-duke (Fattorie) on a very large and scientific scale, especially those of Crete, Fojano (the Ad Grsecos of the Iter An ton J, Dolciano, &c. ; in all of which the mode of preserving grain in underground chambers is worth his observation. To the scientific traveller the valley 01 the Chiana presents a phenomenon in physical geography nearly unparalleled — the change in an opposite direction which the waters of the Clanis now take. In the early centuries of our era the whole of the waters of the Clanis, with probably a portion of the waters of the Upper Arno, ran into the Tiber, and a considerable portion of the former did so in the middle ages ; but in consequence of the elevation of the valley by natural means and those above described, the whole of the waters of the Chiana now empty themselves into the Arno. For a more detailed description of this curious change, as well as of the means adopted to drain the valley, the reader is referred to Count Fossombroni's celebrated work, "Memorie Fisico- Storiche sopra lo Val di Chiana," re- cently reprinted in an 8vo. volume at Montepulciano. The Via Cassia ran along the west side of the Val di Chiana ; Fojano, the ancient Ad Graecos, being one of the principal Roman stations upon it. As connected with the hydraulic works of the Val di Chiana, we would advise the traveller to visits the locks, or Chiusa de' Monaci, not ftir from Arezzo, where the Chiana enters the valley of the Arno ; and the locks of Valiano, near Chiusi, by which the emptying of the lakes of Chiusi is regulated.— J. B. P.] On leaving Arezzo, the road proceeds along the rich and fertile Val di Chiana, skirting the base of the hills which separate it from the valley of the Tiber. A short distance from the walls of Arezzo is 0/mo, a village so called from a gigantic elm, to which tradition had given an age as ancient as the time of Hannibal, It was so large that ten men could hardly embrace it, and when destroyed by the French its boughs are said to have filled a hundred carts. 1 Rigutino, a post-station. Between this and Camuscia the road passes through Castiglione Fioren- tifw, which the vetturini generally make one of the resting-places between Rome and Florence. Castiglione is not without its pictures. The church of Sfa. Maria della Pieve^ in the upper town, built in the fourteenth century, contains a Madonna and S. Giuliano, and a St. Michael, by Bartolommeo della Gatta, whose works are so highly praised by Vasari. In S, Francesco is a painting by Fasari^ representing the Virgin, St. Anne, St. Francis, and St. Silvester. The scenery from the ter- race of the upper town commands the broad valley of the Chiana forty miles in length, while in the foreground it presents one of the richest districts of Italy, abounding in vineyards and in every kind of agricultural produce. 1 Camuscia ; a post-station and inn at the junction of the high post-road, with some country-roads leading to rich villages and towns in different parts of the valley; one of these leads to Fojano, Lucignano, Asinalunga, &c. ; another to Chiusi and Montepulciano ; while a third conducts us up the moun- tain to Cortona^ one of the most inte- resting Etruscan cities in this part of Tuscany, which travellers should on no account pass by without devoting at least a day to its examination. [Cortona, one of the most ancient 212 ROUTE 27. FLORENCE TO ROME. — Co7iona, [Sect. I. of the twelve cities of the Etruscan league, occupies, like nearly all the cities of that wonderful people, a com- manding position on the very summit of a mountain. As the Corytus of Virgil, it will at once be recognised by the classical tourist as the scene of the murder of Jasius by Dardanus, and of the subsequent flight of ihe latter into Asia Minor : Hinc ill am Corythi Tyrrhena a sede pro- feel um Aiirea nunc solio stellantis regia coeli Adcipit, et numenira divorum altaribiis addit." j^n., vii. 205. This mythological antiquity carries us back to an age long anterior to Troy ; and yet, while the site and even existence of the latter city is called in question, Cortona retains her ancient walls in many places unchanged. Its antiquity, indeed, independently of that given to it by classical fiction, is proved by authentic and historical evi- dence to be equalled by few other towns in Italy. It was founded, ac- cording to Dionysius of Halicarnassus, by the Pelasgi, who advanced into cen- tral Italy from their first settlement at the mouth of the Po, and there founded and fortified Cortona and other colonies. The present town lies within its ancient circuit ; the modern gates seem to oc- cupy the ancient positions; and the gigantic wall, formed of oblong and square blocks laid together almost in horizontal courses, without cement, is preserved for nearly two-thirds of its extent. Here and there its course is interrupted by Roman works or modern repairs, but its magnificent masonry is generally well preserved, and still appears fitted to survive another three thousand years. Besides the walls there are several other objects of Etrus- can antiquity to engage attention. Out- side the town, about half a mile from the Porta S. Agostino, is an Etruscan tomb about seven feet square, called the Grotto of Pythagoras," a singular title, considering that the father of Py- thagoras was reputed to be one of the Tyrrhenian or Pelasgic settlers who re- tired to the islands of Asia Minor after their expulsion from Attica. The con- struction of its roof and the massive blocks of sandstone which compose its sides are equally remarkable. The Pozzo di Giuseppe," another Etruscan structure ; some remains of baths on the ascent to Sta. Margherita, miscalled a temple of Bacchus ; a mass of ruin be- low the castle, another near the hospital, and one still finer near the Porta Mon- tanina, are also worthy of examination. In the Museum of the Academy there is a small collection of antiquities, among which is the celebrated bronze gene- rally considered to be a figure of Vic- tory. But the town is worthy of a richercol lection, and indeed, if all that has been sold of the antiques found here had never been permitted to leave the town, the museum of Cortona would be one of the finest in Italy. There are two other museums, the Museo Corazzi, and the Museo Venuti, founded by the able antiquary Ridol* fino Venuti. The Accademia Etrusca^ referred to above, was founded in 1726, by the same eminent antiquary ; it is at present lodged in the Palazzo Pretorio, where are also the library and museum. The Academy has published ten volumes of memoirs ; its president is honoured with the title of " Lucumo," the an- cient name of the kings of Etruria. The Library, called the Biblioteca Pon- bucci, has a beautifully written MS. of Dante, and a MS. called the " Notti Coritane," in twelve volumes folio, a remarkable collection of conversations on archaeological subjects, but unfor- tunately imperfect. The Cathedral, said to be as old as the tenth century, was restored by Ga- lilei, the Florentine architect of the last century. It has several fine paint- ings, among which are the Deposition from the Cross, by Luca Sigyiorelli, who was a native of Cortona; and the An- nunciation, by Pietro da Cortona, an- other native painter. The most re- markable monument preserved here is the great sarcophagus, which the local antiquaries, eager to identify every- Papal States.] route 27. — Florence to ROUE.— Cortona, 213 thing with Hannibal's invasion, have honoured by calling it the tomb of the consul Flaminius. Its fine bas-relief representing the combat of the Centaurs and Lapithse is clearly referrible to a later period of Roman art, so that there can be no authority for the tradi- tion which regards the sarcophagus as the sepulchre of the unfortunate consul. Another tomb is that of Giambattisfa Tommasi, named by Pius YII. Grand- Master of Malta in 1803, on the dis- grace of Hompesch ; an empty title which he retained oidy two years, and died in 1805, within a few months of his feeble predecessor. The Church and Convent of Santa Margherita occupy the summit of the mountain on which Cortona is placed ; they are surrounded by plantations of cypresses, and the view they command is one of the finest panoramas which can be imagined. Its majestic Gothic architecture is by Niccold and Giovanfii di Pisa, whose names are seen inscribed on the tower. The Tomb of Sta. Marghe- rita is a remarkable work of the thir- teenth century ; its silver front was pre- sented, together with the crown of gold, by Pietro da Cortona, when he was raised to the dignity of a noble by his native city ; and the front is said to have been designed by him. Among the paint- ings are the Dead Christ, by Luca Sig- norelli, opera," says Vasari, " delle sue rarissime;" the St. Catherine, by Baroccio ; the Conception, with St. Margaret, St. Francis, St. Domenic, and St. Louis, by the elder Vanni ; the Virgin, with St. John the Baptist, St. Elizabeth of Hungary, and St. Blase, by Empoli; and an old but expressive fresco represeriting St. Margaret find- ing the dead body of her lover. The Church of Gesii also contains some remarkable pictures. The Last Supper, by Luca Signorelli, is one of his most original and expressive works, and is characterized by Lanzi as being marked by a beauty, a grace, a co- louring, approaching to a modern painting. It represents the Saviour standing in the midst of his disciples, distributing the bread to them as they kneel on either side. An An- nunciation and a Nativity are also by Luca Signorelli. Another very ex- pressive Annunciation is by Beato An- gelico da Fiesok. The unfinished Ma- donna throned, with St, Ubaldo and St. Roch, is by Jacone, the Florentine painter. The Gothic church of S. Francesco^ dating from the twelfth century, has one of the finest works of CigoU^ the Miracle of St. Antony's Mule which converted a heretic. The church of S. Domenico^ dating from the first half of the thirteenth cen- tury, contains another of those charm- ing works by which Beato Angelica raised the purity and devotional cha- racter of early Italian art. It repre- sents the Virgin surrounded by saints, i with the date 1440, and an inscription stating that it was presented by Cosmo and Lorenzo de' Medici to the monks of this convent, on condition that they would pray for their souls. The As- sumption is by Pietro Panicale, of Perugia, who must not be confounded with Masolino Panicale, the Florentine painter. The Assumption with St. Jacinto is by Palma Giovane, The church of S. Agostino contains one of the best works of Pietro da Cor- tona, the Virgin, with St. John the Baptist, St. James, St. Stephen, and St. Francis ; and a painting by Empoli, representing the Virgin, St. John the Baptist, and S. Antonio Abate. A road from Cortona, through Con- tesse and S. Marco, leads into the high road a few miles north of Ossaia, with- out the necessity of returning to Ca- muscia.] On leaving Camuscia, the road soon reaches the Tuscan frontier village of Ossaja, the station of the custom- house, where in returning from Rome baggage and passports are examined. The Papal frontier is at Monte Gualandro, where a lascia passare is useful, as it prevents a search, but a fee generally saves all trouble. A short distance beyond this, after passing the Ponte di Sanguinetto, the road descends to the post station of Case del Piano. 214 ROUTE 27. — FLORENCE TO ROME. — Thrasimeue, [Sect. I. 1 4 Case del Piano. {Inn, La Posta.) \ [A third horse is necessary from hence I to Camuscia, and two additional for carriages with four or six horses.] On leaving Camuscia, the first view of the Lake of Thrasimene will natu- rally recall to the classical traveller the memorable battle fought upon its banks, upon the very spot, indeed, which he must pass between that station and Passignano. The details of that disastrous action, "one of the few defeats," says Livy, " of the Roman people," are fully given by that his- torian and by Polybius ; but the local features of the country, as they may still be traced, are nowhere so accu- rately described as in the following note of Sir John Hobliouse to the fourth canto of *" Childe Harold — " The site of the battle of Thrasimene is not to be mistaken. The traveller from the village under Cortona to Case del Piano, the next stage on the way to Rome, has for the first two or three miles, around him, but more particu- larly to the right, that flat land which Hannibal laid waste in order to induce the Consul Flaminius to move from Arexzo. On his left, and in front of him, is a ridge of hills bending down towards the lake of Thrasimene, called by Livy ' montes Cortonenses,' and now named the Gualandro. These hills he approaches at Ossaja, a village which the itineraries pretend to have been so denominated from the bones found there : but there have been no bones found there, and the battle was fought on the other side of the hill. From Ossaja the road begins to rise a little, but does not pass into the roots of the mountains until the sixty-seventh mile- stone irom Florence. The ascent thence is not steep^ but perpetual, and continues for twenty minutes. The lake is soon seen below on the right, with Borghetto, a round tower, close upon the water ; and the undulating hills partially co- vered with wood, amongst which the road winds, sink by degrees into the marshes near to this tower. Lower than the road, down to the right amidst these woody hillocks, Hannibal placed his horse, in the jaws of, or rather above* the pass, which was between the lake and the present road, and most probably close to Borghetto, just under the lowest of the * tumuli.' On a summit to the left, above the road, is an old circular ruin, which the peasants call ' the tower of Hannibal the Carthaginian.' Arrived at the highest point of the road, the traveller has a partial view of the fatal plain, which opens fully upon him as he descends the Gualandro. He soon finds himself in a vale enclosed to the left, and in front, and behind him by the Gualandro hills, bending round in a segment larger than a semicircle, and running down at each end to the lake, which obliques to the right and forms the chord of this mountain arc. The position cannot be guessed at from the plains of Cortona, nor appears to be so completely enclosed unless to one who is tairly within the hills. It then, indeed, appears ^ a place made as it were on purpose for a snare,' locus in- sidiis natus. Borghetto is then found to stand in a narrow marshy pass close to the hill and to the lake, whilst there is no other outlet at the opposite turn of the mountains than through the little town of Passignano, which is pushed into the water by the foot of a high rocky acclivity. There is a woody eminence branching down from the mountains into the upper end of the plain nearer to the side of Passignano, and on this stands a white village called Torre. Polybius seems to allude to this eminence as the one on which Hannibal encamped, and drew out his heavy- armed Africans and Spaniards in a con- spicuous position. From this spot he despatched his Balearic and light-armed troops round through the Gualandro heights to the right, so as to arrive un- seen and form an ambush among the broken acclivities which the road now passes, and to be ready to act upon the left flank and above the enemy, whilst the horse sliut up the pass behind. Flaminius came to the lake near Bor- ghetto at sunset; and, without sending any spies before him, marched through the pass the next morning before the Papal States,] route 27. — Florence to rome. -Thrasimene. 215 day had quite broken, so that he per- ceived nothing of the horse and light troops above and about him, and saw only the lieavy-armed Carthaginians in front on the hill of Torre. The consul began to draw out his army in the flat, and in the mean time the horse in am- bush occupied the pass behind him, at Borghetto. Thus the Romans were completely enclosed, having the lake on the right, the main army on the hill of Torre in front, the Gualandro hills filled with the light-armed on their left flank, and being prevented from receding by the cavalry, who, the farther they ad- vanced, stopped up all the outlets in the rear. A fog rising from the lake now spread itself over the army of the consul, but the high lands were in the sunshine, and all the difl(erent corps in ambush looked towards the hill of Torre for the order of attack. Hannibal gave the signal, and moved down from his post on the height. At the same moment all his troops on the eminences behind and in the flank of Flaminius rushed for- wards as it were with one accord into the plain. " There are two little rivulets which run from the Gualandro into the lake. The traveller crosses the first of these at about a mile after he comes into the plain, and this divides the Tuscan from the Papal territories. The second, about a quarter of a mile farther on, is called ' the bloody rivulet and the peasants point out an open spot to the left between the * Sanguinetto ' and the hills, which, they say, was the principal scene of slaughter. The other part of the plain is covered with the thick-set olive-trees in corn-grounds, and is nowhere quite level except near the edge of the lake. It is, indeed, most probable that the battle was fought near this end of the valley, for the six thousand Romans, who, at the beginning of the action, broke through the enemy, escaped to the summit of an eminence which must have been in this quarter, otherwise they would have had to traverse the whole plain, and to pierce through the main army of Hannibal. ^' The Romans fought desperately for three hours ; but the death of Flaminius was the signal for a general dispersion. The Carthaginian horse then burst in upon the fugitives ; and the lake, the marsh about Borghetto, but chiefly the plain of the Sanguinetto and the passes of the Gualandro, were strewed with dead. Near some old walls on a bleak ridge to the left, above the rivulet, many human bones have been repeatedly found, and this has confirmed the pre- tensions and the name of the ' stream of blood.' " The Lake of Thrasimene, which has scarcely changed its ancient name in the modern one of Lago Trasimeno, is a beautiful sheet of water about thirty miles in circumference, and in some parts as much as four miles across. It is surrounded by gentle eminences covered with oak and pine, and cultivated with olive-plantations down to its very margin. The hills around it gradually increase in eleva- tion as they recede from the lake, an_d rise into mountains in the distance. It has three islands, the Isole Maggiore and Minore, opposite Passignano, and the Isola Polvese in its southern angle. On the Isola 3Iaggiore is a convent, from whence the view over the lake and its shores is one of those glorious prospects so abundantly scattered across the path of the traveller in Italy, and little known because he will not find time or step out of his way to enjoy them. The lake abounds in excellent fish, particularly in eels, carp, tench, and pike, a small fish called the lasca and tlie regina^ both excellent in flavour. In recent years the bed of the lake has been gradually elevated by the vast quantity of alluvial matter carried into it, and several suggestions for draining it have been made, which might be effected without much diffi- culty. The value of the land which would thus be reclaimed has been estimated at 500 times the amount now produced by the fisheries. The Lake of Thrasimene and its his- torical associations give an interest to this road, independently of its pic- turesque attractions, which is not felt 216 ROUTE 27. FLORENCE TO ROME." Pcrugia, [ScCt. I. in any other approach to Rome from the north. " I roam By Thrasimene's lake, in the defiles Fatal to Roman rashness, more at home ; For there the Carthaginian's warlike wiles Come back before me, as his skill beguiles The host between the mountains and the shore, Where Courage falls in her despairing files, And torrents, swoll'n to rivers with their gore, Reek through the sultry j^lain, with legions scatter' d o'er, Like to a forest fell'd by mountain winds ; And such the storm of battle on this day. And such the frenzy, whose convulsion blinds To all save carnage, that, beneath the fray. An earthquake reel'd unheededly away ! None felt stern Nature rocking at his feet, And yawning forth a grave for those who lay Upon their bucklers for a winding-sheet ; Such is the absorbing hate when warring nations meet ! Far other scene is Thrasimene now ; Her lake a sheet of silver, and her plain Rent by no ravage save the gentle plough ; Her aged trees rise thick as once the slain Lay where their roots are; but a brook hath ta'en — A little rill of scanty stream and bed — A name of blood from that day's sanguine rain ; And Sanguinetto tells ye where the dead Made the earth wet, and turn'dthe unwilling waters red." Byron, [An additional horse is necessary from Case del Piano to Magione.] Leaving Case del Piano, the road skirts the shore of the lake amidst scenery of exceeding beauty. Passig- nano^ a dirty village through which it passes, is sometimes chosen by the vet- turini as a resting-place ; the inn is very tolerable. On the ascent of the lofty hill of Torricella, where the road leaves the lake to descend into the plain, the view looking back over the lake is one of the most charming pros- pects in the journey. 1 Magione, a post-house on the sum- mit of a commanding eminence, sur- mounted by an isolated square tower of tall and imposing aspect, richly overgrown with ivy, and still ])resent- ing its vaults, halls, and machicola- tions, which carry the mind back to the contests of Braccio and Sforza, when this solitary tower must have been a place of considerable strength. [An additional horse is required by the tariff between this station and Perugia, both ways.] From Magione the road descends rapidly into the fertile valley of the Caina, a small stream, which it crosses in the descent, and then gradually rises as it approaches the long and lofty mountain-ridge which divides the valleys of the Caina and the Tiber, and on the top of which Perugia is built. The fine old Gothic monastery, formerly belonging to the Templars, and now a palace of Cardinal Doria, forms, with its ancient towers and lofty campanile, a conspicuous object from the road. The ascent from the foot of the hill of Perugia to the city gates is so steep, that additional horses or oxen are required to assist the post-horses in accomplishing it. Perugia. \I71ns: Europa, on the Corso, an ancient palace, very good ; La Gran Bretagna, a more recent inn, also very good and comfortable.] This interesting and polished city is unfortunately one of those which the English traveller has been led to regard as a mere post-station, where he may change horses or find accommodation for a night. Few of the many hun- dreds who travel annually from Flo- rence to Rome have any idea that Perugia is in itself a museum of art, and that no place can be more appro- priately selected as head-quarters by a traveller who desires to study on the spot the works of that peculiar school of which it forms the seat and centre. Still fewer have an idea that Perugia affords the means of making a series of excursions to the sepulchres and cities of ancient Etruria — to many of them, at least, which are not so easily acces- sible from any other quarter. And when its own atti-actions are con- sidered, its galleries and palaces, its churches, museums, and public insti- tutions, there can be no doubt that few countries in Europe can produce a provincial city more calculated to repay the residence of the intelligent tourist. Papal States.] route 27. — Florence to rome. — Perugia. 217 Perugia, the ancient Perusia, was one of the most important cities of the Etruscan league, and is scarcely in- ferior in antiquity to Cortona. Its history in the middle ages is not less interesting than that of Bologna or Siena, although the struggles of this iree city against the growing power of the popes, and the contests which fol- lowed between the popular party and the nobles, differ little from those which were the immediate precursors of the fall of nearly all the Italian re- publics. But the events which pecu- liarly mark the history of this city bring before us one of the most extra- ordinary men whose characters were formed by the circumstances of this eventful period. This celebrated per- sonage, Braccio Fortebraccio da Mon- tone, the rival of the illustrious Sforza, and like him the founder of a new school of military tactics, was born at Perugia. As the commander of the Florerjtine army he attacked his na- tive city, after its surrender to Ladis- laus king of Naples, who was supported by his great rival Sforza. In 1416 Braccio commenced his memorable siege of Perugia ; the inhabitants gal- lantly resisted, and at length called to their aid Carlo Malatesta, lord of Ri- mini, who was immediately defeated, in the neighbourhood of the city, by Tartaglia da Lavello, one of Braccio's lieutenants. The citizens then sur- rendered, and received Braccio as their lord, July 19th, 1416. His rule was marked by a wise and conciliating policy, and this eminent warrior, whose name yet lives on a hundred battle- fields of Italy, proved himself one of the best rulers of his time. He re- called the nobility, reconciled the fac- tions of the city, and administered justice with an impartial hand. The political existence of Perugia ended at his death, and the city returned to the dominion of the church. Its affairs were administered by the Baglioni family, under the authority of the popes ; but the ambition of this noble house brought them into collision both with the people and the popes. After se- veral contests for supremacy, Paul III. succeeded in reducing the city to sub- jection, and, after destroying all re- maitis of its ancient institutions, di- rected the construction of the present citadel as an effectual means of re- pressing any future outbreak. From that time Perugia has with few excep- tions remained in passive obedience to the church. During the disasters at- tendant on the French invasion it shared the fate of the other Italian cities, and became one of the com- ponent parts of the Roman or Tiberine republic. In connection with these historical events, the plagues of Perugia may be noticed. During the fourteenth and two following centuries the city was fre- quently visited by this pestilence ; in that of 1348, 100,000 persons are said to have perished, and in that of 1524 Pietro Perugino was among its victims. Perugia is now the capital of the second delegation of the Papal States, and is consequently governed by a Monsignore or prelate. The delegation includes in superficial extent 245 square leagues, and a population of 202,660 souls. The population of the city in 1833 was 18,301. The bishopric of Perugia was founded a.d. 57 : St. Ercolano di Siria, one of the followers of St. Peter, was its first bishop. School of Urnhria. — As Perugia may be considered the centre of this school of paintnig, it will be useful to give a brief summary of such of its leading features as will enable the traveller more accurately to comprehend the examples he Avill meet with in its churches and galleries, and thus trace its influence on the masters of the Roman school. The school of Um- bria is essentially characterised by the spiritual tendency of the art ; the deep religious feeling and enthusiasm in- spired by the great sanctuary of Assisi seems to have exercised an undivided sway over all the painters within the sphere of its powerful influences ; and, like the school of Siena, it may be re- garded as the transition from the clas- sical style prevalent at Florence to that L 218 ROUTE 2*7. — FLORENCE TO ROME. — Pevugia. [Scct. I. devotional style which attained its ma- turity under Raphael. The oldest painters of the Umbrian school are Martinello, Matteo di Gualdo, and Pietro Antonio da FoHgno (1422), whose works we shall hereafter meet with at Assisi. In the latter half of the same century occurs Niccolo di Fo- ligno, better known as Niccolo Alunno, a superior and expressive painter, whose works still exist at Assisi and in his native city. Fiorenzo di Lorenzo, his contemporary, a rare and admirable master, who can only be studied at Perugia, and Benedetto Bonjjgli, who seems to have followed the style of Gentile da Fabriano, were the imme- diate predecessors of Pietro Vanucci, of Citta della Pieve, called Pietro Peru- gino^ from the city of his adoption, who is the great master of this school. Perugino seems at first to have com- bined the styles of these earlier painters with many peculiarities of the Floren- tine school ; and at length, striking out into an original path, introduced that style, peculiarly liis own, which exer- cised so great an intluence on the earlier works of his pupil Raphael. With Perugino may be associated Bernardino Pi?iturricchio and Andrea di Luigi, or Ulngegno, his able con- temporaries, and, according to Vasari, his scholars ; but the Spanish Lo Spagna is considered, next to Raphael, the most eminent of all his pupils. Among the successors and imitators of Perugino are Giunnicola^ Tiherio d' Assisi, Giro- lamo Genga, and Adone Doni, To the Umbrian school some writers have also referred Giova?mi Saiiti of Ui'- bino, the father of Raphael, and Fran- cesco Francia, who has been noticed in the account of the school of Bo- logna, to which he more properly belongs. Of the influence of the school of Umbria on the genius of Raphael, whose early powers were first developed here under the instructions of Perugino, it is not necessary to enter into an examination in this place. The question is treated fully in Kugler's *' Hand-Book of Painting," to which the reader is referred for a more complete account of the several masters above mentioned. The Cathedral, or Duomo, dedicated to San Lorenzo, dates from the end of the fifteenth century, and occupies the site of a more ancient church. Its fine bold Gothic, although as much as pos- sible transformed into the Roman style, still presents many features for study ; most of its pointed windows have been closed up, but its wheel window still remains. The porch on the side of the Corsois by Scalza, the celebrated sculp- tor of Orvieto. The interior is imposing, but its effect is somewhat impaired by its particoloured appearance. The chapel of the left nave contains the masterpiece of Baroccio, the Deposition from the Cross, painted while he was suffering from the efiects of the poison given him while occupied at the Va- tican, by some envious rivals who had invited him to a repast, in order that they might more easily accomplish their purpose. It was stolen by the French, and for some time after its restoration was in the Vatican. The richly painted window of this chapel is by Constantine da Rosai^o, and Fra di Barone Bru?iacci, a monk of Monte Casino. The Chapel of the SS. Sacramento is remarkable as the design of Galeasso Alessi, the great architect of Perugia; the stucco orna- ments are by Scalza. In the right nave is a marble sarcophagus, containing the remains of three popes — Innocent III., Urban IV., and Martin IV. In the chapel of S. Onofrio is an altarpiece by Luca Signorelli. At the sides of the altar are preserved two small statues in niches, pilasters, cornices, &c., the work of Giovan7ii di Pisa, formerly belonging to the monument of Martin IV., which was destroyed by the Papal Legate during the popular outbreak against Gregory XI. The celebrated Sposalizio of Perugino, formerly in the Capella del Santo Anello, was removed with the other spoils after the disastrous treaty of Tolentino, and is not now known to exist. The copy of it over the altar is a good painting by Cav. Wicar. This chapel is called " del Santo Anello," from an ancient ring of onyx or agate Papal States.] route 27. — Florence to rome. — Perugia, 219 preserved here, and highly venerated as the wedding-ring of the Virgin. In the apartments of the Sacristy are two pic- tures of St. Peter and St. Paul by Gian- ?ucola, and a Madonna and Child with S. Lorenzo and St. Nicholas, attributed to Pintnricchio. Tiie Library contains several biblical rarities of great value; among which are the Codex of forty-two leaves, containing the ancient Italian version of the twelve chapters of the Gospel of St. Luke, in gilt letters, sup- posed to be of the sixth century, and a Breviary of the ninth. There are upwards of 100 churches in Perugia, and about 50 monastic establishments. Of these the following are the most remarkable : — The Convent of S, Agnese has two small chapels painted by Pietro Peru- gino. The first represents the Virgin, with St. Antony the Abbot, and St. Antony of Padua ; the second, the Al- mighty in his glory. It is necessary to obtain permission to see these works. The Church of S. Agostino contains two works of Perugino on the right and left of the entrance, one representing the Nativity, the other the Baptism of the Saviour. They originally formed a single picture, which was divided in 1G03. In the right transept are two other pictures by Perugino, representing the Almighty in the midst of the Sera- phim, and St. John and St. Jerome. The Adoration of the Magi is by Dome- nico di Paris Alfani, said to be designed by Rosso Fiorentino. In the left tran- sept, over the door of the sacristy, is the Madonna, with St. Nicholas and St. Bernardin in glory, and St. Sebastian and Stc Jerome below, by Perugino. The intagli and bas-reliefs of the seats of the choir are by Agnolo Fiorentino, from the designs of Perugino. In the Sacristy are eight small pictures framed, representing various Saints, by Peru- gino, a sketch by Lod. Caracci, another by Guercino, a line head of the Saviour by the school of Michael Angelo, and four oblong pictmes representing the Marriage of Cana, the Adoration of the Magi, the Circumcision, and the Preaching of St. John the Baptist; attributed to Pietro, but more probably executed by some of his able scholars; the Descent of the Holy Ghost is by Taddeo Bartolo, a remarkable painting, executed in 1403. The Confraternita di S. Agostino ad- joining has a superbly gilt roof, with paintings by Orazio di Paris Alfani, Scaramuccia, Gagliardi, &c. In the sacristy is a fine painting of the school of Pietro, dated 1510, and representing the Madonna and Child, with St. Se- bastian and St. Augustin. The Church of Angelo, a circular building, resembling S. Stefano Ro- tondo at Rome, has been considered a Roman building, or an ancient temple dedicated to Neptune ; but it appears more probable that it was built in the fifth or sixth century, of ancient Roman materials. The interior has sixteen columns, evidently taken from other buildings, all differing in size, mate- rial, and in the design of the capitals. A Gothic doorway was added in the fourteenth century. The Church of the Convent of S, Antonio, formerly remarkable for its altarpiece by Raphael and its Nati- vity by Perugino, has been despoiled of its great treasures. The altarpiece of Raphael has been dispersed among various collections ; the two principal portions are at Naples, and the five small subjects of the Gradino are in England ; two are at Dulwich, one in the collection of Mr. Samuel Rogers, one in that of Mr. Miles of Leigh Court, and the fifth in that of Mr. VVhyte of Barron Hill. The Confraterniia of S. Bernardi?io, called also " La Giustizia," has a mar- ble fagade by Agostino delta Robbia, interesting as a work of art, and cu- rious as exhibiting the passage of the Gothic into the classic style. It is covered with arabesques and bas-reliefs, representing various miracles of the saint : in the niches are statues of S. Costanzo, S. Ercolano, the Angel Ga- briel, and the Virgin at the Annuncia- tion. The work bears the date of 1451, and has this inscription, Opus An gust ini Fiorentini Lapidicae. In the church is l2 220 ROUTE 27. — FLORENCE TO ROME. — Pevugia, [Scct. I. a Cross with the Crucifixion on a gold ground by Margm^itoiie, with the date 1272. The altarpiece, representing St. Bernardin and the Saviour, is by Benedetlo Bonjigli. In an inner chapel is a Madonna and Child, with St. Francis and St. Bernardin, by Pervgino, The church of S. Domenico, built in 1632 from the designs of Carlo Ma- derno, occupies the site of the famous church built by Giovanni di Pisa in 1304, which had fallen into decay. The west end, however, with its superb Gothic window, has been preserved, and on its inner walls are still visible some terra-cotta ornaments and statues executed by Jgostino delta Rohhia in 1459. The lancet window has two transoms, and is filled with the most beautiful painted glass, executed by Fra Bartolommeo of Perugia in 1411. Its great treasure, however, is the Mo- nument of Benedict XI. by Giovanni c?i P/sa, justly considered by Cicognara as one of the finest works of the revival. It was erected by Cardinal da Prato to the memory of the murdered pontiff, who is represented in a reclining pos- ture, full of grace and dignity, inider a Gothic canopy, with two angels drawing aside the drapery. The canopy is sup- ported by two spiral columns encrusted with mosaic ; under its upper part are the Madonna and Saints. This able pope, whose virtues and talents had raised him from an humble station to the highest honours of the church, vainly endeavoured to reconcile the Bianchi aTid Neri of Florence, and to procure the recall of the latter from exile ; he had to contend, on the one hand, with the most unscrupulous monarch of Christ- endom, Philip le Bel, and on the other with the cardinals, who were jealous of his independent authority. Benedict during his residence at Perugia had issued two bulls against Guillaume de Nogaret, and the other parties impli- cated in the seizure of Boniface VIII. at Anagni. Philip le Bel considered himself compromised by these excom- munications, and, fearful that the pope might adopt more direct measures, he employed Cardinal Orsini and Cardinal Le Moine to compass his immediate death. This was done by sending a person disguised as a servant of the nuns of Santa Petronilla to present to the pope, in the name of the abbess, a basket of poisoned figs. Giovanni Yil- lani accuses the cardinals of the act, while Ferreto of Yicenza states that they employed the pope's esquires as their agents. The unhappy pontiff struggled eight days against the poison, and at length died, July 4, 1304. The most remarkable painting in the church is the Adoration of tlie Magi in the left aisle, by Benedetto Bonjigli^ with the date of 1460. The sacristy contains two long pictures by GiannicoJa^ one representing St. Elizabeth and St. John the Baptist, the other the Madonna and St. John the Evangelist. The massive campanile, reputed one of the largest in Italy, was even taller than it is at present, but was reduced by order of Paul III. when the citadel was erected. The church of *S. Ercolano^ a Gothic structure, was founded in 1297, and rebuilt in 1325, from the design of Fra Bevignate, a Silvestine monk. The frescoes of its walls and roof are by Gian Andrea Carloni^ and bear the date of 1680. The sacristy contains a picture of St. Jerome by Perugino, The church of the Convent of S. Fra?icesco, originally a Gothic building, has several interesting paintings, al- though the greater part of its works of art have disappeared. On the right is the fine picture of St. John the Baptist, with St. Jerome, St. Sebastian, St. Francis, and St. Bernardin, by Peru- gino. In the left transept is the Mar- tyrdom of St. Sebastian, by Perugino, painted in his seventy-second year, and exhibiting evidence of his declining powers. Among its other pictures are the Archangel Michael, by Orazio Al- fani ; the Dispute with the Doctors, by the same, which death prevented him from completing : the finely-finished Nativity by the same, painted in 1546; and the Padre Eterno, above this picture, attributed, but on insufficient grounds, to Raphael. Near it is the copy of the Entombment, by that great painter, now Papal States. 1 route 27. — Florence to rome. — Perugia. 221 ill the Borghese Gallery, by the Cav. d^Arpino, which Paul V. substituted for the original picture. The chiari-scuri, represeutiug Faith, Hope, and Charity, which one of the monks is said to have cut off when the picture was removing, are merely copies ; the originals are in the Vatican. Over the altar near the sacristy is a Madonna and Child, with this inscription in Greek characters : " ERuo, M.cccLXXxiii, mense Juni." In the sacristy are eight pictures of great value as studies of costume, representing the miracles and events in the life of S. Bernardin, by f^it- tore Pisanello ; and a Madonna by Fiorenzo di Lorenzo, with two Angels holding the instruments of the Pas- sion, by Benedetto Bonjigli, introduced into the lower portion. In a side chapel, enclosed in a miserable box, are pre- served the skull and bones of the illus- trious Braccio Forfebraccio, the great captain of the middle ages, the con- queror of Rome, who ruled this his na- tive city with more wisdom and justice than any of her other masters. He fell at the siege of Aquila, June 5, 1424, a few months only after his heroic rival Sforza, then commanding the forces of Joanna of Naples, perished in the Pes- cara. The body of Braccio was sent to Rome, where the pope had it interred in unconsecrated ground, as being that of an excommunicated person. Per- haps this may account for the profana- tion still shown to the remains of that great and honourable warrior. The wan- ton manner in which they are now ex- posed to the curiosity of travellers is a national reproach ; and it is a disgrace to the Perugians that the bones of their illustrious captain have not yet received at their hands the honours of a tomb. The inscription on the box records that the bones were placed there in the pon- tificate of Eugene IV., and designates Braccio as " Italise militiae parens." The church of S. Fiorenzo likewise contains the ashes of a celebrated native of Perugia, Galeasso Alessi^ the famous architect of the sixteenth century, who was buried here in 1572. There is no monument, nor even an inscription, to this great artist, whose genius did so much to embellish the cities of Italy. Surely there is public spirit enough in Perugia to make an honourable though tardy reparation to these two illustrious citizens. The church of Sta. Gmliana, a Gothic edifice, built in 1292, is re- markable for its fine wheel window, and for a semicircular painting of the Almighty b}^ Perugino. The church of Sta. Maria Nuova contains some interesting pictures. The Adoration of the Magi is by Perugino, who has introduced his portrait. The altarpiece of the left transept is an exquisite picture of the Annunciation, with God the Father in a glory in the upper part ; it is dated 1466, and is at- tributed to Niccold Alunno. The Trans- figuration, and the three small pictures of the Annunciation, the Nativity, and the Baptism of the Saviour, in the sacristy, are also by Perugino, The St. Sebastian and St. Roch is by Sehastiano del Piomho. Tlie church of the Madonna delta Luce shows the passage of the Gothic into the classic style, from the designs of Giulio Danti. It has still a fine wheel window, composed of seven smaller circles, and a double Gothic doorway. The celebrated picture of the Coronation of the Virgin, by Ra- phael, begun shortly previous to his death, and finished by Giulio Romano and Francesco Peniii, was stolen by the French, and is now in the Vatican. A modern copy has been sent to this church to fill its place. The Confraternita of S. Pietro Mar- tire has an exquisite Madonna and Child between two angels, and wor- shipped by several saints, by Perugino, a work of so much beauty that it has been attributed to Raphael. In the sacristy there is a curious old painting of several saints by an unknown artist. Numerous works of the same kind occur in nearly all the churches, many ela- borately finished, and with that atten- tion to detail which marks the works of Albert Durer and the early German masters. 222 ROUTE 27. — FLORENCE TO ROME. — Perugia, [Sect. I. The Benedictine monastery of St. Peter, S. Pietro de Casinensi, is one of those fine establishments of the order which exhibit the combined character- istics of cleanliness and order through- out the building, and gentlemanlike courtesy on the part of the brethren The church presents a specimen of the ancient basilica, supported by eighteen columns of granite and marble taken from an ancient temple. It is quite a gallery of pictures. In the nave are the ten paintings by Alierise, represent- ing the Life of the Saviour, one of which, among the five on the right side, was painted at Venice under the direc- tion of Tintoretto ; the St. Peter Abbot sustaining the falling column, Totila kneeling to St. Benedict, and the Sa- viour commending his flock to St. Peter, by Gimig?ja??i ; the Resurrection, by Orazio di Pm^is Alfani ; the Vision of St. Gregory at the castle of St. Angelo, hy Ventura SoUmheni ; the copies from Guercino of the Christ bound, and the Flagellation, by Alie?ise; the Adoration of the Magi, by Adone Doni, very gvace- ful ; a Madoima and Child, attributed to Raphael (?) ; the copy of Raphael's Annmiciation, by Sassoferrato ; and the Deposition, by Pervgino. In the chapel of the Sacrament are, the St. Benedict sending St. Mauro and St. Placido into France, with a view of Monte Casino introduced, by Flam- miiigo ; the St. Peter and St. Paul, by TVicar ; the Madonna in fresco, by Lo Spagna ; and three fine frescoes by Va- sai'i. representing the Marriage of Cana, the Prophet Elijah, and St. Benedict. In the left aisle are, a bas-relief of the Saviour, St. John, and St. Jerome, by Mino da Fiesole ; a Deposition, by Be- nedetto Bonfgli, in 1462 ; the St. Peter and St. Paul, by Gennari^ the master of Guercino ; and a good copy by Sasso- ferrato of the Entombment by Raphael in the Borghese Gallery. The other pictures are the Judith of Sassoferrato ; the Assumption, by Paris Alfani ; and the Madomia and Child, by the school of Pert/gi?io, which is said to have been taken to Paris. The Ascension, painted by Perugino for this church, was also stolen by the French, and transferred to Lyons. Over the door of the sacristy are some excellent copies by Sassofer- rato from Perugino and Raphael, re- presenting Sta. Catherina, Sta. Apollo- nica, Sta. Flavia, and near them S. Placido and S. Mauro. In the sacristy are five beautiful little pictures by Pe7i/gi?io, framed, representing St. Se- bastian, S. Ercolano, S. Pietro Abbate, S. Costanzo, and S. Mauro. The Infant Saviour embracing St. John is the ear- liest known work of Raphael, copied from one of Perugino's subjects. The Sta. Francesca is by Caravaggio ; the Holy Family, by Parmegiano ; the Head of the Saviour, by Dosso Dossi ; the Crowning with Thorns, by Bassano ; the Ecce Homo, said to be by Titian ; the fine pictures of Christ Bound and the Flagellation, by Guercino ; and the six frescoes, by Girolamo Danti. The choir is enriched with stalls of walnut- wood, worked in bas-relief by Stefano da Bergamo from the designs of Ra- phael : they are all ditferent, and the inimitable grace and exquisite fancy of the great master appear to have been here, as in the loggie of the Vatican, quite inexhaustible. Besides these, the doors and other portions of wood-work present remarkable specimens of tarsia by Fra Damiano da Bergamo. The books of the choir are an invaluable series of illuminated works : they are rich in miniatures and initial letters of the early times of the art, painted with exceeding beauty by monks of the Bene- dictine order. Behind the tribune a door opens out upon a balcony, which commands a view hardly to be sur- passed by any that can be presented to the eye of the traveller. It embraces the valley of the Tiber as far as Assisi, a tract of rich and glowing country, scattered with villages, convents, and towers, and encircled by the picturesque forms of the distant Umbrian moun- tains. The church of the Camaldulite con- vent of S, Seve?^o contains the first fresco ever painted by Raphael, It is much damaged, but highly interesting as a subject of study. It represents in a Papal States,'] route 27. — Florence to rome. — Perugia. 223 lunette the Almighty between two an- gels and the Holy Spirit, and below, the Saviour, a beautiful figure, with S. Mauro, S. Placido, S. Benedetto, and S. Romualdo. The foHowing inscrip- tion is underneath : Raphael Je V rhino dom. Octaviano Stephana Volaterano Priore Sanctvm Trmitatem Angelas as- lantes sa?ictosqve pinxit, A.D. MDXV. Below it on the sides of the niche are St. Jerome, St. John the Evangelist, St. Gregory the Great, St. Boniface, Sta. Scolastica, and Sta. Martha. Under- neath is the inscription, Petris de Castro Plebis Pervsinvs temp. Dom. Silvesfri Stephani F^olaten^ani a Desfris, et Sitiis- tris Div. Ci'istophorae sanctoqve pinxit, A.D. MDxxi. The picture by Raphael resembles in its composition the upper part of the Dispute of the Sacrament in the Stanze of the Vatican. The church of S. Tommaso contains an altarpiece representing the Incre- dulity of St. Thomas, the reputed mas- terpiece of Giannicola. The Piazza del Soprammuro is so called from the monstrous subterranean masonry which supports it, filling up the space between the two hills on which stand the fortress and the cathedral. Some of these walls and vaults still preserve, in the name of Muri di Braccio, a record of the great captain of Perugia, by whom they were chiefly executed. The Fountain, begun in 1274 and finished in 1280, was one of the first works of Giovanni di Pisa, and is there- fore to be studied as an interesting illustration of the revival. It consists of three vases, or basins, arranged one over the other : the two lower ones are marble, the upper one of bronze. 1. The first marble basin is a polygon of twenty-four sides, each of which is divided into two compartments, orna- mented with bas-reliefs by this great sculptor. Among the subjects re- presented are the actions and occupa- tions of human life during the twelve months of the year : the Lion, as the emblem of the Guelph party ; the Grif- fin, of Perugia : symbolical representa- tions of the arts and sciences ; Adam and Eve; Samson; David and Go- liath ; Romulus and Remus ; the fables of the Stork and the Wolf, the Wolf and the Lamb, in allusion no doubt to the ancient emblems of the Tuscan republics. 2. The second basin, sup- ported by columns, is also a polygon of twenty-four sides, in each of which is a small statue. The sculpture of this second basin has been attributed to Arnolfo Fiorentino, but it does not appear that there is any good authority for disregarding it as the work of Gio- vanni di Pisa. The subjects begin with St. Peter, the Christian church, and Rome, and are chiefly symbolical. 3. The third basin is a shell of bronze, supported by a column of the same metal. Out of its centre rise three nymphs and three griffins. The Piazza del Papa'is so called from the fine bronze statue of Julius III. by Vincenzio Danti, in 1555. It was one of his very early works, as the inscrip- tion testifies : " Vincentius Danti, Peru- sinus, adhuc puber, faciebat." The design is supposed to have been given by his father Giulio. The citizens erected this statue to Julius III. in gra- titude for his restoration of many of their privileges, which were taken from them by Paul III. after their rebellion against the salt-tax. The statue during the Italian revolutions had some singu- lar vicissitudes : it was removed for safety from one place to another, and at ditferent periods occupied the cellar of the Monaldi palace, the palace of the Inquisition, and the Fortress. The celebrated Ar-ch of Augustus, called also the Arco della Via Vecchia, one of the ancient gates of the city, is built of massive blocks of travertine without cement. It bears the inscrip- tion, Augusta Perusia, but its style and construction prove that it is an Etruscan work, and that these letters were subse- quently added by the Romans. An- other reason, if any were required, for giving it a higher antiquity than Augustus, is the evident injury the arch has sustained by fire, which would make it anterior to the general confla- gration of the city which followed the surrender of Antony. 224 ROUTE 27. — FLORENCE TO ROME. — Pevugia. [Sect. I. The Porta Marzia, another interest- ing gateway of Etruscan workmanship, was removed from its original position, together with a great portion of the an- cient wall, when the citadel was built by Paul III. Bat fortunately San- gallo did not allow it to be destroyed, and the stones composing it were care- fully preserved by building them up afterwards into the castle wall. The frieze is ornamented with heads of horses and other martial emblems. In the upper part is the inscription, Colonia Fibia, and in the lower part, Augusta Perusia, both of which must have been subsequently added. The majestic Palazzo Comunale^ the residence of the delegate and of the magistracy, is supposed to be the design of Bevignate, in 1333, although some authorities date its foundation from 1281. Its front presents a melancholy aspect: many of its rich Gothic win- dows have been closed up, and new ones opened in a modern style. The first story is the only one which has been tolerably preserved. The upper story has only four perfect windows, and their great beauty makes the tra- veller regret more deeply the loss of the others. Its lofty doorway, with its round-headed arch, is a fine specimen of Italian Gothic ; it is covered with elaborate sculptures of animals and foliage, and its graceful spiral columns give it a great similarity to many of our own cathedral doors. Among its decorations are the arms of the cities in alliance with Perugia, as Rome, Bo- logna, Florence, Pisa, Naples, and Venice, the arms of the pope and of the king of France; three statues of saints ; six allegorical figures ; the lions of the Guelphs ; and two griffins tearing a wolf, the griffin being the emblem of Perugia and the wolf that of Siena. The interior is not particularly remarkable : the grand hall was the place where the Perugians, as a free municipality, held their general coun- cils. One of tlie antechambers, for- merly the chapel of the priors, has a fresco of Benedetto Bonfigli, in 1460, much damaged. The hall, now used for the Consiglio Comvmale, has a fresco painted by Adone Doni in 1472, representing Julius III. restoring to the city the magistrates who had been re- moved by Paul III. In the chapel is an Ecce Homo, by Perugino, The Sala del Camhio (the Exchange), now no longer required for its original purpose, is covered with frescoes by Perugino, the best which he has left in the city of his adoption. On entering the hall, the paintings on the right wall are the Erythraean, Persian, Cumaean, Lybian, Tiburtine, and Delphic sibyls ; the Prophets Isaiah, Moses, Daniel, Da- vid, Jeremiah, andSolomon ; and above, the Almighty in glory. On the left wall are ditlerent philosophers and war- riors of antiquity, with allegorical figures of different virtues above them. They occur in the following order : Lucullus, Leonidas, Codes, with the figure of Temperance ; Camillus, Pittacus, Tra- jan, with the figure of Justice ; Fabius Maximus, Socrates, and Numa Pompi- lius, with the figure of Prudence. On the wall opposite the entrance are the Nativity and Transfiguration. On a pilaster on the left is a portrait of Peru- gino himself. Near the door is the figure of Cato. On the roof, amidst a profusion of beautiful arabesques, are the deities representing the seven pla- nets, with Apollo in the centre. In an adjoining chapel is an altarpiece of St. John the Baptist. In the execution of these graceful frescoes Perugino was assisted by Raphael; the Erythraean and Lybian sibyls, and the head of the Saviour in the Transfiguration, are said to be his works. The Palazzo GovernativOy in the Pi- azza del Duomo, is, like the P. Comu- nale, a Gothic building, bearing the insignia of the lion and the griffin. It has little to require observation beyond the details of its Gotliic ornaments. The University of Perugia, founded in 1320, occupies the old convent of the Olivetans. It was liberally endowed by various popes and emperors, and ranks next after those of Rome and Perugia in the Papal States for the number of its students, while it is Papal States.] route 27. — Florence to rome. — Perugia. 225 second to none in the high character and talent of its professors. It has a botanic garden, a cabinet of mineralogy, and a museum of antiquities. The Museum is invaluable to the student of Etruscan art and monuments ; it has been enriched by gifts from various citizens, consisting of remains found in the neighbourhood of Perugia. The collection of inscriptions is gradually approaching to a hundred examples : the longest now here consists of forty- tive lines. Some of the bronzes are also very interesting. But the most remark- able objects are the silver and bronze plates, with bas-reliefs of arabesques and animals, originally belonging to a biga. Signor Vermiglioli, the learned professor of archaeology, considers that the car was a votive olfering. It was found, together with immerous figures and sepulchral treasures, in 1810, by a peasant of Castel San Mariano, where it is supposed they had been buried for concealment. The silver plates were of course an object of speculation to the discoverers ; some of them were melted down, and, of those which were fortunately preserved, a portion passed to this museum, and the remainder, in- cluding the bas-relief of the charioteer in silver gilt, now in the British Museum, fell into the hands of Mr, Dodwell and Mr. Millingen. The latter gentleman's share was purchased by Mr. Payne Knight, and presented by him to the British Museum. A beautiful Etrus- can vase re])resents a Bacchanal on one side, and on the other, according to Vermiglioli, Admetes and Alcestes of- fering a sacrifice to Diana. The Pinacoteca, or Gallery of the Academy of Fine Arts, although a small collection, comprises many in- teresting works in the history of art. Among them is the fine example of Pinturicchio, dated 1 495, and composed of six pictures joined together, in which are represented with singular feeling and expression the Virgin, St. Augustin, St. Jerome, the Annunciation, a Pieta, and the Archangel Gabriel. Other re- markable works by Pmturicchio are, the four Evangelists, the St. Augustin, and a portion of a larger picture, repre- senting various saints, painted, it is said, from the designs of Raphael. Another remarkable work is the exquisite Ma- donna and Child, with two angels, and St. Bernardin, by Taddeo Bartolo. The Virgin and four saints, with the Saviour, the Virgin, St. John, and four other saints on the plinth, is by Benozzo Gozzoli. The Virgin, with St. Francis and St. Bernardin, is by Niccold Alimno. The Martyrdom of St. Catherine is by Paris Alfani, A painting with two series of figures, — one representing St. Peter, St. Paul, and several other saints ; the other representing the Savi- our, the Virgin, and St. John the Bap- tist, — is a beautiful work of Giannicola. In a chapel above is a fine fresco by Perugino, representing the Madonna and Child, with St. Martin and St. Benedict ; on the ceiling above is a representation of the Almighty, with an angel on eitner side : the two latter are said to be by Raphael. Private Galleries. — Many of the pri- vate galleries of Perugia have small but interesting collections; they contain numerous works by Perugino^ several reputed works of Raphael; but a large number of the former were no doubt executed by Perugino's scholars, and few of the latter are completely authen- ticated. The following are the prin- cipal palaces: — The Palazzo Baglioni, interesting chiefly from the recollections associated with the name during the middle-age history of Perugia, contains a picture of the Virgin and Child, by Perugino ; and three paintings by ihe modern ariists Camuccini and Landi, illus- trative of the history of the family. The P. Baldeschi has the original drawing by /^ajoAae/, representing ^neas Sylvius, when a bishop, solemnizing the marriage of the Emperor Frederick III. with Eleonora infanta of Portugal. This beautiful design, of whose authen- ticity there is no doubt, was executed for the library of the Cathedral of Siena. The P. Bracceschi has a collection of Etruscan sepulchral urns, illustrated l3 226 ROUTE 27. — FLORENCE TO ROME. PeVUgia. [ScCt. I. by Prof. VermiglioH, and some pic- tures, among which are the Sta. Bar- bara by Domenichino ; ahead by Gesd; a St. Francis on copper by Cigoli ; the Angelo Custode by Cav, d'Arpino, &c. The P. Camilletti has an allegorical pictm-e illust rating the " Vanitas Vani- tarum," as inscribed upon it, by Ba- roccio ; a head of a young man by Pietro da Cortona ; a St. John Baptist attributed to Caravaggio, Opposite to this is the house of Peru- gino, which will be regarded with ex- ceeding interest. On one of the inner walls is a fresco of St. Christopher by the great artist, painted, it is said, as a compliment to his father^ who bore the name. The P. Canali has a mineralogical and geological collection of some inte- rest ; and a dying Magdalen, a beauti- ful work by Guercino. The P. Cenci contains several pic- tures : the Seasons, by Pietro da Cor- tona ; a Bacchus ; a Madonna and Child, by the same ; a Holy Family, by Perino del Faga ; Leda and the Swan, by the same ; an Infant Saviour with angels, by Domenichino; St. Helena, by Innocenzio da Imola ; St. Francis, by Guido, The P. Cesarei has two designs attri- buted to Raphael, one representing Christ before Herod, the other Paul preaching at Athens; a pen-and-ink sketch by Michael Angelo for the full length figure of the Saviour in the Minerva at Rome; and a design by Baroccio, representing the institution of the Eucharist. The P. Con?iesfabili, the palace of Count Staffa, has given name to one of tlie earliest and most beautiful works of Raphael^ the Madonna and Child, well known as the " Staffa Madonna." It is a small round picture of ex- ceeding beauty, in which the Virgin is represented reading ; the Child is likewise looking into the book. This is one of the best authenticated and most charming pictures by the great artist; the family long possessed the original agreement for it between Ra- phael and Count Staffa; but it has unfortunately been lost. Among its other paintings are a portrait and a \ irgin and Child, by Pintui'icchio ; four octagonal pictures representing different characters of heads, two of which are copies from Raphael, by Sassoferraio ; a small picture of the Adoration of the Magi, attributed to Raphael in his early youth. There is also a collection of designs by Perugino, and a cabinet of coins. The P, degli Oddi (di Porta Sole) is the second gallery in point of extent in Perugia. Among its pictures are the following : — by Raphael, two small pic- tures of the Presentation in the Temple, and the Adoration of the Magi ; Guido, La Carita Romana, two pictures of children, and some studies ; Guercino, Portia, Judith, the Magdalen, and Da- vid ; Pietro da Cortona, Head of a Mag- dalen ; Pinturicchio, a design for a Holy Family, &c. ; Baroccio, a St. Francis ; Domenichino, a Virgin and Child ; two pictures by Andrea del Sarto ; a design hj Michael Ange/o for a Crucifixion; and some designs and studies by Perugino, The P. Donini has a small gallery containing two original drawings by Perugino, representing the Annuncia- tion, and two angels ; two drawings of the Adoration of the Magi, and St. Michael, believed to be by Raphael, Among its pictures are the Madonna and Cliild, with St. Francis and St. Luke, by Perugino ; two elaborate paintings on copper, representing the Adoration of the Magi, and the Murder of the Innocents, by Titian; a female head by Baroccio, &c. The P. Monaldi contains a large pic- ture of Neptune in his sea-chariot, re- ceiving tribute from the Earth, painted by Guido for Cardinal Monaldi, when legate of Bologna. There are also the sketch for this picture ; several designs by Guercino^ and two pictures by him, — one representing the Saviour led to Judgment, the other the Flagellation. The P. Penna is the most extensive gallery of Perugia, well arranged, each subject bearing the name of the painter. The following are the most remarkable : Papal States,"] route 27. — Florence to rome. — Perugia. 227 — by Baroccio, a head of an Angel, and a female portrait; Amtibale Caracci, an Assum])tion ; Domenichino^ a St. Francis ; Guercino, two Magdalens, a Flora, and Hercules; Carlo Maratta, Diana in the Bath; Perugino, a Ma- donna and Child throned and crowned by five angels, between St. Jerome and St. Francis ; Fra. Bartolommeo, aPieta, with two Apostles ; Salvator Rosa, four landscapes, and a sketch representing himself in the act of writing to his friend Cav. della Penna ; an original letter of Salvator'sis preserved behind the sketch ; Raphael, a portrait, supposed to be that of Atalanta Baglioni ; Luca Signorelli, the Virgin and several Saints; Titiati, a St. Jerome, a St. Peter Martyr, and a portrait ; several works of the Flemish school, and of later Italian masters. The P, Sorbello has a Madonna and Child, by Perugino ; a portrait by Guido, said to be that of Michael An- gelo ; a St, Antony Abbot, by Guido ; a Madonna and Child, copied from Raphael, by Andrea del Sarto ; a small copy on copper of the Madonna della Seggiola, by Domenichino, &c. The L/6mr«^ (LibreriaPubblica) con- tains about 30,000 volumes, among which are some curious MSS.,a collec- tion of Perugian editions of the fifteenth century, and a series of Aldines. Among the MSS. are the Stephanus Cyzantinus of the fifth century, and the works of St. Augustin, with miniatures of the thirteenth century. Among the printed books is the first printed at Perugia, containing the counsels of Benedetto Capra, a native jurist, in 1476. The Collegio Pio^ so called from Pope Pius VII., who gave his warm encou- ragement to its establishment, is under the able superintendence of Professor Colizzi, the learned jurist. Its system has been entirely modelled in accord- ance with his views, and the institution has already acquired a high reputation throughout Italy for the sound and judicious manner in which its classical studies are combined with scientific acquirements and moral training. It numbers upwards of sixty pupils. The Lunatic Asylum of Perugia, under the direction of Dr. Santi, has acquired almost as much celebrity as the great establishment of Palermo. Dr. Santi was one of the first physicians who proved the efficacy of the system of non-restraint, now so much com- mended and adopted in England ; kind and conciliatory treatment under his management have been productive of the happiest results; and the cures have been about two-thirds of the number admitted. The Fortress J called the Citadella Paoli?ia^ was begun in 1540 by Pope Paul III. (Farnese), who destroyed one of the finest quarters of the town, and the palaces of the principal ciiizens, for the purpose. It was designed by San- gallo, and finished in 1514, by Galeasso Alessi. Its apartments and chapels were decorated with frescoes by Ratlaele del Colle and other artists, but they were destroyed during the political troubles which followed the French invasion; since that time its ditches have been filled up and converted into a public promenade, and the citadel itself used as a powder-magazine. The en- trance gateway is by Galeasso Alessi ; the two statues of St. Peter and St. Paul in the first court are by Scalza, who was employed with Mosca in the ornamental sculpture of the building. The circumstances which preceded the construction of this fortress arose out of the salt-tax imposed by Paul III. The pope, careless of concealing his motive, recorded his opinion of the inhabitants in the following haughty inscription, long visible in the court : " Ad coercendam Perusinorum auda- ciam Paulus III., sedificavit." The first cannon is said to have been intro- duced in a corn- sack, and local tradi- tion still preserves the record of the jealous feeling with which the Peru gians regarded this encroachment on their liberty, in the popular distich, " Giaccbe cosi vuole il diavolo Evviva Papa Paolo !" This harmless reprisal showed a very different feeling from that of the Peru- gians in the palmy days of their repub- 228 ROUTE 27. — FLORENCE TO R0UE»-^ Per ugia. [Sect. I. lican iiistltutionSj when they reminded an unpopular prelate of the terrible poison called V Acquetta^ for which Perugia had acquired notoriety during the middle ages : " Monsignor, non tanta fretta Che a Perugia c'e I'acqiietta." On the frieze of the first court of the citadel is an inscription recordhig the circumstances of its erection, but in terms more moderate than those of the pope : " Paulus III. Pont. Max. tyrannide ejecta, novo civitatis statu constituto, bonorum quieti, et impro- borum fraeno, arcem a solo excitatam, mira celeritate munivit, Pont, sui an. sal. xliii." The view from the castle terrace will fully repay the trouble of the ascent. There is a good Casmo ktterario at Perugia, where reviews are taken in, and to which strangers are admitted on proper introductions. Outside the walls of the city are the church and convent of aS'. Fr ancesco del Monte, founded by Fra Elias, the com- panion of S. Francesco d'Assisi. It contains a beautiful and touching fresco of the Nativity, by Peritgino ; another expressive work by the same, represent- ing, in two parts, first the Madorma, with St. John and the Magdalen, and, in the second, the Madonna and Child, with the Apostles. It contains also several works by the school of Peru- gino. The ancient classical library for which this convent was formerly celebrated has been long dispersed. About a mile from the city, at the Torre di San Mariano, is the celebrated Etruscan tomb, excavated by Professor Colizzi. Its finely arched roof is com- posed of blocks of travertine, sixteen feet long and ten high. On the left side is the inscription in three lines, called by Mallei the queen of inscriptions,'' and still valued as one of the most per- fect known. The Fairs of Perugia, well-known throughout Italy, occur twice in the year, and are attended by a great con- course of persons from diflerent parts of the States. The first lasts from the 1st to the 14th of August for beasts, and for merchandise to the 22nd of August. It is called La Fiera di Monte Luce, and is held in the hamlet adjoining the monastery of Clarisse, a little outside the city walls. Tlie second, called La Fiera de' Morti, for beasts and mer- chandise, lasts from the 1st to the 4th of November. It takes its name from the day fixed by Silvester 11. for the com- mem.oration of the dead, being the 2nd of the month. Roads lead from Perugia to Citttl di Castello, and to Gubbio (Routes 20, 21), to Narni through Todi (Route 22), to Citta della Pieve, Chiusi, and Or- vieto (Route 23). Leaving Perugia for Foligno, a steep descent leads down into the valley of the Tiber. The scenery which it com- mands, bounded by the picturesque outline of the mountains behind Assisi, is extremely beautiful, and the plains below are characterized by a high state of fertility and cultivation. At the Tiber we reach the boundary of ancient Etruria, and, crossing it by a narrow bridge of five arches, called Ponte di S. Giovanni, enter ancient Umbria, the territory of a people who, by the combined testimony of the Latin writers, and by other collateral evi- dence, are known to have been the aboriginal inhabitants of Italy. This will very probably be the first spot where the classical traveller will see the " yellow Tiber.'' " Hunc inter fluvio Tiberinus amseno, Vorticibus rapidis, et mulia fiavus arena. In mare prorumpit." JEn,, vii. 31. This celebrated river rises under Monte Coronaro, just within the Tuscan frontier, below the village of Le Baize, one of the Papal frontier stations of the Forll district. Near the same spot the Savio and the Marecchia likewise have their origin. According to Calindri, its course from its source to the sea is 249 miles in length, and it is said to receive during its passage no less than forty tributary streams. At Ponte San Giovanni the river is not very broad, but has been dammed up for the purpose of turning several Pafol States.] route 27. — Florence to home,— Assisi. 229 mills, which add in some measure to the picturesque character of its scenery. Further on, the road crosses the Tescia and the Ciiiagio, which unite below the two bridges and fall into the Tiber. The little village of Bastia, near this spot, has in the choir of its church an altarpiece composed of several small pictures, by Niccold Alunno, with the date 1499. Passing thence over a fertile and level plain, we reach Sta. Maria degli Angeli, at the distance of about ten miles from Perugia. 1 Sta. Maria degli Angeli, the first post-station from Perugia. [A third horse is required by the tariff for car- riages with three horses, and two for carriages with four or six horses, from this place to Perugia, but not vice versa. The inn here is generally the place where the vetturini stop to bait.] This station takes its name from the majestic church of Sta. Maria degli Angeli, built from the designs of Vig- nola, by Galeasso Alessi and Giulio Danti, to protect the small Gothic chapel in which St. Francis laid the foundation of his order and drew up its rules. The ground occupied by the original building was presented to him by the Benedictines, a circum- stance which gave to the present church the additional name of Portioncula. During the earthquake of 1832 the church was almost wholly ruined, the cupola and tower were destroyed, the roof opened, and many of its columns gave way. Previously to this catas- trophe it was the object of general ad- miration for the fine efl'ect produced by a nave unbroken by windows, and by the boldness of its cupola. It is now remarkable for its great fresco, re- presenting the Vision of St. Francis, regarded as the masterpiece of the modern German master Overbeck. The Stanza di S. Francesco is also remark- able for its frescoes of the Companions of the Saint, a series of very beautiful figures hj Lo Spagna. Excursion to Assist. At this place a road branches off to Assist, distant about a mile and a half. No traveller who takes an interest in ttie history of art, who is desirous of tracing the influence which the de- votional fervour of St. Francis exer- cised on the painters of the fourteenth and fifteenth centuries, will fail to visit Assisi. To many the distance is not beyond the compass of a walk ; but if the impedimenta of the travelling carriage be an insurmountable difii- culty, arrangements may be made at Perugia for the excursion ; the carriage may be sent on to Spello or to Foligno, and a light carriage of the country hired to ascend the mountain ; it might then proceed to either of those places by the excellent road which leads direct from Assisi to Spello, without the necessity of returning to Gli Angeli. There are no inns at Assisi worthy of the name; the Lo- canda below, avoiding the tedious ascent of the hill, is La Palomha ; in the upper town, the best appears to be that of ColoneUi, near the Piazza di Sta. Chiara. Assisi is the sanctuary of early Italian art, and the scene of those triumphs of Giotto to which Dante has given immortality : Credette Cimabue nella pintura Tener lo eampo, ed ora ha Giotto il grido, SI die la lama di colui e uscura." Furg., xi. 94. Surrounded by its battlements and towers, and commanded by its lofty and ruined citadel, with its long line of aqueducts stretching across the moun- tain, Assisi is one of the most pic- turesque scenes in Italy. Its interest will he increased in the estimation of the Italian scholar by the beautiful description of Dante : Intra Tupino e I'acqua, che discende Dal colle eletto dal beato Ubaldo, Fertile costa di alto monte pende, Onde Perugia sente freddo e caldo Da Porta Sole, e dirieto le piange Per greve f^iogo Nocera con Giialdo. Di quelia costa la, dov'ella frange Pill sua rattezza, nacque al mondo uu sole. Come fa questo lal volta di Gange. Pero clii di esso loco la parole, Nun dica Assesi, che direbbe corto, Ma Oriente, se proprio dir vuole." Par., xi. 43. 230 ROUTE 27. — FLORENCE TO ROME. AsSlSl. [SeCt. I. The Sagro Convento belongs to the order of the SS. Apostoli, one of the reformed orders which have sprung from the original foundation of St. Francis. The brethren of this order are sAl possidenfi, and their easy circum- stances, added to the general clean- liness of their establishment, offer a striking contrast to the poverty incul- cated by their great founder. It is an immense building, and within its walls were collected in former times a larger number of monks than even in the great monastery of Monte Casino. It was begun in 1228, by the German ar- chitect Jacopo Tedesco, better known as Jacopo di Lapo^ the father of Arnolfo, and was finished in two years. It has two conventual churches, piled one over the other ; or, if we include the subter- ranean chnrch excavated to receive the body of St. Francis, their number may be said to be three. The German ar- chitect was sent to Fra Elia, the ge- neral of the order, by the emperor Fre- derick II. ; and hence these buildings, as one of the earliest examples where the foreign introduction of the Gothic can be established, have a peculiar value in the history of architecture. The first object which engages at- tention is the entrance, consisting of a fine pointed arch divided into two doorways ; above it is a wheel window richly worked in red and white marble, of which the church is chiefly built in the tessellated style. The Upper Church is a fine and un- mutilated specimen of Gothic, with a pentagonal choir, and lancet windows tilled with painted glass of the richest colours, executed, at the order of Six- tus IV., by Fra Francesco di Terra- nova in 1176, and by Lodovico da Udine in 1485. The roof is painted by Cimahue^ the Ennius of painting, as Lanzi calls him. It consists of five compartments, three of which are or- namented with figures, and two with gold stars on a blue ground. The best preserved painting on the roof is that representing the four Doctors of the Church ; the four Evangelists over the choir have almost disappeared, but the medallions, with figures of Christ, the Madonna, John the Baptist, and St. Francis, with the foliage, vases, and other ornaments which surround them, are still traceable. On the upper por- tion of the walls of this nave is a series of paintings by Cimabue, representing various events of the Old and New Tes- tament, from the Creation to the Descent from the Cross. The lower portion of the walls represents in twerity-eight com- partments the different events in the life of St. Francis ; they bear sufficient evi- dence of being the work of the school of Cimabue, and some of them have been attributed to Giotto. Behind the altar, the frescoes forming the decora- tions round the window are attributed to Giunta da Pisa. In the angles of the nave are Gothic galleries, which appear to have originally been carried round the nave. In the choir are 102 seats, the whole of which were carved with extraordinary facility of style by a monk of the convent, Fra Domenico di San Severino, at the expense of Francesco Sansoni, the general of the order at the end of the fifteenth cen- tury. The campanile of this church is a massive pile, with stairs a cordo?ii, which those who are desirous of en- joying the view from the summit will be glad to meet with. Under the portico leading to the Lower or Middle Church is a painting of the Virgin, St. Francis, and other Saints, attributed to Lo Spagna, On descend- ing into this church it has a gloomy and low appearance : but it contains trea- sures enough to justify the title of mu- seum. The four triangular compart- ments of the vault are occupied with large paintings by Giotto, in which the great painter has represented the three principal virtues practised by St. Fran- cis, namely, Poverty, Chastity, and Obedience, and his glorification. They are by far the finest frescoes of Giotto at Assisi, and are interesting as showing the influence exercised upon him by the allegorical descriptions of his friend Dante. The first virtue, Poverty, shows this in a striking maimer ; Poverty ap- pears as a woman standing among Papal States,] route 27. — Florence to rome. — Assist, 231 Iborns, whom Christ gives in marriage to St. Francis. In the second, Chastity is represented as a young female sitting in a strong fortress, to which St. Francis is leading several monks, &c. In the third, Obedience is represented with a yoke, but wrapped up in allegorical emblems which it is difficult to com- prehend. In the fourth, St. Francis is seated on a throne holding the cross and the rules of the order, while hosts of angels sing his praises. In the cross- aisle is the celebrated Crucifixion, by Pietro Cavallmo, the pupil of Giotto, admired by Michael Angelo for its grandeur. It was painted for Gualtier de Brienne, duke of Athens, during his temporary elevation as captain of the Florentine republic, in l'3i2. It is the finest work extant by this master ; the afflicted angels in the upper part of the composition, and the groups of horsemen, soldiers, &c., in the lower portion, are full of expression and feeling. The portrait of Cavallino, with a cap on his head and his hands clasped in adoration, is below it. In the southern transept are several paint- ings attributed to Puccio Capanna, another scholar of Giotto ; they repre- sent the Last Supper, the Capture of Christ, the Flagellation, and Christ bearing the Cross; and on the wall, by the same painter, the Deposition from the Cross, the Entombment, the Resur- rection, and the St. Francis receiving the Stigmata. In the other transept are the Massacre of the Innocents, by Jacopo Gaddi, said to have been ad- mired by Raphael ; and various events in the Life of the Virgin, the Annun- ciation, the Visitation, the Nativity, the Adoration of the Magi, the Presentation in the Temple, and the Flight out of Egypt, all of which are attributed to Giovanni da Melano^ the pupil of Taddeo Gaddi, who flourished about 1365. The chapel of S. Lodovico, or of St. Louis, king of France, sometimes called also the chapel of S. Stefano, has a vault painted by Adone Doni, and by Andrea Luigi, or L'Ingegno, the able pupil of Perugino. The four Prophets, and the four Sibyls, are by Ulngegno, and are perhaps to be con- sidered his finest works ; in the " Dis- puta," Adone Doni has introduced his own portrait as an Old Man. The graceful and expressive altarpiece, re- presenting the Madonna and Child throned, with three saints on each side, is by Lo Spagna, the celebrated scholar of Perugino. The chapel of S. Antonio di Padova, formerly belonging to the dukes of Urbino, was originally co- vered with the works of Giotfino, but, the roof having fallen in, they were de- stroyed, and replaced by the present frescoes by Cesare Sermei, an artist of Orvieto, at the close of the sixteenth century. The church still preserves, however, an example of Giottino, — the Coronation of the Virgin. The chapel of Sta. Bonaventura, or of Sta. Maria Maddalena, is rich in frescoes repre- senting the Life of the Magdalen, by Buffalmacco, The chapel of S. Mar- ti no has a vault covered with fres- coes, attributed by some to Giotto (?), by others, with more probability, to Simone Memmi. The chapel of the SS, Crocijisso was built in 1354, by the celebrated Cardinal Albornoz, who is said to be buried here, the body having been brought hither from Viterbo, where he died in 1367. Its paintings are supposed to be by Pace da Faenza, a scholar of Giotto. Vasari says that this chapel was painted by Buffal- macco, and that he was liberally re- warded by the cardinal ; the value of this statement will be shown by the simple fact that Bufialmacco, whose death Vasari himself places in 1340, died fourteen years before the chapel was founded. The chapel of S. An- tonio Abate, originally painted by Pace da Faenza, has suffered greatly from tlie damp ; its present irescoes are of much later date, but their author- ship is uncertain. It contains two se- pulchral monuments of the family of Blasco, dukes of Spoleto, with an epitaph in Latin hexameters. Near the entrance to the church, on the right hand, is a monument bearing the arms of the Cerchi family of Florence, and upon it is a porphyry vase, said to have 232 ROUTE 27. FLORENCE TO ROME. AsSlSt, [ScCt. I. been a present from Hecuba di Lusig- iiano, the rejjuted queen of Cyprus, who has been supposed to be buried near it in a magniticent mausoleum by Fuccio Fioreiitino, in 1240. There appears, however, to be great obscurity about this tomb ; the crowned head is a sufficient indication of royalty, but the attitude of the sitting statue is little in accordance with feminine grace or the dignity of a queen. It has been suggested that it is more probably that of Giovaiuii de' Conti di Brenne, king of Jerusalem in the time of St. Francis, who entered the order and died in 1237 ; and that his daughter Maria de Lusignan, princess of Antioch, sister of Yolanda, wife of the emperor Frederick II., erected this monument to his me- mory The walls near it are covered with the remains of frescoes, said to be painted by Greek artists. In the sa- cristy is a curious portrait of St. Francis, attributed to Giunta da Pisa. Con- siderable speculation has been excited in regard to the precise spot in this church where the illustrious Ghibeline general of the thirteenth century, Guido di Montefeltro, was buried. Some doubt, indeed, exists whether the body was not removed from Assisi by his son Federigo. After a brilliant career of military glory, this celebrated cap- tain, charmed by the enthusiasm of St, Francis, retired to Assisi and as- sumed the vows and habit of the new order. From this seclusion he was summoned to Anagni by Boniface Vlll., who was so anxious to have the advantage of his councils during his contests with the house of Colonna, that he promised him plenary indul- gence if he would assist in reducing Palestrina, the feudal stronghold of that noble family. Guido stipulated for a more express absolution for any crime he might commit in giving this advice, and then suggested the pertidious po- licy of promising much and performing little : " Lunga promessa con lo attender corto." Jnf. xxvii. After this Guido retired again to this convent, and died here in 1298. Dante has punished him for this treason by putting him in the Inferno, because his absolution preceded his penitence, and was therelbre null. Below this church is a chamber excavated in the rock, which has been sometimes called the Third Church. It contains the body of St. Francis, which was discovered here in December 1818, and again deposited in its sepulchre of travertine, after it had been formally acknow- ledged by a deputation of cardinals and prelates. It is supported by the solid rock, which was left standing for the purpose, while the church was ex- cavated around it. The whole is in- closed by an iron palisade ; but the general air of the mausoleum is too modern, and perhaps too obtrusive, for so great a tomb. The convent and its cloisters are scarcely less remarkable than the church ; a series of heads of eminent Franciscans by Adone Doni presents some interesting studies; and in the refectory is a fine painting of the Last Supper, by Solimene. The church of Sta. Chiara, built by Fra Filippo da Campello, the pupil of Jacopo da Lapo, in 1253, a few years only after the death of the saint, still retains its fine wheel window ; but the greater part of the ancient church, which was in the Gothic of the thir- teenth century, and painted internally by Giotto, has been replaced by mo- dern innovations. It is interesting, however, as containing the body of St. Clare, the first abbess of the Clares, the celebrated maiden whom the enthu- siasm of St. Francis induced to re- nounce her family and riches, and whose hair he cut otf with his own hand. She is buried under the high altar. The side wings still retain some frescoes illustrating the life of St. Clare, attributed to Giotto, but pro- bably executed by his able imitator Giottino. The Cathedral, dedicated to St. Ru- finus, its first bishop, under Fabian I., dates from the early part of the twelfth century, and its crypt from 1028; it was modernised by Galeasso Alessi in Papal States."] route 27. — flo RENCE TO ROME. Spello. 233 the sixteenth century, but retains its Gothic front. An ancient marble sar- copliagus serves as the high altar. The Pieta, which Vasari says was painted for this church by Niccold AlunnOy has been destroyed. The church called the Chiesa Nuova is remarkable as occupying the site of the house in wliich St. Francis was born. The apartment is still shown in whi(;h his father confined him under the belief that his devotion and his charities were acts of madness. In the Piazza is the magnificent portico of the ancient Temple of Mi- nerva; it consists of six fluted columns and a pediment, beneath which some fragments of antiquity and inscriptions have been collected for preservation. The ruin has been attached to a church, to which it has given the name of Sta. Maria della Minerva. The church of ^ta. Caterina is re- markable for the remains of paintings on its exterior by Martmelli(\i21)^ and in the interior for the works of Matteo da Gualdo and Pietro Antonio da Fu- Ugno. The church of S. Pietro deserves mention among the architectural re- mains of Assisi, for the three wheel windows which still remain of its ori- ginal and imposing Gothic. At the Convent of S. Damiano are preserved the relics of Sta. Clara; within its walls the church tradition states that she performed many of her miracles. In the dormitory is a door now walled up, where she is said to have repulsed the Saracens, who were on the point of scaling the convent. Assisi, independent of the interest it derives from St. Francis, is remarkable as the birthplace of Metastasio. It has been the seat of a bishopric since a.d. 240. The population, by the returns of 1833, was 5981. The great fair of Assisi beguis on the 21st July and ends on the 1st August, during which time the indulgences granted draw people from all parts of Catholic Europe. Another fair takes place on the 4th October, at the festival of St. Francis. Assisi has some celebrity for its ma- nufactory of needles and iron files. The annual quantity of needles it pro- duces is about 4000 lbs. [A new branch road in excellent con- dition leads from Assisi into the high Roman road near Spello, without re- turning to Sta. Maria degli Angeli. The distance to Foligno is somewhat less than ten miles. Travellers from Rome to Florence should make at Fo- ligno the arrangements recommended in a previous page for seeing Assisi. They might thus diverge from the high road at Spello, and rejoin their travel- ling carriage at Gli Angeli.] Leaving Sta. Maria degli Angeli, the road traverses the plain to Foligno, passing on the left hand the ancient town of Spello, erroneously considered the birthplace of Propertius, who tells us himself that he was born at Mevania, as will be seen further on. Spello (the Colonia Julia Hispellum of the Romans). The road passes round the walls of the town. By the side of an ancient gate, before arriving at the modern entrance to the town, is an inscription recording the fabulous exploits of Orlando. The Roman gate surmounted by three figures is well preserved, and is still called the Porta Veneris. The streets of Spello are very narrow and irregular, and are mostly paved with brick. The Gothic Cathedral of 8. M. Maggiore contains a work of great beauty by Perugino, a Pieta, with his name and the date 1521 ; on the reverse are the Madonna and Child with two saints, said to be likewise by Perugino. In a chapel on on the left are the three large frescoes by Pinturicchio^ representing the An- rmnciation, a very beautiful but some- what mechanical painting; the Na- tivity, with various incidents, such as the approach of the Magi, and a fine landscape bearing a great similarity in point of execution to the A" an Eych at Munich; Christ disputing with the Doctors, a series of tine groups with highly finished heads. On the right of 234 ROUTE 21. FLORENCE TO ROME. FoHgnO. [Scct. I the entrance is a Roman tomb with bas- reliefs representing an equestrian figure and an inscription ; it is now used as a vase for holy water. The Franciscan church of S. Lorenzo, consecrated by- Gregory IX. in 1228, contains a large altarpiece by Pi/ituricchio, representing the Madonna and Child throned, with several saints in adoration, and St. John at the foot of the throne writing the "Ecce Agnus'' on the ribbon of his cross : a charming composition ; the St. John has been attributed to Raphael. Among the antiquities of Spello, a house still bears the name of the " Casa di Properzio," and gives name to the street: even the tomb (?) of the poet is shown under its lower apartments, so determined are the inhabitants to claim him as their own. There are also some traces of an amphitheatre and some re- mains of an arch in the Via delV Arco, with the inscription r. divi; it is said by Calindri to have been dedicated to the emperor Marcus Opilius Macrinus. Before arriving at Foligno, the To- pino, upon which it is built, is crossed. 1 Foligno {hms : La Posta, best ; Grande Albergo). The ancient Fulgi- nium, a place of some importance at the head of a confederacy of Umbrian cities. During the middle ages it long maintained its independence, but was at last reduced by its more powerful neighbours; in 1439 it v/as incor- porated with the States of the Church by Card. Vitelleschi on the extinction of the Friaci family. It is an active and industrious episcopal town of 8000 inhabitants, and has a high reputation throughout the States ibr its manufac- tures of woollens, parchment, and wax candles. The town was nearly ruined by the earthquakes of 1831 and 1832; and many of its buildings still bear evidence of their ravages. The Cathe- dral, dedicated to St. Felician, has preserved its Gothic front and pointed doorway, with the two lions of red mar- ble; the interior has been modernised, and has a Baldacchino in imitation of that in St. Peter's. The Church of the Contesse, with a cupola by Bra- mante, was remarkable in former days for the celebrated picture by Raphael called, from the town, the '* Madonna di Foligno," and now one of the treasures of the Vatican. The church contains a Madonna said to be by Peri/gino (?), and a picture attributed to Lodovico Caracci, representing our Saviour dis- covering himself to his disciples by the breaking of bread. The Church of S. Niccold preserves some pictures by Niccold Aliuino, a native of this town, and there are other remains of the same master to be traced in some of the other churches. The Palazzo Comunale is a fine building recently constructed in the Ionic style. The Corso, called the Canopia, affords an agreeable walk for the citizens along the ancient walls. A few miles west of Foligno, at the junction of the Topino and the Tinia, is Bevayna, which still retains the traces of its ancient name Mevania, celebrated by the Latin poets for the richness of its pastures, and still fa- mous for the finest breed of white cattle. Strabo mentions Mevania as one of the most considerable towns of Umbria. Here Vitellius took post as if determined to make a last stand for the empire against Vespasian, but soon after withdrew his forces. If its walls, as Pliny says, were of brick, it could not be capable of much resistance. This city is further memorable as the birth- place of Propertius, a fact of which he himself informs us." — Dr. Cramer. On the hill above Bevagna is the little town of Montefalco^ remarkable for two pictures by Benozzo GozzoU ; they are in the churches of S. Fortu- nato and S. Francesco. [The road from Perugia falls into the Flaminian Way at Foligno (Route 16). Another excellent road leads to Ancona, by Tolentino, Macerata, and Loreto. (Route 15.)] On leaving Foligno for Rome, we enter the Via Flaminia, and follow it during the remainder of the journey. After passing S. Eraclio we cross the boundary which separates the Delega- tion of Perugia from that of Spoleto. The road soon enters the beautiful valley of the Clitumnus, " the fame of Papal States.] route 27.-florence to ROME.-The Cliiumnus, 235 which," says Dr. Cramer, " is united, by the poetry of Virgil, with the triumphs of Rome and the Capitol itself:" " nine albi, Clitumne, greges, et maxima taurus Victinia, saepe tuo perfusi flumine sacro, Romanos ad templa deum duxere trium- phos." Geurg., ii. 146. About midway between Foligno and Le Vene, picturesquely placed on a mountain on the left, is the little town of Trevi^ the Trebia of Pliny. Shortly before arriving at Le Vene, on the right, is the small ancient temple supposed to be the one described by Pliny as dedicated to the river- god Ciitumnus. The road passes at the back of the temple, which travellers will do well to bear in mind, as they may otherwise pass without noticing it. The river which rises near it is still called the Clitimno. There are, however, some points connected with the authen- ticity of the temple which require to be noticed. The temple itself is de- scribed by Pliny as being an ancient edifice in his day ; and antiquaries and architects agree in regarding the present building as much more recent, bearing evidence of the corruption ot" art, and probal)ly not more ancient than the time of Constantine. Sir John Hob- house has endeavoured to meet some of the objections by showing that, when the temple was converted into a cha- pel, the interior was modernised. " The temple," says a good authority on such points, " can hardly be that structure which the younger Pliny describes as ancient even in his time; for, instead of columns bescratched with the nonsense of an album, here are columns coupled in the middle of the front with those on the antes, a thing not found in any classical antiquity ; here are spiral columns, which, so far from being cha- racters of early art, are corruptions of its decline." — Forsyth. In spite of these difficulties, the exist- ing building may perhaps be con- sidered to mark the site of the tem- ple of Pliny; and English travellers will doubtless give due weight to the tradition which has been accepted and celebrated by Dryden, Addison, and Byron. The temple is now used as a chapel dedicated to S. Salvadore. " But thou, Ciitumnus ! in thy sweetest wave Of the most living crystal that was e'er The haunt of river ny mpli, to gaze and lave Her limbs where nothiug hid them, thou dost rear Thy grassy banks whereon the milk-white steer Grazes ; the purest god of gentle waters ! And most serene of aspect, and most clear ; Surely that stream was unprofaned by slaughters — A mirror and a bath for Beauty's youngest daughters ! And on thy happy shore a Temple still. Of small and delicate proportion, keeps Upon a mild declivity of hill. Its memory of thee; beneath it sweeps Thy current's calmness ; oft from out it leajis The tinny darter with the glittering scales, Who dwells and revels in thy glassy deeps ; While, chance, some scatter'd water-lily sails Down where the shallower wave still tells its bubbling tales." Chiide Harold. 1 Le Vene, a post-house. Close to this spot is the source of the Cii- tumnus ; it issues in one body from the Apennine limestone in a consi- derable stream of pure crystal water. The approach to Spoleto is extremely beautiful. It " offers a rich promise of enjoyment to the picturesque traveller, in its towers, castles, and forest back- ground ; and few places afford so many grand and beautiful objects for the sketch-book : its old fortress, and its vast aqueduct, one of the loftiest known, spanning a ravine in which it is a sin- gularly fine object when seen from the various heights, make up, with the beautiful country around them, some of the very finest landscapes in nature." Brochedon. 1 Spoleto (/ww, La Posta, very to- lerable). This ancient city is the ca- pital of the fifth Delegation of the Papal States, embracing a superficial extent of 150 square leagues, and a population of 116,759 souls. The city itself, by the returns of 1833, has a population of 6115. It is the vseat of an archbishopric for the united dioceses 236 ROUTE 27. FLORENCE TO ROME. — Spoleto, [Scct. 1. of Spoleto, Bevagna, and Trevi ; its bishopric is as ancient as the time of St. Peter, the first bishop being St. Brizio, a.d. 50. The three dioceses were erected into an archbishopric by Pope Pius VII. in 1827. Spoleto has the second manufactory of woollens in the Papal States, being next in import- ance to that of Rome. Spoleto was the Spoletium of the Ro- mans, " colonised a.u.c. 512. Twenty- five years afterwards it withstood, ac- cording to Livy, the attack of Hannibal, who Avas on his march through Umbria, after the battle of Thrasymene. This resistance had the effect of checking the advance of the Carthaginian ge- neral towards Rome, and compelled him to draw off' his forces into Pice- num. It should be mentioned, how- ever, that Polybius makes no mention of this attack upon Spoleto, but ex- pressly states that it was not Hannibal's intention to approach Rome at that time, but to lead his army to the sea-coast. Spoletium appears to have ranked high among tlie municipal cities of Italy, but it suffered severely from proscription in the civil wars of Marius and Sylla." — Dr. Cramer. During the middle ages Spoleto and Benevento were the two first Lombard States which established a duchy with a kind of independent sovereignty. While that of Benevento, which set the first example, had spread over half of the present kingdom of Naples, Spoleto included within her territory nearly the whole of Umbria. After the over- throw of the Lombard kingdom by Charlemagne, the dukes of Spoleto, like the other petty princes of Italy, became vassals of the empire ; but it was not long before they re-asserted their independence, and exercised their ancient Lombard rights. About the time of Hildebrand, the countess Ma- tilda of Tuscany had bequeathed to the Holy See her extensive fiefs of the March of Ancona and the duchy of Spoleto; notwithstanding which, Spoleto continued to preserve its municipal go- vernment, and indeed maintained it so effectually, that the popes found it necessary to issue specific decrees for depriving it of its rights. Among the casualties to which its strong position and independent government exposed it in the middle ages, one of the most remarkable was its siege by Frederick Barbarossa ; the citizens sallied from their walls and gave him battle, but they fled before the charge of the Ger- man cavalry : the town was given up to pillage for two days, and a large portion of it perished by fire. During the events which followed the French revolution, and the subsequent inva- sion of Italy, Spoleto, Perugia and the other neighbouring towns, were incor- porated with the Roman or Tiberine republic. The Cathedral, dedicated to Sta. Maria Assunta, occupies a command- ing situation : it dates from the period of its Lombard dukes, and still retains many vestiges of its original pointed architecture. The five Gothic arches of the facade are supported by Grecian columns, introduced, it is said, from the design of Bramante, when the edifice was modernised. The frieze is ornamented with grifTins and arabesques, and at each extremity is a stone pulpit facing the piazza. Over the portico is a large mosaic, representing the Saviour throned with the Virgin and St. John, and bear- ing the name of the painter, Solse?mus, with the date 1220, a work of great interest in the history of the revival. The central Gothic window is filled with painted glass, and bears the sym- bols of the four evangelists. The inte- rior of the cathedral is also interesting. In the choir are the interesting frescoes of Filippo Lippi, representing the An- nunciation, the Nativity, the Death of the Virgin, and her Glorification ; they are said to have suffered from restora- tions. The choir contains the tomb of this painter, who died here in 1469, from the effects of poison administered by the family of a noble lady, Lucrezia Bieti, whose affections he had won, and whom he had carried off from the convent of Sta. Margherita at Prato. His monument was erected by Lorenzo de' Medici, after an inef^'ectual attempt Papal States. 1 route 27. — Florence to rome. — Spoleto. 237 to induce the magistrates to allow him to remove the ashes of Lippi to Flo- rence : the epitaph was written by Politian. The only other painting to be noticed in this cathedral is a Ma- donna by A}inibale Caracci, much in- jured by recent attempts to restore it. In one of the lateral chapels are some carved arabesques in wood. The font is sculptured with bas-reliefs of the Life of Christ : the octagonal Baptistery, which is detached from the cathedral, is no longer used for its original purpose. The Gothic church of S. Domenico is remarkable for a fine copy of the Transfiguration, which the inhabitants attribute to G in Uo Romano. The Gothic church of S. Giovanni has a rich door- way of the sixteenth century. The col- legiate church of ^. Pietr^o, outside the town, is worthy of a visit, as an exam- ple of Lombard architecture ; the front is noticed by Mr. Hope for its great profusion of sculpture. The Palazzo Puhhlico contains an in- teresting fresco by Spagna, formerly on one of the inner walls of the citadel, and removed here for better preservation. The Piazza delta Porta Nuova has a small Madonna, with a blue veil, in fresco, remarkable for its excellent pre- servation ; it was painted in 1502 by Crevelli^ a native artist. The Citadel, a massive building surrounded with a strong rampart, oc- cupies a picturesque and commanding position, which completely overlooks the town. It was built by Theo- doric, destroyed during the Gothic v/ar, and repaired by Narses, the suc- cessor of Belisarius. It was subse- quently rebuilt by Cardinal Albornoz, and enlarged by Nicholas It is now used as a prison. According to the returns published by the govern- ment in 1832, it will hold 500 pri- soners ; the number actually confined at that time was 436, of which 59 were for homicides, 66 for wounding, 181 for theft. Of this number none were con- fined for more than 20 years; affording a striking contrast to the prisons of Civita Vecchia, virhere so many are im- prisoned for life. There is a garrison here of about 200 soldiers, and some small cannon. The view from the castle walls is extremely grand, commanding the vale of the Clitumnus, and reach- ing to Assisi and Perugia. Among the foundations of the castle, near the city gate, some remains of the poly- gonal walls are still visible. The Aqueduct called delle Torre, crossing the deep valley which separates the almost insulated hill on which the city is built from the opposite moun- tains, serves both as an aqueduct and a bridge ; it is supported by a range of ten pointed arches, and is said by Ca- lindri to have been built by Theode- lapius III., duke of Spoleto, in 604. The same authority gives the height as 81 metres (about 243^ feet), and the length as 205*98 (rather more than 615 feet). Scarcely any two travellers agree in their accounts of these measure- ments, and therefore the authority of Calindri, the celebrated engineer of Perugia, and author of the ' Saggio Statistico Storico' of the Papal States, may be considered useful. The aque- duct, hov/ever, bears sufficient evidence of repairs and additions long subse- quently to the Lombard times, and its substructions, and the body of the nine piers, are perhaps all that can safely be regarded as belonging to the Lombard foundation. The Roman antiquities of Spoleto consist of the arch through which the street is carried, called the Porta Fuga and Porta d^ Annihale, from the local tradition that Hannibal was repulsed in his attempt to force it. It is a plain arch, with a device of the middle ages, representing a lion devouring a lamb. Some of the churches present remains of Roman temples; that of the Croci- /Isso is supposed to preserve part of the walls of the Temple of Concord ; in that of S. Andrea the fluted marble columns, in the Corinthian style, are said to have belonged to a temple of Jupiter; and in that of S. Giuliano are some fragments of the Temple of Mars. Besides these there are some remains of an ancient theatre; and the 238 ROUTE 27. FLORENCE TO ROME. Temi. [Scct. I. ruin still called the Palace of Theo- doric. Outside the city gate a Roman bridge, which had remained buried and unknown for centuries, in con- sequence of the torrent over which it was erected having changed its bed, was discovered a few years since ; but unfortunately the authorities have re- cently allowed it to be again buried, in constructing the new gate leading to the Foligno road. Behind the town, picturesquely si- tuated and beautifully wooded, is Mo?ife Lucoj with its monastery of S. Giuliano, tlie church of the Madonna delle Grazie, and its numerous hermit- ages. Monte Luco was made a place of religious pilgrimage by St. Isaac of Syria, a.d. 528, and it has since had great celebrity among the monastic es- tablishments of Italy. The road lead- ing to it commands some of the most magnificent scenery of the valley. The monastery dates from the tenth cen- tury, but the great attraction of the spot is its beautiful position, and its grove of oaks, which have been sin- gularly protected and preserved by the ancient municipal laws of Spoleto. One of these fine trees is said to be not less than 105 feet high, and 41 in cir- cumference. [An additional horse is required by the tariff between Spoleto and La Slret- tura, both ways.] On leaving Spoleto the road winds over the steep ascent of the Monte Somma, which rises at this pass about 3738 feet above the sea. The moun- tain is covered with small forests of ilex, mixed with arborescent heaths, and presents many scenes of pictu- resque interest. The descent from the summit of the pass to Terni is much wilder in its character. In former days the glen was famous for its ban- ditti ; it is now infested with beggars. The long descent at length brings us into the plains of Terni, celebrated in ancient times as the most productive in Italy, and still so fertile that the meadows produce several successive crops in the year, precisely as they did in the days of Pliny. 1 La Strettura, a post-station with a miserable osteria. At the foot of the ascent, a mile distant, is a large house, called the Casa del Papa, formerly the villa of Leo XIL, who built it as his country residence. It has latterly been used as an inn, and is about to be sup- plied with additional accommodations for travellers. 1 Terni (Iti?is : Europa; La For- tuna : both good). This interesting little town, occupying the site of ancient In- teramna, is one of the most thriving secondary towns of the States in which the woollen and silk maimfacture has obtained a footing. It has a popula- tion of 9245 inhabitants. It claims the honour of being the birthplace of Tacitus the historian, and of the em- perors Tacitus and Florian. It has been the seat of a bishopric since the year 138. The Cathedral, dedicated to Sta. Maria Assunta, is said to have been built from the designs of Ilernini. Its altar is rich in marbles, and there is a small collection of ancient inscriptions preserved there; but there is little in this or the other churches of Terni to require notice. The Antiquities consist of some re- mains of an amphitheatre in the gardens of the episcopal palace ; of a temple in the circular church of San Salvador, called by the local antiquaries the Temple of the Sun ; vestiges of another building, called the Temple of Hercules, in the cells of the college of San Siro ; and some remains of baths in the villa of the Spada family. Some inscrip- tions are also preserved in the Palazzo Pubblico, and in other parts of the town. The great interest of Terni is derived from the Caduta delle Marmore^ one of the wonders of Italy, and celebrated throughout Europe as the " Falls of Terni." They are distant about five miles from the town, and the excursion will occupy three or four hours, or more, as the taste and feelings of the traveller may influence him to prolong his visit. To those who are desirous of enjoying the scene as it ought to be erijoyed, a Papal States. '\ r. 27. — Florence TO ROME. — Falls of Term, 239 day will hardly seem too much to de- vote to tlie excursion. The charges for conveyance are exorbitant, the service being a monopoly in the hands of the postmaster, conceded to him by govern- ment : a light carriage for two persons hired at the inn costs twenty-five pauls ; each extra person pays five pauls more : so that for a party of four the charge is three scudi and a half. The cicerone expects from five to seven pauls, and the driver five pauls. All this should be arranged with the landlord before starting, to prevent subsequent imposi- tion. It may, however, be stated that a cicerone from the inn is an unneces- sary expense ; for the traveller is beset by scores at the I'alls, whom a paul will content. A more useful provision for the excursion is a store of bajocchi, with- out which there is no escaping irom the numerous beggars who assail the tra- veller in all parts of the valley. After leaving the town, the road for nearly three miles ascends the valley of the Nar, following the high road between Terni and Rieti as far as Papigno, a small mountain village, where a road leading to the bottom of the fall branches oif. The road then ascends the hill, and about half a mile from the summit reaches the spjt where the Velino dashes over the precipice. There are therefore two points of view — that from above and that from below, seen from the opposite side of the valley. The latter, or the lower view, is by far the best ; but travellers should see both, and ac- cordingly should follow the directions of the guides, and go to the upper one first. The bed of the river above the falls is about fifty feet wide, and the rapidity of the stream is said to be seven miles an hour. After seeing the fall from the summit, the next point of view is that afforded by a small build- ing on a projecting mass of rock, some hundreds of feet above the bottom, and which was erected, it is said, for the accommodation of Napoleon. The lower part of the fall is not visible from this point, but the scene notwithstanding is full of grandeur. A path leads from this building down the valley to a point where the Nar is crossed by a bridge, whence a road on the opposite bank leads the traveller through groves of ilex to the point where he finds himself immediately opposite the cataract. No- thing can surpass the view afforded by this side of the valley, particularly from the little summer-house in the side of the hill, which commands a view of the whole cataract from top to bottom in all its magnificence. Those travellers who have only time for one view should bear in mind that this is much to be preferred. There is another point of view from the summit of this hill which shows the falls in relation to the sur- rounding country : it embraces the whole plain of the Velino as far as the mountains behind the Pie di Luco, de- scribed in Route 33. Those tourists who are unable to master the ascent will be glad to know that the remark- able view which it commands forms one of the illustrations of Mr. Brock- edon's new work on Italy, — a work to which every traveller will recur with pleasure, as containing at once the most interesting and the most highly finished illustrations of Italy which have yet been published. The Falls of Terni have been so fre- quently described, lhat we shall leave travellers to their own impressions, merely adding such historical and other facts as may be useful, and quoting the following beautiful passage from Lord Byron, in whose judgment, "either from above or below, they are worth all the cascades and torrents of Switzer- land put together : theStaubach, Reich- eiibach, Pisse Yache, Fall of Arpenaz, &c., are rills in comparative appear- ance The roar of waters! — from the headlong height Velino cleaves the wave-worn precipice ; The fall of waters ! rapid as the light The flashing mass foams shaking the abyss ; The hell of waters ! where they liowl and hiss, And boil in endless torture; while the sweat Of their great agony, v/rimg out from this Their Phlegethon, curls round the rocks of jet That gird the gulf around, in pitiless horror set, 240 ROUTE 27. — FLORENCE TO ROME. — Falls of Temi. [Sect. I. And mounts in sprays the skies, and thence again Returns in an unceasing shower, which round, With its unemptied cloud of gentle rain, Is an eternal April to the ground, Making it all one emerald: — how pro- found The gulf! and how the giant element From rock to rock leaps with delirious bound, Crushing th^^ clifls, which, downward worn and rent With his fierce footsteps, yield in chasms a fearful vent To the broad column which rolls on, and shows More like the fountain of an infant sea Torn from the womb of moimtains by the throes Of a new world, than only thus to be Parent of rivers, which flow gushingly. With many witiduigs, through the vale : — Look "back ! Lo ! where it comes like an eternity. As if to sweep down all things in its track. Charming the eye with dread,— a matchless cataract. Horribly beautiful ! but on the verge, From side to side, beneath the glittering morn, An Iris sits, amidst the infernal surge, Like Hope upon a death-bed, and, unworn Its steady dyes, whi e all around is torn By the distracted waters, bears serene Its brilliant hues with all their beams un- shorn : Resembling, 'mid the torture of the scene. Love watching Madness with unalterable mien." Lord Byron, in a note to these stan- zas, remarks the singular circumstance " that two of the finest cascades in Europe should be artificial — this of the Velino, and the one at Tivoli.'' The formation of this cascade was the work of the Romans. The valley of the Velimis was subject to frequent inun- dations from the river, which was so charged with calcareous matter, that it filled its bed with deposits, and thus subjected the rich plains of Rieti to constant overflows from the lakes which it forms at tliat part of its course. " The drainage of the stagnmt waters pro- duced by the occasional overflow of these lakes and of the river was first attempted by Curius Dentatus, the conqueror of the Sabines (b.c. 271). He caused a channel to be made for the Velinus, through which the waters of that river were carried into the Nar over a precipice of several hundred feet. It appears from Cicero and from Taci- tus that the draining of the Yelinus and Nar not unfrequently gave rise to disputes between the inhabitants of Re- ate and Interamna." — Dr. Cramer. In these disputes, which happened in the year of Rome 700, Cicero was consulted by the inhabitants of Rieti, who erected a statue to him for his services. For about 1500 years from its first construction the channel con- tinued to relieve the valley of its superabundant water ; but in 1400 it was so much obstructed that the peo- ple of Rieti opened a new channel, which affected the lower valley and inundated Terni. Braccio di Montone, the lord of Perugia, interposed, and had a new channel constructed, but it was of little service, and speedily filled up. From that time to the end of the six- teenth century, the inundations either above or below the falls gave rise to constant contentions between the two cities ; and the celebrated architects Sangallo and Fontana were employed upon the works, but with little success. Fontana adopted the old Roman chan- nel until he reached the obtuse angle which it made towards the precipice ; he then continued the channel in a straight line, so that the waters entered the Nar at right angles. This arrange- ment, added to the contracted state of the Nar at that point, blocked up that river with the masses of rock brought down by the Velino, and fresh inunda- tions occurred in the valley of Terni. This was not corrected until 17 85, when it was found necessary to adopt some further measures to protect the land- holders of Terni, and a new channel was accordingly cut, by which the Yelino is brought into the Nar at an oblique angle, which has obviated the mischief in the lower valley, and secured the effectual drainage of the plains of Rieti. Considerable difference exists as to the actual height of the falls. Calindri, the engineer^ in his great work on the Papal States.] route 27. — Florence to rome. — Narni. 241 Papal States, gives it as 375 metres, or 1230 English feet; Riccardi, of lerni, the architect of the Gazzoli theatre, who is more likely, as a resident engineer and architect, to have taken greater pains in his calculations, estimates the upper fall at fifty feet; the second, or the perpendicular fall, from 500 to (300 feet ; and the long sheet of foam, which forms the third fall, extending from the base of the second to the Nar, at 240 feet: making a total height of between 800 and 900 feet. It is perhaps worthy of remark, that no two English writers agree on this subject, and that some of them have estimated it below 300 feet, forgetful of the great difficulty of form- ing a correct judgment where there is no known standard of comparison, and where the surrounding scenery is in keeping with the grand scale of the fall itself. The Italian authorities, with few exceptions, estimate it about 1000 feet ; but perhaps the above calculation, which makes it from 800 to 900 feet, is the nearest approximation to the truth. The road by which travellers who have descended to the lower fall return to Terni is carried along the beautiful valley of the united rivers through groves of ilex. It passes through the grounds of the Villa Graziani, one of the residences of Queen Caroline when Princess of Wales. The scenery of this valley is exceedingly beautiful, and artists might fill their sketch-books with the varied and charming landscapes it presents. The mountain-sides are co- vered with timber, among which the ilex, the judas-tree, the chestnut, and the olive are conspicuous, while the lower slopes are rich in mulberry and orange plantations, and in vineyards. Travellers rejoin their carriages at Pa- pigno, to which place they must be sent back after conveying the party to the upper fall. [From Terni a very interesting road proceeds through Rieti and Aquila direct to Naples (Route 33).] Leaving Terni for Rome, an excellent road along the rich valley of Terni brings us to the foot of the hill on which Nanii is built. 1 Narni (Inn: La Campana, very good, with a respectable landlord. It is in every respect greatly to be pre- ferred to Civita Castellana). Narni is an ancient Umbrian city, beautifully situated on a lofty hill commanding the valley of the Nar, and an immense extent of fertile and varied country as far as the Apennines. Its old convent towers and castle give it an air of pic- turesque beauty from many parts of the neighbouring country, but internally it is badly built, and its streets are narrow and dirty. It is the Narnia or Nequi- num of the Romans, the birthplace of the emperor Nerva and of Pope John XVllI. It is the seat of a bishopric, and has a population of 3264 souls. The castle is now used as a prison for criminals. According to the last go- vernment returns they will hold 200 prisoners, but the number actually con- fined was only 80 : of these more than half were cases of theft. The great object of interest in Narni is the ruined Bridge, which has for ages been regarded as one of the noblest relics of imperial times. The master of the Campana has a light carriage, which may be hired to take travellers by the road, for eight pauls ; but those who are able to do so, should walk down the picturesque cliffs to the river. A rugged path leads from the town to the point where the Nar enters the deep and wooded ravine, through which it flows from the plains of Terni to its junction with the Tiber. At this spot the magnificent Bridge of Augustus^ which formerly joined the lofty hills above the river for the passage of the Flaminian Way, still spans the stream with its massive ruins. Nothing can be imagined grander in its general effect, or more striking in its details, than this imperial structure and the scenery by which it is surrounded. The bridge was originally of three arches, built of massive blocks of white marble, apparently without cement or cramps of any description. The foun- dations of the middle pier seem to have given way, and to have thus produced the fall of the two arches on the right M 242 ROUTE 27. FLORENCE TO ROME. — OtriCoH. [ScCt. I. bank of the river. The arch on the left bank is still entire : its height is up- wards of sixty feet, and the breadth of the piers is little less than thirty feet. These arches are described by the Ro- man writers as the highest known. Mar- tial alludes to the bridge in the follow- ing passage : " Sed jam parce mihi, nee abutere Narnia Qiiiiicto; Perpetuo liceat sic tibi ponte frui." Bp. 92. The poets gave the Nar at this place the epithet sul/urea: its waters are still turbid, and contain a small quantity of sulphuretted hydrogen gas, which may be traced in all the calcareous waters descending from the Apennines. The best point for commanding a fine view of the ruins is the modern bridge, which crosses the river a short distance above them. It presents many picturesque combinations for the sketch-book, par- ticularly where the convent of San Cas- ciano, which forms so beautiful an ob- ject in the distance, is seen through the arch on the left bank. The mass of ruin between the two northern piers, which at first sight would be taken for a pier, and is so represented in several drawings, is said to be a part of a ruined fortress erected on the bridge in the middle ages. An examination of the structure will show that it had no connexion with the Roman work. The Cathedral of Narni, dedicated to S. Giovenale, the first bishop of the see, A.D. 369, under St. Damasus I., is re- markable only as an example of the pointed architecture of the thirteenth century. The convent of the Zoccolanti contains one of the finest works of Lo Spagna, the celebrated pupil of Peru- gino. It represents a church ceremony, and is so remarkable both for colouring and composition, that it was long re- garded and described as a work of Raphael. Travellers by post from Rome to Florence will do well to make Narni their sleeping place for the first night. They might then reach Terni so early on the second day as to see the Falls with comfort, and sleep at Terni. On the third day they would reach Pe- rugia. Travellers by vetturino should , also recollect that Narni is much to be I preferred to Civita Castellana as the I resting-place for the second day, which may easily be managed by sleeping on the day of leaving Rome at the good iini of Le Sette Vene. [There is a good road from Narni to Perugia through Todi (Route 22). An additional horse is required between Narni and Otricoli, both ways.] The road from Narni to Civita Cas- tellana is extremely interesting : it emerges from that great gallery of the Apennines which it may be said to have entered at Spoleto, and approaches the broad plains of the Tiber. The highly cultivated country on the left, varied with gentle undulations and covered with oaks, forms in itself a scene of per- fect beauty ; and near Otricoli, Monte Soracte gives a new feature to the land- scape, and continues for several stages to be the most prominent object from the road. From its great height it ap- pears much nearer than it really is, and seems to follow the traveller, so exten- sive is the circuit which the road makes round it. Before reaching Otricoli a number of ancient tombs are seen on the right of the road, marking the line of the Flaminian Way. 1 Otricoli, a small village of 800 souls, retaining the name and site of the ancient city of Ocriculum, the first city of Umbria which voluntarily sub- mitted to Rome. An additional horse is required in returning from Otricoli to Narni. The road now descends ra- pidly to the plain of the Tiber, and skirts its left bank to Borghetto. Shortly before reaching the village we pass from the Delegation of Spoleto into that of Viterbo, and the road crosses the Tiber by a fine bridge, called the Ponte Fe- lice, built by Augustus and repaired by Sixtus V. ; it united Umbria with Etruria, which we again enter at this spot. The plain on the left hand is memorable for the gallant manner in which Macdonald, during the retreat of the French army from Italy, in De- cember 1798, cut his way through the Papal States,] r. 27. -Florence to ROME,-Civita Castellana. 243 Neapolitan army under Mack. The remnant of Macdonalrrs army, which had not then been joined by Cham- pionnet, did not number 8000 men, while that of his incapable opponent is admitted by Neapolitan authorities to have been three times as large. The skirmishing lasted seven days, when Macdonald, weary of acting on the de- fensive, completely routed the Italians, and crossed the Tiber. •| Borghetto, a post-station, with a few scattered houses and no sleeping accommodation. Its old dismantled fortress of the middle ages was more than once occupied during the contests just described. On ascending from the Tiber the traveller meets the volcanic formations of the Campagna. Above Borghetto, the geologist will be much interested in the line mass of lava, filled with leucite, which continues nearly to Civita Casteliana. [An additional horse is required from Borghetto to Otricoli, but not vice versa. An additional horse to Civita Casteliana, but not vice versa.] Nothing can exceed the beauty of the approach to Civita Casteliana ; and no writer who has described this route fails to dwell with enthusiasm on its singularly picturesque position. f Civita Casteliana. (Inn: La Posta, had, with an impertinent landlord. Though this is the principal inn, tra- vellers will do well to avoid it, if pos- sible. Those who travel by vetturino should stop at Narni, or proceed to Nepi. In the event of any dispute with the postmaster about horses, travellers by post should immediately call on the local director, the Conte Rossi, whose courteous attention to all ap- peals is entitled to great praise. § 6.) The road, immediately before it en- ters the gate of the city, is carried over the ravine at a height of 120 feet above the bottom by the magnificent bridge built by Cardinal Imperiali in 1712, and justly regarded as one of the finest works of papal times. Ci- vita Casteliana is a fortified episco- pal town of 2818 inhabitants; the high road runs through its principal street, but there is little in the town itself to detain the traveller. The Ca- thedral, a pointed building of the thir- teenth century, bears the date mccx. Its Lombard doorway rests on lions, and is covered with ancient mosaics. On the front of the portico, before the doorway, are the remains of a mosaic frieze, with an inscription now illegible. On the walls of the church are some curious sepulchral tablets with effigies, dating from the fifteenth century. The interior has been modernized, and is not remarkable. The bodies of S. Gra- cilian and Sta. Felicissima, who suf- fered martyrdom in this town in the third century, are still preserved here and regarded with great veneration. The Citadel, now used as a state prison, occupies the isthmus of land by which the town is connected with the higher ground ; it was begun by Pope Alex- ander VI., from the designs of San- gallo, in 1500, and completed by Julius II. and Leo X. It is a circular tower, with triangular outworks; but is wholly inadequate to defend this im- portant position, which ought, in the opinion of engineers, to be the strongest in Southern Italy. The prisons, ac- cording to the government returns, will hold 130 political and fifteen criminal offenders ; at present there are seldom more than 100 actually confined there. The ravines, which almost insulate the town, and the fine scenes commanded by the higher ground, extending over the Campagna, and embracing the plains of the Tiber and Soracte, will afford occupation for many successive days to travellers who carry sketch- books. In the bottom of these ravines flow the streams called the Rio Vicano and the Rio Maggiore, which unite below the town, and fall into the Tiber under the name of the Treia. Civita Casteliana occupies the site of one of the two cities of Falerii or Fa- lerium, the capital of the ancient Falisci, and one of the cities of the Etruscan league. Considerable difficulty for- merly existed in regard to the actual position of this city, in consequence of some apparent contradictions in the ac- M 2 244 R. 27. — FLORENCE TO ROME . — S. Maria di Fallen, [Sect. I. counts of the Roman writers, and also from the circumstance that many of the early topographers were unac- quainted with the exact localities. It is now known, however, that the Latin accounts of two cities bearing the same name is perfectly correct ; the first, or Falerium^ founded by the Pelasgi, oc- cupied the site of Civita Castellana, and the second, or Falerii, was built in the plain about four miles distant, after the destruction of the old city by the Romans about the year of Rome 512. Sir William Gell supposed thatC. Cas- tellana marked the site of Fescennium, which is more correctly placed at Galese, a few miles distant. The remains of the first of the Etrus- can cities, to which we adverted above, will be found in the ravine below Civita Castellana, close to the Ponte del Terreno. During the descent some portions of the ancient wall are met with, constructed of masses of stone four feet long and two in depths and in one part eighteen courses high. After passing the fine ruin of its ancient gateway, we come to the rock above the Ponte del Terreno, which is filled with sepulchral chambers in the Et- ruscan style. Numerous other cham- bers and excavations of the same kind occur in various parts of the ravine above the Rio Maggiore. The ancient road to the second city of Falerii passed by this bridge. The second Etruscan city of Falerii is found at the distance of four miles from Civita Castellana, at a spot called Sta. Maria di Falkri. Its walls are nearly perfect, and it is perhaps not too much to say that they present the most ex traor dinar specimen of an- cient military architecture now extant. Travellers may go there in a light car- riage, or still better on horseback ; there is no difficulty in obtaining a proper conveyance from the inn. Those who are not pressed for time will pro- bably prefer making it a pedestrian excursion. To the classical tourist it is a ruin full of historical associa- tions, among which the celebrated story of Camillus and the schoolmaster will not be forgotten. It derives its name of Sta. Maria from an old convent within its walls, built of the ruins of the ancient city. On leaving C. Castellana, the road for about half a mile follows that to Borghetto ; it then turns off to the left through a prettily wooded country. For some distance it is bad ; as it approaches the ruins it falls in with portions of the ancient road. The plan of the city is nearly a triangle, of which the west and south- east angles are abruptly cut off. The walls are built of tufa, and are nearly complete ; they are defended by qua- drilateral towers placed at unequal dis- tances, and remarkably solid in their construction. Approaching the city from C. Castellana, we come first upon the eastern side, where a Roman tomb on a square foundation is a conspicu- ous object; one of the principal gate- ways of the city is close to this spot, and further on, in the truncated N.E. angle, is another gateway arched with a tower on its left. This eastern line of wall has nineteen towers more or less perfect. The north line also has nine- teen towers nearly perfect ; in the middle of the line is a small gate, arched with small stones, and still very complete. At this spot are traces of the ancient pavement, and several Roman tombs, one of which is pyramidal. At the north-west apex of the triangle is a fine massive gateway twenty-four feet high, with an arch formed of nineteen blocks, flanked by towers, and called the Porta di Giove from a head of Jupiter on the keystone. This is the most perfect of all the gates. The walls here are com- posed of fifteen courses, and are about thirty-two feet high. The south side was defended by the deep glen through which the little torrent Miccino runs in its course towards the Rio Maggiore. Its walls and towers have suffered more than the other sides of the city, but the three gates are still traceable. One of these near the south-east angle is called the Porta del Rove from the BulPs head on the keystone : the height of the walls here is nearly fifty feet, and some of the stones are six feet long and two Papal States.] route 27. — Florence to rome. — Nepi. 245 feet liigh. The Necropolis is supposed to have been in this dell. Within the walls, the principal remains are those of the theatre, near the Porta del Bove, Etrnscan in its foundations, but evi- dently Roman in its superstructure and decorations. A fine statue of the Ar- give .Funo, and several Roman statues and fragments of sculpture have been found among its ruins ; but there is no doubt that there is still much to be brought to light by judicious excava- tions. There are also the remains of the Piscina, and of what is supposed to be the Forum. Just inside the Porta di Giove is the Ahbadia di Sta. Maria, an interesting example of Lombard architecture of the twelfth century ; its three naves are divided by co- lumns evidently taken from the ancient ruins. Over the door is an ancient ca- pital, and these inscriptions: Lau- rentius cum Jacopo tilio suo fecit hoc opus:" Hoc opus Q. Intavall. fieri fecit.*' The roof of this church fell in in 1829, and it is now deserted and in ruins. Another excursion from Civita Cas- tellana is to Mons Soracte, or Sant' Oreste, as it is now called. It is about ten miles distant, and is interesting both for classical recollections, and for the beautiful scenery which it commands. " Vides ut alta stet nive candidum Soracte." Hor., Od. i. 9, •* The lone Soracte's heights display'd, Not now iu snow, uhioh asks the lyric Roman's aid For our remembrance, and from out the plain Heaves like a long swept wave about to break, And on the curl hangs pausing." (Jhilde Harold, iv. The road is perfectly practicable for carriages to the foot of the mountain, but the ascent to the town of St. Oreste is extremely steep and dangerous in parts. St Oreste has about 1000 in- habitants, but no inn ; travellers, how- ever, are received in a house outside the gates by a wealthy family who seem to take pleasure in showing attention to strangers. The summit of the moun- tain, far above the town, is said lo be upwards of 2000 feet above the level of the sea ; it is occupied by the famous convent of S. Silvestro, founded in the eighth century by Carloman, son of Charles Martel, on the site of a church built by St. Silvester, previous to his accession to the popedom, on the conver- sion of Constantine the Great. The original site was probably occupied by the temple of Apollo alluded to by Virgil. The garden of St. Silvester is still shown by the monks, and the place is much frequented by pilgrims. The view from the summit is singularly im- posing : on the south it embraces the Campagna as far asAlbano; on the west, the lake of Bracciano ; while to- wards the north and east its prospect is bounded by the hills stretching far away in the distance from Civita Cas- tellana towards the country already described. On the eastern side of Soracte, near the church of Sta. Ro- mana, are an ancient grotto and a number of deep fissures, described by Pliny, from which violent gusts of wind still issue. Not far from it is the Acqua forte, a powerful stream, sup- posed also to be alluded to by the Roman writers. A great part of the mountain is beautifully wooded, and numerous line landscapes will afford agreeable occupation to the artist. In a geolo- gical point of view Soracte is likewise interesting : it consists of a mass of limestone, projecting from under the tufa of the Campagna. From Civita Gastellana to Rome, the old and direct road follows the Fla- minian Way, skirting the base of Mons Soracte, and proceeding through Capan- nacce,Rignano, Borghettacio,and Prima Porta; but it has fallen into disuse since Pius VI. constructed the high post-road through Nepi, in order to unite this with the road from Florence, Siena, and V iter bo to Rome. The road to Nepi descends into the plain formerly celebrated for the an- cient Ciminian forest, and proceeds through groves of oaks to Nepi, passing its magnificent aqueduct of two tiers of 246 ROUTE 27. FLORENCE TO ROME. — Baccano. [Sect. I. arches, built by Pope Paul III., shortly before entering the walls. 1 Nepi (^Jfin, La Posta% the an- cient Nepete or Nepe, its name having undergone scarcely any change. Nepi is an episcopal town of 179 J inhabit- ants. It is remarkable chiefly from its picturesque position on the edge of a deep glen ; it is surrounded by forti- fications of the middle ages, and on the Roman side particularly the towers and battlements produce a very fine effect. Some of these fortifications rest on the ruins of the Etruscan walls, which may easily be traced near the southern gate. The oldest fortifications bear the arms of Calixtus III., who died in 1458, and the more recent were built by Sangallo, for Paul III., in the sixteenth century. The French set fire to the town in 1799, and nearly de- stroyed it ; there is little now to detain the traveller, excepting its ancient church, and the town-hall with its fine front ornamented with statues and an- tique inscriptions. This little town appears to have been the seat of a duchy for a short time during the middle ages; and in the thirteenth century it was besieged and finally taken by the emperor Frederick II. Its bishopric is one of the oldest in Italy, having been founded in the time of St. Peter : its first bishop was St. Romano, a.d. 46. The road now loses its picturesque character, and enters on a bare volcanic country, which lasts during the remain- der of the journey. The Siena road joins this route shortly before reaching Monterosi, where we enter on the Via Cassia. 1 Monterosi (Li?i, the Post, very mi- serable, but preferred by some to Bac- cano, the next station, on account of being on higher ground and more free from malaria). At Monterosi we leave the Delegation of V iter bo, and enter upon the Comarca of Rome. Between this and Baccano, and about midway between the two, is a large and good inn, called Le Sette Fene, certainly the best between Civita Castellana and Rome, which the vet- turuii very properly prefer to either Monterosi or Baccano, but unfortu- nately it is not a post-station. Close to this inn of the Sette Vene may still be seen an arch of the ancient bridge over the Triglia, by which the Via Amerina, a branch of the Flaminian Way, was carried direct from Todi through Sta. Maria di Falleri and Nepi into the Via Cassia at Baccano, A few miles beyond Sette Vene the road crosses the lip of the crater in which Baccano is situated. From this high ground the outline of the crater is still strongly marked. On the hill above the inn are some ruins, supposed to be the remains of a temple of Bacchus, and denoting the site of the Statio ad Baccanas, on the Cassian Way. 1 Baccano {Inn^ the Post, by no means the worst inn on this road, al- though the situation is objectionable on account of malaria). It is situated in a hollow under the north-east slopes of the crater, in the centre of which is the sulphurous pool whose impure waters render the atmosphere unwholesome. Beyond the south-western ridge of the crater are two small lakes, one of which is the Lacus Alsietiiius, now called the Lago di Martignano, lying between the crater and the east side of the lake of Bracciano. Traces of the ancient emis- saries made on this side to drain the lake formerly existing in this crater, may be seen from the road after leaving the inn at Baccano. Between Baccano and La Storta the traveller enjoys from some high ground the first view of St. Peter's. " Oh Rome ! my country ! city of the soul ! The orphans of the heart must turn to thee, Lone motlier of dead empires ! and coutrt)! In their shut breasts their petty misery. What are our woes and sufferance "i Come and see The cypress, hear the owl, and plod your way O'er steps of broken thrones and temples ! ye. Whose agonies are evils of a day — A world is at our feet as fragile as our clay. Tlie Niobe of nations 1 there she stands. Childless and crownless, in her voiceless woe ; An empty urn within her wither'd hands. Whose holy dust was scatter'd long ago ; Papal States. 1 r. 27. — Florence to rome. — Ponte Molle. 247 The Scipios' tomb contains no ashes now ; The very sepulchres lie tenantless Of their' heroic dwellers : dost thou flow, Old Tiber through a marble wilderness ? Rise, with thy yellow waves, and manvle her distress." Childe Harold, iv. At the Osteria del Fosso the road crosses one of the branches of the Cre- mera, and between that spot and La Storta skirts the base of the lofty hills on which tlie celebrated Etruscan city of P^eii, the great rival of Rome, was situated. The intervening hills allow but an occasional glimpse of these in- teresting ruins, a description of which will be found under Excursions from Rome. 1 La Storta, the last post to Rome. As we draw nearer the Eternal City, the road winds over the gentle eleva- tions which mark the desolate Cam- pagna, but there are no villages or country-seats to denote the approach to a great capital ; some old brick towers of the middle ages, and a few ruined farm-houses, are the only objects v/hich break the monotony of the scene. If the present aspect of the Campagna should excite a contrast with the event- ful drama once enacted on its surface, there is perhaps no description which will more completely embody the feel- ings of the classical tourist than that of Milton in the fourth book of Paradise Regained, which Mr. Beckford seems to have paraphrased in the well-known description of his entrance into Rome. About the seventh milestone a turn in the road brings the towers and cupolas of Rome more prominently into view ; but with the exception of St. Peter's and the Castle of St. Angelo, there are no objects of striking interest in the prospect. The Coliseum, the Aque- ducts, the Capitol, and the numerous antiquities whose names suggest them- selves almost involuntarily at the first sight of Rome, all lie on the other side; and the stranger will perhaps be disap- pointed to find that there is no point in this route which commands a view over the whole city. As we advance the appearance of the country becomes more pleasing, and the vegetation is less scanty. Monte Mario, with its wooded platform co- vered with stone-pines and cypresses, bounds the prospect on the right; the hills of Frascati and Albano stretch far away in the distance on the left; while in front the plain of the Tiber is spread out before us. About three miles from Rome is a sarcophagus on a ruined base, rising above the road on the right hand ; it is erroneously called the Tomb of Nero, although an inscription yet legible shows that it was the tomb of Publius Vibius Marianus and his wife Reginia Maxima ; a circumstance which may serve to prepare the traveller for the antiquarian misnomers of Rome itself. At length the road reaches the Tiber, which it crosses by the Ponte Molle, a modern bridge built on the foundations of the Pons Milvius, constructed by M. ^milius Scaurus. The ancient bridge is memorable in the history of Rome for Cicero's arrest of the ambas- sadors of the Allobroges, the accom- plices of Catiline, and for the celebrated battle fought near it between Constan- tine and Maxentius, a religious victory which the genius of Raphael has in- vested with additional interest by his design for the well-known fresco in the Vatican. The Pons Milvius was the scene of Constantine's Vision, and from its parapet the body of Maxentius was precipitated into the Tiber. The pre- sent structure was almost entirely re- built by Pius VI L in 1815, when the old tower was cut into the form of a triumphal arch, and the statues of St. John baptizing the Saviour, by Mochi, were erected on the northern extre- mity, and those of the Virgin and of St. John of Nepomuc on the southern extremity of the bridge. The river at this point is about 400 feet in breadth, but its banks are bare and destitute of timber, and its colour fully justifies the epithet flavus given to it by the Latin poets. The Cassian Way is joined by the Flaminian, on the north bank of the Tiber, which here separated Etruria from Latium. Beyond the bridge, on a low hill, is the little chapel erected by Pius II. on the spot where he met the procession which ac- 248 ROUTE 27. — ROME. luUS. [Sect. I. companied the head of St. Andrew on its arrival from the Peh)ponnese. A straight road now leads between the high walls of villas and gardens which exclude all view of the city to the Porta del Popolo, passing on the left hand the church of St. Andrew, built by .Julius HI. from the elegant designs of Yignola, as a memorial of his deliver- ance on St, Andrew's day, 1527, from the German soldiery during the sack of Rome : the head of the apostle was long preserved here. Farther on, we pass the Casino del Papa Giulio, also designed by Vignola for the same pope, and finished by St. Carlo Bor- romeo; and the noble Palazzo Giulio, now the Casino della Reverenda Ca- mera, another fine building designed by Yignola, and painted in fresco by Taddeo Zuccari. It long served as the temporary residence of sovereigns and ambassadors previous to their public entry into Rome. Farther on, we pass on the left hand the gate of the Villa Borghese, and nearly opposite to it the building appropriated as the English chapel. Rome. [From Rome to LaStorta this post is reckoned as 1 J. Passports are demanded at the gate, and unless a lascia passarehe previously lodged with the officer by the banker or correspond- ent of the traveller, the carriage must proceed to the Dogana, — a vexatious arrangement, from which a fee of ten pauls sometimes fails to procure an exemption. This lascia passare is not granted to persons travelling by public carriages. A fee is necessary at the passport-office to prevent delay at the gate ; from three to five pauls is ex- pected from those who travel by vettu- rino, and from five to ten from those who travel post. In the event of the luggage being taken to the custom- house, a timely fee to the searcher will not only facilitate matters, but will generally make the examination a mere matter of form.] Rome is entered by the Porta del Popolo, the modern substitute for the Porta Flaminia, which stood a little to the east. It was built by Vignola, from the designs of Michael Angelo, in 1561, during the pontificate of Pius IV. It has four columns of the Doric order, with statues of St. Peter and St. Paul, by Mochi, in the intercolum- niations. The inner front was orna- mented by Alexander VII., from the designs of Bernini, in honour of the visit of Christina, queen of Sweden, in 1657. Although this entrance fails to excite that classical enthusiasm which no traveller can repress when Rome is entereil by the road from Naples, it is still imposing, in spite of the bad taste of many of its architectural details. The gate opens upon the spacious Piazza del Popolo, an irregular area at the foot of Monte Pincio, which bounds it on the left. In its centre rises the fine obelisk of Rhamses I., one of the two erected by that great king in front of the Temple of the Sun at Heliopolis, the On of Scripture, whose site is now only marked by the single obelisk of which this was the fellow. In front, the twin churches of Sta. Maria in Monte Santo, and Sta. Maria de' Miracoli, built by Car- dinal Gastaldi, legate of Bologna, in the middle of the seventeenth cen- tury, divide the three streets which diverge from this northern entrance into the very heart of the city. The middle street, called the Cor so, from the horse-races held in it during the Carnival, follows the Via Flaminia in a direct line to the Capitol. The street on the right, called the P^ia Ripetta, runs parallel to the left bank of the Tiber, to the quay called the Porto di Ripetta : the street on the left, called the P^ia Babuino, leads to the Piazza di Spagna, and from thence direct to the Quirinal. Ifins, all situated at this extremity of the city, within the triangular space lying between the Porta del Popolo, the Piazza di Spagna, the Via Condotti, and the Corso : the Europa ; H de Lon- dres (Czerni), both in the Piazza di Spagna, the healthiest situation in Rome ; H. des lies Britanniques, in the Piazza del Popolo, immediately under the Pincian; H. de Russie, La Gran Papal States,] route 27. — rome. — Lodgings, Trattorie 249 Bretagna, and the H. de Paris, in the Via Bahuiuo; H. Spillmann, with a table d'hote during the season, in the Via della Croce ; H. d'Allemagne, in the Via Condotti. These iuus stand as nearly as possible in their order of merit; the four or five first are perhaps nearly equal, and indeed their manage- ment and comforts leave little to be desired by the most fastidious traveller. The two last mentioned are much fre- quented as bachelor's quarters ; both have a table d'hote, with very obliging landlords : the H. d'Allemagne, kept by Franz, has been in his family for four generations. The prices in the hotels are much less in summer than in winter : a bed-room on the average costs from two to five pauls a day ; a suite of apartments for five or six persons, from fifteen to twenty pauls a day ; larger rooms, thirty pauls; and so on, in pro- portion to the accommodation and situation of the rooms. At the Europa, where everything is excellent, breakfast is charged five pauls ; dinner, ten ; tea, five ; and for the servants who dine at the courier's table d 'hote, five pauls each per day. Firing and candles are dear at ihe inns, as well as foreign wines of every description except Marsala. The charge at the table d'hote at Spillmann's and at Franz's is six pauls. Lodgings in private houses, much resembling the chambers of the inns of court in London, may be had in all parts of Rome. The best situations are the Piazza di Spagna, the Via Babuino, the Corso, and the streets lying between them. The Strada Gregoriana and the Via Sistina, at the Tiinita de' Monti, and several streets near the Fontatia Trevi, have also good lodging-houses. Strangers should avoid situations imme- diately under the hills, particularly where the house has been built close to the tufa rock, so that the bed-room windows cannot have a free circulation of air. All houses with confined damp courts or standing water, however agree- able they may be rendered to the eye by trees and gardens, are especially objectionable, particularly in summer. Sir James Clark considers that " the streets that run in an east and west direction are to be preferred to those running north and south, as they are less exposed to currents of cold air during the prevalence of north winds, and the houses have a better exposure. Both the sitting and bed -rooms of deli- cate invalids siiould, if possible, have a southern aspect. Nervous persons should live in the more open and elevated situ- ations." The price for a furnished sitting-room and bed-room in summer in a good situation is from six to eight scudi a month, and from ten to twelve in winter. Suites of apartments for families may be reckoned in propor- tion, but they depend greatly on the demand, the season, and the situation. A good sitting-room, with three bed- rooms and a kitchen, in the fashionable quarter, costs on the average from thirty to thirty- five scudi. In the streets which lie beyond the ordinary beat of English visitors, as in the Strada Giulia, the same accommodation may be ob- tained for less than half this sum. No general rule, however, can be laid down to which some traveller cannot adduce an exception. In the Corso, it is advisable to stipulate for the exclu- sive possession of the windows during the Carnival, or the lodger may be sur- prised to find his apartments converted into show-rooms during the festivities, besides being obliged to pay for a place at his own window. In the court of every house there is usually a well, from which the different sets of lodgers sup- ply themselves with water by means of buckets traversing a fixed rope, so as to avoid the necessity of descending from the upper floors. The arrangement of this simple machinery is often one of the first objects which arrest the attention of the stranger on iiis arrival in Rome. Wood, as we have already remarked, is dear : a cart-load, including porterage, seldom costs less than four scudi. A single person generally pays one to two scudi a month for attendance. Trattorie. — In private lodgings visit- ors are supplied with their dinner from the trattoria at a certain rate per head, varying from 5 to 10 pauls. The din- M 3 250 ROUTE 27. — ROME. — Cafks, Post-Office, 8^c, [Sect. I. Tiers are sent in baskets lined with tin and heated by a brazier of charcoal, and are generally very good. Many persons, particularly bachelors, prefer dining at the trattoria ; but although there are many of these establishments, they are far inferior to those of other Italian capitals; and a good restaura- teur is still one of the desiderata of Rome. The following are the best: Scalinata, in the Piazza di Spagna, price of a dinner with wine 3 to 4 pauls ; nearly all the most eminent English artists dine and sup here daily, after which they adjourn either to the Cafe Nazari or the Cafe Greco; Lepri, in the Via Condotti; Polidoro, in the Corso, near the P. Colonna ; Falcone, near the Pantheon, celebrated for the national dishes of trippa and testicciuola (lamb's brains fried) ; Armellino, in the Piazza Sciarra. Cafis. — Nazari, in the Piazza di Spagna, by far the best in Rome, fa- mous for its chocolate and poncio spon- gato, with an excellent confectioner's shop adjoining ; C. Novo, in the Palazzo Ruspoli, in the Corso, with a garden and several billiard-tables, a good and handsome establishment much fre- quented by the Roman nobility ; Greco, in the Yia Condotti, the celebrated rendezvous of artists of all nations, in which smoking is allowed; the Germans have a room there which is called their own ; all the artists in Rome, almost without exception, may be found there at breakfast at seven in the morning attended by their favourite waiter Pie- tro. Veneziano, in the Piazza Sciarra ; C. de' Babbioni, on Monte Citorio, fre- quented by a club of philosophers and professors, under the direction of a pre- sident; the Cafe of the Fontana Tievi, the resort of the antiquaries. Break- fast at a cafe costs from 1 to 2 pauls including waiters, a single cup of coffee 2 bajocchi. In all the cafes strangers must call for botteca (the shop), and not for the waiter, if they wish to be served. Reading -Rooms. — Monaldini, in the Piazza di Spagna, supplied with the London daily newspapers, Galignani, a small English library, and a good collection of guide-baoks, maps, &c., of Rome and its vicinity. An ad- dress-book is kept here, in which strangers should enter their names and address on arriving in Rome. The charge for the reading-room is 1 scudo a month. The price of the white vel- lum binding for which Rome is so famous is 3 pauls for a 12mo., and for others in proportion. The reading- room in the Piazza Colonna has the Italian and French papers, Galignani, and the Allgemeine Zeitung ; charge, 5 baj. a sitting, or 5 pauls a month. Hackney Carriages (^Fetture^^ open caleches with a hood, are met with in diffei ent parts of the city ; the principal stands are the Piazza di Spagna, Monte Citorio, the Corsoy near the Yia Con- dotti, and the Piazza of St. Peter's about the time of service. Fares, for half an hour 2 or 3 pauls ; with four persons, 4 pauls ; when taken by the hour, 4 pauls for the first hour; 3 for the second; 10 pauls for a course of four hours, and by the day 3 scudi. Some of the masters of hotels let car- riages at the rate of 25 pauls a day within tlie walls; this is not only cheaper than the hire of hackney car- riages, but more desirable on account of the superior character of the vehicle and horses. A good private carriage by the month, including the coachman, costs from 60 to 100 scudi according to the demand. Ciceroni^ or Valets-de-place, one of the necessary evils of Rome. Travellers must be cautious in receiving the dicta of these personages as authority in mat- ters of antiquity, for each has his own theory. Unfortunately few of them are beyond suspicion ; they notoriously exact commissions from the trades- men, and should therefore never be allowed to accompany strangers to the shops. The charge of a good cicerone is from 5 to 10 pauls a day. Post- Office. — The foreign mails ar- rive three times a week, on Mondays, Thursdays, and Saturdays. Letters are delivered between 10 and 2 p.m. Fo- reign letters are despatched on Tuesday, Thursday, and Saturday. On Tues- Papal States.] route 27. — rome. — Miscellaneous Notices. 251 day and Thursday letters must be posted before 2 p.m., and on Saturday before 10 p.3I. The postage of a single letter to any place beyond the frontier is \ paul ; but further than this it is not possible to prepay. On Tuesday morning a mail arrives from the towns between Florence and Rome on the Perugia road. Letters from England not directed to the care of a banker a^ Rome should be plainly and legibly directed according to the foreign usage. The English mode is not understood, and instances have occurred in which the Esq. has led to mistakes which are more amusing than convenient. Roman Time. — It is necessary to apprise the stranger in Rome that the computation of time ditl'ers entirely from the ordinary sys<^em of Europe. With less science than their ancestors, the modern Rom.ans divide the day and night into twenty-four hours, of equal length, in all seasons of the year. The clocks are regulated by the setting of the sun, the twenty-fourth hour being fixed at Ave Maria, or half ?n horn- after sunset. One o'clock is therefore an hour and a half after sunset. The result of this system is obvious ; the nominal hours of mid-day and mid- night are constantly changing with the season; in December, mid-day is 19, and in June it is 16. It would have been much more simple and convenient to have reckoned from some tixed point, as at noon; for from the perpetual ne- cessity for calculating the existing sys- tem, few strangers think it worth while to trouble themselves about it. The great objection, however, is the uselessness of the Roman clocks to those who do not understand the mode of computation. English Chapel. — The first place in which the Church of England service was publicly performed in Rome was the Palazzo Corea, close to the Mauso- leum of Augustus. For some years past it has been performed in a large house outside the Porta del Popolo. Divine service is celebrated twice every Sunday. The resident clergyman is the Rev. J. Hutchinson, in the Piazza di Spagna. Phjsicians. — Dr. Kissock, 78, Via della Croce, resident as an English physician in Rome for many years; Dr. Lee, Via Babuino; Dr. Evanson; Dr. Lloyd; Dr. Badham ; Dr. Deakin, The latter gentleman goes to the Baths of Lucca during the summer months. The he^t Apothecary atid Druggist is Sig- nor Borioni, 98, Via Babuino. All his medicines are as good as they are at Apothecaries' Hall ; and he procures the most important direct from England. Bankers. — Messrs. Torlonia and Co. ; Messrs. Freeborn and Co., in the Via Condotti. The principal of the latter house is the British Consul. Italian Masters. — Signor Armellini, 74, Via della Croce (ten pauls a lesson). Signor Lucentini (five pauls a lesson), at the Hanoverian minister's. French Master. — M. Ardisson (five pauls a les- son), at the French ambassador's. Music Master. — SignorGaggi, Piazza di Spag- na (ten pauls a lesson). All the above are first-rate masters, and gentlemen of high character in private life. Engravers on Shells. (^Conchiglie.) — Giovanni Dies, Via della Croce. Sao- lini, in the same street. Pietra Dura, — Girometti, Palazzo Trulli, Via delle Quattro Fontane. Mosaics. — Cav. Bar- beri, 148, Strada Rasella, the first artist in mosaic in Italy. Mosaic Landscapes. — Verdejo. Gems, Etruscan Intagli, Pastas^ and Sulphur Casts. — Thomas Cades, 456, in the Corso, the most complete and systematic collection in Rome. Bartolommeo Paoletti, Piazza di Spagna. Bronzes. — The Prussian! (Hofgarten), Via Magnanelli. Caputi, Via di Ripetta. Antiquities. — A^esco- vali, Piazza di Spagna. Capranesi, in the Corso. Jeweller. — Castellani, in the Corso, a good mounter of cameos. Sea* gliola. — Stefano Angelini. M'^orks of art are sent to England with the greatest facility and dispatch by means of the excellent arrangements of the Messrs. M^Cracken, the agents of the Royal Academy. Their correspond- ents in Rome are Signor Carlo Trebbi ; Messrs. Freeborn and Co., the bankers; Signor Luigi Oranchini, at the English College ; and Signor del Bosco, at Tor- Ionia's. 252 ROUTE 27. — ROME. — Miscellaneous Notices, [Sect. I. Engravings^ — The great collec- tion is that of the government, the Cal- cografia Camerale, now occupying their new rooms near the Fontana Trevi. Catalogues are hung up for examina- tion, with the prices of each print marked. All the beautiful engravings from the great masters, executed at the expense of the papal government, may be purchased here. The best and most recent book of Views in Rome is the ex- cellent series of etchings published by Deodato Minelli, 19, Via della Croce. Small oil paintings, coloured on the etchings of the ruins and public edi- fices of Rome, are prettily executed by Signor Ignazio Pfyffer, 74, Via della Croce. They do not pretend to com- pete with the original works of the land- scape painters, but are very interesting as reminiscences or as presents. English Warehouse^ for tea, foreign wines, porter, &c. — Lowe, in the Piazza di Spagna. Tobacco Shops. — There are fewer of these establishments in Rome than in any other Italian capital. To> bacco is a monopoly of the govern- ment, and the manufacture is sus- ceptible of great improvement. The principal warehouse for foreign snuffs and cigars is the Convertiti, in the Corso. There is also a Spaccio d' Ec- cezione. in the Via Condotti. English Livery Stables. — Brown, a respectable master of horses, near the Propaganda. Horses may be hired here by the month or the season. Good vetlurino carriages may be obtained of Luigi Pernini e figli, at theStelletta, 19, in theCampo Marzo. Sporting. — The sportman's license in Rome costs oidy three pauls, and by an ordonnance of Leo XI L the gates are open at all hours to every one who answers to the challenge, Cacciatori. The great sporting of Rome is the boar- hunt, in the forests of Cisterna and Nettuno. A party for this purpose is organised once a season by Signor Val- lati, an accomplished artist, who has acquired great fame as a painter of wild boars, which he represents to the life. The interest of the expedition is, of course, much increased by his long experience and local knowledge. The shooting season begins in October, with snipes, quails, and larks. As winter advances the birds of passage become abundant, and woodcocks, partridges, &c. afford constant sport. The wild- fowl shooting of the Ponte Lucano has been made the subject of a painting by Horace Vernet. One of the rarities of the sporting season is the porcupine, which is captured on the Campagna, and constitutes the greatest delicacy of the Roman table. Theatres. — The Valle, between the Pantheon and the Piazza Navona, for operas and plays. The Argentina, in the Via della Rotonda, for operas. Both of these are open from Christmas to I^ent. The Apollone, or Tordinona, in the Via Tordinona, for grand operas. The J liber ti, behind the Via Babuino, for masquerades during Carnival. The Burattini, the popular fantoccini of Rome. The price of admission is the same at all the great theatres, viz. three pauls : a box costs from fil'teen to twenty pauls a night. During the season it is very difficult to obtain a box at the three great theatres, the Valle, Argen- tina, and ApoUone. The best plan is to secure, if possible, a part of a box for the winter, and even this cannot always be accomplished. The doors are open two hours after Ave Maria. Public Festivals. — The Carnival be- gins properly after Christmas Day, and continues until the beginning of Lent ; the masking takes place only during the last eight days, exclusive of the Sundays and Fridays. At 2 p.m. the maskers assemble in the Corso, where the pelting with comfits manufactured for the purpose {conjitti di gesso) is car- ried on until Ave Maria. The amuse- ments of each afternoon end with a horse-race. The horses have no riders, but are urged on by balls and plates of metal, covered with sharp spikes, sus- pended from their backs. The prizes are furnished by the Jews, who were for- merly compelled to race on foot, for the amusement of the people : they consist generally of pieces of rich velvet. The horses are stopped at the end of the Corso by a piece of canvas suspended Papal States.l route 27. — rome. — Government Statistics. 253 across the street at the Ripresa de' Bar- beri, which derives its name from the Barbary horses that formerly contended for the prizes. The three last days of the Carnival are the most exciting, and the whole city seems to be congregated in the Corso. The diversions end with the Moccoli, when the maskers appear with lighted tapers, and endeavour to blow out the lights of others while they keep in their own. The October Fes tival. — On Sundays and Thursdays in October, the people assemble on Monte Testaccio and in the Borghese Gardens, where they divert themselves with dancing and games. This is the great holiday of Rome, and nowhere are the people seen to so much advantage. As a study of costume this festival is quite unrivalled. The Ai^tists' Festival, ma- naged chiefly by the Germans, is one I the siglits to which few but the ini tiated can obtain access. The artists of all nations resident in Rome may be said to form one fraternity, and it is an honourable circumstance that men speaking so many different languages meet at Rome upon common ground, as if there were no distinction of coun- try among those whom Art has asso- ciated in her pursuit. At the jubilee of the celebrated German painter Rein- hart, in December 1S39, no less than 300 artists of all nations assembled to do him honour. The Church Festivals are described in the accounts of the several churches arid basilicas. Government, Statistics, &c. The cardinals, who rank as princes, and elect the pope out of their own body, constitute the Sacred College, all vacancies in which are filled up by the reigning pontiff. Their number is seventy, but the college is seldom full. The government is administered by a cardinal secretary of state as chief mi- nister, and by the following boards or congregazioni the Camera Aposto- lica, or financial department, presided over by the Cardinal Camerlengo ; the Cancel leria, presided over by the Car- dinal Cancelliere ; and the Dataria, an ecclesiastical department under the Car- dinal Pro-datario. To these may be added another ecclesiastical chamber, called the Penitenzieria, or secret In- quisition, over which a cardinal pre- sides. The police of the city is under the direction of the Governor, who is al- ways a prelate or monsignore. Since the highest offices of the state have been thrown open to laymen, he has frequently been promoted to a seat in the Sacred College. The municipal council, established in the sixteenth century, has disappeared ; and the jurisdiction of the Senator and his three judges, called the Conservatori, is now confined to the inferior civil and police court, called tlie Tribunale del Campi- doglio, over which they preside in con- junction with the Priore de' Caporioni. Their duties are little more than nomi- nal, as, with the exception of the horse- races, the markets, and public proces- sions, which are under the superintend- ence of the Senator, the administration of the city rests entirely with the Governor. The titles, however, confer some privileges of precedency, and the Senator and Conservatori are always chosen from the leading nobility. Until the middle of the last century, the Se- liator, like the Tuscan Podest^s, was a foreigner; in 1765 an apostate Swede filled that honourable post. The police of Rome is military, being maintained by a body of carabineers under the direction of the Governor. The province of Rome, called the Comarca, comprehends an area of 260 square leagues, a larger extent of sur- face than that included in any other province of the states. The population of Rome and its Comarca, by the Rac- colta of 1 833, was 283,456. The popu- lation of the city itself, by the returns of 1829, amounted to 144,541, of which 4899 were ecclesiastics, viz, 35 bishops, 1490 priests, 1984 monks, and 1390 nuns. In 1833, the official Raccolta showed that the population had slightly decreased, the returns for that year giving 149,920. In 1836 it had in- creased to 153,678 ; the ecclesiastics were 5004 ; of which 37 were bishops, 254 ROUTE 27. ROME. — General Topography, [Sect. I. 1468 priests, 2023 monks, and 1476 nuns. In 1838, the population had again decreased to 148,903, of which 78,686 were males, and 70,217 females, being nearly what it was ten years pre- viously. Of this number 4938 were ecclesiastics, viz. 31 bishops, 1439 priests, 2012 monks, and 1456 nuns. The number of parish churches has been for many years 54. In 1838, with a population, as we have seen, of 148,903, the marriages were 1233 ; the baptisms, 4665 ; and the deaths, 12,563. The number of Jews in Rome is about 4000. The Streets of modern Rome are generally narrow, and paved with small stones of lava. The Corso is the only one which has a foot-pavement at the sides. They are lighted at night with oil- lamps, but are not by any means agreeable to foot-passengers. Several of the main lines are long, handsome, and regular streets, broken by frequent squares or piazze, and drained by an admirable system of sewerage founded chiefly on the ancient cloacae. General Topogkaphy. Rome is situated in the central plain of the Campagna, or rather, on the undulating table-land which lies be- tween the Sabine hills and Soracte on the north-east, and the low marshy flats, which may be called the mari- time plain of the Campagna, on the south west. It stands in 4P 54' north latitude, and 12^ 28' east longitude, aiid is 15 miles distant from the sea coast. The modern city is built on the low land which lies on each bank of the Tiber, and on the slopes of the three most northern of those seven hills which formed the well-known features of ancient Rome. The usual level of tlie Tiber in its passage through the city IS from 35 to 40 feet above that of the sea ; the height of the hills within the circuit of the present walls varies from 120 to 160 feet above the river. The Tiber divides the city into two very unequal portions, traversing it from north to south in an irregular winding course of not less than three miles from wall to wall. On the left bank, the Quirinal, Viminal, and Capitoline hills form a semicircular belt, inclosing the low irregular plain of the ancient Cam- pus Martins. This area includes the principal portion of the modern city, the seat of trade and commerce, and consequently contains the great bulk of the population. It is traversed by the Corso, the main street of Rome, about a mile in length, beginning at the Porta del Popolo on the north, and termi- nating at the Piazza di Venezia, near the foot of the Capitoline hill which forms the line of demarcation between the modern and ancient city. To the south and east of this district are the Palatine, the Aventine, the Esquiline, and the Cselian, all of which, though included within the modern walls, are little better than a desert; their irre- gular surface is covered with vineyards or the gardens of uninhabited villas, and they present no signs of human habitations but a few scattered and soli- tary convents. The Corso divides the principal district of modern Rome into two parts ; that on the north and east, which we may call the upper town, is built chiefly on the slopes of the Pin- cian and the Quirinal, and on part of the plateau which unites these hills to- wards the east with the Viminal and the Esquiline. This upper town is the aristocratic quarter and the chief resi- dence of the English visitors ; it con- tains the best streets and the finest houses, and is the healthiest quarter of the city. The higher part of it is in- tersected by two long streets : one of these, the Strada di Porta Pia, nearly a mile in length, leads from the gate of that name, in the north-east angle of the city, to the Monte Cavallo; the other leads in a straight line from the Trinira de' Monti, on the Pincian, to the Basilica of Santa Maria Maggiore, under the names of the Via Sistina, Via Felice, and Via delle Quattro Fontane ; the latter being so called from the foun- tains placed at the angles of the bifur- cation, where the two streets cross each other at right angles. On the right bank of the Tiber is the Papal States.] route 27. — rome. — General Topography. 255 narrow slip of level ground which con- tains the two districts of the Borgo and Trastevere. It is bounded on the west by a ridge of hills 300 feet above the river, and about a mile and half in length from north to south. The prin- cipal eminences of this ridge within the walls are the Vatican, which preserves its ancient name, and the Janiculum, or Monte Montorio. Beyond the walls the picturesque Monte Mario, with its villas and pine plantations, may be considered the boundary of this quarter on the north. The Trastevere and the Borgo are united by the street of the Longara, constructed at the foot of the Janiculum by Sixtus V. The Rome of the middle ages, which sprung from the ruins of the ancient city, had nearly disappeared at the be- ginning of the sixteenth century ; and scarcely any part of the present city is older than the time of Sixtus V., who first began to rebuild it in the form in which it now appears. It is divided into fourteen districts, or Rioni, twelve of which are on the left, and two on the right bank of the Tiber. They are ir- regular in their bouiidaries and out- line, having been determined more in accordance with the modern population than with the local peculiarities of the ground ; they are, consequently, very numerous in the modern city, which comprises eleven within its circuit, while the more extensive area of the ancient city has only three. From this it will be seen at once that they have no kind of correspondence with the regions of Augustus. In the middle ages the Rioni had their captains, their councils, and their trained bands ; but though they still retain their banners, and carry them in the great processions, their municipal jurisdiction has merged in the Priore de' Caporioni, who is a member of the Tribunale del Campi- doglio, the minor civil and police court over which the Senator of Rome pre- sides. Of the eleven Rioni which in- clude the modern city, the two most northern are intersected by the Corso ; the third spreads over the Quirinal from the Corso to the north-east angle of the walls ; six lie between the lower half of the Corso and the Tiber ; and two are situated on the right bank of the river. A rapid survey of these districts will enable us to fix the localities of many interesting objects. 1. The Rione Campo Marzo begins at the Porta del Popolo, embracing all the northern angle of the city from the Pincian to the river, near the little Piazza Ni- cosia. About a third of the Corso, at its northern end, lies within the district. On the east of the Corso it includes the gardens of the Pincian,the Villa Medici, the Trinita de' Monti, the Piazza Mag- nanelli, Piazza di Spagna, the Via Ba- buino, the Piazza del Popolo, and the Theatre Aliberti. Between the Corso and the river it includes the mausoleum of Augustus, the Hospital of S. Giacomo, the quay called the Porto di Ripetta, the Borghese and the Ruspoli palaces. 2. The Rione Colonna extends along the depression between the Pincian and the Quirinal, from the city walls on the north-east nearly to the Pantheon, crossing the Corso, and including its central portion. The principal objects in this district, on the east of the Corso, are the Barberini Palace and the Church and Convent of the Capuchins. West of the Corso are the Piazza Colonna, with the Antonine column ; the Chigi, Niccolini, and Piombino palaces ; the Post-oflfice; Monte Citorio, with the palace of the Curia Innocentiana, now the residence of the Cardinal Chamber- lain ; the Temple of Antoninus, now the Custom-house ; and the Capranica The- atre. 3. The Rione Trevi extends from the north-east walls to the Corso, which forms its boundary on the west. On the south-east it is bounded by the long street of the Porta Pia. It in- cludes the house and gardens of Sallust, part of the Agger of Servius Tullius, the Villa Ludovisi, the Pope's palace on the Monte Cavallo, the Colonna Pa- lace and Gardens, the Piazza of the SS. Apostoli, the Torlonia Palace, the Pi- azza della Pilotta, and the Fountain of Trevi, from which it derives its name. 4. The Rione Pigna joins the former at the Corso, and extends westward 256 ROUTE 21. — ROME. — General Topography . [Sect. I. over the Campus Martius. It includes the Collegio Romano, the Pantheon, the Piazza and Church of Minerva, the Giustiuiani, Doria, and Altieri pa- laces, the Church of Gesu^ and the Piazza and Palazzo di V^enezia. 5. The Rione S. Eustachio^ a long strip of ground in the heart of the Campus Martius, lies along the western side of the former district, and is filled with streets of shops and manufactories. It includes the church which gives it name, the Collegio Sapienza, the Cenci Palace, and the theatres Valle and Ar- gentina. 6. The Rione Ponte, another unattractive district, encloses the angle formed by the bend of the Tiber below the castle of St. Angelo. It includes the Tordinona Theatre and the Piazza del Ponte leading to the bridge of St. Angelo. 7. The Rione Parione, situ- ated between the two former districts, in the heart of the city, includes the Piazza Navona, the site of the Circus Agonalis and the place of the weekly market, the statue of Pasquin, Bra- mante s Cancelleria, the Piazza Sforza, the Campo di Fiore, the Massimi pa- lace, and the ruins of the Theatre of Pompey. 8. The Rione Regola lies along the bank of the river opposite to the upper half of the Trastevere. It includes the Farnese, and the Spada palaces. The Ponte Sisto, the ancient Pons Janiculensis, crosses the river from its centre. The fine street formed by the Via del Fontanone and the Via Giulia, nearly three-quarters of a mile in length, runs parallel to the Tiber through a great part of this district and that of Ponte, extending in a straight line from the Ponte Sisto to the river near the bridge of St. Angelo. 9. The Rione S. Angelo in Pescheria, a small district between the Pigna and the river, lies at the back of the Capitol, and opposite the island of the Tiber. It is a mean and dirty quarter ; the princi pal objects of interest are the ruins of the Theatre of Marcellus, the Portico of Octavia, the Orsini palace, and the Church of S. Niccolo in Carcere, occu- pying the site of the temples of Juno Matuta, Hope, and Piety. Partly in this region and partly in that of Regola is the Ghetto, the dirty quarter of the Jews, surrounded by walls, and entered by two gates which are locked every night by the police. It includes their syna- gogue, their public schools, and the hall in which they hold a kind of ad- ministrative council. The old Fabri- cian bridge, now the Ponte Quattro Capi, crosses from this quarter to the island of the Tiber, which also bears the name of St. Bartholomew, and is in- cluded in this district. The island, cele- brated in classical times for the Temple of ^sculapius, and well known to scho- lars as the ship of the Tiber, is about 1000 feet long and 300 feet wide in its broadest part. It contains the Church and Convent of S. Bartolommeo and the Church of S. Giovanni Calabita. The Pons Gratianus or Cestius, now called the Ponte S. Bartolommeo, and some- times the Ponte Cestio, crosses from its southern flank to the Trastevere. 10. The Trastevere is the largest of all the Rioni of the modern city. It lies between Janiculum and the Tiber, and extends along the right bank of the river, from the Hospital of Santo Spirito on the north, to the extremity of the city walls on the south. It includes at this south- ern angle the great quay or port of the Ripa Grande and the vast hospital of San Michele. The Arsenal is situated outside the walls close to the Porta Por- tesi. The central portion of this Rione covers the ancient Regio Transtiberina ; and the Church of S. Pietro in Mon- torio very nearly occupies the site of the Arx Janiculensis. The most interest- ing objects of this district are the Far- nesina and Salviati palaces, the im- mense Corsini Palace, the Botanic Gar- den, the church of S. Onofrio, me- morable as the burying-place of Tasso ; that of S. Pietro in Montorio, the sup- posed scene of the crucifixion of the apostle, the Fountain of the Acqua Paola, the Benedictine Convent of S. Calisto, the Convent of S. Francesco a Ripa, formerly inhabited by St. Fran- cis of Assisi, and the villas Spada and Lante. The whole district is inhabited by a peculiar, and in many respects a Papal States.] route 27. — rome. — General Topography. 257 distinct race ; their language, their cus- toms, their fine physical characteristics, and their spirit of haughty seclusion, which refuses to mix or intermarry with the inhabitants of the other quar- ters of the city, give great interest to the national tradition that they are the direct descendants of the ancient Ra- mans. The Trastevere is separated by high walls from the Borgo, with which it communicates by the fine gate of Santo Spirito. 11. The Borgo, or the Citta Leonina, was founded in the ninth century by Leo. IV., who enclosed it within walls to protect it from the attacks of the Moorish pirates. It is the northern district of Rome on the right bank of the river. It compre- hends the area between the Castle of St. Angelo, the Hospital of Santo Spirito, the Vatican Palace, and St. Peter's, and as it includes all these objects within its limits, it is by far the most interest- ing quarter of modern Rome. It was the district inhabited by the Anglo- Saxon pilgrims in the early ages of the church, and one of the fires which oc- curred in the nint h century, perhaps the very one which Raphael has immor- talised, is attributed to their neglect. Anastasius indeed says that the name Borgo is derived from the term Burgus (burgh), which was given to the quarter by these pilgrims. Besides the leading objects of interest already mentioned, the district contains the Giraud Pa- lace, now the Torlonia, built by Bra- mante, and interesting to British tra- vellers as the residence of the English ambassadors prior to the Reformation. Farther on, beyond the church of S. Giacomo Scossacavalli, is the fine pa- lace which has become memorable as the scene of the death of Raphael, and of Charlotte, queen of Cyprus. These eleven districts comprehend the largest and most important portion of modern Rome. The three /»ow to be described include the ancient city. 12. The Rione Monti, like the Trastevere, is in- habited by a peculiar and distinctive class, who pride themselves on their direct descent from the ancient Romans. This immense district commences at the Porta Pia, and extends along the whole line of the city wall as far as San Stefano Rotondo, skirting the Co- liseum and the Capitol on the west, and embracing the Viminal, the Esquiline, and part of the Caelian. It includes within this extensive and almost de- serted area the Praetorian Camp, the Baths of Dioclesian and of Titus, the Forum of Trajan, the so-called Baths of Paulus ^milius, the Temple of Minerva Medica, the fountain and reser- voir called the Trophies of Marius, the Amphitheatrum Castrense, the Church of Santa Croce in Gerusalemme, St. John Lateran, S. Pietro in Vincoli, the Rospigliosi Palace, and the desolate villas Negroni, Altieri, and Strozzi. 13. The Rione Campitelli, on the south- east of the city, extends from the north- ern flanks of the Capitoline to the gate of St. Sebastian. It comprehends the most interesting portion of ancient Rome, including within its boundaries the Capitol, the Roman Forum, the Coliseum, the Palatine, and the Pa- lace of the Caesars. We find also in this district the Passionist Convent of S. Giovainii e Paolo on the Caelian, marked by its solitary palm-tree, the Church of S. Gregorio, the Villa Mattei, and at its extreme angle the commencement of the Appian Way, and the tomb of Scipio. 14. The Rione Bipa, the last of the modern districts, embraces all the southern quarter of Rome between the Caelian and the river, including the Aventine, the Prati del Popolo Romano, and Monte Testaccio, the holiday resort of the modern citizens. The objects of most interest are the temples of For- tuna Virilis and of Vesta in the Bocca di Verita, the Arch of Janus, the Cloaca Maxima, the Circus Maximus, the ruined Palatine Bridge now the Ponte Kotto, the Baths of Caracalla, the Py- ramid of Caius Cestius, the Protestant burial-ground and the churches of S. Prisca, S. Balbina, S. Saba, S. Maria in Cosmedin, and S. Anastasia. The H^^alls of Rome, including those of the Trastevere and the V atican, are from fourteen to fifteen miles in circuit. 258 ROUTE 27w ROME. , — Walls and Gates. [Sect. I. The length of that portion which en- compasses the city on the left bank of the Tiber is about twelve miles; the length of the more recent walls which bound the district beyond the river is very nearly three miles. There is little doubt that the line of walls on the left bank is substantially the same as that traced by Aurelian, a.d. 271 ; but it can hardly be expected that after the lapse of fourteen centuries we should be able to recognise much of this origi- nal structure in the present walls. We know that they were repaired by Hono- rius, Theodoric, Belisarius, Narses, and by several popes; many of these re- storations were obviously made in haste for temporary purposes ; and hence so many varieties of workmanship are visible, that it is almost impossible to decide what is ancient and what is modern. The last general repairs were made in 1749 by Benedict XIV., who restored the walls, which had become dilapidated in parts, and repaired all the gateways now open. The most recent works of a local character are those on the Pincian, begun by Leo XII., and continued by his successors. The walls throughout their entire circuit on the left baidc present an irregular po- lygonal outline ; they are built of brick, mixed with rubbish of various kinds and occasional patches of stone- work. They have no ditch, but are crested with nearly three hundred towers; on the outside they are about fifty feet in height ; on the inner face, where they are strengthened by numerous but- tresses, the accumulation of soil is so considerable that they seldom rise so high as thirty feet. There are sixteen gates properly belonging to the modern city, but four of them are now walled up. In taking a general survey of these gates, from the Porta del Popoio, we shall notice the vestiges of the ancient gateways, and such peculiarities of the ancient walls as may appear to call for observation. This will bring the whole subject into one view and prevent re- petition hereafter. Gates. — 1. Porta del Popoio ; erected byPiusIV. in 1561, with the assistance of Vignola, from the designs of Michael Angelo. The internal part was deco- rated by Bernini (p. 248). The ancient Porta Flaminia, which supplied the materials for this gate, and by which the Flaminian Way left the capital, was situated a little higher up, near the opus reticulatum of the Muro Torto. This very curious fragment is well known fiom the description of Procopius ; he says that the wall had been rent for some time from top to bottom, that it was so inclined that Belisarius wanted to pull it down and rebuild it, but the people would not allow it to be re- moved, stating that it was under the protection of St. Peter. The Goths, he adds, never attacked it, which made the people regard the spot with so much veneration that no one has ever at- tempted to rebuild it. This description applies so perfectly at the present day, that it leaves nothing for us to add ex- cept that the wall, which is about forty feet in length, is considerably out of the perpendicular, and that antiquaries are not wanting who consider both the wall and the inclination to be as old as the time of Aurelian. Some writers have endeavoured to connect the Muro Torto with the tomb of Nero, but there are not tlie slightest grounds for the conjecture. It is true that the autho- rities satisfactorily prove that the tomb of the Domitian family, in which the body of Nero was deposited, was not far distant from the Porta del Popoio. It was situated on the Pincian, near the Flaminian Way, and was visible from the Campus Martins. Its site there- fore may safely be placed on the western slopes of the modern gardens, but not a vestige remains to enable us to identify the spot. Between this and the next gateway we begin to meet with some walls, after passing the nineteenth tower from the Porta del Popoio, which exhibit the workmanship of Honorius. As we advance we shall meet with every variety of construction, from the compact brickwork which would have been worthy of the best times of Rome, to the rude repairs of Belisarius and the patchwork restorations of the popes. Papal States.] route 27. — rome. — JFalls and Gates, 259 2. Porta Pincia7ia, with two round j towers, a stone gateway, mentioned by Procopius, and supposed to have been rebuilt by Belisarius, who had his camp on the Pincian during the siege of Vitiges. It is now walled up, but it is interesting as the spot which tradition has made the scene of the degradation of Belisarius. If there be any truth in this popular story, the great general sat here and begged of the people, " Date obolum Belisario," as they passed the gates through which he had so often led his troops in triumph. The aqueduct called the Acqua Vergine, twelve miles in length, which supplies the fountain of Trevi, enters the city at this point, o. Porta Salara, with two round towers of brick, built on the foundations of the Porta Salaria, so called from the road by which the Sabines exported their supplies of salt. It is memorable as the gate by which Alaric entered Rome. 4. Porta Pia, the representa- tive of the ancient P. Nomentana; it derives its modern name from Pius IV., who rebuilt it in 1564, from the designs of Michael Angelo, and left it unfi- nished at his death. At the acute angle formed by the streets which enter the city by this gate and Porta Salara stood the famous Porta Collina of the walls of Servius Tullius. The well- known reconnoitre of Hannibal, when, according to Livy, he threw a spear over the walls, took place on this side, and if he had attacked Rome there is good reason for believing that it would have been by this gate. The ancient P. Nomentana, built by Honorius, was situated a little beyond the present gate, towards the Praetorian camp of Tiberius, whose quadrangular inclosure projects beyond the walls at the north- east angle of the city. It is very clear that Honorius included this celebrated camp in his line of walls; three of its vsides were probably left standing when Constantine dismantled it, and thus atforded peculiar facilities for the new works. On examining its walls, the rude stone- work hastily put together by Belisarius may easily be recognised. Its gateways, which formerly opened on this side, but which were closed by Honorius, may also be traced. In the southern angle, the Porta Chiusa re- presents the Porta Yiminalis ; as its name signifies, it is now walled up. 5. Porta S. Lo7^enzo, with two towers, the ancient Porta Tiburtina or Prsenes- tina, built by Honorius, A. d. 402. It is attached to the interesting monument which forms the junction of the Mar- cian, Julian, and Tepulan aqueducts. Tliis gate opens on one of the roads to Tivoli. Between this and the Porta Mag- giore is a closed gate, supposed to be the Porta Collatina. On approaching the Porta Maggiore, we see the subterranean aqueduct which carried into the city the waters of the Anio Vetus. 6. Porta Maggiore, a noble arch of travertine, the hnest gateway in Rome. The ad- joining monument of the Claudian aqueduct formerly included the gate- ways of the Porta Labicana and Porta Praenestina. Both these gates were greatly disfigured and concealed by Honorius ; the Porta Labicana was closed, and the Porta Praenestina was known as the Porta Maggiore. The Labicana gate was recently opened, when the labour of the work was amply repaid by the discovery of the Baker's Tomb, which is described in its proper place under the antiqui- ties. The appearance of the fine facade of the gateway, which now shows us the beautiful proportions of its two arches and three piers, is ex- tremely imposing. The accidental circumstance of the Claudian aqueduct being carried over it may explain the existence of this very splendid monu- ment. There are three inscriptions on the attic : one recording that the em- peror Tiberius Claudius brought into the city the Claudian aqueduct ; the second relating to the restorations of Vespasian ; and the third to those of Titus. In the attic are the channels for the water, the lower one receiving the Aqua Claudia, and the upper the stream called the Aniene Nuovo. We see also at this point built into the wall the flank of an arch of peperino, in which we distinctly recognise the three 260 ROUTE 27. — ROME. , — Walls and Gates ^ [Sect. I. channels of the Marcian, Tepulan, and Julian aqueducts, the Marcian being the lowest and the Julian the highest of these channels. Close by we may likewise trace the subterranean course of the Anio Vetus. The road which passes out of this gate leads to Colonna, Valmontone, &c., and is the high road to Naples by Frosinone and San Ger- mano. The walls beyond the gate follow the course of the Claudian aque- duct for a short distance, and then pass under the arches of the Acqua Felice of Sixtus v., which form so many pic- turesque combinations and contrasts with the imperial works. Farther on they pass the precincts of Santa Croce in Gerusalemme, and skirt the external wall of the Amphitheatrum Castrense, which was included by Honorius in his line of foititications. 7. Porta San Giovanni^ entirely modern, built by Gregory Xlll. Adjoining this gate is the ancient Porta Asinaria, flanked by two round brick towers. It is now walled up, but is a very picturesque ruin. It is memorable as the gateway through which Belisarius first entered Rome. It was also the scene of the first entrance of Totila, who obtained possession of it by the treachery of the Isaurians. The gate of S. Giovanni is well known to travellers; the high road to Naples by the Pontine Marshes passes out of it. Beyond the gate is the Aqua Crabra, now the Maranna, which enters the city by a gateway, now walled up, called the Porta Metronia. The Porta Capena of the walls of Servius Tullius was within this gate, below the Villa Mattei, on the Cselian. 8. Porta La- tina, also closed. It has two round brick towers, with a groove apparently for a portcullis. The Christian mono- gram on the keystone has led to the belief that it was repaired by Belisarius. The Church tradition relates that St. John was martyred by being boiled in oil within this gate, a.d. 96. 9. Porta San Sebastiano, with two fine semicircular towers of brickwork resting on foundations of solid marble, pro- bably taken from the tombs on the Ap- pian. This gate is well known in con- nection with the catacombs, the arch of Drusus, and the tomb of Scipio; it was called the Porta Appia in the eighth century. Under the arch is a curious Gothic inscription relating to the re- pulse of some invading force, which Fias given rise to much speculation among the antiquaries. Between this gate and the Porta di S. Paolo are the celebrated fortifications constructed by Paul 111. in the sixteenth century, from the designs of the great architect and engineer Antonio Sangallo. 10. Porta San Paolo, rebuilt by Belisarius on the site of the Porta Ostieiisis ; a double gate, well known as one of the most picturesque of all the modern gateways. The inner portion is probably anterior to the time of Belisarius. It is remark- able as the scene of Totila's second entrance into Rome. The pyramid of Caius Cestius is here included in the walls, which proceed towards the Tiber, round the base of Monte Testaccio, ascending the left bank of the river for a very short distance, when they become no longer traceable. On the other side of the Tiber the walls present altogether a more modern aspect ; the greater part were constructed by Innocent X. and Urban VIII., and are flanked with re- gular bastions. Within their circuit, particularly in the s;)uthern bend be- yond the Corsini Palace and around S. Pietro in Montorio, we may still trace the ruined towers and ramparts of the wall of Honorius. The following are the gates of the Transtiberine district: 11. Porta Portese, built by Urban VIII., near the ancient P. Portuensis, on the road to Fiumicino, the present port of the Tiber. 12. Porta San Pan- crazio, on the Janiculum, probably the Porta Janiculensis, or Porta Aurelia. The grounds of the Villa Pamfili Doria lie to the westward, and spread over the hill in the direction of St. Peters. The Acqua Paola, the ancient Alsietina, brought by Augustus from the lake of Bracciano, enters the Trastevere at this spot. 13. Porta Cavalleggieri^ close to St. Peter's, on the high post-road to Civita Vecchia, said to be from the designs of Sangallo. 14. Porta Fab- Papal States.] route 27. —rome,'— Bridges, 261 brica, near the former, now walled up. 15. Porta Angelica, formerly the Porta Pellegrini, built by Pius IV. ou the north side of St. Peter s, leading to Monte Mario. 16. Por^ta Casteilo, on the meadows behind the Castle of St. Angelo, now walled up. Bridges, — Of the eight bridges of an- cient Rome four only are now in use. The remains of all the others are still visible, and there is no doubt either about their names or their localities. To prevent repetition hereafter, we shall bring them all into one view. Begin- ning with the most northern, and pro- ceeding down the river, we have 1. Ponte Molle, the ancient Pons Milvius on the Flaminian Way, al- ready described at page 247. 2. Honte S. Angela, the ancient Pons ^lius. This very noble bridge crosses the Tiber immediately opposite the Castle of S. Angelo : it is almost the only one in which we can trace the ancient remains with positive certainty. The whole of it is ancient, with the ex- ception of some restorations of stone- work and the parapets. Medals of Hadrian are extant which represent the bridge precisely as we now see it, with three large equal arches in the centre, and small arches on each side. The piers are strengthened with buttresses and starlings. The bridge was con- structed by Hadrian as a passage to his mausoleum. In the middle ages it was covered with booths or shops, by which the passage was so much con- tracted, that the pressure of the crowd at the jubilee of 1450 caused the death of 200 people. In consequence of this accident, the pope removed the booths and restored the bridge to its original form. Some writers have magnified this event into the total destruction of the bridge ; a mere examination of the architecture would at once disprove the statement, if it were not set at rest by numerous authorities. In 1530 Cle- ment VII. erected at the entrance of the bridge the statues of St. Peter and St. Paul. In 1688 Clement IX. con- structed the present parapet, and added the ten angels which stand upon the piers. The one which bears the cross is by Bernini, the others are by his scholars ; they are scarcely worth men- tioning as works of art. 3. Pons Triumphalis, or the P. Vati- canus, the longest of all the bridges, supposed to have been built by Nero. From a passage in Prudentius, it is supposed to have been entire in the early part of the fifth century. Some foundations of its piers are still visible from the bridge of St. Angelo when the river is low ; they are about 300 paces below the bridge. Their position may generally be recognised by the disturb- ance of the water. 4. Ponfe Sisfo, built by Sixtus IV. in 1474, on the ruins of the Pons Jani- culensis, connecting the city with the district of Trastevere. Nothing is known of its ancient history, though the older antiquaries mention an inscrip- tion of Trajan as existing on it in the sixteenth century. It has four arches. 5. Ponte di Quattro Capi, connecting the city with the island of the Tiber, so called from the four figures of a four- headed Janus which stood, near it, and which were formerly placed at the an- gles of the bridge. It is the Pons Fabricius, built by Fabricius, the Cu- rator Viarum, B.C. 60. It is mentioned by Horace as the spot from which Da- masippus would have leaped into the Tiber, but for the precepts of Stertinius. *' Unde ego mira Descripsi docilis prsecepta hsec, tempore quo me Solatus jussit sapientem pasccre barbam Atque a Fabricionon tristem ponte reverti." Hor., Sat. ii. 3. It has two large arches, with a smaller one between them in case of floods. It retains more of its ancien.t architecture than any other bridge except that of St. Angelo. It formerly had the fol- lowing inscription, but a part only is now legible : — l. fabricius c. f. cvr. VIAR. FACIVNDVM COERAVIT IDEMQ. PROBAVIT Q. LEPIDVS M. F. M. LOLLIVS M. F. COS. S. C. PROBAVERVNT. 6. Ponte S. Bartolommeo, a continu- ation of the former, connecting the island of the Tiber with the Trastevere. It is the Pons Cestius or Gratianus. 262 ROUTE 21. —ROME.— Bridges. [Sect. I. Its founder is unknown, but two long inscriptions on the parapets and on the sides show that it was restored about A.D. 367, by the emperors Valentinian, Valens, and Gratian. It consists of one large central arch and two smaller ones. 7. Po?ife Rot to, on the site of the Pons Palatinus. The ancient bridge was begun by Marcus Fulvius, and finished by Scipio Africanus and Mum- mi us, the censors, B.C. 142. It is sup- posed to have been the first stone bridge built in Rome. We know nothing of its subsequent history until we find it mentioned in the middle ages under the name of P. di Santa Maria. In the thirteenth century it fell down, and was rebuilt by Honorius III. It was restored by Julius III. in 1554, and again by Gregory XIII. in 1575. In 1598 all that portion on the left bank of the river broke down. Two arches were thus lost, and no attempt has since been made to restore them. The part remaining consists of three arches on the side next the Trastevere, with two smaller arches between them, through which the water only runs when the river is much flooded. The ruined and broken state of this fragment sufficiently explains the modern name. It is best seen from the bank of the river a little above the temple of Vesta. Near the Trastevere extremity of the bridge is seen a portion of the ancient Via Palatina, composed of polygonal blocks of lava. 8. Pons Sublicius, the oldest and most celebrated of all the Roman bridges. It was first built of wood by Ancus Martins, the fourth king. It was upon this bridge that Horatius Codes withstood the army of Porsenna till the Romans had succeeded in breaking it down behind him. This act of heroism made it so sacred, that it could never afterwards be repaired without the sanction of the pontiffs. It was destroyed by a great flood in the time of Augustus, and was then rebuilt of stone by M. ^ mill us Lepidus, the censor. It suffered frequently from inundations, and was restored by Tibe- I rius and Antoninus Pius. A coin of I the latter emperor is extant represent- ing this bridge as a broken arch^ In ' the reign of Adrian I., in 780, it was entirely destroyed by an inundation. In the fifteenth century the remains of the piers were removed to make cannon balls, and the only trace of the bridge now left are the basements, which may be seen, when the river is low, nearly opposite the hospital of San Michele. Ei quae tanta fuit Roman tibi causa vi- dendi ?" J^irg.^ Bucol. i. There has scarcely been any question so frequently discussed as that which relates to the best mode of seeing the mh'abilia of Rome. It must be con- lessed that it has seldom been satisfac- torily answered, because it has not been sufficiently considered that no syste- matic plan can be laid down which will be equally applicable to all classes of travellers. The scholar will probably prefer the task of tracing the separate regions of Augustus ; the antiquary or the historian may desire to begin his researches with the works of the kings, and follow the history of Rome through her existing monuments, down to the final extinction of art under the later emperors; the ecclesiastic will very possibly begin with the basilicas and churches which cover the remains of saints and martyrs ; and the artist will naturally seek to derive his first im- pressions from those miracles of genius which have made Rome the centre of ancient and modern art. The Roman guide-books for about three-quarters of a century have arranged the city in eight topographical divisions, each of which may be seen in a single day. In this manner objects of every class are thrown together without order or arrangement, and the traveller who has not gone through the whole plan is entirely unable to arrive at any idea of the relative interest of the objects, or to know how much or how little Rome contains of any particular class. We believe that very few travellers have ever completely followed out Vasi's Papal States.] route 27.- — rome.- -Antiquities ; General Survey. 263 system of seeing Rome in eight days, though we are aware that English tom-ists have not been wanting who have boasted that they have beaten the anti- quaries, and done it in six. The only advantage it possesses is the merit of being expeditious, and of enabling the traveller, in the least possible time, to ascertain for himself what is and what is not worth seeing, and of noting those objects which deserve further observa- tion. This advantage may be obtained, we think, by less exceptionable means. We believe that most travellers form some plan for themselves, altogether independently of books ; and that no general rule can be laid down to which exceptions may not be taken, because the objects which will engage the atten- tion of one class will have little interest for others. Whatever plan may be adopted, the majority of persons who travel for general instruction or amuse- ment, will always visit a city like Rome in districts. The great, and, we think, the oidy difficulty, is to attempt to fix the divisions of these districts ; and it is precisely for this reason that we would leave the point to the taste and con- venience of the traveller, supplying him with the necessary information arranged in such a manner that he may refer at once to each object which may possess sufficient interest to require notice. With this view, therefore, we have ar- ranged the different objects of attraction in Rome under separate classes, observ- ing, as far as possible, a systematic arrangement of the details. For faci- lity of reference, there is, we are con- vinced, no plan which presents so many advantages; and it has this additional recommendation, that it brings within one view a complete catalogue of objects which would be scattered over various and detached parts of any work on the topographical or chronological arrange- ment. The Antiquities. Whoever would appreciate and enjoy the ruins of Rome will find it abso- lutely necessary, before he enters into an examination of particular monuments, to make himself acquainted with their relative position, and classify them in such a marnjer as may enable him to understand their history. There is no spot so peculiarly adapted for this purpose as the Tower of the Capitol ; and we do not hesitate to say that a sti'anger who is really desirous to under- stand the antiquities, to study them with the least ditliculty to himself, and to avoid the vexation arising from a con- stant recurrence to authorities, must pro- ceed, in the first place, to the Capitol, and there learn the topography of the ancient city. An hour devoted to this purpose will give the stranger a more complete idea of ancient Rome than days spent in the ordinary mode of investigation : and the information ob- tained in regard to the surrounding country will materially assist him in his future excursions beyond the walls. Independently of these advantages, there is no scene in the world more im- pressive or magnificent than that com- manded by this spot. It is not inferior in historical interest to the glorious panorama from the Acropolis of Athens, while it surpasses it in those higher as- sociations which appeal so powerfully to the feelings of the Christian traveller. In the first place, it will be useful to take a general survey of the country, as seen from the summit of the tower. The Campagna, or the undulating ir- regular plain which spreads on all sides around Rome, includes part of ancient Latium and part of Etruria. Its length from CivitaVecchia toTerracina is estimated at 100 miles; its greatest breadth from the mountains to the sea is about 40 miles. On the north-east it is bounded by Soracte and the chain of the Sabine hills; on the east, by the Volscian mountains, which run due south and form the eastern boundary of the Pontine Marshes, which lie be- tween them and the sea. The Sabine hills surround like an amphitheatre the whole expanse of the northern Cam- pagna ; while the more picturesque and richly wooded mountains which bound the plain of Latium are studded with villages, each representing some 264 ROUTE 27. — ROME. — Antiquities ; the Seven Hills. [Sect. I. scene of historic or poetic interest. Along the plain from north to south the Tiber is seen winding in a long yellow line, marking the ancient boundary between Latium and Etruria. In the foreground on one side are the ruins of all that made Rome the mistress of the world ; on the other are the palaces and churches of the modern city ; so that the Capitol may be said to separate the living from the dead — the city of the Popes from that of the Caesars. In the chain of hills towards the east the highest point is the Alban Mount, now Monte Cavi, on which the ruins of the temple of Jupiter Latialis are still visible. Beneath the summit, and about midway between it and the plain, isAlbano ; a little to the left, the tower of Castel Gondolfo may be seen amid the dark woods bordering the lake of Albano ; and farther on the right is the low hill of Civita Lavinia, the La- nuvium of Cicero. The long ridge forming the opposite boundary of the lake is the supposed site of Alba Longa. On the left of Monte Cavi is a small open plain, called ihe Camp of Hannibal, the position of the Carthaginian garri- son during the siege of Rome. A little below this plain, the village of Rocca di Papa, perched upon the crest of a rock, is supposed to mark the Arx Albana of Livy, to which the Gauls were repulsed in their attack on Rome. On the lower slopes are Marino and Grotta-Ferrata, Farther to the left, on the nearest point of the chain, is Fras- cati. In the distance beyond is the lofty summit of Monte Jlgido^ the gelidus Algidus" of Horace^ from which Rome still derives her supplies of snow. In a line between it and Frascati is the site of Tusculum. Far- ther to the left are Monte Porzio and Monte Compatri; and on the last and lowest eminence is the picturesque vil- lage of Colonna, occupying the site of Labicum. The opening of the plain lying in the depression between the chain of Monte Cavi and that of the Sabine hills may be distinctly recognised be- tween Colonna and the distant town of Palestrina, the " frigidum Praeneste" of Horace. Among the barren range of these hills the principal town distin- guishable from this point is Tivoli, the ancient Tibur, surrounded by olive- grounds and woods. From hence the Anio flows into the plain towards its junction with the Tiber, separating La- tium from the ancient country of the Sabines in its course. Beyond Tivoli we recognise the lofty heights of Monte Genaro, the Lucretilis of Horace; and in the foreground at the base of the Apennines, the hill and town of Monte Rotondo, the probable site of the Al- ban colony of Crustumerium. Nearer Rome, at Castel Giubileo, is the site of Fidenae. At the extreme end of the Campagna is the classical Soraete^ whose isolated mass forms so striking a feature in the landscape that it can never be mistaken. It constituted the northern boundary of the Sabine terri- tory, and separated it from Etruria. We shall now proceed to point out the leading features of ancient Rome, without stopping to describe more than is absolutely necessary for the purpose, as a more detailed account of each ruin is given in a subsequent page. The first objects which excite the cu- riosity of the traveller are the Seveti Hills, These may be recognised with- out much difficulty from our present position, which commands also many interesting ruins that must necessarily be included in the following general survey. Begirming with the Capitol, it will be observed that the tower on which we stand, and the great square of palaces of which it forms a parr, oc- cupy a depression between the Church of Ara Cceli and the Palazzo Catfarelli. These summits were the Arx and the y Capitolium; the space between them, on whose eastern margin we are of course placed, was called the Inter- montium. Without entering into the disputed questions respecting these two summits, or attempting to decide which was the Arx and which the Capito- lium, we shall merely state that the Church of Ara Coeli is generally sup- posed to mark the site of the Temple Papal States,] r. 27. — rome. — Antiquities ; the Seven Hills, 265 of Jupiter Feretrius; and that most antiquaries place on the other summit the great Temple of Jupiter Capito- linus and the Citadel. In the gardens of the palace may still be seen many fragments of walls, which are supposed to he the substructions of the temple ; and farther towards the river, in a garden on the Monte Caprino, we still find, although diminished in height by the accumulation of soil, a consider- able portion of the Tarpeian Rock. From the Capitol, as a central point, we may trace a semicircle from the Pincian Hill, on the northern side of the modern city, to the Aventine on the south, embracing in its circuit the line of the existing walls. This area includes nearly the whole of ancient Rome as it existed before the time of Augustus. The heart of the city was, of course, the Forum, the open irregular space which lies immediately below us : it will serve as a guiding-line in ena- bling us to fix the limits of the hills. The localities of this classical spot are described in a subsequent page, under the article " Forum," and need not, therefore, be repeated here ; but the stranger will do well to refer to these particulars, and become acquainted with the relative position of the ruins before he descends into the Forum. The Capitolme, on which we stand, forms, of course, the first of the seven hills. Above the southern angle of the Forum is the Palatine, the seat of the earliest settlement of Rome, covered with the ruins of the Palace of the Caesars, in the midst of vineyards and gardens. Farther to the right is the Aventine, its north-west base washed by the Tiber, and its summit crowned by a solitary convent. Between these two hills was the Circus Maximus. Over the Coliseum, the eye rests on the mag- nificent Basilica of St. John Lateran, marking the extreme boundary of the Ccslian. North of the Caelian, and con- sequently on the left of the Coliseum, is the Esquiline, more extensive than any of the other hills, and marked at its southern extremity by the ruins of the Baths of Titus, at its northern angle by the Church of Santa Maria Maggiore, while the ruined dome of the Temple of Minerva Medica indicates its extreme boundary on the east. The Quirinal, a long narrow hill, begins at the Forum of Trajan, visible from the eastern angle of the tower. We can easily see from this point that a portion of the hill has been removed to make room for Trajan's Forum, as we shall find stated hereafter in the inscription on the column. The massive square tower of the middle ages, called the Tor de' Conti, and the walls of the Forums of Augustus and Nerva, assist us in marking the line which separates the base of the Quirinal from that of the Esquiline. The Quiri- nal stretches from the Forum of Trajan to the north-east, behind the Colonna Palace. It is covered with buildings, among which the most conspicuous is the Palace of the Pope on the Monte Cavallo, its highest point. The Fimi- nal, between the Quirinal and the Es- quiline, is remarkable for its flat sur- face, which makes it difficult to dis- tinguish ; but part of it is covered by the Baths of Diocletian, and a line drawn from the Capitol to the Baths nearly intersects it. The Church of S. Lorenzo in Pane e Perna occupies nearly its highest point, and the hill may be distinctly traced in the gardens behind it. In walking from the Trinita de' Monti to S. Maria Maggiore, the ascent of the Quirinal and Viminal may be distinctly recognised. These are the seven hills included within the walls of Servius TuUius; but there are others beyond those limits, which it is neces- sary to particularise. North of the Quirinal is Monte Pincio, the Collis Hortulorum, the favourite promenade of the modern Romans. On the other side of the Tiber is the Janiculum, at whose base lies the modern district of Trastevere ; at its southern extremity is the Monte Verde, overlooking the Tiber ; beyond the Janiculum to the north is the Vatican; and in the extreme dis- trict, forming the boundary of our pre- sent prospect, is the Monte Mario, co- vered with villas and plantations. The area between the Janiculum and the N 266 R. 27. — ROME. — Antiquities ; Kingly Period, [Sect. I. Pincian, forming a semicircle, of which the Capitol is the centre, includes nearly the whole of modern Rome. The last hill which remains to be noticed is the artificial hill of Monte Testaccio^ so called from the fragments of earthen vessels of which it is composed ; it is situated in the southern angle, at the foot of the Aventine, between the river and the pyi-amid of Caius Cestius, which the Aventine conceals from our present view. The ruins of Rome may be divided into three classes : 1. The works of the kings ; 2. The works of the republic ; 3. The works of the empire. 1. TheKinghj Period (B.C. 753-509). The consideration of this first class na- turally carries us back to the early history of the city ; but to enter into mi- nute particulars on that subject would obviously be out of place in a work of this description, and would involve de- tails with which the traveller may be presumed to be already familiar. It will, therefore, be sufficient for our present purpose to state that the Latin settle- ment attributed to Romulus was situ- ated on the Palatine, the scene of the ear- lier settlement of Evander and his Arca- dians, and was probably not more than a mile in circumference. The Sabine colony of Tatius occupied the Capi- toline and the Quirinal, the Capitoline being their citadel. The Etruscans had their settlements on the Cselian and parts of the Esquiline, the chief of which was called Lucerum ; they were dependent on the others, and had no king, and were at length compelled by the Romans to descend into the plain between the Caelian and the Esquiline, which derived from them the name of the Vicus Tuscus. In these times there were small marshy lakes or swamps between the Palatine and Aventine, and between the Palatine and the Ca- pitoline. The union of the three settle- ments led to the gradual increase of the city, and, in less than 150 years from the foundation of Romulus, the Cloaca Maxima, one of the most an- cient architectural monuments of Rome, was constructed to drain the marshes. The valley between the Palatine and the Capitoline was then set apart for the general assemblies of the united nations, and became, under the name of the Forum, the seat and centre of Roman greatness. The western slopes of the Palatine were the scenes of those poetical traditions which are identified with the early history of the city, and antiquaries have not been wanting who have seriously fixed the site of the Ru- minal fig-tree, the altar of Hercules, the Lupercal, and even the cave of Cacus. The latter is still pointed out in the slopes of the Aventine, on the side nearest the Tiber, where the hill exhibits distinct traces of volcanic ac- tion : the other poetical antiquities had disappeared, like the lakes of Curtius and Juturna, before the time of the em- pire. The few remains of the kingly period which are now extant are en- tirely in the Etruscan style, built of large quadrilateral blocks, like the walls of Volterra, Cortona, and other cities of Etruria. These remains are the Mamertine prisons, begun by Ancus Martins (b.c. 640), and enlarged by Servius Tullius (b.c. 578) ; the Cloaca Maxima of Tarquinius Priscus (b.c. 616); part of the celebrated rampart or agger of Servius Tullius (b.c. 578), still visible on the Quirinal in the grounds of the Villa Barberini and the Villa Negroni ; and the remains of the quay, or ^' pulchrum littus," on the left bank of the Tiber, below the mouth of the Cloaca Maxima. 2. The Republican Period (b.c. 509 -30). — It has frequently been a mat- ter of regret to the classical traveller that Rome presents so few monuments of the time of the republic. It is quite certain that there are scarcely any re- mains of this period; and in the Forum, where our earliest impressions would lead us to look for ruins which we might associate with the memory of the heroes and patriots of Rome, it is more than probable that there is not a single frag- ment of the republican times. Various reasons have been advanced to account for this circumstance ; but the explana- tion which is at once the most probable Palpal States.'] r. 27. — rome. — Antiquities; the Republic. 267 and the most supported by historical evidence is that suggested by the fact that the continued wars and transient character of the consular government were unfiivourable to the erection of great public editices. The destruction of the city by the Gauls (b.c. 388), about 120 years after the establishment of the republic, no doubt involved the loss ol' many works, both of the kingly and republican times. The reconstruc- tion of the city seems to have been too hasty to allovv much attention to the arts, and it was not until a compara- tively late period that Rome began to be decorated with temples, and sup- plied with paved roads and aqueducts of masonry. It was not until the fall of Corinth and of Carthage that Rome was distinguished by the magnificence of her public buildings. The introduc- tion of new divinities required new and more splendid temples, and the luxury and taste acquired in the conquest of Greece naturally led to the construction of palaces and theatres on a more spa- cious and costly plan than had been previously adopted. The boast of Augustus that he found Rome of brick and left it of marble may be taken as a collateral proof of the architectural mediocrity of the republican city. Still, during the last century of the republic several public works of considerable magnitude were executed ; the military ways paved with large blocks of lava, and particularly the magnificent Via Appia, constructed by Appius Clau- dius, and still perfect through a great portion of its course, served as a model for the paved roads of later times. The remains of other republican structures which can now be recognised are very few. There is little doubt that the massive substructions under the Palazzo Calfarelli, on the Capitoline, are the foundations of some edifice of the re- public, most probably of the temple of Jupiter Capitolinus, restored by Sylla, B.C. 83. The walls below the Tabula- rium at the base of the Capitol, and overlooking the Forum, were constructed B.C. 79, and consequently belong to the latter part of this period. Like the military ways, they appear to prove that in all the great works of the republic the solidity which marks those of the kings was generally imitated. Of the republican temples, the only one now standing which seems to have claims to this antiquity is the temple of Fortuna Virilis, now the church of Santa Maria Egizziaca, near the Fonte Rotto. It is known that the original temple on this spot, built by Servius Tullius, was burned and rebuilt during the republic ; but how far the present temple may have undergone subsequent alterations is uncertain. Below the walls of San Niccolo in Carcere are some substruc- tions of the temples of Juno Matuta, Hope, and Piety ; and in the cloisters of the Sommaschi are four columns of the temple of Hercules Custos. The aqueducts which were begun during this period were mostly under- ground, with the exception of the Mar- cian. A long line of this noble aqueduct is still standing, but little appears to be- long to the republican period except the foundations, and it is almost impossible to distinguish the original work from the additions and restorations made during the early period of the empire. The theatre of Pompey may still be traced under the cellars of the Palazzo Pio. The foundations of the Pons Palatlnus, now the Ponte Rotto; some portions of the Pons Fabricius, now the Ponte di Quattro Capi, connecting the island of the Tiber with the left bank ; and the facing of travertine at the southern point of the island, which formed part of the "ship" of ^scula- pius ; are likewise considered to be republican works. But the principal republican remains are the tombs. At the foot of the Capitoline, and placed so near the walls of Servius Tullius that many authorities have described it as being within the limits of the city, is the tomb of Bibulus. It is situated in the Via Marforio, and is universally admitted to be a republican ruin. The principal tombs of this period are on the Appian Way. Between the old walls of Servius Tullius and the Porta di S. Sebastiano is the most interesting n2 268 R. 27. — ROME. — Antiquities ; the Empire. [Sect. I. of these remains — the tomb of the Scipio family, now a subterranean vault, from which the sarcophagi and inscriptions in the Vatican Museum were obtained. Beyond the gate is the magnificent cir- cular tomb of Cecilia Metella; and farther on, in the midst of the plain, is the sepulchre of the great republican family of the Servilii. 3. TheEtnpire (b. c. 30-a.d. 476).— However much the classical enthusiasm inspired by the recollections of the republic may surpass the feelings ex- cited by those of the empire, there can be no doubt that this was the era when Rome assumed her greatest magnifi- cence, and nearly all the monuments we now see belong to this period. It was the aim of Augustus to extend the limits of the city, and to embellish it with works of splendour and luxury. The Campus Martins during his reign was gradually covered with public buildings, and, like many cities of mo- dern times, the ancient walls of Servius Tullius soon included but a small por- tion of the city, and were at length lost among the new buildings. The influ- ence of Greek art and a taste for colossal architecture may be clearly traced through all the imperial works : the palaces, the aqueducts, the historical columns, and the tombs of this period, are all on a scale diflerent from preced- ing examples; and, when compared with the unity and simplicity of earlier times, everything appears exaggerated. Another peculiarity is the general adop- tion of the Corinthian style, not indeed in its original purity, but with a variety of ornament which clearly marks the decline of art. Augustus began on the Palatine the first palace of the Caesars, and filled the Campus Martins with temples, arcades, theatres, and other buildings, to an ex- tent almost innumerable. Of the works which have survived to the present time we may mention the remains of a Forum which bore his name ; the three columns of the temple of Saturn in the Forum ; the three beautiful columns at the angle of the Palatine, long called the temple of Jupiter Stator and the Grsecostasis, but now supposed to be the temple of Minerva Chalcidica ; the theatre of Marcellus; the portico of Octavia ; and the mausoleum of the emperor himself, between the Corso and the Tiber, now used as a circus and theatre for the lower classes of the Roman populace. The pyramid of Caius Cestius in the Protestant burial-ground was probably erected about this time. Agrippa, fol- lowing the example of his master, con- tributed largely to the embellishment of Rome, and constructed a series of baths in the Campus Martins, which served as the model of those immense structures erected by the later emperors. His great work, however, was the Pan- theon (B.C. 26), the best-preserved mo- nument of Rome. It adjoined his baths, and probably formed a part of them. The arch of Drusus, who died B.C. 9, was erected to his memory by the senate after his death, and is the oldest triumphal arch in Rome. The arch of Dolabella, on the Caelian, was erected, as the inscription tells us, in the consulate of Dolabella and Silanus, which was, we know, in the tenth year of our era, and consequently its anti- quity cannot be much later than that of Drusus. Tiberius (a.d. 14) began the Praetorian camp, whose form may still be traced in the north-east angle of the city, particularly in the vineyard of tiie Villa Macao, and built the temple of Ceres and Proserpine, whose columns and cella are preserved in the church of S. Maria in Cosmedin at the Bo(xa di Verita. Caligula (a.d. 38) enlarged the palace on the Palatine ; and Clau- dius (a.d. 41) constructed that noble aqueduct which is still the admiration of the world. But all these works were eclipsed by the magnificent building of Nero (a.d. 54). The fire which he is accused of kindling destroyed the ex- isting palace on the Palatine, and upon its ruins arose the golden house of Nero, occupying a space equal to that of a large town, filling the valley of the Coliseum, and displacing the house and gardens of Maecenas on the Esquiline. Nero also rebuilt a large portion of Rome, and constructed baths, now co« Papal States.] r. 27. — rome. — Antiquities ; the Empire. 269 vered by modern palaces, between the Pantheon and the Piazza Madama. He completed the Circus of Caligula, partly occupied by St. Peter's and the Vatican Palace, and memorable as the spot on which many of the early Christians suffered martyrdom. To Vespasian (a.d. 70) we are indebted for the noblest ruin in existence, the Coliseum, or the Flavian amphitheatre. It was com- pleted and dedicated by his successor Titus Ta.d. 79), ten years after the tak- ing of Jerusalem. From a coin of Vespasian it appears that he also re- built the small circular temple of Vesta near the Ponte Rotto, which was burnt in the fire of Nero. The temple which bears his name in the Forum is one of the few which have left any consider- able ruins. On the upper slopes of the Esquiline, Titus converted the sub- structions of Nero's palace into reser- voirs and baths, so well known by their massive and picturesque ruins. Domi- tiau (a.d. 81) enlarged the palace of the Caesars, and began some baths near those of Titus, which were more exten- sive in their plan than those of his pre- decessor, and were finished by Trajan. He also erected the beautiful arch of Titus, to commemorate the conquest of Jerusalem. Nerva (a.d. 96) erected a Forum which still bears his name ; and his great successor Trajan (a.d. 98) consecrated a temple to his memory^, whose remains show that it was one of the most splendid edifices in the city. Trajan has also left us in the remains of his Ulpian Basilica and his triumphal column one of the most interesting monuments of Rome. The works of Hadrian (a.d. 117) peculiarly mark the taste for the colossal to which we have already adverted. His temple of Venus and Rome was erected from his own designs and under his personal direction. His villa at Tivoli, which will be noticed hereafter, was on the most exaggerated scale ; and his mau- soleum, now the Castle of St. Angelo, is perfectly Egyptian in its style. The Pons ^lius, now the Ponte S. Angelo, was also constructed by Hadrian as an entrance to his tomb. It is the best preserved of all the Roman bridges, and, with the exception of the parapets and some unimportant repairs near the castle, is entirely ancient. Antoninus Pius (a.d. 138) built the temple whose fine colonnade now forms the front of the papal custom-house. The temple in the Forum which bears the name of this emperor and his wife was raised to them by the senate. The column of Marcus Aurelius Antoninus (a.d. 161), called the Antonine Column, in the Piazza Colonna, though inferior to that of Tra- jan, is one of the best-known monu- ments of Rome. The arch of Septimius Severus in the Forum was erected to him and his sons Caracalla and Geta by the senate (a.d. 205) ; and the other arch which bears his name, in the Vela- brum, was erected in honour of the em- peror, his wife, and Caracalla, by the goldsmiths and dealers. To this period is ascribed the square arch of Janus in the V elabrum, though its precise date is unknown. The Baths of Caracalla (a.d. 211) surpass in magnitude all previous works of the same kind : their ruins still excite the surprise of every traveller, and are remarkable as having supplied the museums of our time with the Farnese Hercules, the Toro Farnese, the Torso of the Belvidere, and other celebrated statues. These baths were completed by Elagabalus (a.d. 218), and his successor Alex. Severus (a.d. 222). Elagabalus also built the gigan- tic Temple of the Sun on the Quirinal, whose massive ruins are still visible in the gardens of the Colorma Palace. Aurelian (a.d. 270) accomplished the greatest work of the latter half of the empire, by surrounding Rome with the immense fortification which served as the foundation of the present walls. With the exception of the Baths of Diocletian (a.d. 302), which have pecu- liar interest from the tradition that they were built by the Christians during the persecutions of this reign, there are few ruins to detain us until the time of Constantine (a.d. 306). The baths of this emperor may still be traced on the Quirinal in the Villa Aldobrandini. His Arch, erected in memory of his victory 270 R. 27. — ROME. — Antiquities; their Ruin. [Sect.!. over Maxeiitius, is near the Coliseum, and is adorned with bas-reliefs plun- dered from the arch of Trajan, whose site is now unknown. His Basilica constitutes one of the most conspicuous ruins of the Forum : it was built by Maxentius, and consecrated by Con- stantine after the death of his rival. To the same period belong the temple and circus of Romulus on the Appian Way, dedicated by Maxentius to the memory of his son Romulus (a.d. 311). The circus is often called that of Cara- calla. The Pons Gratianus, a conti- nuation of the Fabrician bridge, [con- structed by the emperors Valentinian and Gratian (a.d. 364), still connects the island of the Tiber with the Traste- vere. The column of Phocas was erected A.D. 608 by the exarch Smaragdus to the Greek emperor Phocas ; but the column is evidently of an earlier date, perhaps as early as the Antonines. This rapid review of the leading ruins will be useful to the traveller in enabling him to understand the age of the different monuments. It will also be useful in pointing out the chronoh^- gical succession to such travellers as wish to study the history of Rome by means of her existing ruins — to trace her early connection with Etruria — and to follow the progress of her architec- ture ihrough its various stages down to the decline of art under the later em- perors. It v.'ill scarcely be less instructive to take a rapid survey of the gradual ruin of the city. On the conversion of Constanfine to Christianity many of the ancient temples were converted into churches for Christian worship, but a still greater number were destroyed. Independently of the injuries sustained through the invading armies of Alaric (a.d. 410), Genseric (455), Ricimer (472), Vitiges (537), and Totila (546), the inhabitants appear to have regarded the ancient buildings as a public quarry. Belisarius employed the remains of an- cient edifices in repairing the walls for his celebrated defence of the city, and converted the tomb of Hadrian into a citadel. The aqueducts had been pre- viously destroyed by Vitiges, who burnt everything beyond the walls ; the baths were thus rendered useless, and the Cam- pagna was reduced to a state of desola- tion from which it has never recovered. Totila is supposed to have commenced the destruction of the Palace of the Cae- sars. In the seventh and eighth centuries Rome suffered a constant succession of calamities; earthquakes, inundations of the Tiber, and the famine and pesti- lence of which they were the natural precursors, desolated the city more than the attacks of the barbarians or the subsequent sieges of the Lombards. From the end of the seventh to the end of the eighth century five inundations are recorded, in one of which the whole city was under water for several days. The disputed succession to the papacy, the contests of the popes with the Ger- man emperors, and the frequent ab- sence of the court, had also considerable influence in leading to the neglect and ruin of the city. The Normans of Robert Guiscard surpassed all previous invaders in the extent of their ravages : they burnt the city from the column of Antoninus to the Flaminlan gate, and from the Lateran to the Capitol ; they ruined the Capitol and Coliseum, and laid waste tlie whole of the Esquiline. The great monuments were soon after- wards occupied as fortresses by the Roman families. The Coliseum, the Septizonium, and the Arch of Janus were seized by the Frangipani ; the Tomb of Hadrian and the Theatre of Pompey, by the Orsini ; the Mausoleum of Augustus and the Raths of Constan- tine, by the Colonna; the Tomb of Ce- cilia Metella was converted into a for- tress by the Savelli and the Gaetani ; the ruins of the Capitol were held by the Corsi ; the Quirinal by the Conti ; and the Pantheon so frequently received the garrisons of the Pope, that in the time of Gregory VII. it was called S. Maria in tiirrihus. Even the Basilicas were not secure ; that of St. Paul was fortified by the Corsi, and that of St. Peter by the people. But these were not the oidy calamities of Rome during the middle ages. In 1345 the city was Papal States,'] r. 27. — rome. — Antiquities; their Ruin. 271 again inundated by the Tiber, and no- thing but the summits of the hills re- mained uncovered. In 1349 it was de- solated by a fearful earthquake. In 1527 it was cruelly pillaged by the Constable de Bourbon, and, as Gibbon truly ob- serves, suffered more than from the ra- vages of Genseric, Vitiges, and Totila : three years afterwards it was visited by another inundation scarcely less severe in its results. From a very early period the erection of new churches and the repairs of the city walls had continually operated to the destruction of the monu - ments; the lime-kilns of the middle ages were supplied from the ancient ruins^ and the temples and other build- ings were despoiled of their columns for the decorations of religious edifices. The popes are responsible for a large share of this system of destruction. As early as the eighth century we find Gregory III. taking nine columns from some temple for the basilica of St. Peter. Adrian I. destroyed the Temple of Ceres and Proserpine to build S. Maria in Cosmedin. Paul II. built the Palace of St. Mark with stones taken from the Coliseum. By the middle of the tifteenth century so many monuments had been ruined for building purposes or burnt into lime, that, when v^^neas Sylvius was elected pope under the title of Pius II., he issued a bull to prevent the further continuance of the practice: ''DeAntiquis -(^'.dificiis non diruendis" (1462). Notwithstanding this measure Sixtus IV. in 1474 de- stroyed what remained of theSublician bridge to make cannon-balls, and swept away numerous ruins in his ge- neral reform of the city. Alexander VI. destroyed a pyramid near the Vati- can to make a gallery from the Palace to the Castle of St. Angelo. Paul III. (Farnese) plundered the Temple of An- toninus and Faustina, the Arch of Titus, the Forum of Trajan, and the Theatre of Marcellus, and built the Farnese Pa- lace with stones brought from the Coli- seum, although he had issued a bull mak- ing it a capital oHence to " grind down " statues. Sixtus V. removed the Septizo- nium of Severus for the works of St. Peter's. Urban VTII. (Barberini) partly destroyed the basement of the Tomb of Cecilia Metella to construct the Fountain of Trevi, built the Barbe- rini Palace with materials taken from the Coliseum, and stripped the Pan- theon of the bronze plates, which had escaped the plunder of the emperor Constans II. in the seventh century, to construct the , baldacchino of St. Peter's, — an act immortalised by Pas- quin in a saying which has now almost become a proverb : *' Quod non fecerunt Barbari, fecere Bar- berini." Paul V. (Borghese) took down an entablature and pediment in the Forum of Nerva to build a fountain on the Janiculum, and removed the last of the marble columns of the Basilica of Con- stantine to support the statue of the Virgin in the Piazza of S. Maria Mag- giore. Alexander VII. destroyed an ancient arch to widen the Corso. Most of the statues of saints and prophets in the churches were worked out of ancient columns, and the marbles which so profusely decorate the altars may easily be recognised as fragments of classical buildings. After these details, the reader will no doubt be surprised that so many relics of a city which has existed for 2600 years are still visible. When we look back on the condition of the great capitals of our own time, how few there are which have preserved unchanged even their monuments of the middle ages ! If Rome had undergone as many alterations as London has wit- nessed within the lapse of a few cen- turies, we should not find one stone standing upon another which we could identify with her historic times. After this general sketch of the mo- numents and their vicissitudes, we shall proceed to describe them individually, classifying the ruins under separate heads, and leaving it to the convenience or taste of the traveller to combine the antiquities with the churches and other objects of interest, or examine each class separately. It cannot, however, be too strongly impressed upon his at- 272 R. 27. — ROME. — Antiquities ; Roman Forum. [Sect. I. tention that there is scarcely a ruin which has not been the subject of anti- quarian controversy ; and that to enter into these disputes would simply be to add another to the hundred works which bewilder the student upon al- most every question of Roman topo- graphy. In many instances the doubt which hangs over the name and object of the monuments will never be re- moved; and the discovery of the real name would add but little to the inte- rest of the ruin. For, in spite of all that has been written, the enjoyment of the spectator must depend on his own enthusiasm ; the ruins are but the out- lines of a picture which the imagination and memory must fill up; and those who do not expect too much are less likely to be disappointed than those who look for visible memorials of the heroes, poets, and orators whose fame has con- secrated the soil, and invested even the name of Rome witii imperishable in- terests ** Where is the rock of Triumph, the high place Where Rome embraced her heroes? wheie the steep Tarpeian ? fittest {joal of Treason's race. The promontory whence the Traitor's Leap Cured all ambition. Did the conquerors h( ap Their spoils here ? Yes ; and in yon field below, A thousand years of silenced factions sleep — The Forum, where the immortal accents glow. And still the eloquent air breathes— burns with Cicero!" Childe Harold. Forums. The Roman Forum. — A small irre- gular space between the Capitoline and the Palatine, raised by the accu- mulation of soil from fifteen to twenty feet above the ancient level. Its mo- dern name is the Campo Vaccino, the greater part of the area having become as early as the fifteenth century the resort of cattle and oxen, a kind of Roman Smithfield. Within this hollow lay the Roman Forum, but what part it really occupied, and what were its true boundaries, are mere matters of conjecture. For the last three cen- turies it has been the scene of more learned controversies than any other spot on the habitable globe, and a simple recapitulation of the theories of successive antiquaries would fill a volume of no ordinary size. In the development of these theories the Forum has changed its place several times; the names applied to the ruins by one writer have been superseded by the next, and until within the last few years it was a task of no common difficulty to come to any conclusion whatsoever amidst the multitude of conflicting statements. Indeed, the disputes of the antiquaries had involved every ruin in uncertainty, and had either bewildered the student into total scepticism, or made him believe that the sole interest of each object of an- tiquity consisted in the contest for its name. Recent discoveries have re- moved to a very great extent the doubts which perplexed the writers of former times; we shall therefore touch very slightly on controversial questions, and proceed at once to the facts. The older antiquaries believed that the Forum, properly so called, extended in length from the Arch of Septimius Severus to that of Fabius, now destroyed, but situated nearly in front of the Temple of Antoninus and Faustina ; the space between this temple and the three columns which form so conspicuous a feature of the scene constituted its breadth. In the middle of the seven- teenth century this opinion was super- seded by another theory, which as- sumed as the breadth of the Forum the line formerly believed to be its length, and sought for its length in the direc- tion of the churches of San Teodoro and S. Maria della Coiisolazione, thus laying down an imaginary rectangle of about 700 feet by 470. This theory is supported by many recent writei-s, — Nibby, Burgess, Burton, and others, — in whose time the discoveries which have so completely changed the old land- marks of the Forum had not been made. Niebuhr rejected this hypotliesis alto- gether, and adopted the old theory as the one most supported by historical Papal States.] r. 27. — rome. — Antiquities ; Roman Forum. 273 facts. The Chevalier Bunsen has since most ahly carried out the views of the great historian; and has been enabled by the discovery of the Milliarium Aureum, and the steps of the Basilica Julia, in 1834, to reconcile Niebuhr's views with the actual antiquities. The Forum, therefore, according to these authorities, must be sought for between the Capitol and the Arch of Titus. It was about 630 feet in length ; the breadth varied from 100 to 110 feet, the end nearest the Capitol being the broadest. At the eastern and narrowest extremity, about a third of the space was separated from the rest by a branch of the Via Sacra. This small portion constituted the Comitium, whicli Niebuhr considers not to have been a building but an uncovered area, distinct from the Forum in its proper and restricted sense. The Forum must consequently have ended near the three columns in front of S. Maria Libera- trice ; and the Comitium must have ended nearly opposite the Temple of Antoninus. The double avenue of trees on the north-east side of the Forum will serve as a guiding-line in fixing the localities, and is especially interesting as marking the course of the Via Sacra. This open space, in which we have now to trace the various buildings of the ancient Forum, is bounded at the western end by the Capitol, surmounted by the modern Tower of the Senator, and at the eastern by the Arch of Titus. On the right is the Palatine covered with gardens and a convent standing alone amidst the ruins of the Palace of the Caesars, and on the left is a line of houses and churches chiefly built upon ancient temples. The Lacus Curtius is sup- posed to have occupied the centre of this space. Without entering into minute details of the edifices which once adorned the Forum, we shall pro- ceed to point out the localities, so far as they have been decided by the most recent authorities. Beginning with the ruins on the slope of the Capitoline, the massive wall of peperino which forms the substruction of the modern prisons is one of the most interesting existing fragments of Roman masonry of the time of the re- public. It is composed of rectangular blocks laid in alternate courses, present- ing in one course their sides, and in the other their ends, precisely in the style which Rome derived from the Etrus- cans. Upon it, as upon a podium, are the remains of Doric columns, and an architrave belonging to the Tabular ium or Record Office. Within is an ancient corridor mixed with modern construc- tions, in which Nicholas V., about the middle of the fifteenth century, formed a magazine of salt, which is said to have corroded the piers and led to their destruction. In the sixteenth century the following inscription existed on the walls, proving that they belong to the Tabularium, where the *' tabulse," or plates recording the decrees of the senate and other public acts, were pre- served, and that they were erected, together with the substructions, by Q. Lutatius Catulus (b.c. 79) : q. lvta- TIVS . Q. F. CATVLVS . COS. SVBSTRVC- TIONEM . ET . TABVLARIVM . S. S. FACI- ENDVM . GOERAviT ; they are therefore interesting as republican works, and still more so as remains of the ancient Capitol. In January, 1839, Professor Azzurri, one of the most amiable and learned men who have occupied the architectural chair in the Academy of St. Luke, made an important discovery in connexion with this interesting monu- ment. While engaged in the works for the enlargement of the prisons beneath the Senator's Palace, he found concealed among masses of modern walls the Doric arch of the Tabularium, the existence of which had never been before imagined. With great care, and with a true rever- ence for an object so precious to the antiquary. Professor Azzurri cleared it of all the modern work by which it was encumbered, and made arrangements by which it will be preserved from future injury. It is 33 palms 2 inches high, and about 15 palms 10 inches broad. The style of its Doric is a rare example of the imitation of Greek art in the works of the republic, and pre- n3 274 u. 27. — ROME. — Antiquities; Roman Forum. [Sect. T. sents many peculiarities in its details which will not fail to interest the archi- tect. It is to be hoped that Professor Azzurri will be able to follow out his researches, for there is no doubt that further investigations among the found- ations of the Senator's Palace will be productive of highly interesting results. The peculiar variety of volcanic tufa of which this arch and the substructions of the Tabularium are built is that called lapis Gabi/n/s, from the locality on the shores of the Lake of Gabii from vtrhich it is derived. This stone is dif- ferent from the peperino of Albano, of which we have a fine example in the tomb of Scipio. The gabina is used also for the arch of the Cloaca Maxima where it enters the Tiber, and seems to have been generally employed in all the early public v/orks of Rome, while the peperino of the Alban hills did not come into use until a later period. The three temples which stand at the base of the hill are among the most conspicuous ornaments of the Forum. The three fluted columns in j the Corinthian style were long supposed ! to have formed the angle of the Temple ! of Jupiter Tonans ; but Niebuhr con- | sidered them to belong to the Temple of \ Saturn^ an opinion since confirmed by | the discovery of the Milliarium Aureum^ i or golden milestone of Augustus, at its j base. This stone stood, as we know j from numerous classical authorities, ■ immediately below the Temple of Saturn ; it is a circular pillar on a cir- cular basement, faced with marble, and was erected by Augustus to mark the distances from Rome to the great cities of the empire ; by the discovery of this relic the Prussian antiquaries have given us a new and most important fact in determining the localities of the Forum. The portico, with the eight granite co- ' lumns on the left hand, was formerly ; called the Temple of Fortune, but is now regarded upon better grounds as the Temple of Vespasian. In the angle on the right, behind the three columns, ' and partly covered by the modern I ascent and by fragments of marbles, ' is a massive basement excavated by | the French in 1S17, and proved by in- scriptions then found to belong to the Temple of Concord., erected in the time of Augustus on the ruins of the cele- brated republican temple of that name. In front of this ruin stands the Arch of Septimius Severus, which marks the north-west angle of the Forum. The Clivis Asijli, one of the paths which led from the Forum to the Capitoline, began at the northern flank of the arch and proceeded in the direction of the modern road. The Clivis Capitolinus passed under the arch, and led up to the citadel in a winding direction be- tween the three columns and the Temple of Vespasian. The excavations of Pius VII. in 1804, by laying open the arch to its base, discovered the remains of this path, and we may therefore now tread the ancient pavement. The Clivis Asyli passed in front of the Mamertine prison, one of the few eX" isting monuments of the kings, now marked by the church called indiffer- ently S. Pietro in Carcere or S. Giu- seppe. Proceeding now along the left side of the Forum, the line of the mo- dern road is supposed to mark the posi- tion of the novcB taherncD, the porticoes and shops of the traders. The Church of S. Luca, or Santa Martina, the well- known site of the Roman Academy of Painters, is supjjosed to be built on an ancient edifice, some writers contending that it marks the position of the Secre- iarium SenatifS, while others consider, from its early name, that it was the Temple of Mars. The adjoining church of S. Adriano is supposed to mark the site of the Basilica JEmilia, erected in the time of Augustus by Paul us ^milius ; Nardini, however, identified it with the Temple of Hadrian, and before his time it was considered to be part of the Temple of the Parcae. The brick front is the only fragment of the ancient building now standing. The mass of modern houses between this church and the Temple of Antoninus and Faustina is considered by recent writers to occupy the site of the Ba- silica Fuli ia ; at its eastern end, before we reach the Temple of Antoninus, Papal States.] r. 27. — rome. — Antiquities; Roman Forum. 275 Bunsen places the Curia Hostilia. Nearly opposite, at that end of the Co- mitium which faced the Forum, the Rostra, according to the same autho- rity, stood prior to the time of Julius Caesar. The Temple of Antoninus and Faustina, now the Church of S. Lo- renzo in Miranda, may be considered to mark the limits of the Forum. In front of it stood the Arch of Fabius, the conqueror of the Allobroges. On the other side of the Forum, be- ginning from the Portico of Vespasian, we may first notice the single column, called by Lord Byron " The nameless column with a buried base ;" it was excavated to the base in 1813 by the Duchess of Devonshire, and is now no longer nameless, for an inscrip- tion was found, proving it to be the Column of Phocas, and recording that a gilt statue was placed on it to that emperor by the exarch Smaragdus, A.D. 608. Behind it, on tlie right, the Prussian antiquaries place the Basilica Julia, founded by Julius Caesar on the site of the Basilica Sempronia, after the Curia Hostilia was destroyed by fire (B.C. 55). The flight of steps disco ^ vered in 1834, on the right of the Co- lumn of Phocas, served to fix the site of this Basilica, and gave a new im- pulse to the settlement of the topo- graphy. The Rostra were removed by Caesar to the front of this new build- ing. The space between this and the three columns of the Forum is supposed by Bunsen to be the site of the Temple of Castor and Pollux. The three beau- tiful columns, which architects have long regarded as models of the Co- rinthian style, have been the subject of more controversy than any other ruins in the Forum. In former times they were called the Temple of Jupiter Stator ; they were then supposed to belong to the Comitium, and more re- cently they have had the name of the Grjecostasis, or hall in which the am- bassadors of friendly powers were re- ceived by the senate. Recent excava- tions, however, show that the columns belonged to a building of great extent, and Bunsen contends that they are the remains of the Temple of Minerva Chal- cidica, built by Augustus in connection with the Curia Julia, the magnificent structure erected by that emperor for the senate, in place of the older Curia. The mass of brick-work behind the church of S. Maria Liberatrice, for- merly ascribed to the Curia Hostilia, is considered by the same learned anti- quary to be the remains of this new- Curia of Augustus. Farther back the church of San Teodoro is supposed to mark the site of the Temple of Romulus, described as the Temple of Vesta by those antiquaries who assumed its site as one of the boundaries of the Forum ; but the site of the Temple of Vesta is placed by Bunsen immediately in front of Santa Maria Liberatrice. Along the line from the Portico of Vespasian to this spot, he places the veteres tahernce, or shops which Tarquinius Priscus al- lowed to be erected in the Forum, and where Virginius bought the knife which saved the honour of his daughter. We are now arrived opposite the Temple of Antoninus and Faustina, and may therefore be said to have reached the boundary of the Forum, or rather of the Comitium, on this side. It may be useful now to examine the remain- der of the Campo V^accino, lying be- tween this position and the Arch of Titus. Leaving the Temple of Anto- ninus, we enter on the Via Sacra. On the left hand the first building which requires notice is the small circular temple now used as a vestibule to the church of SS. Cosimo and Damiano ; it was formerly called the Temple of Remus, but is described by Bunsen as the yEdes Penatium. Near this are two half-buried columns of cipollino, which seem to have escaped the nomenclature of the Roman antiquaries. The next building is the immense ruin formerly called the Temple of Peace, but now known to be the Basilica begun by Maxentius, and completed by Con- stant ine, whence it took the name of the Basilica of Const antine. The Via Sacra is supposed by many writers to have passed immediately in front of 276 R. 2^ .-ROUE -Antiquities ; Trajan^s Forum, ^c, [Sect. I. this edifice, while others carry it in a straight line from the site of the arch of Fabius to that of Titus. The Tem- ple of Peace stood near it. Among the facts connected with the destruction of that celebrated temple, not the least interesting is that recorded by the phy- sician Galen, who states that he had a shop upon the Via Sacra, which was burnt down in the conflagration of the temple, and that lie lost many of his writings in the flames. The classical scholar will hardly require to be re- minded that the Via Sacra was one of the favourite promenades of Horace, who has recorded the fact in one of his most playful satires (lib. i., ix.) : Ibam forte Via Sacra, sicut meus est mos, Nescio quid meditans nugarum, et totus in illis." Close to the Basilica is the Arch of Titus, interesting not only as the most beautiful of the Roman arches, but as having been erected in commemoration of the conquest of Jerusalem. Behind the church of S. Francesca Romana are the ruins of the double Temple of Venus and Rome^ planned by Hadrian, and built under his personal superintend- ence. The Via Sacra is supposed to have passed under the Arch of Titus to the Meta Sudans, in front of the Coliseum, whose gigantic mass rises immediately before us, between the Baths of Titus on one side, and the Arch of Constantine on the other. Ail the objects mentioned in this ge- neral survey of the Forum, of which there are any remains now visible, are described in detail under their several classes, to which the reader is therefore referred for the particulars of each. Forum of Trajan. — The remains of the magnificent buildings which were once the ornament of this Forum, and the unrivalled column which still stands in the midst of the ruins, are the best evidences of the splendour which commanded the admiration of the an- cient world. The Forum was begun by the emperor after his return from the wars on the Darmbe, and completed A.D. 114. The architect was the cele- brated Apollodorus. The pedestal of the column was excavated by Paul III. in the sixteenth century ; and Pius VII. in 1812 caused two convents and se- veral houses to be excavated, in order to clear the present area. During this operation the basements of the columns were discovered, so that the diflerent fragments have been replaced as nearly as possible in their original positions. The design, so far as can be gathered from the existing ruins and from coins, included the Basilica called Ulpia, from one of Trajan's names, a column, a triumphal arch, and a temple. The fragments now visible are a portion of the coloimades and lateral columns of the Ulpian Basilica, and are supposed to be about a third of the original buildings. The rest is buried under the streets and houses which close upon the area on all sides. Every excavation made for years past in the vicinity has disclosed some fresh proof of the ex- tent of the Forum, and columns similar to those now visible in the area have been found as far distant as the Piazza degli Apostoli. The funeral column stands in the middle of an oblong area, enclosed on two sides by a double co- lonnade, and on the third by the lateral walls of the Basilica, which was di- vided in the middle by a double co- lonnade. These columns are of grey Egyptian granite ; their original height is estimated to have been 55 feet. Around the area are numerous frag- ments of marble capitals, entablatures, &c., and part of the marble pavement. All these remains indicate a high state of art, and an elaborate execution even in the smallest details. Restored plans of the Forum and its buildings will be found in Burgess's ' Rome' and in the ' Beschreibung,' The Funeral Column is described under its proper head at page 300. Forum of Nerva, between the Roman Forum and that of Trajan, begun and dedicated to Pallas by Domitian, and finished by Nerva. The remains of this Forum and its temples are described under Temples .—[See T. of Pallas Mi- nerva and T. of Nerva.j Forum of Augustus, adjacent to those Papal States,] -KOM^.-Antiguities ; Palace of the Ccesars. 217 of Trajan and Nerva. The existing remains are noticed under the heads referred to in the preceding article. Of the other Forums it will be suffi- cient merely to mention that the cele- brated Forum of Julius Ccesar, the se- cond constructed in Rome, is supposed to have been situated between that of Augustus and the Roman Forum. All trace of it is now lost. It contained the famous Temple of Venus Genetrix, adorned with the statues of the goddess and Cleopatra. It has become memo- rable from its connexion with the first oifence given to the citizens by Caesar, who received the conscript fathers sitting in front of the temple, when they had come to him in great state. The Forum Boarium was situated near the Church of S. Giorgio in Velabro, and con- sequently near the Bocca di Verita. The Forum Olitorium is mentioned in the account of the Temple of Juno Matuta. The Forum of Antoninus is marked by the ruins of his temple, now used as the custom-house. Palaces. Palace of the Ccesars. — The first palace of the emperors on the Pala- tine was erected by Augustus, on the site of the houses of Cicero, Horten- sius, and Clodius. He attached to it a temple, dedicated to Apollo, in com- memoration of the battle of Actium, and a library, which afterwards became famous as the Palatine Library. Tibe- rius increased this palace towards that extremity of the hill which overlooks the Velabrum. Caligula enlarged it towards the Forum, and connected it with the Capitol by a bridge. He also converted the Temple of Castor and Pollux in the Forum into a vestibule for the new portions he had added. Nero extended the buildings in the opposite direction towards the site of the Coliseum. After the great fire, the golden house which Nero erected on the ruins of his former palace extended to the Esquiline, displacing the house of Msecenas, tilling up the valley of the Coliseum, and covering with its grounds a great portion of the Cseliaii. Titus was the first who seems to have reduced this overgrown edifice within more rea- sonable limits ; he employed the sub- structions on the Esquiline as the found- ations of his Baths, and is supposed to have made such alterations as con- fined the palace to its original position on the Palatine. It was repeatedly re- built and altered by succeeding empe- rors ; and the greater part of it is sup- posed to have fallen into decay in the time of Theodoric. In the seventh century the southern portion was suffi- ciently perfect to be inhabited by Hera- clius ; and there is reason to believe that the plan at least of the palace was entire in the eighth century. Of all these extensive buildings, nothing now remains but a mass of ruins, so shapeless and undefined, that any attempt to dis- cover the plans and boundaries of the several parts would be perfectly hope- less. •* Cypress and ivy, weed and wallflower grown Matted and mass'd together, hillocks heap'd On what were chambers, arch crush'd, columns strown In fragments, choked-up vaults, and frescoes steep'd In subterranean damps, where the owl peep'd, Deeming it midnight : — Temples, baths, or halls ? Pronounce who can ; for all that Learning reap'd From her research hath been, that these are walls. — Behold the Imperial Mount ! 'tis thus the mighty falls." Childe Harold. The Palatine, as we now see it, is about a mile and a half in circuit ; the soil is composed of crumbled frag- ments of masonry, and in many parts it covers the original surface to a depth of nearly twenty feet. The hill is por- tioned out in gardens and vineyards: the grounds of the Filla Farnese occupy the whole north-western side. Adjoin- ing them, on the south, and standing nearly in the centre of the hill, is the Pllla Spada or Palatina, better known as the P^. Mills from the English gen- tleman of that name to whom the pro- perty belongs. A road commencing at the Arch of Titus, and called the Fia 278 R. 2*1 -ROWE- Antiquities ; Palace of the Ccesars, [Sect. I. Polveriera, leads to the convent of S. Bonaventura^ and separates the above- named villas from the gardens of the convent, and from the Figna di S. Sebas- tiano on the south-east. On the south are the Orti Roncioni ; and at the south- west extremity is the Figna del Collegio Inglese. In each of these localities we shall find some ruins to engage our attention. 1. Fariiese Gardeiis. As- cending the Via Polveriera from the Arch of Titus, we first pass some arches and other fragments, which from their position have been identified with the vestibule of Nero's house. Not far distant is the entrance to the Farnese Gardens by a gateway on the right hand. The first objects which occur are remains of walls and vaults; and higher up, beneath a grove of ilex, on the spot where the Arcadian Academy formerly held its meetings, are numer- ous fragments of entablatures, cornices, and capitals, with trophies apparently indicative of a naval triumph ; these fragments have been collected from difterent parts of the ground, and are .supposed to have belonged to the temple erected by Augustus to Apollo. On the western angle of the hill above the church of 8ta. Anastasiaare some ruins which antiquaries regard as those of the palace added by Tiberius ; on the south is a semicircular ruin, apparently of a small theatre, which some writers have attributed to Caligula. On the higher part of the hill are the vaults called by the ciceroni the Baths of Livia," but there is no authority for the name, and no proof that they were baths. They retain their original stucco, and are still decorated with some beautiful arabesques and gilding. Near them are considerable remains of substruc- tions, which are generally supposed to be the remains of the Temple of Apollo; the recesses and compartments still traceable in the walls adjoining have been considered with great probability to mark the site of the Palatine library. A villa at this extremity of the hill, said to have been painted by the pupils of Raphael, commands one of the finest views of Rome. At the end of the Palatine facing the Capitol are large masses of brick -work, formerly supposed to have been corniected with re- servoirs, but their true purpose is a mere matter of conjecture : they are now con- verted into a rope- walk. 2. The Filla Palatina, formerly the Villa Spada, and now the residence of Mr. Mills, acquired considerable interest from the dis- coveries of the French Abbe Rancoureil in 1777, who concluded that it occupied the site of the house of Augustus. The villa is entered from the Via Polveriera, nearly opposite the convent of S. Bona- ventura. The subterranean chambers excavated by Rancoureil and Barberi are several feet below the present sur- face ; they were formerly called the " Baths of Nero," and have been lat- terly described as the coenacula of the palace of Augustus ; but these are mere names for which there is not a shadow of authority. In several of these chambers the stucco is preserved ; and from what remains they all appear to have been richly ornamented. Two of the rooms are octagons, with domes admitting light by the top. The forms and architecture of these chambers have been justly admired by professional tra- vellers. The inscription " Bonis Artibus,*' on a fragment of an ancient column, was added by the Abbe Ran- coureil. The Casino of the Villa has a portico painted by Giulio Romano, and lately restored by Camuccini. The view from the grounds is one of the most striking prospects on this side of Rome. 3. Orti Ronciojii: the Villa Palatina overlooks these gardens. They are enclosed by two parallel walls of great extent, which appear by the re- cess in the middle, and by the curved extremity, to justify the name of "Hip- podrome," given to the locality by the antiquaries. In the upper gardens is the semicircular ruin of a theatre al- ready mentioned. 4. P^igna di S. Bo7iaventura, &c. Returning to the Via Polveriera, on our way to examine the south side of the hill, we pass the vineyards of S. Bonaventura and S. Sebastiano, in both of which are consi- derable masses of brick-work, which Papal States.] r. 2*1. -rome,- Antiquities ; Constantines Basilica, 279 evidently belonged to the house of Nero. In the latter are some rennains of the conduits which supplied the palace with water from the Claudian aque- duct, and within the precincts of the convent are some remains which appear to have been the reservoirs of a bath. 5. Vigyia del Collegio Inglese, ap- proached on the side of the Circus Maximus, through a private house on the Via de' Cerchi ; a steep and dirty staircase conducts us to the ruins, which are more extensive and picturesque than any now visible on the Palatine. Numerous arches, corridors, and vaults still retaining their ancient stucco are interspersed with masses of buildings of difl'erent periods, among which are found mosaic pavements and fragments of an- cient paintings. This is the part said to have been inhabited by Heraclius in the seventh century. Any attempt to describe these ruins or assign them to particular emperors would be mere loss of time. The names given to the cir- cular chambers and other portions are names and nothing more ; and their general accuracy may be estimated by the fact that the ciceroni show a circu- lar room as the bath in which Seneca was bled to death, although he is known to have died at his own villa some miles distant. These fine ruins, clothed in ivy and creeping plants, and diversi- fied by laurels and ilex, supply the artist with innumerable combinations for his pencil. At the angle of the hill towards the Piazza di S. Gregorio is a vineyard in which stood the Septi- zonium of Septimius Severus, converted into a fortress by the Roman nobility during the middle ages. It was de- stroyed by Sixtus V. to furnish materials for his works at St. Peter's. Basilica of Constanti?ie, former] j sup« posed to be the Temple of Peace, erected by Vespasian to receive the spoils brought by his son Titus from Jerusalem. It has, however, been de- cisively proved that this temple was entirely consumed by fire in the reign of Commodus; and the anti- quaries were long at fault in discover- ing the probable purpose of the existing ruin. Professor Nibby was the first who suggested that they are the remains of the Basilica of Constantine. The style, indeed, indicates the decline of art, and the execution shows that it is properly referred to the time of Con- stantine. It is, therefore, believed that the building was erected by Maxentius from the ruins of the Temple of Peace, and dedicated, after his death, to his successful rival. Small chambers have been found under the ruins, which may have belonged to the Temple of Peace, and some of the paving bricks are marked with the name of Domitian; both facts supporting the conjecture that it was built on the ruins of an earlier edifice. A small portion only of the original building is now stand- ing, but there is sufficient to allow architects to make out the plan and ascertain the measurements. It appears that it was 300 feet long and 220 wide ; and that it consisted of a nave and two side aisles, divided into three large arches about 75 feet across. Those which formed the northern nave still remain ; but the rest have disappeared, together with the central aisle. Recent excavations have proved that the ori- ginal entrance faced the Coliseum, where traces of an external arcade have been discovered. The vaulted roof seems to have been supported by eight marble columns, one of which was standing in the time of Paul V., who removed it to the Piazza of Sta. Maria Maggiore. In the fragment which remains the vaultings are decorated with large sunk panels tilled with stucco ornaments. The middle arch is deeper than the others, which have two rows of small arches, destroying the effect by insigni- ficant details. The plan of the central aisle shows that the principal tribune was placed at its extremity ; some frag- ments of its vaulted ceiling are still lying on the ground. A winding brick staircase leading to the roof is nearly entire. The pavement was of cipol- lino, giallo antico, and other marbles. The whole arrangement of the building seems to have suggested the forms of the early churches; and there is no 280 R. 27. — ROME. — Antiquities; Temples. [Sect. I. doubt that at least a portion of the edi- fice was converted into a place of wor- ship soon after the time of Coiistantine, Temples. Temple of JEsculapius^ on the island of the Tiber, which was sacred to the god of medicine. This celebrated temple was built B.C. 293, on the return of the ambassadors who had been sent to Epidaurus in accordance with the instructions of the Sibylline oracles, for the purpose of bringing ^sculapius to Rome, then suffering from plague. The story of their voyage is too well known to the readers of Livy to require a repetition of the details ; it will be sufficient to state that, on their return with the statue of the god, it was found that a serpent had entered the ship, and that ^sculapius himself was supposed to have assumed that form in order to deliver the city. On their arrival in the Tiber the serpent went out of the vessel and hid himself in the reeds of the island. A temple was therefore erected to him, and the whole island was faced with travertine, its form being reduced to the resemblance of a ship. Some remains of this curious work are still visible. The masses of stone which formed the sides are well presei ved at the southern end, and may be seen from both bridges. The Church and Convent of San Bartolommeo are supposed to stand on the site of the tem- ple and of the famous hospital which was attached to it. By descending from the gardens of the convent upon the massive ruins which form the southern point of the island, we may still see the staff and serpent of ^scu- lapius sculptured on the stones of the ship's bow. The marbles in the con- vent garden, and the twenty-four granite columns in the interior of the church, no doubt belonged to the temple. In the centre of the island was an Egyptian obelisk placed so as to resemble a ship's mast; from the remains of a basement discovered by Bellori in 1676, it is sup- posed to have been of great size, and the fragment of the obelisk found here in the last century was probably but a small portion of it. This fragment was long preserved in the Villa Albani, but it has now passed with other treasures of that collection to the Museum at Paris. Besides the Temple of ^scu- lapius, there were two small temples on the island, the one dedicated to Ju- piter, the other to Faunus ; they are mentioned by Livy and the poets, but all traces of them have disappeared under the mass of houses with which the island is now covered. Temple of A7itoninus and Faustina^ in the Roman Forum, now the Church of S. Lorenzo in Miranda. This in- teresting ruin is proved by the inscrip- tion to be the temple dedicated by the senate to Faustina, wife of the emperor Antoninus Pius, who was afterwards admitted to the same honour. It con- sists of a portico of ten Corinthian co- lumns, six in front, and two returned on the flanks. Each column is com- posed of a single block of cipollino, or Carysthian marble, about 45 feet in height, with bases and capitals of Pa- rian marble. The cella, of which two sides remain, is built of large blocks of peperino, formerly faced with marble. The ascent to the temple was ascer- tained, by excavations made in 1810, to be by a flight of 21 marble steps, about 15 feet above the level of the Via Sacra. The cella and portico have preserved a considerable portion of their magnificent entablatures, which are of Greek marble. The frieze and cornice are exquisitely sculptured, with grifiins, vases, and candelabra; over the por- tico is the inscription, Divo antonino ET TtlYM FAUSTINyE. EX. S. C." The columns are beautifully proportioned, and the whole building is in the finest style of art ; not surpassed, if indeed it be equalled, by any other edifice in Rome. It is supposed to date from the middle of the second century of our era. Temple of Antoninus Pius, in the Piazza della Pietra, the site of the Forum of Antoninus. The reader will probably be already familiar with this temple, under the name of the Dogana di Terra, or Roman custom-house. The Papal States.] r. 27.— Rome. — . ■Antiquities; Temples. 281 eleven columns now visible have suf- fered severely from the action of fire ; they belonged to one of the sides of the portico, which, according to the plan of Palladio, originally contained fifteen columns. They are of Greek marble, in the Corinthian style. 4 feet in dia- meter, and 39 feet high. The bases and capitals have almost disappeared, and very little of the ancient archi- trave has been preserved. Innocent XII. built up a wall behind the columns to form the front of his custom-house, and completed the present entablature with plaster. In the interior are some remains of the vaulting, composed of enormous masses of stone, together with some fragments of the cella, which form apparently the foundation of the mo- dern wall. Temple of Bacchus, a doubtful name given to a ruin near the Grotto of Egeria, now the deserted church of S. Urbano. It was formerly called the Temple of Honour and Virtue. It is a rectangular building, with a portico of four white marble columns of the Co- rinthian style, supposed to be taken from some other building of the time of the Antonines. The intercolumnia- tions were walled up when the build- ing was adapted for Christian worship, and half the columns are consequently concealed. The interior retains a portion of its ancient stucco frieze, represent- ing various trophies of v/ar, but greatly damaged; in the vault are sunk octa- gonal panels ; in the centre of the roof are the remains of a bas-relief, repre- senting two persons sacrificing with uncovered heads. The building was converted into a church by Urban VIII., when a circular altar, with a Greek in- scription, was found in the subterra- nean oratory. This inscription refers to Bacchus, and has given the building its present name. The paintings in the interior, representing events in the life of Christ, S. Cecilia, &c., are curious specimens of art of the eleventh century. Temple of Ceres and Proserpine, now forming part of the church of S. Maria in Cosmedin, near the temple of Vesta, better known as the Bocca di Verita. The temple was rebuilt by Tiberius. Eigiit columns of the peristyle, of white marble, and finely fluted, are partly walled up in the modern portico. By ascending to the gallery above, the capitals may be examined ; they are of the composite order, beautifully worked in the purest marble, and are a suf- ficient proof that the building belongs to the best period of art. The great width of the intercolumniations may be noticed as one of the peculiarities of this fragment. In the church are two other columns, which apparently formed the flank of the ancient portico, and behind the church are some remains of the cella, constructed of large blocks of travertine, which Adrian I. is known to have destroyed, for the purpose of enlarging the old basilica. Under the modern portico is the mask of Pan, which has given rise to the name, Bocca di Verita." It represents a large round face, with an open mouth. It is supposed that a suspected person was required, on making an affirma- tion, to place his hand in the mouth of this mask, under the belief that it would close upon him if he swore falsely. The church adjoining is interesting as an early example of the basilica ; it was founded by St. Dionysius in the third century, on the ruins of the temple, and rebuilt, a.d. 782, by Adrian I., who is said to have been engaged for an entire year in removing the immense sub- structions of the ancient cella ! Temple of Concord, on the Clivus Capitolinus, behind the arch of Sep- timius Severus, and partly covered by the modern ascent. This title was for- merly given to the portico of eight co- lumns, and the true site of the Temple of Concord was unknown before 1817. In that year the French, in excavating the soil around the three columns then called the temple of Jupiter Tonans, dis- covered a cella and four inscriptions, in which the name "Concordia" left no doubt of the real character of this ruin. Subsequent excavations have exposed a great part of the basement behind the arch of Septimius Severus, and particu- larly a portion of the flank, which is to- 282 R. 27. — ROME, — Antiquities ; Temples. [Sect. I. lerably well preserved. The existing re- mains show that the portico was smaller than the cell a, in order to ada])t it to the narrowness of the ground. The pave- ment was of giallo antico and pavo- nazzetto, and the interior in many parts retains the same rich materials. From the state of the numerous fragments of ornaments and carvings discovered among the ruins, it is supposed that the temple was destroyed by fire. On the side next the arch is a mass of brick- work, the remains of some building of the middle ages> often confounded with the temple. The inscriptions alluded to above, and the style of architecture, show that the present fragment is an imperial ruiti ; there is little doubt, however, that it occupies the site of the republican Temple of Concord, so cele- brated in the history of the Catiline conspiracy. In the middle ages a church, dedicated to S. Sergius, stood between it and the arch of Sept. Se- verus, and was very probably con- structed with marbles taken from its ruins. Temple of the Dims Rediculus^ a name given to an elegant little temple situated in the valley of the Almone, near the Nymphseum of Egeria, from the belief that it was the temple founded in commemoration of Hannibal's re- treat from Rome. It appears, however, that the authority for the name Redi- cutus is very slight, as Pliny mentions the scene of the retreat as two miles from the city, on the other side of the Appian. The name is now generally rejected, and the building is con?idered to be a tomb. The period of its con- struction is unknown, but the variety and beauty of the ornaments would seem to show that it is not, as was once supposed, a republican work, but an imperial structure. " So fresli are its red and yellow bricks, that the thing seems to have been ruined in its youtli ; so close their adhesion, that each of the puny pilasters appears one piece, and the cornice is sculptured like the finest marble. Whether it be a temple or a tomb, the rich chiselling lavished on so poor a design convinces me that it was fully as late as Septimius Severus." — ■ Foi^syth. It is nearly square, and is built of yellow brick, with abasement and pilasters of red. On the southern side, where a road seems formerly to have passed, it has small octagonal columns. The modillions of the cor- nice and other ornaments are well pre- served and are beautifully executed. On the ground is part of a peperino column, supposed to have belonged to the portico, which has disappeared. The interior is a small square chamber with stucco ornaments; there are some vaults underneath, which are now used as stables for cattle. Temple of Fortuna Virilis, near the Ponte Rotto, now the Church of Santa Maria Egizziaca, belonging to the Ar- menians. It was originally built by Servius TuUius ; after being destroyed by fire, it was rebuilt in the time of the republic, and has undergone many restorations in recent years. It is an oblong building of travertine and tufa, standing on a solid basement of traver- tine, which has recently been laid open to the level of the ancient road. The front had a portico of four columns, which has been walled up in the inter- columniations ; the only flank now visible has seven columns, five of which are joined to the walls of the cella. The columns are Ionic, twenty -six feet high ; they support an entablature and frieze, ornamented with heads of oxen, festoons supported by candelabra, and figures of children. The columns and entablature are covered with a hard marble stucco. The basement is much admired by architects, and, al- though the general effect of the temple may be considered somewhat heavy, the details of its Ionic are generally reg^arded as the purest specimen of that style in Rome. Temple of Hercules Ctistos. In the garden of the Sommaschi fathers are some remains of a circular temple, which Mr. Burgess identifies with this name, on the strength of a passage in Ovid, who places it in the Flaminian Circus. The ruins consist of four columns of peperino half buried in the soil. In Papal States. 1 r. 27. — rome. — Antiquities; Temples. 283 the cellars below there is another co- lumn of the same kind, and more might probably be discovered by excavating. The style is supposed to be Ionic. Temrples of Juno Mahda, Hope, and Piety. The Church of S. Niccolo in Carcere is built on the site of three temples, which may still be identified by the columns standing in their ori- ginal positions. The church occupies the space of the middle temple, and portions of the peristyles of the others are built into the side walls. Of the one on the left hand six columns in the Doric style remain. The centre frag- ment is Corinthian ; four of its columns have been preserved, three of which are in the elevation of the church. The tiiird temple, of which six columns with their capitals are standing, is Ionic. The style and workmanship of these ruins have generally been con- sidered to refer them to the period of the republic ; and if we admit the names imder which they have long passed, they will m.ark the site of the Forum Olitorium. Many attempts have been made to identify the central ruin v/ith that Temple of Piety which was erected on the site of the Decem- viral prisons, to commemorate the cele- brated story of the " Caritas Romana.'' It appears, however, to be decisive from the statement of Pliny that the prison and temple were both displaced HI his time by the Theatre of Marcellus, and it would therefore be useless to enter into any of the controversies on the subject. Those writers who have identified the site with the Forum Oli- torium have recognised in the central ruin the Temple of Piety, built by Acilius Glabrio, the duumvir, in ful- filment of his fathers vow at the Pass of Thermopylse ; but this theor}^ is also met by di faculties which we must leave the Roman antiquaries to discuss. There is a cell at the base of the columns, which is shown to strangers by torchlight as the scene of the affect- ing story to which we have alluded. Whatever may be the amount of the traveller's belief in the locality, he will not forget that it inspired those beau- tiful lines in the fourth canto of '■ Childe Harold,' in which the poet pictures the scene which has given such celebrity to the Roman daughter : — " There is a dunj^eon, in whose dim drear lii^ht What do I gaze on ? Nothing : Look aii:ain ! Two forms are slowly shadow' d on my sight — Two insulated phantoms of the brain : It is not so ; I see them full and plain — An old man, and a female young and fair, P'resh as a nursing mother, in whose vein The Mood is nectar :— but what doth she there, With her unmantled neck, and bosom white and bare ? But here youth offers to old a^e the food, Tlie milk of his own gift : — it is her sire. To whom she renders back the debt of blood Born with her birth. No : he shall not expire While in those warm and lovely veins tlie fire Of health and holy feeling can provide Great Nature's Nile, whose deep stream rises higher Than Egypt's river : — from that gentle side Drink, drink and live, old man ! Heaven's realm holds no sucli tide. The starry fable of the milky-way Has not thy story's purity ; it is A constellation of a sweeter ray. And sacred Nature triumphs more in this Be verse of her decree, than in the abyss Where sparkle distant worlds : — Oh, holiest nurse ! No droj) of that clear stream its way shall miss To thy sire's heart, replenishing its source With life, as our freed souls rejoin the universe." Temple of Jupiter CapitoVmus. — Al- though this magnificent temple, the pride and wonder of ancient Rome, has disappeared, a catalogue of the Roman temples would hardly seem complete without some notice of its site. We have already stated, in the general in- troduction to the antiquities, that consi- derable remains of a massive wall of peperino, in the garden of the Caffarelli Palace, on the Monte Caprino, have been identified with the substructions of this temple. We know that the Tar- quins laid the foundations by filling up the uneven space on the summit of the hill by an immense platform of massive stones. The temple was 200 feet in 284 R. 27. — ROME. — Antiquities ; Temples. [Sect. 1. length, and 185 feet in breadth. It was burnt B.C. 83, and rebuilt from its found- ations by Sylla, who decorated it with columns of Pentelic marble, brought from the splendid temple of Jupiter Olympius at Athens. Travellers who have had an opportunity of admiring the proportions of those columns of the Athenian temple which still cast their melancholy shadows on the plain of the Ilissus, will hardly be at a loss to ima- gine the grandeur of a temple situated on this commanding eminence, and of which they formed the principal orna- ments. The temple thus restored was dedicated by L. Catulus, whose name occurs in the inscription already men- tioned as formerly existing on the Ta- bularium. It is accurately described by Dionysius, who says that it was divided into three cells, that in the centre being dedicated to Jupiter, that on the right to Minerva, and that on the left to Juno. As there is no trace of the building itself, it would be super- fluous to dwell upon its details further than to mention that it was this temple which was struck by lightning B.C. 64, when the celebrated bronze wolf was injured, as described by Cicero. In the cell of Jupiter stood the statue of the god, which is represented on medals still extant, in a sitting posture with the foot extended. A well-known tradition states that Leo 1., in the middle of the fifth century, melted down this statue to cast the bronze figure of St. Peter ; but the tradition, though repeated by numerous writers, does not seem to rest on any recognised authority. Several fathers of the church, St. Jerome, St. Augustin, St. Ambrose, and others, men- tion the temple as existing in their time ; and there are other authorities which notice it as late as the eighth century, from which period every trace of it is lost. In the sixteenth century a church called S. Salvator m Maximio stood near the Palazzo Caffarelli; it was destroyed in 1587, but the name is considered by the Roman antiquaries to preserve the record of Jupiter Optimus Maximus. The walls in the gardens of the palace are of immense solidity : about eighty feet of wall may be traced, and whatever disputes may be raised concerning the respective localities of the temple and the citadel, there can be no doubt whatsoever that these ruins have been correctly identified with the republican substructions of the Capitol. Temple of Jupiter Feretrius. — This temple is generally supposed to have stood on the northern summit of the Capitoline hill, now occupied by the church and monastery of Ara Coeli. It was the first temple erected in Rome, and was built by Romulus to receive the spoils taken from Acron king of Coenina. There are, however, many writers who place the Arx, or cita- del, on this summit. Few subjects of Roman topography have given rise to more controversy than this difficult question : the temple and the citadel have continually changed their positions in the varying theories of antiquaries ; but the weight of evidence certainly appears in favour of the opinion which considers the Ara Coeli as the repre- sentative of the temple. The columns in the church are evidently ancient, and were probably taken from the ruins ; and under one of the walls of the monastery are some fragments of massive substructions, which are the only visible remains of the foundations of this celebrated shrine. Temple of Minerva Chalcidica, in the Roman Forum, between the Palatine and the supposed site of the Temple of Castor and Pollux. This ruin has been keenly contested by the antiquaries, having been called at various times the Tem- ple of Jupiter Stator, the Grsecostasis, a part of the Comitium, a senate-house, and even the bridge of Caligula. The present name is that given to it by Chev. Bunsen and the Prussian anti- quaries, who connect it with the Curia Julia. It consists of three fluted co- lumns of Greek marble in the Corinthian style, on a basement of travertine and tufa faced with marble, and from twenty-five to thirty feet in height. The columns support an entablature of great richness, but beautifully propor- tioned. They are the largest fluted Papal States.] r. 27. — rome. — Antiquities; Temples. 285 columns in Rome, the flutings being about nine inches across : the columns are 45 feet high. In execution and proportion the fragment is universally considered of the highest order of art, and architects still regard it as the most perfect model of the Corinthian order. In 1817 it was excavated to the base for the purpose of finding the angles, and more recent investigations have proved that it formed a portion of an extensive edifice, of which the founda- tions may be traced for a considerable distance. Numerous mouldings have also been discovered, and marks of the steps are still visible in the basement. The fragments of the Fasti Consulares, preserved in the Capitol, were found near this ruin in the sixteenth century. Temple of Minerva Medica, a pic- turesque ruin on the Esquiline, near the Porta Maggiore, consisting of a decagonal building, eighty feet in dia- meter, with a large dome of brick, which forms a conspicuous object from all parts of the surrounding country. The circumference has nine large niches for statues, which suggested the idea that it was a pantheon dedicated to Minerva Medica. The discovery of seven of these statues at various times, and particularly of those of Minerva and ^sculapius, confirms this view, although several attempts have been made by the antiquaries to shake the popular belief, and give the ruin a name of their own creation. The bare walls and some vestiges of buttresses alone remain ; but the building appears to have been lined with marble. There are no traces of a portico. The age of the temple is not known, but it is gene- rally referred to the time of Diocletian. Temple of Nerva, between the Roman Forum and that of Trajan. This beau- tiful fragment is generally considered to mark the position of the Forum of Nerva, or the Forum Transitorium, and to be the remains of the magnificent temple erected to that emperor by his successor Trajan. Mr. Burgess, how- ever, adopts the opinion of Palladio, and regards it as the temple of Mars Ultor, erected by Augustus, whose Forum he consequently places here. Desgodetz has given four plates of the details under the same name. The ruin, which has recently been excavated to its base, consists of a portion of the eel la, with three pillars, and a pilaster of the portico ; the latter are of Luna (Carrara) marble, in the Corinthian style, and are said to be 54 feet high. The orna- ments are in the purest style, and the proportions are regarded by architects as a model of the order. Behind the columns, and partly resting on them, is a high brick tower belonging to the convent of the Nunziatina, which is believed to conceal the inner peristyle of the temple. An excellent plan, showing the general design of the tem- ple and forum, is given by Bunsen in the Beschreibung." Close to the ruin is an ancient arch, called U Arco de'' Pantani, half buried in the soil, which formed one of the ancient entrances. The wall of the Forum may be traced as far as the Piazza del Grillo ; it is a stupendous fragment, between 500 and 600 feet in length, built of square blocks, and of great height. It makes three or four angles, and was originally pierced with four arches, now walled up, and half buried in the soil. Temple of Pallas Minerva, commonly called the Colonnacce, close to the ruins of the so-called Temple of Nerva. This fragment, which is well known from models and engravings, is one of the most beautiful ruins in Rome, although the details may be considered to mark the period of the decline of art. It consists of two columns of the Corin- thian order, supporting a magnificent entablature and continued frieze. The columns are more than half buried in the ground, but their height is esti- mated at 35 feet, and their circum- ference at 11 feet. They stand in front of a solid wall of peperino, on which the capital of a pilaster is still visible. The frieze is richly ornamented with sculpture, representing the arts patron- ised by Minerva. In the attic above the two columns is a full-length figure of Minerva; and among the figures on the frieze are females weaving ; others 286 n.2l— ROME— Antiquities ; Temples (Pantheon). [Sect. I. weighing the threads, or measuring the webs; others carrying the calathus; and a sitting figure of the goddess Pudicitia veiled. In the angle is the reclining figure of a youth, with an urn of water. All these details are given by Desgodetz with great fidelity. There is ample proof that a considerable por- tion of this temple has been destroyed in comparatively recent times. Inigo Jones, in 1614, saw a part of the temple itself still standing ; and Mr. Burgess gives a sketch, taken from Camucci s *" Antiquities,' in which seven columns and a portion of the pediment are re- presented as connected with this frag- ment by an arch. All these were de- stroyed by Paul V. to build his foun- tain on the Janiculum. From an in- scription on the frieze in this sketch, containing the name of Nerva, and from other circumstances connected with the localities. Burgess concludes that the Colonnacce belonged to the Forum of Nerva. Pantheon.' — This celebrated temple is one of those relics of ancient Rome with whose general appearance most travellers are familiar long before they cross the Tiber. It is situated in the Herb-market, a small dirty piazza be- tween the Corso and the Piazza Navoria. The faultless proportions of its portico have been for ages the admiration of travellers, and its name has become identified with architectural beauty. The ancients described it with admi- ration eighteen centuries ago, and it still remains the best-preserved mo- nument of modern Rome. " Though plundered," says Forsyth, of all its brass, except the ring which was neces- sary to preserve the aperture above ; though exposed to repeated tire ; though sometimes flooded by the river, and always open to the rain, no mormment of equal antiquity is so well preserved as this rotunda. It passed with little alteration from the Pagan into the pre- sent worship ; and so convenient were its niches for the Christian altar, that Michael Angelo, ever studious of an- cient beauty, introduced their design as a model in the Catholic church." " Simple, erect, severe, austere, sublime — Shrine of all saints and temple of all gods. From Jove to Jesus— spared and bless'd by time, Looking tranquillity, while falls or nods Arch, empire, each tiling round thee, and man ])lorls His way through thorns to ashes— glorious dome ! Shalt thou not last ? Time's scythe and tyrants' rods Shiver upon thee— sanctuary and home Of art and piety — Pantheon ! pride of Rome !'' Childe Haryld. The inscription on the frieze shows that it was erected by Agrippa in his third consulate (b.c. 26). A second inscription, engraved in two lines on the border of the architrave, records the subsequent restoration of the building by Septimius Severus. In 608 Boni- face IV. obtained permission from the emperor Phocas to consecrate it as a Christian church, under the name of S. Maria Rotonda ; and to this circum- stance the world is probably indebted for the preservation of the only temple of ancient Rome which has retained its original appearance. The Portico has been admitted by most writers to be almost beyond criticism. Forsyth de- clares that it is more than faultless : it is positively the most sublime result that was ever j)roduced by so little architecture." It is 110 feet long and 41 deep, and is composed of sixteen Corinthian columns of oriental gra- nite, with capitals and bases of Greek marble. Eight of these are in front, and the remaining eight are arranged in four lines behind them, so as to di- vide the portico into three portions. All the columns are in their original position except three ; one of these was added by Urban VIII. in 1627, and may easily be recognised by the bee, the armorial bearing of the Barberini, in the capital ; the other two were added by Alexander VII. in 1662, and are, in like manner, distinguished by the star of the Chigi family, introduced into the capitals. Each column is composed of a single block 46^ English feet in height, and 5 feet in diameter. The vestibule is supported by fluted pilasters of white marble, correspond- Papal States.] r. 2T-ko'me- Antiquities ; Temples {Pantheon). 287 ing with the columns. On the frieze of the entablature is the inscription^ *' M. AGRIPPA . L. F. COS. TERTIVM. FECIT." The whole is surmounted by a pediment, which still retains the marks by which its bas-reliefs were attached. In the vestibule on the left of the doorway is a Latin inscription, recording that Urban VIII. moulded the remains of the bronze roof into co- lumns, to serve as ornaments of the Apostle's tomb in the Vatican, and into cannons for the Castle of St. Angelo. Venuti states that no less than 450,250 pounds weight of metal were removed on this occasion. As a great part of the roof had been previously stripped by the emperor Constans II., in 657, the reader, from these facts, may form some idea of the original magnificence of the temple. The marble doorway corresponds in its architecture with the portico. Within it are bronze pilasters, on which the doors are hung ; the open- ing is about 39 feet high and 19 wide. Over it is the ancient bronze grating, which has been preserved unaltered. The bronze doors have been the subject of much controversy, but there appears to be no ground for doubting their an- tiquity, or referring them to any but classical times ; and the best authori- ties now agree in regarding them as the original doors of Agrippa. The interior of the temple is a rotunda, supporting a dome. The rotunda is 143 feet in diameter, exclusive of the walls, which are said to be 20 feet thick. The height from the pavement to the summit is also 143 feet, and the dome occupies one-half of the height, or 71 J feet, ac- cording to Messrs. Taylor andCressy, on whose authority these measurements are given. In the upright wall are seven large niches, six of which have fluted columns of giallo antico of the Corin- thian order. The seventh, facing the entrance, is open, and has two columns of pavonazzetto standing within the circle. Between the niches are eight aediculae," converted into modern altars. Above the niches and altars runs a marble cornice, covered with rich sculpture, perfectly preserved, and supporting an attic, with fourteen niches and a second cornice. From this rises the majestic dome, divided into square panels, which are supposed to have been originally covered with bronze. In the centre a circular opening, 28 feet in diameter, supplies the only light which the temple receives. The fave- ment is composed of porphyry, pavo- nazzetto, and giallo antico, disposed alternately in round and square slabs. Some feet below this pavement is a reservoir to carry oft' the water which enters by the dome. Michael Angelo attributed the portico and body of the rotunda to Agrippa, the first story of the interior to Hadrian, and the second story to Septimius Severus. There has been much controversy in regard to the original purpose of the Pantheon, many writers contending that it was origin- ally connected with the baths con- structed by Agrippa in this neighbour- hood, and that the portico was an after- thought. Whatever value the stranger may be disposed to attach to these con- jectures, it is worthy of remark, that a pediment and entablature are distinctly visible behind the present portico, which seems to have been intended to conceal them. The form also of the Pantheon, separated from the portico, is simply that of the ancient caldarium^ as may be seen on comparing it with the circular chamber at the baths of Caracalla. The body of the building is of brick- work, strengthened by numerous blind arches ; its external surface was for- merly coated with marble, which has shared the fate of the bronzes and sta- tues. The tasteless belfries which de- form the portico were added by Bernini, at the command of Urban VIII., and are in every way worthy of a pope who plundered the ruin of its ornaments and gained immortality from the wit of Pasquin. In the sacristy behind the building some remains of the baths of Agrippa may still be recognised. The Pantheon in more recent times has ac- quired an interest very difterent from these records of the empire. It is sacred in the history of art as the burial-place of Raphael, whose tomb is in the third 288 R. 27. — ROME. — Aniiquiiies ; Temples, [Sect. I. chapel on the left; it was endowed by him, and is distinguished by the statue of the Madonna del Sasso, executed at his request by his friend and pupil Lorenzetto. The Roman antiquaries, after having unsettled the faith of ages on every matter connected with the antiquities, began to raise doubts of Vasari's statement respecting the tomb of Raphael. It was at length deter- mined to settle the question by exa- mining the spot, and accordingly on the 14th September, 1833, the place was opened in the presence of Over- beck and other artists resident in Rome. The statement of Vasari was completely verified, and the bones of the immortal painter were discovered precisely as he describes, behind the altar of the chapel. " Four views of the tomb and its contents were engraved from drawings by Camuccini, and thus preserve the appearance that pre- sented itself. The shroud had been fastened with a number of metal rings and points ; some of these were kept by the sculptor Fabris, of Rome, who is also in possession of casts from the skull and the right hand. Passavant remarks, judging from the cast, that the skull was of a singularly fine form. The bones of the hand were all perfect, but they crumbled to dust after the mould was taken. The skeleton mea- sured about 5 feet 7 inches ; the coffin was extremely narrow, indicating a very slender frame. The precious re- lics were ultimately restored to the same spot, after being placed in a mag- nificent sarcophagus, presented by the present pope. The members of the Aca- demy of St. Luke were interested in this investigation, as they had been long in possession of a skull supposed to be that of Raphael, and which had been the admiration of the followers of Gall and Spurzheim. The reputation of this relic naturally fell with its change of name, the more irretrievably, as it proved to have belonged to an in- dividual of no celebrity." — Quart. Rev, In the same chapel is the tomb of An- nibale Caracci ; and in other parts of the building are buried Baldassare Peruzzi, Perino del Vaga, Giovanni da Udine, Taddeo Zuccari, and other eminent painters. The simple cenotaph erected to the memory of Cardinal Con- sal vi by his friends, with a bust by Thorwaldsen, will not fail to command the respect of every traveller who can appreciate the merits of that excellent man and enlightened statesman. Temple of Quirinus, — This cele- brated temple, founded by Numa, re- built, according to Livy, by the con- sul Papirius, and again rebuilt by Augustus, occupied the spot where Romulus miraculously disappeared during the thunder-storm. The church of San Vitale, in the Jesuits' gardens on the Quirinal, is supposed to mark its precise site. Fulvio states that he saw the foundations of the tem- ple excavated on this spot, and that Otho of Milan, then Senator of Rome, removed all the remains and ornaments which were discovered, in order to make the steps of the church of AraCosli and the Capitol. Several fragments of antiquity have been discovered at va- rious times in this garden, but no ac- tual remains of the temple are now visible. Temple of Remus, in the Roman Forum, called by Bunsen and others the JEdes Penatium, A circular tem- ple of imperial times, about 30 feet in diameter, more than half buried in the soil. In the year 527 it was adapted by Felix IV. as the vestibule to his basilica of S. Cosimo and S. Damiano. Urban VIII. is said to have added the bronze doors of Etruscan workman- ship, which were found at Perugia. He is also said to have placed in their pre- sent position the two porphyry columns, with the cornice, the remains probably of the ancient portico. The cornice serves as the jambs of the doorway, and its sculpture does not appear to be earlier than the latter part of the second century. On one side of this entrance are two cipollino columns, one with a capital, and part of an entablature, deeply buried ; they were formerly sup- 1 posed to have belonged to the orighial I portico, but nothing certain is known Papal States.'] r. 27. — Rome. — Antiquities; Temples. 289 of their date or purpose. The church behind is raised about 20 feet above the ancient level of the temple, which may be seen by descending into the oratory below the crypt. The temple is remarkable for its echo. In the crypt were found the celebrated fragments of the Plan of Rome, the Pianta Capi- tolina, which are now preserved in the museum of the Capitol ; they are sup- posed to have been cut in the time of Septimius Severus or Caracalla, and to have served as the pavement of the temple. Temple of Romulus. — The church of San Teodoro, situated at the southern extremity of the Campo Vaccino, under the Palatine, has been supposed by an- tiquaries to occupy the site of this temple. Its form is circular, from which circumstance some writers have erroneously described it as a Temple of Vesta. The antiquaries who refer it to Romulus rely chiefly on the alleged fact, that the bronze wolf now in the Capitol was that mentioned by Diony- sius as standing at the Temple of Ro- mulus. But there is no proof that the wolf was actually found there ; and therefore too much value must not be attached to this doubtful statement. A stronger argument is found in the fact, that the Roman matrons carried their children to the Temple of Ro- mulus to be cured, as they now do to the church of S. Teodoro. Whatever may be the true state of the case, there is no doubt that the church is of high antiquity ; it was repaired by Adrian I. in 774, and rebuilt by Nicholas V. in 1450. Temple of Romulus (son of Maxen- iius). — The name given by recent an- tiquaries to the building adjoining the circus called that of Caracalla, and vulgarly known as the "Scuderia." Few ruins have been more disputed; some calling them the stables of the circus, others the Mutatorium Csesaris, and others a Serapeon. The circus is known, from an inscription found there in 1825, to have been consecrated by Maxentius, a.d. 311; and the present building is regarded as the temple erected by him to his son Romulus. It is a circular temple, with a vaulted roof supported by a central octagonal pier, and is inclosed in a large rectan- gular court, surrounded by the remains of a corridor. In the basement are niches for sepulchral urns, so that it seems to have been used, both as a tomb and a temple. The diameter of the tem- ple is about 106 feet, and the thickness of the walls is not less than 14 feet. There are two representations of this temple on coins of Romulus, one repre- senting it with a portico, the other with a dome. A few years ago the ruin was called the Torre de' Borgiani ; from this circumstance it is sup{}osed to have been fortified as a stronghold by the Borgia family. Temple of Saham, on the Clivus Ca- pitolinus, above the Roman Forum, called the Temple of Jupiter Tonans by the Roman antiquaries ; and that of Saturn by Chevalier Bunsen and other German authorities. Prior to the French invasion, the three beautiful columns which compose this ruin were buried nearly to their capitals in the accumulated rubbish. The French as- certained, by perforating the soil, that the basement had been partly removed ; it was therefore necessary to remove the entablature and secure the shafts by scaffolding; the basement was then carefully restored, the ground was cleared, and the entablature replaced in its original position. To this ingenious restoration we are indebted for one of the most picturesque ruins of the Forum. The only portion of the base- ment which was found in its proper place contained the marks of steps in the intercolumniations, showing how carefully every foot of ground was economised on this side of the Capitol. The columns are of Carrara (Luna) marble, in the Corinthian style, deeply fluted ; in many parts they retain the purple colour with which they appear to have been dyed, like the temples of Pompeii and Sicily. The basement was lined with marble. On the enta- blature in front the letters estitver are still visible, the remains of the word o 290 R. 27. — ROME. — Antiquities; Temples, [Sect. I. Restitii^re, proving that it is a restored building. On the frieze are sculptured various instruments of sacrifice, the knife, the axe, the hammer, the patera, and the flamen's cap. The columns are four feet four inches in diameter, and the general appearance of the ruin in- dicates that the temple was of great size and highly ornamented, it was formerly supposed that the columns belonged to the Temple of Jupiter Tonans. It is known that a temple of that name was erected by Augustus in gratitude for his escape from lightning during the expedition in Spain, and that it was restored by S. Severus and Caracalla. But it is also known from the testimony of numerous Latin writers that the Temple of Saturn stood on the Ciivus Capitolinus, behind the Millia- rium Aureum, or golden milestone, of Augustus. This milestone has been recently discovered in the precise po- sition which leaves no room for doubt that the three columns are the remains of the Temple of Saturn, as Niebuhr had indeed suggested before the dis- covery was made, in the great room of the Campidoglio is an inscribed altar dedicated to Faustina, found some years back between the ruin and the Temple of Concord. The inscription on this altar seems to refer to the sera- rium of this temple, for there is ample evidence that the Temple of Saturn contained, under the guardianship of the qusestors, the serarium, or public treasury, together with the registers of public and private contracts, and a sanctiifs cerarium, or more sacred trea- sury, reserved, as we read in Livy, for the last emergency. If the Milliarium did not at once set at rest all questions as to the name of the temple, this altar might be regarded as a collateral evidence in favour of Bunsen"s opinion. At the foot of the temple are some chambers, and the remains of a portico of Corinthian columns with capitals adorned with trophies. It is called by Bunsea the Porticus Clivi et tchola Xantha. From an inscription on the entablature the building seems to have contained the statues of the Dii Con- sen tes, after they were replaced, a.d. 068. Temple of the Sun. — Under this name have been described some enor- mous masses of masonry which are lying on the terrace of the Colonna (hardens on the Quirinal. They consist of part of an architrave and frieze and the angle of a j)ediment, all highly enriched, in the Corinthian style. In point of size they are the most stu- pendous fragments known, and after antiquaries and architects have ex- hausted conjecture on their probable purpose, it has become a question whether the building for which they were intended was ever erected. Some writers have supposed that they beh.ng to a temple of the Sun built by Aurelian ; others, that they are to be referred to the Senaculum of Heliogabalus ; but nothing whatever is known upon which we can venture to rely. Their style and ornaments are certainly in favour of the opinion which fixes their age at a period when art was beginning to decline ; although the work appears too good to be as late as the time of Aure- lian. If the temple were ever built, there can be no doubt that so colossal an edifice placed on this commanding situation must have been a noble object from all parts of Rome. In the same gardens, overlooking the Piazza Pilotta, are considerable remains of the Baths of Constantine, now converted into granaries, Temple of Venus and Cupid, a ruin long known by tliis name, but called by the German antiquaries the Nymph- cewn of Alexander, situated in a vine- yard, near the church of Santa Croce in Gerusalemme, between the city walls and the Claudian aqueduct, it has been called at various times the Temple of Spes Vetus, the Sessorium, and the Tem[ile of Venus and Cupid. The latter seems to be supported by tra- dition, and by the discovery of a statue in the grounds with which the name is obviously connected. This statue, now preserved in the Vatican, is a Venus with Cupid at her feet ; on the pedestal is an inscription showing that it was Papal States.] r. 27.— Rome. — Antiquities; Temples. 291 dedicated to ^'etius by Salustia, the wife of Alex. Severus. The rain pos- sesses little interest, and consists merely of two lateral walls of brick and a large niche. Its general appearance is raVht r that of a basilica than an ancient temple. Temple of Venus Erycina. — In the grounds of the Villa Barberini, beyond the Baths of Dioclesian, are some ruins which are identified with a Temple of Venus, placed by the Regionaries in this locality. A circular chamber, an adytum, and tlic great doorway with lateral niches may still be traced ; but the ruin possesses little interest by the side of the walls of Servius Tullius, which may be seen in the adjacent grounds. The temple, and all the other buildings which once adorned the gardens of Sallust, now included within the grounds of the Villa Bar- berini, are supposed to have been ruined by Alaric, who entered Rome by the Porta Salara. Temple of Venus and Rome, between the Church of Sarita Francesca Ro- mana and the Coliseum ; a double temple, designed and built by Hadrian, to show that he was superior as an ar- chitect to Apollodorus, whose skill in building the Forum of Trajan had excited the envy of the emperor. The building is also interesting in connexion with the fate of that great architect, for when asked by Hadrian for his opinion on this temple, his criticism was too honest to be forgiven, and he paid the penalty with his life The only por- tions of the building now standing are the remains of the cellse on the side of the Via Sacra, and the two vaulted niches which held the sitting statues of the two deities. Considerable frag- ments, however, have been brought to light, which have enabled architects to trace the plan and ascertain its mea- surements. It appears from these frag- ments that the building consisted of two cellae, separated by a cross wall. At each end was a portico of marble columns, one facing the Forum, the other facing the Coliseum. The cellae joined each other by the vaulted niches which form the most conspicuous por- tions of the existing ruin. The building was raised on a platform of seven mar- ble steps, surrounded by a peristyle 360 feet long and about 175 wide, composed of nearly 200 columns of grey granite, of which numerous frag- ments are still seen in dilierent parts of the ground. From the diameter of these fragments, the columns are sup- posed to have been nearly 40 feet in height. This colonnade and platform rested on a rectangular basement ra»ised 26 feet above the level opposite the Coliseum. The flank, which may be traced from the Arch of Titus to the Meta Sudans, has been constructed in platforms of different lengths, so as to obviate the difficulty caused by the inequality of the ground. The base- ment of the principal front facing the Coliseum contains at each end the re- mains of two large staircases. The apertures in this basemeiit formerly gave rise to some controversy as to their original purpose, but they are now believed to be sepulchral vaults excavated during the middle ages. The square mass in front of the steps at the eastern angle is supposed to be the pedestal of the colossal statue of Nero. The Prussian antiquaries in tiie ' Beschreibung,' and Burgess, in his ' Antiquities,' give plans and restora- tions of the whole structure ; these plans, which are certainly borne out by the existing ruins, show that, in spite of the criticism of Apollodorus, it was one of the grandest edifices of Rome, distin- guished by a remarkable regularity of design, and by great splendour of de- coration. It is moreover a very in- structive fragment, and is better calcu- lated to give an idea of a Roman temple than any other ruin which has been preserved to us. Temple of Vespasian, on the Clivus Capitolinus, overlooking the Roman Forum, called by the Roman anti- quaries the Temple of Fortune, and by Poggio Fiorentino and others in the fif- teenth century the Temple of Concord. The evidence upon Vv^hich the title of Fortune was given to the ruin is ex- o2 292 R. 27. — ROME. — Antiquities; Temples. [Sect. I. tremely slight, and Bunsen has not hesi- tated to reject it altogether in favour of the present name. The ruin consists of a rude Ionic portico of eight granite columns 43 feet high and 13 feet in circumference, placed on a basement of travertine. Six of these columns are in front, and. two are returned on tlieir flanks ; but they have been so clumsily restored that the intercolumniations are unequal; the columns are of different diameters, the mouldings of the base are irregular, and the capitals of white marble are in the lowest style of the Ionic order. One of the shafts is com- posed of fragments so badly put toge- ther that its diameter is greater under the capital than it is in the middle ; the pediment is a mixture of brick and travertine with fragments taken from other buildings, and has arches over the intercolumniations; on the archi- trave is the inscription, senatvs . popu- LVSQVE . ROMANVS . INCENDIO . CON- SVMPTVM . RESTITVIT. The restoration, whenever it took place, was conducted without any regard to the principles of art ; and the portico as it stands is the most tasteless monument of the Forum. Poggio, wlio describes its appearance in the fifteenth century, saw it nearly entire ; during his stay in Rome the greater part of it was demolished, and he mentions having witnessed the de- struction of the cella and many of the marble ornaments, for the purpose of making lime. Tempi? of Vesta, a circular temple near the Ponte Rotto and the Temple of Fortuna Virilis, first consecrated un- der the name of S. Stefano delle Car- rozze, and now the Church of S. Maria del Sole. This elegant little temple has been for ages the admiration of travellers, and the numerous bronze models of it have made it better known than perhaps an}'- other relic of Rome. The name of Vesta seems to have been handed down by a very an- cient tradition, and the form of the building and perhaps its modern name may be received as proofs that the title is properly applied. It must not, how- ever, be supposed that this is the famous Temple of Vesta erected by Numa, and mentioned by Horace in connec- tion with the inundations of the Tiber: " Vidimus flavum Tiberim, retortis lAttore Etrusco violenter undis, Ire dejectum monumeMta regum Templaque Vestae." That celebrated temple, in which the Palladium was preserved, was undoubt- edly situated in the Roman Forum; and the building now before us is most probably one of those which were erected, in accordance with the institu- tions of Numa, in each curia. It is generally referred to the time of the Antonines, though there is evidence that it existed in the time of Vespasian, one of whose coins gives a representation of the temple in its existing form. It is probable tiiat it was more than once rebuilt on the original plan. It is in the purest Greek style, consisting of a circular cella surrounded by a peri- style composed originally of twenty Corinthian columns, of which one only has been lost. The entablature has entirely disappeared, and the roof has been replaced by an ugly covering of red tiles. The ancient portion of the cella and the columns are of Parian marble. The diameter of the cell, as stated by Nibby, is 26 feet, the cir- cumference of the peristyle 156 feet, the diameter of the columns about 3 feet, and their height 32 feet ; so that they contain nearly eleven diameters. Recent Roman writers have attempted to show that this temple ought to be called the Temple of Hercules; but their arguments merely go to prove that there was a temple to the latter deity in the Forum Baarium, and they appear altogether to lose sight of the fact that there were several temples of Vesta, besides the great one in the Ro- man Forum. In this instance, the po- pular feeling will no doubt prevail, and the old name is likely to be preserved in spite of the local antiquaries. Theatres and Amphitheatres. Theatre of Balbus, erected a.d. 12, by Cornelius Balbus, as a compliment to Augustus. It is said by the Re- Papal States,] r. 27. — rome, — Antiquities ; Theatres, 293 gionariesto have contained 30,000 spec- tators. The Palazzo Cenci stands upon the hill formed by the ruins, but the only fragment now visible is a portion of one of the cunei," which may be recog- nised below the palace near the gate of the Ghetto. In an adjoining street is a ruined archway with an architrave resting on two columns of the Doric order, supposed to be the remains of the portico of the theatre. Near this the two colossal statues of Castor and Pollux, now standing in the great square of the Capitol, were found in the ponti- ficate of Pius IV. Theatre of Marcellus, the second theatre opened in Rome. It was built by Augustus, and dedicated by the emperor to the young Marcellus, son of his sister Octavia, wljose name he gave to that magnificent portico which he added to the theatre as a place of shel- ter for the spectators in the event of a storm. The ruins, though encumbered by the Orsini Palace, and disfigured by the dirty shops which occupy the first story, are still highly interesting. The building is supposed to have con- sisted of three stories of different orders ; the upper one has entirely disappeared, and of the two lower stories only eleven arches of each, and part of the twelfth, now remain. This fragment, which may be seen in the Piazza Montanara, shows that the theatre was built exter- nally of large blocks of travertine. The lower story, now half-buried beneath the street, is Doric; the capitals of the columns and the entablature, though much mutilated, still supply us with many interesting details. The second story is Ionic. The third was probably Corinthian, but it has been superseded by the upper stories of the modern houses. Notwithstanding the objections of recent architectural critics, it is well known that the building excited the admiration of the ancients ; Vitruvius praised the beauty of the whole struc- ture, andthe existing fragment supplied Palladio with the model for the Roman Doric and Ionic orders. The ruins in the centre have formed a hill of some size, on which the Palazzo Massimi, now the Orsini, was built by Baldassare Peruzzi. In the stables of the Osteria del la Campana, some of the sloping walls or " cunei," which sustained the seats, may still be seen ; and there is no doubt that many valuable fragments are concealed by the mass of houses be- tween the outer wall of the theatre and the Tiber. It is said by the Regionaries that the building could contain 30,000 spectators. In the eleventh century it was converted by Pierleone into a for- tress, and was afterwards the stronghold of the Savelli. From them it passed to the Massimi and Orsini families. Theatre of Pompey, the first stone theatre erected in Rome. It was built by Pompey the Great, repaired by Tiberius and Caligula, injured by fire in the reign of Titus, and restored by several of the later emperors. It was also repaired by Theodoric, and may therefore be considered as entire in the middle of the sixth century. In the middle ages it was converted into a fortress, and was the stronghold of the Orsini during the troubles of the ele- venth and twelfth centuries. There are few monuments with which so many historical facts are associated as this theatre, and there is hardly one so effectually concealed by the modern buildings which have risen upon its ruins. It is recorded by several Latin writers that the opening of this new place of amusement was regarded by the older citizens as a corruption of morals, and that Pompey, to evade their opposition, built over the theatre a tem- ple dedicated to Venus Victrix, and pretended that the seats of the theatre were mere additions to the temple. The plan of Rome, in the Museum of the Capitol, gives us a very accurate idea of the form and proportions of this theatre, but unfortunately the portion which contained the plan of the portico and the basilica is imperfect. The space occupied by the theatre lies be- tween the church of S. Andrea della Valle, the Campo di Fiore, the Via de' Chiavari, and the Via de' Giubbonari. The Palazzo Pio is built upon the ruins, and consequently conceals them ; but 294 R. 27. — ROME. — Antiquities; Coliseum. [Sect. I. the semicircular form of the theatre, and everj the inclination given to the ground by the sloping vaults of the seats, may be distinctly traced by fol- lowing the houses from the church of S. M. della Grotta Pinta to the Piazza de' Satiri. In tlie cellars and vaults of the Palazzo Pio some arches and frag- ments of massive walls may be exa- mined ; but it is greatly to be regretted that so little of a building of such peculiar interest in the history of the Roman people is accessible. In front of the theatre, extending in the direc- tion of the modern Teatro della Yalle, was the famous portico of 100 columns, celebrated by many of the poets, adorned with paintings, statnes, and plantations, and containing a Basilica or Regia. In this portico Brutus is said by Appian to have sat in judgment as praetor on the morning of Caesar's death. Close to the tlieatre was the memorable Curia, or senate- house, in which " Even at the base of Pompey's statiia, Which all the while ran blood, od of the (lattery applied to the most profligate of emperors. A few years ago the chains and keys of the Porta Salsicchia of Viterbo were suspended here, to commemorate the capture of that city a.d. 12C0. Arch of Jamis Qziadnfi^ons, in the Velabrum. This is supposed to have been one of the numerous arches of the same kind, which were constructed at the junction of difi'erent streets, either as places of shelter or as covered ex- changes. Jt is a high square mass, pierced in each front with a large arch, forming a vault in the centre. It is constructed with the utmost solidity, and the base is composed of marble blocks of immense size, which are proved by bas-reliefs on their inverted surfaces to have belonged to earlier edifices. The fronts are hollowed into niches apparently intended to receive statues, and separated by small low columns. Each front is about 75 feet in length. The proportions and details of this building are in the lowest style of art, and it is probably correctly at- tributed to Septimius Severus. On the summit are some remains of massive brick-work, the ruins of the fortress erected upon the arch by the Fran- gipani during the middle ages. Arch of Septimius Severus, in the north-west angle of the Roman Forum, erected a.d. 205, by the Senate and people, in honour of the emperor and his sons Caracalla and Geta, to com- memora<^e their conquests of the Par- thians and Persians. It is constructed entirely of Grecian marble, and consists of one central and two lateral arches, with transverse arches in the flanks. On the summit, as may be seen from coins of both Severus and Caracalla, there stood a car drawn by six horses abreast, and containing the figures of the emperor and his sons. Each front has four columns of the Composite order, and a series of bas-reliefs repre- senting different events of the Oriental wars. Although these sculptures are of indifferent execution, they exhibit some curious details of military life. They represent harangues, sieges, the arrangement of camps, the assault with the battering-ram, and the submission of the captives. On the south side we recognise the emperor addressing his troops, the taking of Carrha, the siege of Nisibis and the flight of its king. On the right of the arch the emperor is seen receiving the king of Armenia and another pririce, who comes to offer assistance ; in the lower part the bat- tering-ram is seen at work. On the front facing the Capitol, the sculptures on the right re[iresent in tlie upper part another harangue, and in the lower por- tion the siege of Atra. In the upper part of the opposite compartment we see the passage of the Euphrates and the capture of Ctesiphon ; in the other, the submission of the Arab chief, the passage of the Tigris, and the flight of Artabarms. In one of the piers is a staircase of fifty steps leading to the top. In the lengthy inscription on the attic we may easily recognise the erasure made by Caracalla for the pur- pose of obliterating the name of his brother Geta, when he put him to death, A.D. 213. The words added are, p. p. OPTIMIS FORTrSSIMISQVE PRINCIPIBVS. The arch was half buried in the soil when Pius VII. commenced his excavations in the beginning of the present century. In 1803 it was laid open to its base, when the ancient pavement of the Clivus Asyli v/as discovered, by which the tri- umphal processions passed from the Forum to the Capitol. Arch of Septimius Severus (in Ve^ lahro^ also called the Arch of the Goldsmiths, situated close to the Arch of Janus, in the Velabrum. A long inscription shows that it was erected by the bankers and traders of the Forum 304 R. 27. — ROME. — Antiquities; Baths, [Sect. I. Boarium to Septimius Severus, his wife Julia, and their sons Caracalla and Geta. As in tlie other arch of this em- peror in the Forum, the name of Geta has been erased, and the place supplied by the words fortissimo felicissi- MOQVE PRiNciPi. It is a mere square aperture, formed by an entablature sup- ported on broad pilasters of the Com- posite order. The front is of marble ; the basement and cornice at the back are of travertine. The pilasters are loaded with ornaments and military trophies ; the other bas-reliefs repre- sent the various sacrificial instruments and the act of sacrifice. Some of the enrichments are very elaborate, but the style and execution of the whole in- dicate the decline of art. The inscrip- tion is of great importance to the student of Roman topography, as mark- ing the site of the Forum Boarium. Ar^ch of Titus, erected by the Senate and people in honour of Titus, to com- memorate the conquest of Jerusalem. It is the most elegant of all the tri- umphal arches, and as a record of Scripture history is, beyond all doubt, the most interesting ruin in Rome. It is a single arch of Greek marble, with fluted columns of the Composite order on each side. In the lime of Pius VII. the building was greatly ruined, and would have perished but for the judi- cious restorations then made. It is easy to distinguish these modern addi- tions from the ancient portion. The front towards the Forum has suffered more severely than the other, and has preserved only a portion of the base- ment, and about half of the columns, with the mutilated figures of Victory over the arch. On the side facing the Coliseum the columns are more perfect, and nearly all the cornice and the attic are preserved. The sculptures of the frieze represent a procession of warriors leading oxen to the sacrifice ; on the key-stone is the figure of a Roman warrior, nearly entire. On the attic is the original inscription, finely cut, show- ing by the use of the word " divo" that it was erected after the death of Titus : SENATVS. POPVLVSQVE . ROMANVS. DIVO . TITO . DIVI . VESPASIANI . F. VESPA- siANO . AVGVSTO. The bas-reliefs on the sides of the piers under the arch are highly interesting. On one side is a representation of a procession bearing the spoils of the Temple, among which the golden table, the seven-branched candlestick, and the silver trumpets may still be recognised ; they perfectly correspond with the description of Jo- sephus, and are the only authentic repre- sentations of these sacred objects. On the other pier the emperor is represented crowned by Victory in his triumphal car, drawn by four horses, and sur- rounded by Romans carrying the fasces. The vault of the arch is richly orna- mented with sunk panels and roses; in the centre is a bas-relief representing the deification of Titus. Baths. Baths of Agrippa, built B.C. 24, in the Campus Martins, behind the site of the Pantheon, and bequeathed by Agrippa to the Roman people. They are supposed to have extended to the Piazza delle Stimate, and to have been bounded on the sides by the street of the Valle Theatre, and by the Via di Gesu, occupying a space of about 700 feet from north to south, and 500 from east to west. They contained the fa- mous bronze statue by Lysippus, repre- senting the youth undressing, called the Apoxyomenos, which Tiberius removed to his palace, but was obliged subse- quently to restore, in order to appease the clamours of the people. Consi- derable remains of these baths have been found in the rear of the Pantheon, and particularly in the sacristy. The Pantheon is supposed by many to have originally served as the hall of entrance to the baths. Baths of Caracalla, finely situated on the Via di S. Sebastiano, under the eastern slopes of the Aventine. They are the most perfect of all the Roman thermte, and with the single exception of the Coliseum are the most extensive ruins in Rome. They occupy an area not less than a mile in circuit, and are somewhat smaller than the Baths of Papal States,"] r. 27. — rome. — Antiquities; Baths. 305 Diocletian, but larger than those of Titus. They were begun by Caracalla about A.D. 212 ; the porticos were added by Elagabalus ; and Alexander Severus completed the whole design. It would be quite useless to attempt a minute description of these ruins with- out constant reference to a ground-plan. Even with the aid of restorations, so much is necessarily supplied by con- jecture, that the stranger becomes weary of identifying with the descriptions of antiquaries so many ruined walls and chambers, which are now stripped of all their ornaments, and reduced to mere masses of brick- work. As a ruin, however, independently of any theory whatever, it is impossible for the most ordinary spectator not to be struck with the vastness and magniticence of the de- sign. As an example of Roman archi- tecture, there is, perhaps, no ruin in existence, if we except the Coliseum, which produces so strong an impression on the mind as the Baths of Caracalla. The external wall, which is still trace- able almost throughout its entire cir- cuit, inclosed a quadrilateral open area, of which the baths, as usual, oc- cupied nearly the centre. The cham- bers of these outworks, which are sup- posed to have contained the baths of the plebeians, and considerable remains of the porticos, which extended along the outer wall, may still be traced ; and on the north-west side the Hemicycle and its apartments are tolerably per- fect. The central ruins form an oblong isolated mass, said by Nibby to be 690 feet long, and 450 feet in its greatest breadth. The details of this mass are highly interesting, although there is still some doubt which of the three great halls is the one described by Spartian as the Cella Solearis. The po- sition and arrangement of the circular hall, situated at the south-west extre- mity of the baths, and bearing evident traces of a second story, have been con- sidered by some antiquaries to point out that hall as the cella of Spartian; while Nibby has no hesitation in recognising this celebrated chamber in the Piscina, the large hall on the north-east, which the recent excavations have proved to be much below the level of the other apartments. The passage in which Spartian describes the cella as a master- piece of architecture, alludes to the flat roof, supported by bars of brass or copper, interwoven like the straps of a Roman sandal : — " Ex cere vel cupro cancelli super positi esse dicuntur, quibus cameratis tota concredita est, et tanturn est spatium ut id ipsum Jieri negent po- tuisse docti mechanici.'' The central hall formed a kind of Pinacotheca, si- milar to that in the baths of Diocle- tian ; the places of the columns which once adorned it are still visible. The last column was removed in the six- teenth century by Cosmo de' Medici, to support the well-known statue of Justice in the Piazza di S. Trinity at Florence. The fragments of the vaulted ceiling which still remain are remark- able as containing considerable masses of pumice, introduced, it is supposed, for the sake of lessening the weight. These halls are surrounded by a mul- titude of smaller chambers, some of which have preserved their stairs, while others show numerous remains of con- duits, and still retain traces of their marble coating. In some of them were found very interesting fragments of the mosaic pavement, representing full- length figures of athletes, some of which had their names written over them. In 1826 the ground was extensively ex- cavated at the expense of Count Velo of Vincenza. Several important facts were ascertained. It was proved that the first story is not interred, as was formerly supposed ; the subterranean chambers were mere cellars ; and the baths occupied the ground floor, pre- cisely as we now see them. At the depth of about 8 feet the Mosaic pave- ment was discovered, and still deeper excavations laid open some curious arrangements of conduits. The large open space between the circular cham- ber and the boundary wall under the Aventine appears to have been the arena. The chambers which compose this side of the baths, by their evident remains of windows set at rest the disputed ques- 306 R. 27. — ROME. — Antiqviiies; Baths. [Sect. I. tion as to the mode of ligbtiiig the apartments. Overloolcing the arena are some remains of the Theatridium^ and immediately lehind are extensive ruins of the large reservoirs and of the aque- duct which sup{:]ie 1 them. By ascend- ing the broken staircases t ) rhe up]jer part of the ruins we see the numerous channels for carrying the water from the roof. One of the most interesting facts connected with ihrse baths is the discovery of many pieci us fragments of ancient sculpture, Vvhich now enrich the Italian museums, Lnd at the same time attest the splendour of this majestic edifice. Among these iiie the Farnese Hercules, the colossal Flora, and the Toro Farnese, discovered in the six- teenth century, and now in tlie museum at Naples; the Torso Belvidere, the Atreus and Thyestes, the two gladia- tors, the A'enus Callipyge, the basaltic baths of the Vatican, tlie granite basins in the Piazza Farnese, with numerous bas-reliefs, cameos, bronzes, medals, and other treasures, most of which have passed away with the other spoils of the Farnese family. The baths are de- scribed by all the minor historians as the most magnificent buildings of Rome, andOlympiodorus states that they con- tained IGOO marble seats for the bathers. They are supposed to have been tolera- bly entire in the sixth century, when the destruction of the aqueducts by Vitiges during the memorable siege of 537 rendered these and tlie other baths completely useless. From that time the fabric no doubt fell rapidly into ruin. The Jesuits are said to have sold large quantities of the stone ; and it is related that when the granite columns of the porticos were removed, the roofs fell in with so fearful a concussion that the inhabitants of Rome thought it was the shock of an earthquake. These extensive ruins were the favourite haunt of the poet Shelley. In the preface to the *' Prometheus Unbound," he says, " this poem was chiefiy written upon the mountainous ruins of the baths of Caracalla, among the flowery glades and thickets of odoriferous blossoming trees vvhich are extended in ever-winding labyrinths upon its immense platforms and dizzy arches suspended in the au . The bright blue sky of Rome, and the effect of the vigorous awakening spring in that divinest climate, and the new life with which it drenches the spirits even to intoxication, were the inspira- tion of the drama." Baths of Co?ista?itine, on the Quirinal, extending over the ground now covered by the Palazzo Rospigliosi, the Con- sulta, the Villa Aldobrandini, and the Colonna Gardens. They were erected about A.D. 326, and according to an inscription in the P. Rospigliosi were restored by a prsefect of the city, Petro- nius Perpenna, after they had been long neglected. In that part of the Colonna Gardens which overlooks the Piazza Pi- lotta^ are some vaulted halls of two stories, now used as grarraries, which belonged to these baths. The steps leading to the upper part are likewise traceable, but it is impossible to follov/ out any plan analogous to that of the other baths. The most interesting re- mains of them are the bas-reliefs, busts, inscriptions, and statues, collected toge- ther in the celebrated summer-house of the Rospigliosi palace, nearly all of which were found upon the spot. In the time of Clement XII., the remains of a portico, with walls painted in fresco with historical subjects, and an oma- uicnted ceiling, were discovered. The well-known colossal horses and figures on the Monte Cavallo, the two statues of Constantine, and that of his son, two of which are on the balustrades of the Capitol, the other under the portico of St. John Lateran, were discovered among these ru'ns. Baths of Diocletian, on the Viminal. These magnificent baths were begun by Diocletian and Maximian about A.D. 302, and finished by Constantius and Maximinus. Cardinal Baronius relates, on the authority of the martyrologies, that 40,000 Christians were employed upon the works, and it is said that some bricks have been found bearing the mark of a cross. It is very probable that the tradition led to the consecra- tion of the ruins, and that we are in- Papal States.] r. 27. — rome. — Antiquities; Baths. 307 debted to it for the preservation of the tinest hall which has come down to us from ancient times. The baths were of immense size ; the outworks, so far as they can now be traced, cover an area more than a mile in circuit, including all that space at present occupied by the Piazza de' Termhii, the Carthusian convent and its gardens, the convent and gardens of San Bernardo, the pub- lic granaries, and part of the grounds of the Villa Negroni, formerly the Villa Massimi. The external buildings are supposed to have formed a square, hav- ing at the front angles two circular halls or temples, which served probably as the entrances into the area. Both of these still exist: one has been con- verted into the conventual church of San Bernardo; the other, situated in the Strozzi gardens, is much dilapidated and is used as a granary. Between them was thesemicircular Theatridium, the remains of which may be seen in that part of the convent gardens which is now used as a bleaching-yard. Be- tween this and the two circular halls just described is the supposed site of the Libraries, to v/hich the collections of Trajan's Ulpian Basilica were removed. The main portion of the baths appears to have formed an oblong square in the centre of the area. The Pinacotheca, or great central hall, was converted by Michael Angelo into the noble church of Sta. Maria degli Angeli. By embody- ing the recesses at each end of the Pina- cotheca, and. simply adding a tribune facing the entrance, Michael Angelo was enabled to convert the whole edi- fice into a Greek cross. The vaulted roof still retains the metallic rings to which the ancient lamps were sus- pended, and eight massive columns of oriental granite are standing in their original position. The circular aula of the baths was added as a vestibule to the church by Vanvitelli in the last century. This church is one of the most imposing edifices in Rome, and is described under its proper head in a subsequent page. Tlie ornaments of the baths and the style of the whole building indicate the decline of art : the columns did not support tlie con- tinuous horizontal entablature of more ancient buildings, but sustained a series of lofty arches resembling the basilicas of later times. In this respect the mo- dern church has a great advantage. Michael Angelo," says Forsyth, " in reforming the rude magnificence of Diocletian, has preserved the simplicity and the proportions of the original, has given a monumental importance to each of its great columns, restored their capitals, and made one noble entabla- ture pervade the whole cross." Behind this hall was the Natatio, now partly covered by the cloisters. In the gar- dens of the convent are some additional ruins, consisting chiefly of large masses of brick -work : some of these still retain part of their vaulted ceiling, and are apparently the remains of halls whose arches must have been of immense span. In the grounds of the Villa Negroni are the ruins of the immense reservoir which supplied the baths, and some vestiges of the celebrated y^^^^r or ram- part of Servius Tullius. Baths of Paulus ^iSmilius, a mere name given to a semicircular ruin ad- joining the Forum of Trajan at the foot of the Qairinal. The form, so far as it can be ascertained among the numerous houses by which it is concealed, is that of a large hemicycle of massive brick- work. A portion has been recently cleared away, and may be examined in the Vicolo della Salita del Grillo, near the little church of S, Maria in Campo Carleo. It has two series of covered arcades, with some pavements of black and white mosaics. Milizia and Des- godetz, who have given drawings of the ruins, considered that they were those of a theatre ; Winckelmann rejected the idea of their being the remains of baths, v/hile others have suggested that the building was erected to defend the Forum from the Quirinal. Recent ex- cavations have decisively proved that it was neither a theatre nor a bath ; and Burgess inclines to the idea that it served as barracks for the Imperial guards. The name of the neighbouring Torre delle Millzie seems to strengthen 308 R. 27. — ROME. — Antiquities; Baths. [Sect. I. this idea, and no explanation so little encumbered with difficulties has been offered. Baths of Nero, and Alexander Sever7is. — There is some contradiction between the Regionaries and the other ancient authorities on the subject of these baths ; some distinctly afliiming- that they are identical, and others stating that the Baths of Alexander were near those of Nero. The only way of solving the difficulty appears to be the conclusion that the Alexandrian baths were an ad- dition to those of Nero, as the latter were probably an addition to those of Agrippa. They seem to have stood between the church of 8. Eustachio, the Piazza Navona, the Piazza Madama, and the Pantheon. The Baths of Nero, according to Eusebius, were built a.d. 65 ; those of Alexander, on the same authority, were built about a.d. 229. Considerable remains have been disco- vered at various times under the Piazza Navona, the Palazzo Giustiniani, and the Palazzo Madama. The church of S. Salvatore in Thermis also identi- fies the site. The only remains now visible is the hemicycle which exists in a stable of the inn in the Piazza Ronda- nini. The two columns added to the portico of the Pantheon by Alexander VII. are supposed to have belonged to these baths. Baihs of Titus, on the Esquiline, overlooking the north side of the Coli- seum. It would hardly be possible to make any description of these ruins in- telligible to the stranger without first ap- prising him that considerable portions of the existing buildings are undoubtedly anterior to the age of Titus. It is well known that the house and gardens of Mecaenas spread over that part of the Esquiline which faces the Coliseum, and that the site was subsequently oc- cupied by the Golden House of Nero. In the construction of his new edifice, Nero embodied the villa of Mecaenas in his design ; and hence there is reason to believe that several of the chambers now visible belong to the original pa- lace of Mecaenas. When Titus (a.d. 80) constructed his baths upon this spot. he availed himself of the buildings of his predecessors, and erected vaults and walls in the apartments in order to form an area for his baths, which conse- quently lie directly over the more an- cient buildings. Domitian, Trajan, and other emperors eidarged or altered the design, but the ruins are scattered over so many vineyards that it is im- possible to distinguish their additions with any degree of [)recision ; indeed, the titles of " Thermse Trajani " and " Thermae Titi" appear to have been indiscriminately applied. The Baths of Titus, which were evidently con- structed with great haste, are supposed to have occupied the space between the Via Polveriera and the high road on the north side of the Coliseum, covering an^ area of about 400 feet by 600. Those of Trajan, begun by Domitian, extended in the direction of S. Pietro in Vincoli, and are supposed to have occupied an area of 1 100 feet by 800. The crypt under the Church of San Martino is said to have formed part of the baths. One of the hemicycles was converted by the French into a powder magazine (Polveriera) which gives name to the street adjoining. The other hemicycle forms with the adja- cent vaults a kind of terrace from which the best view of the ruins is obtained. On the side nearest the Coliseum are the ruins of the semicircular theatre, with some remains of seats. The sub- terranean chambers of Nero or Mecae- nas lie under the baths in a transverse direction, and are divided by walls and vaults evidently built for the purposes of the baths. Among these more an- cient remains a large oblong square ori- ginally forming an open court may be traced ; it was apparently surrounded on three sides by columns, whose po- sition may still be recognised. The ruins of the fountain which occupied the centre are also visible. Opening upon this, and extending along one of the longest sides, are seen the prin- cipal apartments. The largest is oppo- site the fountain ; one of those at the side is pointed out by the ciceroni as the place where the Laocoon was dis- Papal States.] r. 27. — rome. — Antiquities; Baths. 309 covered in the pontificate of Leo X., although it is proved by the clearest evidence that it was found in the Vigna de' Fredis, between the Selte Sale and S. M. Ma^rgiore. In other chambers on this side the Pluto and Cerberus of the Capitol Museum, the Belvidere Me- leager, and the painting which has become so celebrated under the name of the Nozze Aldobrandini, were dis- covered. The walls still retain their ancient stucco, and are beautifully painted. It is generally supposed that tliese chambers belonged to the villa of Mecsenas : if this opinion be correct his tomb cannot be far distant, and we have the authority of Suetonius for the interesting fact, that among the ruins of his patron's villa lies the grave of Horace. On the corresponding side of the square is a long corridor, disco- vered in 1813. It is celebrated for the beautiful painted ceilmg, the colours of which are still vivid, though the walls are damp, and the whole corridor a few years back was partly filled with earth. These interesting works are the most perfect specimens of ancient paint- ings which have been preserved in Rome ; they represent arabesques of flowers, birds, and animals, all of which exhibit the most graceful outline and remarkable facility of design. One of the curiosities of these baths is the painting representing two snakes with a basin between them : the inscription explains the meaning of this mystic emblem, and conveys in unambiguous language the caution implied by the Immondezzaio" of the modern Ro- mans. On the short sides of the square are some chambers, in which the stair- cases may yet be seen, with some ad- ditional fragments of paintings. A short corridor bears the name of Rhea Sylvia, from the painting on the vault representing the Conception of Ro- mulus. In some of the latest excava- tions, a small chapel dedicated to S. Felicita was discovered. It is sup- posed by Fea and other writers to have been used for Christian worship as early as the sixth century ; on the wall was found a Christian calendar, which has been engraved by De Romanis in his work on the " Camere Esquiline." Many of the other apartments retain traces of very rich decorations, but the ruins are so unintelligible that no de- finite plan can be laid down. The French have been erroneously supposed to deserve the credit of making known the existence of these baths ; they cer- tainly merit great praise for excavating many of the chambers, but there are reasons for believing that the greater part of the site has been accessible for centuries. In the time of Leo X. some excavations were made which brought to light the frescoes of the corridors. In the Life of Giovanni da Udine, Vasari mentions this fact, and states that Giovanni and Raphael were so much pleased with the paintings, that they studied and copied them for the Vatican. The unworthy story which attributes to the jealousy of Raphael the filling up of the chambers after he had copied the paintings, is unsup- ported by the slightest authority, and is indeed contradicted by the fact, that the great painter, who was too enthu- siastic an antiquary to have even sug' gested their concealment, proposed a plan to Leo X. for a complete survey and restoration of ancient Rome, The chambers and the paintings are de- scribed by several writers of the seven- teenth century, and it was even later than this that they were filled up by the government to prevent their be- coming a shelter for banditti ; in 1776 they were again partially opened by Mirri, for the purpose of publishing the paintings; and in 1813 the whole site was cleared as we now see it. There is no doubt that many interesting frag- ments still remain buried under the accumulation of soil* Adjoining the baths is the ruin called the Sette Saky a massive building of two stories, one of which is still buried ; it was evidently a reservoir, and is, per- haps, referable to the original palace of Mecsenas. In later times it probably supplied the Coliseum and the Meta Sudans. The arrangement of the inte- rior is peculiar; it is divided into nine 310 R. 27. — ROME, — Antiquities; Tombs. [Sect. I. parallel compartments by eight walls. These compartments communicate by four arched apertures in each wall, placed so as to alternate with each other, and thus prevent the pressure of the water on the lateral walls. This ar- rangement necessarily allows the spec- tator, standing in the first chamber, to look through all of them at once in an oblique direction. The length of the central compartment is stated by Nibby to be 37 feet, the height 8 feet, and the breadth 12 feet. The walls still retain the incrustation formed by the deposits of the water ; it is as hard as iron, and exhibits three distinct deposits. Near the Selle Sale is a high brick ruin, with two rows of niches for statues ; it has been supposed to have formed a part of the palace of Titus, but nothing what- ever is known which will enable us to identify it. Tombs and Columbaria. Mausoleiim of Augustus^ between the Via de' Pontefici and the Strada di Ri- petta, built by Augustus himself in his sixth consulate, B.C. 27, about midway between the Via Flaminia and the Ti- ber. It is a circular building, stated by the Latin writers to be 220 ancient Ro- man feet in diameter. Strabo describes it as the most remarkable monument ill the Campus Martins, and says that it " was raised to a considerable eleva- tion on foundations of white marble, and covered to the summit with evergreen plantations. A bronze statue of Augus- tus surmounted the whole. Round the inner circumference were sepulchral chambers containing his remains and those of his family and friends. The ground around the mausoleum was laid out in groves and public walks." The entrance was flanked by two obelisks without hieroglyphics, of which one is now standing on Monte Cavallo, the other in the Piazza of S. Maria Mag- giore. The mausoleum contained the ashes of the emperor himself, of Mar- cellus,Octavia, Agrippa, Li via, Drusus, Germanicus, Tiberius, and Caligula. We know from Dion Cassius that no one was buried in it after the time of Trajan. The first member of the im- perial family who was interred in it was the young Marcellus, who died A.D. 22; and so long as one stone is standing above another, the spot will be hallowed in the estimation of the scholar, by those memorable lines of Virgil, in which the poet alludes to the newly erected tomb : " Quantos ille virura magnam Mavortis ad urbem Campus aget gemitus ! vel qu83, Tiberine, videbis Funera, quum tumulum praeterlabere re- centom ! Nec puer Iliaea quisquam de gente Latinos III tantem spe toilet avos ; nec Romula quondam Ullo se tantum tellus jactabit aliimno. Heu pietas, heu prisca fides, invictaque bello Dextfra! non iili se quisquam impune tulisset Obvius armato, seu quum pedes iret in hostem, Seu spumantis equi foderet calcarilus ar- mos. Heu, miserande puer ! si qua fata aspera rum.pas, T\x Marcellus eris." The mausoleum is supposed to have been first ruined by Robert Guiscard; it was converted into a fortress in the twelfth century, by the Colonna fa- mily, who were dislodged by Frederick Barbarossa, in 1 167, when the tomb was reduced to ruin. It was used as an amphitheatre for bull-fights, until the time of Pius VIII., by whom all spec- tacles of that l>ind were finally sup- pressed ; it is now used for displays of fire- works, or for the exhibitions of some tight-rope dancer ! The ruin is so surrounded by houses that it is difli- cult to examine it, or form any idea of its original magnificence. The most accessible part is in the court of the Palazzo Valdambrini. The modern entrance to the arena is through the Palazzo Corea in the Via de' Pontefici : the passage is entirely paved with green basalt. The walls are of immense thickness, and, though the interior is evidently filled up with rubbish, it is sufficiently capacious to hold many thousand persons. The only remains now visible, in addition to the circular Papal States.] r. 21. — rome. — Antiquities; Tombs, 311 wall, are some masses of reticulated work in tufa, beneath the modern seats for the spectators. Dependent on this mausoleum was the Biistum, a fu- neral pile mentioned by Strabo, on which the imperial bodies were burned. The site of this was discovered in the last century, between the church of San Carlo in the Corso, and the end of the Via della Croce. Some blocks of travertine were found, bearing the names of members of the imperial family. Two of them may still be seen in the Vatican, where they serve as pedestals to two statues in the Sala di Giove, One bears the following inscription : — TI. CAESAR GERMANICI CAE3ARIS . F CREMATVS EST. The other is imper- fect ; but the following is still legi- ble : LIVILLA GERMANICI C . . . . Hic siTA EST. Among the remark- able circumstances which have invested so many monuments of Italy with pe- culiar interest for the British traveller, not the least significant is the fact that the Palazzo Corea, adjoining the Mau- soleum of Augustus, was the first place in which the Church of Eng- land, service was publicly performed in Rom.e. Toinh of the Baker Eurysaces, outside the Porta Maggiore, on the Via Labi- cana, the present road to Naples by Frosinone. This very curious monu- ment was recently discovered imbedded in the v/alls built by Honorius, A. d. 402, close to the colossal monument of the Claudian aqueduct ; it was conse- quently so efl'ectually concealed that its existence was entirely unknown to the older antiquaries. It is a quadri- lateral building of three stories or divi- sions, covered with slabs of travertine. The first story is plain. The second is composed of stone mortars, used by bakers for kneading the dough. On the band which separates this division from the third is the following inscription, which is repeated on each of the four faces of the tomb : — est hoc moni- MENTVM MARCEI VERGILEI EVRYSACIS PISTORIS REDEMTORIS APPARET. The third division contains three rows of stone mortars, placed on their sides, so that their mouths face the spectator ; they formerly contained a stone ball to represent the dough. The angles are terminated by pilasters, supporting a frieze, with a band forming a Ihie of round loaves. The frieze still retains several fragments of interesting bas- reliefs, representing the various opera- tions of baking, from the carrying of the corn to the mill to the final weigh- ing and distribution of the bread. On the front is a bas-relief, representing the baker and his wife, with a sarcopha- gus containing a representation of a bread-basket which held tlie ashes, and the following inscription : — fvit ATISTIA VXOR MIHEI FEMINA OPITVMA VEIXSIT QVOIVS CORPORIS RELIQVIAE QVOD SVPERANT SVNT IN HOC PANaRO. The form of the whole monument ap- pears to have been intended to typify the ancient Panarium, or bread-basket, to which opinion the concluding words of this inscription give considerable weight. The workmanship indicates the first age of the empire, and very probably the time of Augustus. Alto- gether the monument is a valuable il- lustration of the domestic life of the ancient Romans. Tomb of Bibulus. — One of the few remaining monuments of republican Rome, situated at the extremity of the Corso, under the north-east angle of the Capitoline hill. It forms part of the wall of a house in the Via Marforio. It has been a matter of dispute among the antiquaries whether this tomb was placed within or without the walls of Servius TuUius ; it is now generally believed that it stood without the walls, in accordance with the usual custom in regard to tombs, and that it was close to the ancient Porta Ratumena. It is a massive building of two stories, in the Doric style, constructed of travertine. The lower story is buried beneath the present level ; the upper is decorated, with four pilasters diminishing towards the capitals ; part of the entablature and ornamented frieze are still standing. In the centre is a niche or doorway, with a moulded architrave. Between the pilasters is an inscription, recording 312 R. 27. — ROME. — Antiquities; Tombs. [Sect. I. that it was erected at the public ex- pense to C. Poblicius Bibulus, the plaebeiaii sedile, ^' honoris virtutisque causa." This tomb cannot be much less than 2000 years old. Nearly opposite, in the Via Marforio, are the remains of another sepulchre, called the Tomb of the Clamlia?i Family, It is now a shapeless ruin ; but some subterranean vaults under the modern dwelling are still visible, which evi- dently formed part of the tomb. The Flaminian Way passed between these tombs in its course to the Capitol. Tomb of Ccecilia Metella, about two miles from the Porta S. Sebastiano, on the Appian Way, a short distance beyond the circus of Romulus ; erected nine- teen centuries ago to the memory of Caecilia Metella, the wife pf Crassus, and daughter of Quintus Meteilus, who obtained the surname of Creticus for his conquest of Crete, B.C. 66. This noble mausoleum is one of the best preserved monuments of Rome, and so great is the solidity of its construc- tion, that it would seem as if it were built for eternit}^. It stands on the extremity of a remarkable stream of lava, which is supposed to proceed from some crater in the neighbourhood of Albano. A circular tower, nearly 70 feel in diameter, rests on a quadran- gular basement, the greater part of which is buried beneath the soil. This base- ment is composed of small stones and fragments of brick, strengthened by large square key-stones, which project at regular intervals from the mass. The external coating was stripped at various times for making lime, and Urban VIII. (Barber ini) removed the larger masses, to erect the fountain of Trevi. The circular part of the tomb is constructed of magniticent blocks of the finest tra- v^ertine, much larger than they seem, as each block is divided into two or three squares; they are fitted together with the greatest precision, entirely without cement. It has a beautiful frieze and cornice, from which a conical roof is supposed to have sprung. The battle- ments which have usurped its place were built by Boniface VIII. (Gaetani) in the thirteenth century, when the tomb was converted into a fortress. The frieze is decorated with bas-reliefs in white marble, representing festoons alter- nating with bulls' heads, from whence the tower is said to have obtained the modern name of " Capo di Bove." On a panel below the frieze, on the side of the Appian, is the following inscrip- tion: — CAECILIAE Q. CRETICI . F ME- TELLAE . CRASSi. Immediately over the inscription is a bas-relief, represent- ing a trophy ; on one side is a figure of Victory writing upon a shield ; under- neath is a captive bound, in a sitting posture; the figures on the correspond- ing side have been destroyed. The interior contains a plain circular cham- ber, lined with brick, contracting as it ascends ; the roof has entirely disap- peared, but the inclination of the walls proves that it was conical. The dia- meter of this chamber is only 15 feet, so that the walls are upwards of 25 feet in thickness. The sarcophagus of white marble, now standing in the court of the Farnese Palace, was found in it in the pontificate of Paul III. Lord Byron's description of this tomb, in the fourth canto of ' Childe Harold,' is one of those eloquent bursts of feeling which appeal irresistibly to the heart. It is impossible to describe the interest with which his genius has invested the mo- numents of Rome, even to the most indifferent of English travellers ; and there are few who will not agree in the remark of Sir Walter Scott, that " the voice of Marius could not sound more deep and solemn among the ruined arches of Carthage, than the strains of the pilgrim amid the broken shrines and fallen statues of her subduer." " There is a stern round tower of other days, Fh-m as a fortress, with its fence of stone. Such as an army's baffled strength delays. Standing with half its battlements alone. And with twothousand years of ivy grown. The garland of eternity, where wave The green leaves over all by time o'er- thrown ; — What was this tower of strength? within its cave What treasure lay so lock'd, so hid? — A wo- man's grave. Papal States.] r. 27. — rome. — Antiquities; Tombs, 313 But wlio was she, the lady of the dead, Tomb'd in a palace ? Was she chaste and fair? Worthy a king's — or more — a Roman's bed? What race of chiefs and heroes did she boar ? What daughter of her beauties was the heir? How lived— how loved — how died she ? Was she not So honour'd — and conspicuously there. Where meaner relics must not dare to rut. Placed to commemorate a more than mortal lot? Perchance she died in youth : it may be, bow'd With woes far heavier than the ponderous tomb That weigh'd upon her gentle dust, a cloud Might gather o'er her beauty, and a gloom In her dark eye, prophetic of the doom Heaven gives its fivourites — early death; yet shed A sunset charm around her, and illume With hectic light, the Hesperus of the dead, Of her consuming cheek the autumnal leaf- like red. Perchance she died in age — surviving all. Charms, kindi-ed, children — with the silver gray On her long tresses, winch might yet recall, it may be, still a something of the day When they were braided, and her proud array And lovely form were envied, praised, and eyed By Rome — but whither would Conjecture stray ? Thus much alone we know— Metella died. The wealthiest Roman's wife : Behold his love or pride !" Adjoining the tomb are the extensive ruins of the Gaetani fortress. As early as the beginning of the thirteenth cen- tury the Savelli family had converted the ruin into a stronghold ; the Gaetani, before the close of the century, ob- tained possession of it, and built those towers and battlemented walls which now form, from many points of view, a ruin scarcely less picturesque than the massive tomb itself. The bulls' heads, the armorial bearings of the Gaetani, are still visible on the walls, and are more likely to have given rise to the modern name of the ruin than the ornaments of the frieze. The ruined Chapel, with its round window, bears a considerable resemblance to many of our English churches of the same pe- riod. It was founded in 1296 by the Gaetani family, who seem to have con- verted the locality into a colony of their dependants. On a wall adjoin- ing the tomb are some fragments of a marble monument, discovered in 1824, and apparently belonging to a tomb similar in form to that of Csecilia Me- tella. The pavement of the Appian Way, which is remarkably perfect at this spot, was laid open at the same time. There is a subterranean passage leading from the fortress to the cata- combs, supposed to have been con- structed by the Gaetani. Near this tomb are the quarries of lava which have furnished the greater part of the paving- stones of ancient and modern Rome. The lava of Capo di Bove, the sikx of Pliny, a very different substance from the siiex of the moderns, is celebrated among mineralogists as containing many interesting minerals — Mellilite, Breislakite, Pseudo-Nepheline, Comp- tonite, Gesmondite, &c. : of which the scientific traveller will see some fine specimens at Rome in the Sapienza, and in the cabinet of Monsignore de' Medici Spada, one of the most distin- guished mineralogists of the present day. Pyramid of Caius Cestius, the only pyramid in Rome, situated near the Porta San Paolo, at the foot of Monte Testaccio. The spot is well known to every English traveller as the Protest- ant burial-ground. The monument is partly within and partly outside the walls of Aurelian, who embodied it in his line of fortifications. It is a mas- sive pyramid of brick and tufa, covered externally with slabs of white Luna (Carrara) marble, a foot in thickness, and two feet high, now perfectly black with age. It stands on a square base- ment of travertine three feet high. The height of the monument is 125 feet, the breadth at the base 100 feet. The walls are nearly 28 feet in thickness. In the centre is a small chamber, 20 Roman feet by 15, and 16 feet high, with a stucco ceiling covered with ara- besques, which were first brought to light by Ottavio Falconieri, and described by 314 R. 27. — ROME. — Antiquities ; Tombs, [Sect. I. him in his learned dissertation annexed to the work of Nardini. These ara- besques excited great interest before the discovery of the Pompeii paint- ings: they still retain their original brightness of colour, though somewhat injured by the smoke of torches, and represent four female figures surrounding a Victory, with vases and candelabra. The entrance is in the centre. At the angles are two fluted columns of white marble, of the Doric order, discovered in the excavations of 1663. At the other angles two pedestals with inscrip- tions were found, which are now pre- served in the museum of the Capitol. On one of them was a bronze foot, also in the same museum, and apparently belonging to a colossal statue of Caius Cestius. There are two ancient inscrip- tions on the monument ; the first, in letters of large size, is repeated on the east and west sides: — c. cestius . l. F. FOB. EPVLO . PR. TR. PL. VII. VIR. EPVLONVM. The other is on the south front, facing the road to Ostia, the an- cient Via Laurentina: it records the completion of the pyramid in 330 days. Tlie letters are considerably smaller than those of the former inscrip- tion : OPVS . ABSOLVTVM . EX . TESTA- MENTO . DIEBVS . CCCXXX ARBITRATV . PONTI . P. F. CLA . MELAE . HEREDIS . ET . POTHi. L. The monument is sup- posed to be of the age of Augustus. Caius Cestius is proved by these inscriptions to have been of the Poblician tribe, a praetor, a tribune of the people, and one of the seven epulones, appointed to prepare the banquets for the gods at public so- lemnities. He was, probably, the person mentioned by Cicero in his letter to Atticus from Ephesus, and in his ora- tion for Flaccus. In the seventeenth century the base of the pyramid was buried under 16 feet of soil. It was cleared and repaired in 1663 by Alex- ander VII., as recorded by an inscrip- tion placed beneath those already men- tioned, and has recently been thrown open to the road by the present pope. To7nb of St. Comta?itia, beyond the Porta Pia, near the church of S. Ag- nese; erected by Constanline the Great to contain the superb sarcophagus of porphyry, now in the museum of the Vatican, and in which the ashes of his daughter were deposited. The tomb is a circular building, deco- rated with mosaics. It was supposed by the older antiquaries to have been originally intended as a baptistery for the church of S. Agnese. It has also been considered to be older than the time of Constantine, chiefly on the evi- dence afforded by the capitals of the double Corinthian columns which sup- port the dome. But the architecture is not sufficiently pure to give much weight to this opinion ; the construction and style of the edifice seem conclu- sively to indicate the decline of art under Constantine, to whom the build- ing is no doubt correctly referred. It was converted into a church by Alex- ander IV. Tomb of the Empress St. Helena, be- yond the Porta Maggiore. It is now called the Torre Pignattara, from the pignatte, or earthen pots, which are seen in the roof. The tradition of the church, from the time of Bede and Anastatius, has pointed out this ruined mausoleum as the tomb of the Empress Helena. There is indeed no doubt of the fact that the well-known porphyry sarcophagus in the Vatican was re- moved from the ruin by Anastatius IV., and deposited in St. John Lateran, whence it was transferred to the \^atican by Pius VI. The remains now visible are those of a large circular hall, with walls of great thickness. In the inte- rior are eight niches. From inscrip- tions still preserved, it appears that the spot was either the camp or the ceme- tery of the Equites Singulares, from the second to the fourth century of our era. One of these inscriptions, on the left of the entracce, with a curious bas- relief of a deceased knight and his page, bears the name of Aug. Claudius Virunus, Nat. Noric," supposed by Cluverius to have been an ancestor of the existing German family of Volck- mark. The Mausoleum of Hadrian^ now the Castle of St. Angelo, the celebrated for- PapalStates.] r. 21 -ro^je.- Antiquities ; Tombs (T, of Hadrian). 31 5 tress of Papal Rome. This massive edi- fice was erected by Hadrian about a.d. 130, on the right bank of the Tiber, within the gardens of Domitia, the aunt of Nero. The idea was probably sug- gested by the mausoleum of Augustus, which stood on the opposite bank of the river, but the construction of the build- ing bears ample proof of Hadrian's acquaintance with the pyramids of Egypt. " Turn to the Mole which Hadrian rear'd on high. Imperial mimic of old Egypt's piles, Colossal copyist of deformity, ^yhose travell'd phantasy from the far Nile's Enormous model, doom'd the artist's toils To build for giants, and for his vain earth. His shrunken ashes, raise this dome ! How smiles Tlie gazer's eye with philosophic mirth. To view the huge design which sprung from such a birth !" The tomb was probably completed by Antoninus Pius, who removed the ashes of the emperor from Puteoli, where they had been deposited in a temporary se- pulchre in Cicero's villa. Hadrian died at Baiae, but we know that he was buried here from the authority of Dion Cassius, who says that he was interred near the ^lian bridge, in a tomb which he had himself erected. After the time of Hadrian it became the sepulchre of the Antonines and of many of their success- ors down to the time of Caracalla. An- toninus Pius was buried here a.d. 161 : Marcus Aurelius, 180; Commodus, 192; Septimius Severus, 211; Geta, 212 ; and Caracalla, a.d. 217. It is a massive circular tower, 188 feet in dia- meter, built of solid peperino, and standing on a square basement, each side of which is 253 feet in length. Procopius, who saw it in the sixth cen- tury, before it was despoiled, is the old- est writer by whom it is mentioned. His description still affords a better idea of the original structure than any conjectural restorations. " It is built," he says, "of Parian marble ; the square blocks fit closely to each other without any cement. It has four equal sides, each a stone's throw in length. In height it rises above the walls of the city. On the summit are statues of men and horses, of admirable workman- ship, in Parian marble." He goes on to state that it had been converted into a fortress considerably before his time, but without injury to the decorations ; and he tells us, in a remarkable passage, that in the subsequent wars against the Goths the statues were torn from their pedestals by the besieged, and thrown down upon their assailants. The first fortress dates probably from the time of Honorius, a.d. 423. In the wars of Justinian we know that it was succes- sively in the hands of the Goths and the Greeks, and that it at length passed into the possession of the Exarchs as the citadel of Rome. At the close of the sixth century, according to the Church tradition, while Gregory the Great was engaged in a procession to St. Peter's for the purpose of offering up a solemn service to avert the pestilence which followed the inundation of 589, the Archangel Michael appeared to him in a vision standing on the summit of the fortress, in the act of sheathing his sword, to signify that the plague was stayed. In commemoration of this event the pope erected a chapel on the summit, which was subsequently super- seded by a statue of the archangel. The name of St. Angelo was of course derived from this circumstance, but it was not applied for many centuries af(er the event. In the tenth century the mausoleum was the fortress of The- odora and Marozia, and was the scene of many of those events which have made their names infamous in history. John XII., the grandson of the latter, about A.D, 955, was the first pope who occupied it as a place of military strength. In 985 it was seized by Crescenzio Nomentano, the consul, who increased the fortifications to defend himself against the emperor, Otho III., who had marched an army into Rome in defence of the pope. From this usurper it acquired the title of the Castello di Crescenzio, under which name it is described by several old writers. The history of the fortress from this time would be little less than an epitome of the history of Rome p2 316 R. 21 -ROME -Antiquities ^ Tombs (T, of Hadrian), [Sect. I. from the tenth century, through the troubles of the middle ages. It will be sufficient to mention that in tlie ele- venth and twelfth centuries it was held by the Orsini. It is supposed to have been reduced to its present form in 1378, when it was occupied by the French cardinals who opposed the elec- tion of Urban VI. Boniface IX. re- paired the fortress, and Alexander VI. (Borgia) about the year 1500 raised the tower, and strengthened the base by erecting the bulwark of travertine be- tween it and the bridge; he completed the covered gallery from the castle to the Vatican, begun by John XXIII. on the foundations of the Leonine walls. Ur- banVIII. (Barberini), a.d. 1644, added a roof to this gallery, constructed the immense outworks of the fortress from the designs of Bernini, and completed the fortifications by furnishing them with cannon cast out of the bronze of the Pantheon. The ancient portion of the building, as we now see it, may easily be distinguished from these addi- tions of the popes. All the upper part of the building is modern. The ancient basement was laid open on one side in 1825, and found to consist of peperino mixed with brick -work. About the same time excavations were commenced ill the interior, which were attended with very interesting results. It was ascertained that the immense mass con- tained two small sepulchral chambers ill the centre, and that the ancient door- way was placed immediately opposite the bridge. These chambers were ap- proached by spiral passages or corri- dors. We may now descend, with the aid of torches, by these passages, to the original entrance. The passages are thirty feet high and eleven broad, built of brick in the very best style, and still retain traces of their marble facing and some fragments of the white mosaic with which they were paved. They were lighted by two perpendicular py- ramidal apertures, which serve to show the enormous thickness of the walls. The entrance is a massive and very lofty arch of travertine. Opposite the doorway isa niche which probably con- tained a statue, as the colossal head of Hadrian, now in the Vatican, was found here. The sepulchral chamber is lighted by two windows perforated in the thickness of the walls. The excavations have laid open a portion of the ancient level, and the lateral niches are seen by descending into the cells beneath the steps. The workmansliip is of the best kind : the immense blocks are fitted with the utmost nicety, and yet the holes visible in the walls, and the rich ornaments discovered in the excavations, prove that they were covered with mar- ble. Among the objects found at va- rious times among the ruins we may mention the large granite sarcophagus and the bust of Hadrian, in the Vatican ; the Barberini Faun, now at Munich ; the Dancing Faun of the Florence Gal- lery ; and the porphyry urn in the Lateran, removed by Innocent II. for his own tomb. In the modern part of the building, the saloon, painted in fresco by Perino del Vaga, is almost the only object to be particularly no- ticed. From the summit of the castle the view is one of the very finest on this side of Rome ; there is no point from which the gigantic mass of St. Peter's and the Vatican is seen to so much ad- vantage. The bronze statue of the arch- angel was cast by the Flemish sculptor Wenschefeld for Benedict XIV. The celebrated gimndola, displayed from the castle at, Easter, and at the feast of St. Peter and St. Paul, on the 28th and 29th of June, is the grandest exhibition of fireworks in the world : each of the two great discharges, to which this term is properly applied, contains no less than 4500 rockets. The Castle of St. Angelo was for some years the princi- pal state prison of the papal government, but latterly the political offenders have been sent to Civita Castellana. It will hold 150 prisoners, but there are seldom half that number actually confined. By the last returns there were only thirty- six prisoners : of whom seven were con- fined for homicide, seventeen for wound- ing, seven for theft, two for resisting the police, and three for other crimes. The strength of the castle as a military posi- Papal States.'] r. 2T--rome.- Aiiiiquities ; Tombs {T. of Sctpio). 317 tion is by no means remarkable, and it is considered by engineers 1o be quite incapable of defence against the im- proved system of modern warfare. Ne- veitheless, during the troubles of the last French invasion it had nearly be- come signalised by an act of heroism which deserves to be recorded. Before the storm had burst upon Rome, the late Capt.Pfyflfer,the commander of theSwiss guard, by whose family the captaincy of that celebrated corps has been held for at least 200 years, entreated the pope to allow him to defend the castle against the army of France. The pope wisely declined the oft'er, for those who knew the gallant descendant of the family of Altishofen were convinced that he would have blown up the for- tress rather than surrender. It is neces- sary to obtain permission to see the interior of the castle : this is seldom refused on application to the governor, who appoints an oflRcer to accompany the stranger through the different parts of the fortress. Tomb of Plautms^ on the road to Ti- voli, close to the Ponte Lucano. This picturesque ruin combines so happily with the bridge, that it has long been one of the favoured subjects of the land scape artists of all countries. It resem- bles the tomb of Csecilia Metella in form and structure, being a circular building constructed of large blocks of travertine. It appears to have been surrounded at the lower part with a series of engaged columns : some of them still remain, with two inscriptions between them ; one to M. Plautius Sil- vanus, the tribune; the other to Titus Plautius Silvanus, who accompanied Claudius on his exp'^dition to Britain. The battlemented walls at the summit were added by Pius II., who converted the ruin into a fortress in the fifteenth century. Tomb of Scipio, in a vineyard near the Porta S. Sebastiano, on the left of the Appian, marked by a solitary cy- press tree, the most ancient and the most interesting of all the tombs yet disco- vered. In 1615 an inscription on red peperino, now in the Barberini palace, was discovered on this spot, bearing the name of L, Scipio, son of Scipio Barbatus. At that time it was sup- posed that the tomb was situated on another part of the Appian, and Maffei and other antiquaries of the period did not hesitate to pronounce the iiiscripti m a forgery. In 1.780 another inscription was dug up accidentally on the same spot, which left no doubt that the sepul- chre of the illustrious family was not far distant. Further excavations were com- menced, and the tomb and its sarcophagi were brought to light, after having been undisturbed for upwards of one and twenty centuries. Several recesses or chambers were discovered, irregularly excavated in the tufa, with six sarco- phagi and numerous inscriptions. The ancient entrance was found opposite to the modern one, and facing the Via La- tina : it has a solid arch constructed of eleven blocks of peperino, resting on half columns of the same material, and sup- porting a plain moulding. Upon this rests the base of a Doric column, indi- cating a second story. In one of the recesses was found the celebrated sarco- phagus of coarse peperino, bearing tlie name of L. Scipio Barbatus, now in the Vatican, and well known in all parts of the world by numerous models. The chambers now contain nothing beyond the inscriptions attached to the different recesses in the place of the originals, which have been transferred to the Va- tican, together w^ith the sarcophagi and a laurelled bust, long supposed to be that of Ennius. " The Scipios' tomb con'ains no ashes now; The very sepulchres lie tenantless Of their heroic dwellers." Childe Harold. In one part of the tomb some additions of brick-work may be recognised, with some works of a later period. Several inscriptions bearing the names of per- sons having no connexion with the Sci- pio family have also been discovered, which are considered to prove that the sepulchre was used by intruders in the time of the empire. It must not be forgotten that Scipio Africanus was not buried here, but at Liternum, where he 318 R. 27. — ROME. — Antiquities; Cohimbaria, [Sect. I. died. This tomb was ably illustrated by Pirariesi in 1785, and has been sub- sequently described by Lanzi, Visconti, and other learned archaeologists. The Columbarium in this vineyard is de- scribed under that head in the next page. Twnb of the Servilii, on the Appian, about two miles beyond the tomb of Caecilia Metella. It was discovered and restored by Canova in 1808. The following is the inscription which iden- tified the tomb with this illustrious republican family : — m. servilivs . QVARTVS . DE . SVA. PECVNIA . FECIT, Minor Tombs on the Appia?i. — Of all the approaches to Rome, the Appian was the most remarkable for the num- ber and brilliancy of the sepulchral monuments which lined the road, like those which we see in the Street of the Tombs at Pompeii. Many of these are now mere masses of brick-work, which have defied the ingenuity of the Roman antiquaries. They are consequently without names, and as they all bear a strong general resemblance, it will be unnecessary to give a particular de- scription of each ruin. The most im- portant tombs upon the Appian, recorded by the Latin writei^, are those of Scipio, Caecilia Metella, the Servilii, and Cala- tinus. In the Tusculan Disputations, Cicero alludes to them in the following passage : — When you go out of the Porta Capena, and see the tombs of Calatinus, the Scipios, the Servilii, and theMetelli, can you consider that the buried inmates are unhappy?" The only one of the four still undiscovered is that of Calatinus; the others are clearly identified, and are described above. On each side of the road are several ruins of minor tombs of which nothhig is known, and no light probably will now be thrown upon them. There is one, however, close to the classical stream which still retains the name of the " brevissimus Almo," which has been considered the Tomb of Priscilla, the wife of Abascantius, which is known to have been situated on this road. It is mentioned by Statius in the follownig passage : " Hie te, Sidonio velatam molliter ostro, Eximius coujux, nec enim fumautia busta Clamoremque rogi potuit perterre, beato Composuit, Priscilla, toro." Opposite the church of Domine Quo Vadis are the remains of another tomb, long considered to be that of Scipio before the real sepulchre was discovered. It is surmounted by a tower of the mid- dle ages : it appears to have been a cir- cular building faced with travertine, and stands on a square basement. It had twelve niches for statues and a circular roof. About half a mile beyond the Porta San Sebastiano is a massive ruin called the Tomb of Horatia ; but the construction of the building and the fragments of marble and ornaments which have been found near it seem to show that it was an imperial work : indeed there is scarcely a ruin on this road to which the name of Horatia has not been applied. Columbaria. — On all the great roads of ancient Rome considerable numbers of these sepulchres have been found, particularly on the Appian and Latin Ways. They bear so great a similarity to each other, that the description of one will, with few exceptions, apply to all. They were called Columbaria, from the rows of little niches, resem- bling the holes of a pigeon-house. These niches contained the o/te, or urns, in which the ashes of the dead were depo- sited. In some cases the names are found on the urns, but they are more generally met with in inscriptions placed over the niches. These Columbaria, from their construction, were capable of containing the remains of large num- bers of persons: they were particularly set apart for the slaves and freedmen, and were usually built near the tombs of their masters. The following are the most remarkable : — Columbarium in the Villa di Luzzano, about two miles beyond the Porta Pia, on the right of the road. This is the most perfect Columbarium in the neigh- bourhood of Rome : it has been pre- served by the accidental circumstance which kept it so long concealed, having been buried for centuries under the Papal States.] r. 27. — rome. — Antiquities; Aqueducts. 319 accumulation of soil. It consists of a square chamber of travertine ornamented with a cornice : it has three marble sar- cophagi covered with bas-reliefs of re- markable workmanship, and still con- taining skeletons. An upper chamber, supposed to have been circular, has en- tirely disappeared. The masonry of the existing fragment is of the best kind, but nothing has been discovered which will enable us to fix the date of its construction. Columbarium in the Filla Pamjlli- Dona. —A very interesting and exten- sive series of sepulchral chambers were discovered a few years back in the grounds of this villa, but to the regret of all the antiquaries they have recently been destroyed. The inscriptions, how- ever, have been collected and preserved in the park. Several tombs were found near the Columbarium marking the line of the Aurelian Way. Columbarium of the Slaves of Augus- tus, on the Appian, now partly con- cealed by the vineyard. It had three chambers, one of which contained six rows of niches for urns. Several in- scriptions were found, but most of them, together with the sculptures and mar- bles, have been removed. Three plates of this Columbarium have been pub- lished by Piranesi. Columbarium of the hiberti of Livia, also situated on the Appian, in the last vineyard on the left hand before we descend to the church of St. Sebastian. It was discovered in 1726, and was justly considered by the antiquaries as a valuable relic ; but it has been re- cently destroyed, and no trace of the buihling now exists. It is well known by the works of Gorio and Piranesi ; the latter published upwards of 300 inscriptions found among the ruins, most of which may now be seen in the Vatican and Capitoline museums. Columbarium of Cneius Pomponius Hylas, and of Pomponia Vitalina, in the same vineyard which contains the tomb of Scipio. It was discovered in 1830 almost in an entire state. An inscrip- tion in mosaic records the names of the founders. The different objects found here, the ollae and the inscriptions, have been judiciously allowed to remain in their original positions ; the only thing removed is a remarkable glass vessel now in the Vatican library, which has been replaced by an exact copy of mo- dern workmanship. The inscriptions, which are very numerous, refer chiefly to the time of Augustus and Tiberius. The interior is partly painted with ara- besques. Altogether this columbarium is one of the most instructive which the stranger has an opportunity of exa- mining. Columbarium of Lucius Arruntius, &c. — Between the Porta Maggiore and the temple of Minerva Medica are two Columbaria situated one on each side of the road. That on the left hand was constructed (a.d. 6) by L. Arruntius, the consul, to receive the ashes of his freedmen and slaves, as we learn by an inscription found over the entrance in 1736. It has two small subterranean chambers with cinerary urns. The other is supposed to have belonged to different plebeian families : it consists of a single chamber, decorated with stucco ornaments on the walls, and a painted ceiling. It has been preserved entire, and the urns and the inscriptions may still be seen in their original posi- tions. Aqueducts. No monuments of ancient Rome are at once so picturesque and so stupen- dous as the Aqueducts, and many tra- vellers are more impressed with the grandeur of their gigantic arches, be- striding the desolate plahi of the Cam- pagna, than with any ru ns within Rome itself. The following are the principal ancient aqueducts, arranged in their chronological order. With the ex- ception of the first, some vestiges of all of them still remain. 1. Aqua Appia, the first aqueduct in Rome, constructed by Appius Clau- dius Caecus, B.C. 312, after the com- pletion of his Appian Way. It had its source near Palestrina, and was en- tirely subterranean, except a small por- tion near the Porta Capena. No traces are now visible. 320 R. 27. — ROME. — Antiquities; Aqueducts, [Sect. I. 2. Anio Feti(S, constructed by Man- lius Curius Dentatus, B.C. 272. It had its source above Tivoli, and pursued a course of 43 miles to the walls of Rome : only 221 paces were above ground. The only fragment now visible is this very portion near the Porta Maggiore. 3. Aqua Marcia, constructed by Q. Martius Rex, the Censor, B.C. 145. Its source was between Tivoli and Su- biaco. It was upwards of 60 miles long, and entirely subterranean except the last six miles. This portion is that magnificent line of arches which still form so grand a feature of the Cam- pagna ; but there are strong reasons for believing that a great portion of the fexisting aqueduct belongs to the time of Augustus. The arches now stand- ing are built of peperino. Near the Arco Furbo, on the road to Frascati, this aqueduct is crossed by the Clau- dian, which runs parallel to it in some places. The specus or channel may be seen in the ruined fragment at the Porta Maggiore. 4. Aqua Tepula, constructed by Cneius Servilius Csepio, and Cassius Longinus, B.C. 126. It had its source near Tusculum, and was carried into Rome over the Marcian arches. The specus may be seen at the Porta Mag- giore, between those of the Marcian and the Julian. 5. Aqita Julia, constructed by Agrip- pa, B.C. 34, and so called in honour of Augustus. Its source was very near that of the Tepulan, and the water was conveyed in a channel constructed above that aqueduct, and consequently upon the Marcian arches. The specus may also be seen at the Porta Maggiore. 6. Aqua Virgo, likewise constructed by Agrippa for the use of his baths. It derives its name from the tradition that its source near the Anio, about fourteen miles from Rome, was pointed out by a young virgin to some soldiers of Agrippa. This source may still be traced near the Torre .Salona on the Via Collatina. Its course is subter- ranean, with the exception of about 7000 paces. It was restored by Ni- cholas v., under the name of the Acqua P^ergine, and is still in use. Its water is the best in Rome, and supplies thir- teen fountains, including the Fontana Trevi, that of the Piazza Navona, that of the Piazza Farnese, and the Bar- caccia of the Piazza di Spagna. 7. Aqua Alsieti?ia, constructed by Augustus on the right bank of the Tiber, for the use of his Naumachia. It was afterwards restored by Trajan, who in- troduced a new stream from the Lake of Bracciano. The ancient source was at the Lacus Alsietirms, supposed to be the Lago di Martignano, near Baccano. It was about twenty-two miles long. It was again restored by the popes, and now enters the Trastevere, under the name of the Acqua Paola. It supplies the fountains in front of St. Peter's, and the Fontana Paola on the Montorio. 8. Aqua Claudia, founded by Ca- ligula, continued and finished by the Emperor Claudius, a.d. 51. Its source v/as on the Via Sublacensis. It pur- sued a course of more than forty-six miles in length. For about thirty-six miles it was subterranean, and for the remaining ten miles it was carried over arches. Of this magnificent work, a line of arches no less than six miles in length still bestrides the Campagna, forming the grandest ruin beyond the walls of Rome. It was repaired by Septimius Severus and by Caracalla. Sixtus V. availed himself of its arches in constructing his Acqua Felice, which has its source near the Osteria de' Pan- tani, on the road to Palestrina, and sup- plies the Fontana de* Termini, near the Baths of Diocletian, the Triton in the Piazza Barberini, the fountain of Monte Cavalio, and twenty-four others in diflferent parts of the city. 9. Anio Novus, also built by Clau- dius, Its source was on the Via Sub- lacensis, beyond that of the Claudian. It was the longest of all the aqueducts, pursuing a circuit of no less than sixty- two miles, of which forty- eight were subterranean. The specus may still be seen above that of the Claudian in the arch of the Porta Maggiore. Papal States,] r. 27. — rome. — Antiquities; Tarpeian Rock. 32 J Miscellaneous. Tarpcian Rock. — On the southern summit of the Capltoline, which faces the Tiber and the Aventine and is now called the Monte Caprino, we still find this celebrated rock. It is surrounded and covered with dirty buildings, and the soil has accumulated in considerable quantities at the base ; but enough re- mains to mark * * the steep Tarpeiari, fittest goal of Treason's race, The promo tory whence the Traitor's leap Cured all ambition." Cuilde Harold. There are two precipices now visible ; ascending from the Tor de' Specchi we proceed by the Via della Rupe Tarpeia, and pass through a court-yard, from which one front of the precipice may be seen, beneath the Palazzo Cafifarelli. On the other side of the hill, towards the river, in a garden on the Monte Caprino, we may look down on an abrupt precipice which cannot be much less than seventy feet in height. It con- sists of a mass of red volcanic tufa, belonging to the most ancient igneous productions of the Latian volcanos. This is the cliff shown to strangers as the Monte Tarpeia, and as we know that crimmals were thrown down from that part of the Capitoline which was nearest to the Tiber, there would seem to be good reason for regarding it as the " Traitor's leap." Mamertine Prisons, on the declivity of the Capitoline, behind the arch of Septimius Severus. This celebrated state-prison is one of the few existing works of the kingly period : it is built like the Cloaca Maxima, in the massive style of Etruscan architecture. It was begun, as we learn from Livy, by Ancus Martins, and enlarged by Servius Tul- lius, from whom it took the name of Tullian. The Prussian antiquaries seem to doubt whether the existing chambers are as ancient as the time of Ancus Martius; and many judicious writers agree in the belief that the prisons were formerly more extensive than we now see them. The upper cell is far below the level of the surrounding soil, and additional chambers might probably be discovered by excavations under the hill. Livy mentions the prisons of Ser- vius Tullius in the following interest- ing passage (lib. i., cap. 33) : — Career ad terrorem. increscentis audacicc, media urbe, imminens Foro, cedijicatur.''^ In another passage, in his thirty-fourth book, describing the punishment of Quintus Pleminius, he says, In infe^ riorem demissus carcerem est, neca- tusque." The first of these remarkable passages at on^ce sets at rest all question as to the locality, and the latter dis- tinctly points to the lower of the two prisons which are still visible. If any other evidence were required, it is sup- plied by Sallust ; and we think that it is hardly possible to imagine any an- cient description more applicable, than that in which the historian relates the circumstances attending the fate of the accomplices of Cataline : — " In the prison called the Tullian," he says, " there is a place about ten feet deep, when you have descended a little to the left : it is surrounded on the sides by walls, and is closed above by a vaulted roof of stone. The appearance of it, from the filth, the darkness, and the smell, is terrific.'' To these inte- resting facts we will simply add, what will no doubt occur to the stranger on first entering the chambers, that the peculiarities of their construction prove an Etruscan origin, and supply us with the strongest argument in favour of their very high antiquity. The prison consists of two chambers, evidently ex- cavated in the tufa rock, and placed one over the other. They are situated some feet beneath the church of S. Giuseppe. A flight of twenty-eight steps conducts us to the upper chamber, into which a modern door has been opened for the accommodation of the devotees, who are attracted by the Church tradition which has given pecu- liar sanctity to the spot. This chamber is about 14 feet high, 27 feet in length, and 19.^ in breadth ; and is constructed with large solid masses of peperino, without cement. The lower cell, called the Tullian prison, is 19 feet by 9, and 6 J feet high : it is constructed, like the p3 322 R. 27. — ROME. — Antiquities; Mamertine Prisons, [Sect. I. upper chamber, of large masses of pe- periiio, arranged in four courses of approaching stones, not on the principle of an arch, but pointing horizontally to a centre, precisely like the treasury of Atreus at Mycenae, and the well-known tombs at Tarquinii. On examining the stones which form the roof of this lower chamber, it will be seen that they are held together by strong cramps of iron, and hollowed out below into a slight curvature, as if the dome of the original structure had been cut off when the upper apartment was constructed. This fact appears to prove that the lower is more ancient than the upper cell. Jn the vault formed by these horizontal stones is a circular aperture, through which it is supposed the prisoners were lowered. It is hardly possible to ima- gine a more horrible dungeon. Ad- mitting the arguments in favour of the fact that these are the Mamertine pri- sons, it must have been in this cell that Jugurtha was starved to death, the ac- complices of Cataline were strangled by order of Cicero, and Sejanus, the minister of Tiberius, was executed. It appears that the Mamertine prisons were exclusively reserved for state offend- ers, which will meet the argument advanced by some of the older anti- quaries, who considered their small size insufficient for the requirements of the population. The well-known pas- sage of Juvenal, referring to those happy times under the kings and tribunes, when one place of confinement was sufficient for all the criminals of Rome, is considered to allude distinctly to this prison : — Felices proavorum atavos, felicia dicas Ssecula, qui quondam sub Regibus atque Tribunis Videiuut uiio contentara carcere Roraam." Sat. iii. We know from Livy that Applus Claudius, the decemvir, constructed a prison for plebeian offenders; and other authorities might be adduced, which strengthen the belief that the Mamer- tine prisons were peculiarly set apart for political criminals, and were con- sequently not disqualified by their size for the necessities of the state. The fol- lowing inscription on the frieze, c. vi- BIVS . C. F. RVFINVS M. COCCEIVS . NERVA . EX. s. c, records the names of the two consuls by whom the prison is supposed to have been repaired, a.d. 23. The church tradition has consecrated this prison as the place in which St. Peter was confined by order of Nero. The pillar to which he was bound is shown, together with the fountain which miraculously sprung up to enable him to baptize his gaolers, Processus and Martinian. The upper chamber is fitted up as an oratory, dedicated to the Apostle, and the walls are covered with ex voto offerings. The church above it, dedicated to S. Giuseppe de' Falegnami, was built in 1539. Cloaca Maxima, a subterranean tun- nel, extending from the Velabrum to the river, well known as the great common sewer of ancient Rome. This stupendous work is one of the most wonderful monuments in the world, and is a lasting memorial of the soli- dity of Etruscan architecture. It is still as firm as when its foundations were first laid, and is one of the very few monuments of Rome whose antiquity has never been assailed by the disputes and scepticism of the antiquaries. It was built by Tarquinius Prisons, the fifth king of Rome, 150 years from the foundation of the city, for the purpose of draining the marshy ground between the Palatine and the Capitoline. Livy records the fact in the following re- markable passage : — ^'•Injima urhis loca cii^ca Forum, aUasque interject as collibus coiivalles, quia ex planis locis haud fa- cile eveliehant aquas, cloacis e fastigio m Ttberim ductis siccat.'' — Lib. i., c. 38. Strabo says, that a waggon laden with hay might have passed through che cloaca in some places; and Dionysius describes it as one of the most striking evidences of the greatness of the Ro- man empire. Pliny speaks of it with admiration, and expresses surprise that it had lasted for 800 years, unaflected by earthquakes, by the inundations of the 'i'iber, by the masses which had rolled into its channel, and by the Papal States.'] r. 27. — rome. — Antiquities; Cloaca Maxima, 323 weight of ruins which had fallen over it. Nearly four and twenty centuries have now elapsed since its foundation, and this noble structure of the Roman kings is still used for its original purpose. There are no other remains of ancient Rome which present so many elements of durability, and promise so much to excite the admiration of pos- terity for another two thousand years. The archway is composed of three con- centric courses, placed one over the other, and formed of immense blocks, put together, like all Etruscan works, without cement. The interior is con- structed of red volcanic tufa, similar to that of the Tarpeian rock, of the Pa- latine hill, and of the Monte Verde ; the facing of the extremity which opens on the Tiber is of that variety of pepe- rino called gabina, of which the sub- structions of the Capitol and the walls of the Tabularium are also constructed. Many of the blocks are more than five feet in length, and nearly three feet in thickness. The archway is 14 feet high, and as many broad. The part which may be most conveniently examined is near the arch of Janus, opposite the church of S. Giorgio in Yelabro ; from this point the channel is entire through- out its course to the Tiber, where it may be again seen at a short distance below the Ponte Rotto. Close to the extre- mity, in the Velabrum, is a bright clear spring, called the Acqua Argentina, still held in some repute by the lower or- ders, as a specific in certain maladies : it is considered by some antiquaries as one of the sources of the Lake of Ju- turna, and as the precise spot where Castor and Pollux were seen watering their horses after the battle of the Lake Regillus. Higher up is a more copious spring, issuing beneath an arch of brick- work : it is used as a washing-place by the modern Romans. Quay called the Pulchrum Littus, — At the mouth of the Cloaca Maxima we may trace the commencement of a line of wall, built of large blocks of travertine, which evidently formed a quay or embankment on the left bank of the Tiber. For about a mile along the river towards the landing-place, near the church of S. Anna de' Calzet- tari, this wall is more or less perfect. Its construction would seem to refer it to the period of the kings, and there is little doubt that it is the jcocXn oi-Km-, or the " pulchrum littus," mentioned by Plutarch in his description of the house of Romulus. A road is supposed to have led from the quay to the foot of the Palatine, where it terminated at the ^oL&(jLo\ or steps, to which this embank- ment gave its name. Agger of Servius Tullius. — In the grounds of the Villa Barberini near the Porta Pia, among the ruins of the house of Sallust, are some vestiges of this celebrated rampart, which may be traced along the Villa Negroni, behind the Baths of Diocletian, between the Vigna Mandosia and the arch of Gal- lienus, and in ditferent parts of its north-eastern circuit. The most perfect fragment is that in the gardens of the Villa Barberini, where we may still see beneath the terrace a massive wall of peperino, which undoubtedly be- longed to the fortifications of the Ro- man king. At this angle of the Servian city the Agger is said to have been fifty feet broad and a mile in length ; the ditch which protected it was a hundred feet broad and thirty deep. Another fragment in the Villa Mattel on the Cselian is supposed to be a portion of this ancient rampart. Campus Sceleratus. — At the point where the Strada di Porta Pia is inter- sected by the Via del Macedo and the Via di Porta Salara, stood the famous Porta CoUina of the walls of Servius Tullius ; and in the angle between this gate and the Baths of Diocletian, an- tiquaries place the site of the Campus Sceleratus, the well-known spot where the vestal virgins, who had broken their vows, were buried alive, like the nuns of the middle ages. Dionysius and Plutarch both describe it as being within the gate, and Livy tells us that it was on the right hand. Some writers, how- ever, place it within the gardens of Sallust. House and Gardens of Sallust. — The 324 R. 27. — ROME. — Antiquities ; Portico of Odavia. [Sect. I. gardens of the Villa Baiberini inclose a great number of very interesting ob- jects. Besides the wall of the Agger of Servius Tullius, we find there the ruins of the Temple of Venus Erycina, the Circus Apollinaris, and the vestiges of the luxurious palace of the historian Sallust, the favourite retreat of Nero, Nerva, Aurelian, and other emperors. It was destroyed, by Alaric, and little now remains but some traces of found- ations. Portico of Ocfavia, huWt by Augus- tus, near the theatre of Marcellus, as a place to which the spectators might retire for shelter in case of rain. Tlie plan of this splendid portico may easily be recognised on consulting the frag- ments of the Pianta Capitolina in the museum of the Capitol. It appears to have formed a parallelogram, composed of a double row of 270 columns, and inclosing an open space, in which stood the two temples of Jupiter and Juno. The ruins of one of the principal en- trances to this portico are the only fragments now visible ; they are situ- ated in the modern fish-market, the Pescheria, one of the dirtiest quarters of Rome. This vestibule had two fronts, each adorned with four fluted columns of white marble, of the Corinthian order, and two pilasters, sujiporting an entablature and pediment. The portico was destroyed by fire, in the reign of Titus, and was restored by Septimius Severus and Caracalla. -Two columns of the fragment now remaining disap- peared in this fire, and the clumsy restorations of Septimius Severus may easily be recognised in the large brick arch constructed to supply their place, as a support to the entablature. The two pillars and pilasters in the front, and the two pillars and one pilaster in tfie inner row, are sufficient to prove the magnificence of the original build ing : the style of the existing ruin is grand and simple, and the proportions and details are in every respect wortliy of the Augustan age. On the archi- trave is an inscription, recording the restorations of Sept. Severus and Cara- calla. In the walls of the adjoining houses, four columns of granite and cipolino, which evidently belonged to one of the short sides of the parallelo- gram, may be recognised. The portico is celebrated by the ancient writers for its valuable collections of statuary and painting, among which were the Cupid of Praxiteles, a Venus by Phidias, an Esculapius and a Diana by Cephisio- dorus, &c. Most of these doubtless perished in the fire ; but the group of Mars and Cupid, in the Villa Ludovisi, is said to have been discovered within the precincts of the portico. Santo Bartoli states that the Venus de' Medici was also found here, in opposition to those writers who state that it was dis- covered among the ruins of Hadrian's villa at Tivoli. In the street behind the church of S. Angelo in Pescheria there is still visible one of the Co- rinthian marble columns of the Temple of Juno, which stood, as we have seen, in the area of the portico. Fragments of two other columns exist in their original positions, within the adjacent houses. Fivariinn and Spoliarium. — At the base of the Cselian hill, extending from below the Passionist Convent of S. Giovanni e Paolo, to the Coliseum, are some extensive ruins, which are gene- rally considered to be the ancient Vi- varium, the place in which the wild beasts were kept before they were turned into the arena. Below the convent they consist of eight immense arches of solid travertine : there are two stories, the lower is now interred. The older an- tiquaries gave them the name of Curia Hostilia, but their position and arrange- ment sufficiently justify their modern title. Behind tliem are some subterra- nean caverns, artificially excavated in the tufa, which still retain marks of the tools. There is an aperture in the roof. It is supposed that these damp and dreary caverns were the Spolia- rium, or prison of the gladiators. Prcetorian Camp^ built by Sejanus, the minister of Tiberius, outside the walls of Servius Tullius. It is now occupied by the Villa Macao, the ex- tensive vineyard of the Jesuits, situated Papal States.] r. 2*] -kou^- Antiquities ; Fountain of Egeria. 325 at a short distance behind the Baths of Diocletian. The camp was dismantled by Constantine, and three sides of the enclosure were included by Honorius in his new wall. To this circumstance we are indebted for the preservation of the exact form of this celebrated camp, memorable as the scene of the principal revolutions which occurred during the three first centuries of the Christian era. The vineyard no doubt conceals much of the ancient foundations; but con- siderable remains of the corridors are still visible, retaining in some places their stucco and even their paintings. Several inscriptions have been found from time to time, confirming the his- tory of the locality. The circuit of the three sides, which now forms a quad- rangular projection in the city walls, is stated to be 5400 feet. A part of the south side has been roughly rebuilt with large and irregular stones, supposed to be the work of Belisarius. There is a gold coin of Claudius, on which the general arrangement of the camp is represented. Fountain, called the Trophies of Mar ius, a picturesque ruin at the head of the Via Maggiore, so called from the trophies on the balustrade of the Capitol which were found here. There is no longer any doubt that the name of Marius has been erroneously applied both to the trophies themselves and to this ruin. Winckelmann regards the sculpture of the trophies as clearly indicathig the age of Domitian ; and more recent writers have referred them and the building before us to an age as late as Septimius Severus (?). Excavations made a few years back by the French Academy fully confirmed the opinion of Piranesi, that this ruin was either a Reservoir for the waters of one of the aqueducts, or a Fountain. Piranesi found by measurement that the build- ing must have served as the reservoir of the Aqua Julia, which was conveyed from the Porta S. Lorenzo by an aque- duct, of which six arches are still stand- ing. Fabretti considered that it must have served likewise as the emissary of the Claudian aqueduct, whose waters were brought to it from the Porta Mag- giore. Nibby refers the building to Septimius Severus, who restored the aqueducts, but agrees with the other authorities in considering it a reservoir. From the works of art which have been found in the vicinity, the monument appears to have been highly orna- mented. Among these discoveries are the Discobolus of the Vatican, and the Seneca of the Villa Borghese. Fountain of Egeria^ in the valley of the Almo, now called the Valle Caffa- relli, about a mile from the Porta San Sebastiano. It is situated immediately under the so-called Temple of Bacchus, about midway between the high road to Naples and the Appian. It is a mere vaulted chamber with niches, hollowed out of a steep bank, and built chiefly of reticulated brick-work, which appeals from its construction to be not older than the age of Vespasian. It has three niches in the sides, and a large niche at the extremity, containing a recumbent male statue much mutilated, but sup- posed to be the river god. The great ^ interest of the spot is derived from the tradition that it represents the grove and sacred fountain where Numa held his nightly consultations with his nymph, and which he dedicated to the Muses, in order that they might there hold counsel with Egeria. The authority for this tradition is the following pas- sage from Livy, lib. i. 21 : " Lucus erat quem medium ex opaco spocii fons pereiini rigabat aqua : quo (juia se per- ssepe Numa sine arbitris, velut ad cougressum dese, iuferebat, Camoenis eum lucum sacravit ; quod earum ihi coiisiiia cum conjuge sua Egeria essent." But the most interesting passage on which the pretensions of this fountain have been advanced, are those beautiful lines of Juvenal in which he mentions his visit to the valley of Egeria, and complains that its original simplicity had been destroyed by artificial orna- ments : ** 111 vallem Egeiise descendimus et speluncas Dissimiles veiii. Qaautx> prsestHntius esset Numeii aquae, viridi si margine clauderet undas Herba, nec ingenuum violarent marmora tophum?" Lib. i , Sat. iii. 326 R. 27. — ROME. — Antiquities; Obelisks. [Sect. I. The older antiquaries implicitly be- lieved the tradition, and a few years since the Romans still repaired to the grotto on the first Sunday in May to drink the water, which they considered to possess peculiar virtues. For nearly three centuries the name prevailed al- most without contradiction ; but since the recent excavations it has been gene- rally admitted that although the valley of the Almo is undoubtedly the Egerian valley described by Juvenal, the grotto is merely one of several similar cells forn:erly existing in it, and that it has been converted either into a nymphaeum or a bath. The discovery of small reservoirs around the spot, the remains of conduits still traceable within the chamber, and the copious supply of water which continually oozes through the building, give great weight to this opinion. Perhaps the true explanation of the poetical legend is that expressed by Lord Byron : *' Egeria ! sweet creation of some heart Which found no muital resting-place so fair As thine ideal breast : whate'er thou art Cr wert, — a young Aurora of the air, The nymphoiepsy of some fond despair : Or, it might be, a beauty of the earth, Who found a more than common votary there. Too much adoring; whatsoe'er thy birth. Thou wert a beautiful thought, and softly bodied forth." From the fragments of various kinds which have been found among the ruins, it appears that the grotto was paved with serpentine, and the walls covered with plates of rich marble. The ruin is now clothed with moss and evergreens, the Adiantum capillus waves over the fountain, and long tufts of creeping plants hang over its roof. The quiet seclusion of the spot is well calculated to make the traveller desire to be a believer in the truth of the tradition. Obelisks. There are no monuments of Rome of such undoubted antiquity as the stu- pendous obelisks which the emperors brought from Egypt as memorials of their triumphs, and which the popes have so judiciously applied to the de- coration of the modern city. Sixtus V. has the honour of having first employed them for this • purpose. The A'atican obelisk was tlie first raised, and Fontana was considered by the engineers of the sixteenth century to have accomplished a task not far short of a miracle, when he successfully placed it on its pedestal. The following is a list of the obelisks in the order of their erection on their pre- sent sites. Obelisk of the Vatican^ erected by Sixtus v., in 1586. This obelisk is a solid mass of red granite without hiero- glyphics. It was found in the circus of Nero, and is therefore standing not far from its original situation. It was brought to Rome by Caligula from Heliopolis. The account of its voyage is given by Pliny, who says that the ship which carried it was nearly as long as the left side of the port of Ostia. Suetonius confirms the immense mag- nitude of this ship, by telling us that it was sunk by Claudius to form the foundation of the pier which he con- structed at the mouth of the harbour. The obelisk previous to its removal stood nearly on the site of the present sacristy of St. Peter's. It is the only one in Rome which was found in its original position, which of course accounts for the fact that it is still entire. As stated above, it was placed on the present pedestal in 1586 by the celebrated architect Domenico Fontana, who has left a highly interesting account of the process. No less than five hundred plans had been submitted to the pope by difl'erent engineers and architects, but the result fully justified his choice. Six hundred men, 140 horses, and 46 cranes were employed in the removal. Fontana calculated the weight of the mass at 993,537 pounds ; the expense of the operation was 37,975 scudi ; the value of the machinery and materials, amounting to half this sum, was pre- sented to Fontana by the ])ope as a reward for his successful services. The operation is described at length by the writers of the time, and a painting re- presenting it is preserved in the Vatican library. Many curious facts connected Papal States.] r. 27. — rome. — Antiquities; Obelisks. 327 with the process are mentioned : the ceremony was preceded by the celebra- tion of high mass in St. Peter's; the pope pronounced a solemn benediction on Fontana and the workmen ; and it was ordered that no one should speak during the operation on pain of death. It is stated, however, that the process would have failed from the tension of the ropes, if one of the Bresca family had not broken through the order by calling upon the workmen to wet the ropes. The common story of English travellers attributes this suggestion to an English sailor, but there are no grounds whatever for the statement. Tlie Bresca family indeed still possess the privilege of supplying the pope's chapel with palm-leaves on Palm Sun- day, which Sixtus V. granted them for the service of their ancestor on this occasion. The height of the shaft, ex- clusive of all the ornaments, is 83 feet 2 inches; the height of the whole from the ground to the top of the bronze cross is 132 feet 2 inches ; the breadth of the base is 8 feet 10 inches. The cross at the top was renewed in 1740, when some relics of the true cross were de])osited in it. The following is the dedication to Augustus and Tiberius, which is still visible on two sides of the pedestal : — divo. caes. divi . ivlii . f. AVGVSTO . TI. CAES. DIVI . AVG. F. SA- CK VM. It is worthy of remark that a line drawn from the centre of the dome of St. Peter's through the great door passes about eleven feet to the south of the obelisk. Obelisk of S. Maria Maggiore^ erected in 1587 by Fontana, during the pontifi- cate of Sixtus V. It is of red granite, broken in three or four places, and is without hieroglyphics. It was one of a pair of obelisks which originally flanked the entrance to the mausoleum of Augustus. They are supposed to have been brought from Egypt by Claudius, a.d. 57. The present one was disinterred by Sixtus V. ; the other was placed on the Monte Cavallo by Pius VI. The height of this obelisk, without the ornaments and base, is 48 feet 4 inches ; the height of the whole from the ground to the top of the cross is 83 feet 9 inches. Obelisk of St. John Laterari, the larg- est obelisk now known, erected in 1588 by Fontana, in the pontiiicate of Sixtus V. It is of red granite, broken into three pieces, and is covered with hiero- glyphics. It was brought from Helio- polis to Alexandria by Constantine the Great, and was removed to Rome by his son Constantius, who placed it on the spina of the Circus Maximus. It was conveyed from Alexandria to the mouth of the Tiber in a vessel of 300 oars, and was landed three miles below Rome, a.d. 357. According to Cham- poUions explanation of the hierogly- phics, it commemorates the Pharaoh Thoutmosis III., the Moeris of the Greeks. When it was removed by Sixtus V. it was lying in the Circus Maximus, broken into three pieces. In order to adapt these fragments, it was necessary to cut ofl' a portion of the lower part; notwithstanding this, it is still the loftiest obelisk in Rome. The height of the shaft, without the orna- ments and base, is 105 feet 7 inches ; the whole height from the ground to the top of the cross is 149 feet 7 inches. The sides are of unequal breadth : two measure 9 feet 8 J inches; the other two only 9 feet : one of these sides is slightly convex. The weight of the shaft has been estimated at 445 tons. Obelisk of the Piazza del Popolo, erected by Fontana in 1589, during the pontificate of Sixtus V. It is of red granite, broken into three pieces, and is covered with hieroglyphics. This is one of the most interesting obelisks which have been preserved to us. It stood before the Temple of the Sun at Heliopolis, where, according to Cham- poll ion, it was erected by one of the two brothers Maudouci and Susirei, who reigned before Rhamses II. : this carries us back at once to the days of Moses. It was removed to Rome by Augustus after the conquest of Egypt, and placed in the Circus Maximus. It had fallen from its pedestal in the time of ^^alentinian, and remained buried in the earth and broken into 328 R. 27. — ROME. — Antiquities ; Obelisks, [Sect. I. three pieces until 1587, when Sixtus V. removed it to its present position. The height of the shaft, without base or ornaments, is 78 feet; the entire height from the ground to the top of the cross is about 116 feet. On the side fronting the Porta del Popolo is the following inscription, showing that Augustus re- newed the dedication to the Sun : — IMP. CAES. DIVI . F. AVGVSTVS . PON- TIFEX . MAXIMVS . IMP. XII. COS . XI. TRIB . POT . XIV . AEGVPTO . IN. POTES- TATEM . POPVLI . ROMANI . REDACTA. SOLI . DONVM . DEDIT. Obelisk of the Piazza Navona, erected in 1651 by Bernini, in the midst of his great fountain, during the pontificate of Innocent X. It was formerly called the Pamphilian Obelisk, in honour of the pope's family name. It is of red granite, covered with hieroglyphics, and is broken into five pieces. It was found in the circus of Romulus, the son of Maxentius, and from the style of the hieroglyphics is now supposed to be a Roman work of the time of Domitian. It was made, however, the subject of a long and elaborate dissertation by Fa- ther Kircher, who endeavoured to show that it was one of the obelisks of Helio- polis, but this conjecture has been ex- ploded by the modern discoveries. In its present position it stands on a rock about 40 feet high. The height of the shaft without the base is 51 feet. Obelisk of the S. Maria sopra Minerva ^ erected in 1667 by Bernini, in the ponti- ficate of Alexander YII. It is a small obelisk of Egyptian granite with hiero- glyphics, supposed to have been one of a pair which stood in front of the temple of Isis and Serapis in the Campus Mar- tins, whose site is now occupied by the gardens of the Dominican convent. Both these obelisks were found here in 1665: one was erected in front of the Pantheon ; tlie other, the one now be- fore us, was placed by Bernini in the worst taste on the back of a marble elephant, the work of Ercole Ferrata. Its height without the base is about 17 feet ; the height from the ground to the summit is about 39 feet. Obelisk of the Pantheon, erected in 1711 by Clement XI. It is a small obelisk of Egyptian granite, witli hiero- glyphics, evidently the fellow of the preceding one, and found in the same place. It stands in the midst of the fountain of the Piazza, to which it was removed by Clement XI. from its situ- ation in the Piazza di S. Mahuteo, where it had been erected by Paul V. Its height without the base is about 17 feet ; the height from the pavement to the top is about 47 feet. Obelisk of the Monte Cavallo, erected in 1786 by Antinori, in the pontificate of Pius VI. It is of red granite, with- out hieroglyphics, and is broken into two or three pieces. It formerly stood in front of the mausoleum of Augustus, being the fellow of that in front of S. Maria Maggiore, and was consequently brought from Egypt by Claudius, a.d. 57. The height of the shaft, without the base or ornaments, is 45 feet; the height of the whole from the ground to the summit is about 95 feet. At the sides of this obelisk stand the colossal equestrian group which have been called Castor and Pollux by recent antiquaries. They are undoubtedly of Grecian work- manship, and if we could believe the Latin inscription on the pedestals, they are the work of Phidias and Praxiteles. But as they were found in the Baths of Constantine, there is good reason for suspicion in regard to the authenticity of the inscriptions ; for the statues are evidently seven centuries older than the age of Constantine, and no inscrip- tions of that time can be worth much as authorities. Canova entertained no doubt of their Greek origin, and ad- mired their fine anatomy and action. They were restored and placed as we now see them by Antinori, in the time of Pius VI., but they are evidently not in their relative positions, for the action of both the men and horses shows that they were not originally side by side, but very nearly face to face. Obelisk of the Trinita de Mo?iti, erected in 1789 by Antinori, during the ponti- ficate of Pius VI., an obelisk of red granite, with hieroglyphics. It formerly stood in the circus of Sallust ; and ac- Papal States.] r. 27. — rome. — House of Rienzi, 329 cording to Champollion's interpretation of the hieroglyphics was erected in honour of Antinous, in the name of Hadrian and Sabina. The height of the shaft, without the base and orna- ments, is about 44 feet ; the height of the whole from the ground to the top of the cross is 99 feet 1 1 inches. Obelisk of Monte Ciforio, erected in 1792 by Antinori, in the pontificate of Pius VI., an obelisk of red granite, covered with hieroglyphics, and broken into five pieces. This is one of the most celebrated of these monuments : it has been illustrated with great learning, and has been admired by all artists from the time of Winc- kelmann, for the remarkable beauty of the hieroglyphics which remain. According to the explanations of Cham- pollion, these hieroglyphics signify that it was erected in honour of Psamme- tlcus I. It was brought to Rome from Heliopolis by Augustus, and placed in the Campus Marti us, where, as we learn from the well-known description of Pliny, it was used for a meridian. It was first discovered, buried under the soil behind the church of S. Lorenzo in Lucina, in the time of Julius II., but was not removed until the time of Pius YI., when it was dug out by Za- baglia, and erected in its present posi- tion by Antinori. The fragment of the Aurelian column which was found near it was taken to repair it, and to form the base. The height of the shaft with- out the base and ornaments is 71 feet 6 inches; the height of the whole, from the ground to the top of the bronze globe, is 110 feet. Obelisk of Monte Pincio, sometimes called della Passeggiata, in front of the Villa Medici, erected in 1822, by Pius VII., a small granite obelisk, with hieroglyphics, found near the church of Santa Croce in Gerusalemme, on the supposed site of the circus of Helioga- balus. The height of the shaft without the base is 30 feet ; the height of the whole from the ground to the summit is 5G feet 7 inches. Obelisk of the Filla Mattei. — A mere fragment of the upper part of an ancient obelisk, with hieroglyphics, mounted on a modern pedestal. It is hardly worthy of being classed with the other obelisks of Rome. Buildings of the Middle Ages. Home of Rienzi^ called by the people the House of Pilate, and formerly de- scribed as the Torre di Manzone, a singular brick building of two stories, at the end of tlie Vicolo della Fonta- nella, near the Temple of Foi tuna Yiri- lis, and nearly opposite the north side of the Ponte Rotto. This strange and incongruous structure is covered with fragments of columns and ancient or- naments of various periods, caprici- ously thrown together, without any regard to the principles of taste or architectural uniformity. On the side fronting the V. della Fontanella is an arch, supposed to have been once a doorway, over which is a long inscrip- tion, which has given rise to more than the usual amount of antiquarian con- troversy. It is in the worst style of the old rhyming verse, of which the five last lines may be quoted as an example : ** Primus de primis magnus Nicolaus ab imis, Erexit patrum decus ob renovare suorum, Stat Patris Crescens matrisque Theodora nomen, Hoc ciilmen clarum cavo de pignere gessit Davidi Tribuit qui Puter exliibuit.'' At the upper part of this inscription are numerous initial letters, which would be an inexplicable enigma to any but a Roman antiquary ; the Padre Ga- brini, however, has endeavoured to show that they represent the titles of Rienzi, the last of the Roman tribunes : the following explanation of a part of them may be received as a specimen of the whole : — n. t. s. c. l. p. t. f. g. r. s. NIC. D. D. T. D. D. F. S, NlColauSy TribuniiS, Severus, Clemens, Laurenti (Liberator?), P. (Patria"^), Teutho- ?nci^ Filii/s, GabrinnSy Romtx^ Servator, Nicolaus, dedit ^domiim, tot am , Davidi, Dilecto, Filio, suo. This conjecture as- sumes that the long Latin inscription refers also to Rienzi and lo the bequest of the house to his son David. What- ever may be thought of the ingenuity 330 R. 27, — ROME. — Fountains, [Sect. I. or imagination of the antiquary, it is certain that this pompous phraseology- corresponds with the titles assumed by Rienzi in his official acts. In that ex- traordinary document, dated from the Piazza of St. John Lateran, Aug. 1^ 1347, citing the emperors and electors to appear before him, which will be found quoted by Zeferino Re, in his curious work * La "S'ita di Cola di Rienzo,' published at Forli in 1828, the Tribune styles himself Nicola severo e clemente, liberator di Roma^ zelatore dell Italia^ amatore del mondo intero, Trihuno aiigmtoy On the architrave of one of the windows is the following inscription, ascribed by the antiquaries to Petrarch : — adsv . ROMANIS . GRANDIS . HONOR . POPVLIS. It can hardly be expected that the true meaning of these inscriptions can ever be much more than a mere matter of conjecture ; and it would be an unprofit- able task to pursue the subject further. It will be sufficient for our purpose to state that recent antiquaries consider the architecture to belong to the eleventh century, and gather from the inscrip- tions that Nicholijs, son of Crescentius and Theodora, fortified the house and gave it to David his son ; that this Crescentius was the son of the cele- brated patrician who roused the people against the Emperor Otho III., and that the building may have been in- habited by Rienzi three centuries later (1317). Other writers suppose that it was destroyed in 1313 by Arlotto degli Stetiineschi, and rebuilt by Rienzi in its present form. The popular tradi- tion is in favour of this opinion, and tliere is no doubt that the interest of the buiklhig is entirely derived from its presumed connection with the " Spirto gentil" of Petrarch, to whom Childe Harold has given additional immor- tality : " Then turn we to her latest tribune's name. From her ten thousand tyrants turn to thee. Redeemer of dark centuries of sliame — The friend of Petrarch — hope of Italy — Rienzi ! last of Romans ! While the tree Of Freedom's wither'd trunk puts forth a leaf, Evon for thy tomb a garland let it be — The forum's champion, and the people's chief — Her new-born Numathou — witli reign, alas ! too brief." The style of the building and its deco- rations marks the period when art was at its lowest ebb ; and the strange col- lection of ornaments and fragments of antiquity may perhaps be regarded as an apt illustration of the taste and cha- racter of " the last of the Roman Tri- bunes." Tor de Conti, a huge brick tower at the foot of the Quirinal, near the Piazza delle Carette, built in 1216 by Inno- cent III., of the Conti family, from whom it derives its name. It no doubt formed, like the other towers of the same kind which may still be traced, a place of safety in which the popes might fortify themselves against their powerful nobles. It was injured, by the earth- quake of 1348, and was partly pulled down a few years afterwards by Ur- ban VIII. The ciceroni absurdly give it the name of Trajan's Tower. Torre delle Milizie, on the Quirinal, at the head of the Via Magnanapoli, and within the grounds of the convent of St. Catherine of Siena. This is another large brick tower, called by the ciceroni the Tower of Nero, and pointed out to unsuspecting travellers as the place from which Nero beheld the fire of Rome. We know from Tacitus that the emperor witnessed the destruction of the city from the Esquiline, and the construction of this building shows that it is of later date than the Tor de' Conti. It is attributed by the older antiquaries to Boniface VIII. (1303), and is said by Biondo to stand on the barracks in which the troops of Trajan were quartered. Fountains and Piazze. Fontana Paolina^ on the Janiculum, the most abundant, and perhaps the most imposing, of all the Roman foun- tains. It was constructed by Paul V. in 1612, from the designs of Fontana, and it is mentioned as a curious coinci- dence that both their names are com- memorated in that of the fountain. The elevation of the fountain is an imi- Papal States.] r. 27. — rome. — Fountains, 331 tation of the gable of a church : it has six louic columns of red granite, taken from the Forum of Nerva. Between the columns are five niches, three large and two small. In the three large ones three cascades fall into an immense basin,, and in the two small niches are two dragons, part of the armorial bearings of the pope, each of which pours out a stream of water into the same basin : the water is supplied from the lake of Brac- ciano, by the aqueduct called the Acqua Paola. The style of the foun- tain is not in the best taste, but the effect of the water can hardly be sur- passed. The view from this fountain over the whole of Rome and the Cam- pagna is one of the finest scenes imagi- nable. Fontana del Tritone, or the Barberini Fountain, in the Piazza Barberini, the presumed site of the Circus of Flora. It is composed of four dolphins, sup- porting a large open shell, upon which sits a Triton, who blows up the water through a shell to a great height. It is the work of Bernini, and is much praised by his admirers. Fontana delle Tartaruche^ in the Piazza Mattei, so called from the four tortoises which ornament it. It has four bronze youthful figures in very graceful attitudes ; one supports a vase, from which the water flows into the basin. The design is by Giacomo della Porta ; the figures are by Taddeo Landini. Fontana di Trevij the largest and per- haps most celebrated fountain in Rome. It issues from the base of the immense Palazzo Conti, built by Clement XII. (Corsini) in 1735, from the designs of Niccolo Salvi. The water is made to fall over artificial rocks; above which in a large niche in the centre of the fagade is a colossal figure of Neptune, standing in his car drawn by horses and attended by tritons. It was scarcely to be expected that the very question- able taste of this design would escape the criticism of Forsyth : he calls it " another pompous confusion of fable and fact, gods and ediles, aqueducts and sea monsters; but the rock-work is grand, proportioned to the stream of water, and a fit basement for such architecture as a Castel d'acqua re- quired, not for the frittered Corinthian which we find there.'' The Tritons, horses, &c., and other figures of the fountain, are by Pietro Bracci. The fagade of the palace has four columns and six pilasters of travertine, of the Corinthian order; between the columns are statues of Salubrity and Abundance, sculptured by Filippo Valle ; above them are two bas-reliefs, one by Andrea Bergondi, representing Marcus Agrippa, who brought the Aqua Virgo into Rome, the other by Giovanni Grossi, repre- senting the young virgin who pohited out the springs to the soldiers of Agrip- pa, as mentioned in the account of the aqueduct (p. 320). Between the pilas- ters are two rows of windows. The whole is surmounted by an attic, bearing an inscription in honour of Clement XII. This fountain is the spot where Corinne came to meditate by moonlight, when she was suddenly surprised by seeing the reflection of Oswald in the water. Fountains of the Piazza Navona. — This piazza contains three fountains. Those at the extremities were erected by Gregory XIII. The triton holding a dolphin hy the tail is by Bernini ; but there is nothing in any of the figures to call for particular notice. The central fountain, which supports the obelisk brought from the circus of Ro- mulus, was constructed by Bernini in the pontificate of Innocent X. It forms an immense circular basin, 73 feet in diameter, with a mass of rock in the centre, to which are chained four river- gods, representing the Danube, the Ganges, the Nile, and the Plate. In grottoes pierced in the rock are placed a sea-horse on one side, and a lion on the other. The figures and the design of the whole fountain are almost below criticism ; Forsyth calls it " a fable of iEsop done into stone." The Piazza Navona has been already mentioned under Circus," as representing the site of the ancient Circus Agonalis, or Circus Alexandri. The form of the circus at one end may still be traced. During the summer months it is inun- 332 R. 27. — ROME. — Fountains, [Sect. I, dated twice a week for the amusement of the people, when the appearance of the Piazza recalls the ancient Nau- machia. Fontana dellciBarcaccia, in the Piazza di Spagna, built in the form of a boat, from which it derives its name. It was designed by Bernini, who was com- pelled to adopt this form by the inn- possibility of throwing the water above the level of the boat. It has little beauty to recommend it, but is skil- fully contrived, under the circum- stances which controlled the artist in regard to the supply of water. The Piazza di Spagna is more celebrated for the magnificent staircase of traver- tine leading to the Trinita de' Monti, begun by Innocent XIII., from the designs of Alessandro Specchi, and finished by Francesco de Sanctis in the pontificate of Benedict XIII. Fontana delV Acqua Felice^ called also the Fountain of Moses and the Fontana de Termini^ near the Baths of Diocletian. Under the former name it has been celebrated by Tasso in some of his finest Rime. This fountain was designed by Domenico Fontana. It has three niches. In the central one is a colossal statue of Moses striking the rock, by Prospero da Brescia, who is said to have died of grief at the ridi- cule excited by his performance. In the side niches are figures of Aaron, by Gio-battistadella Porta, and of Gideon, by Flaminio Vacca. The fountain was formerly adorned by four lions : the two which remain are modern works in white marble; the others, of black Egyptian basalt, have recently been removed to the Egyptian museum in the Vatican. They were found in front of the Pantheon. Fountains in the Piazza of St. Pe- tet^'s. — These magnificent but simple vases are perhaps better calculated to give general pleasure than any other fountains in Rome. They were designed by Carlo Maderno. The water is thrown up to a height of about 9 feet, and falls back into a basin of oriental granite, 15 feet in diameter; it runs over the sides of this into an octagonal basin of travertine, about 28 feet in diameter, forming a mass of spray upon which the morning sun paints the most beautiful rainbows. The height of the jet above the pavement of the piazza is 64 feet. Fountains of the Farnese Palace. — Like the fountains in the Piazza of St. Peter's, these are simple jets falling into magnificent basins of Egyptian gra- nite, found in the Baths of Caracal la. Fountain of the Ponte Sisto, placed opposite the Via Giulia, near the bridge from which it takes its name. This pretty fountain was constructed by Paul v., from the designs of Fontana, It is formed of two Ionic columns, sustaining an attic. From an aperture in the large niche the water falls in a solid body into a basin below. The design is simple, and free from the affectation which marks so many of the other fountains. Fontana del Campidoglio, at the foot of the double staircase leading to the palace of the Senator on the Capitol. It was constructed by Sixtus V., and is ornamented with three ancient statues. That in the centre is a sitting figure of Minerva, in Parian marble, draped with porphyry : it was found at Cora. The colossal recumbent figures at the side are of Grecian marble, representing the Nile and the Tiber. They were found in the Colonna Gardens, and are referred by Nibby to the time of the Antonines. Fountain of the Monte Cavallo, con- structed hy Pius VII., a simple but pretty jet, flowing from a noble basin of grey oriental granite, 25 feet in dia- meter, which was found in the Roman Forum, and brought to the Monte Cavallo by Pius VII., to complete the decorations of the piazza. Piazze. — The P. di Spagna, P. Navona, P. del Popolo, and all the great squares in front of the principal churches, are sufficiently described in the accounts of the monuments or public buildings from which tliey de- rive their names. The only one which remains to be noticed is the least at- tractive, though not the least celebrated of them all, the Papal States.] R. 27. — ROME. — Statue of Pasquin, 333 Piazza del Pasqiuno, close to the entrance of the Braschi Palace, near the Piazza Navona. It derives its name from the well-known torso called the statue of Pasquin, a mutilated fragment of an ancient stalue found here in the sixteenth century, and considered by Maffei to represent Ajax supporting Menelaus. Notwithstanding the in- juries it has sustained, enough remains to justify the admiration it has received from artists. Bandinucci, in his life of Bernini, tells us that it was consi- dered by that sculptor one of the finest remains of antiquity in Rome. It de- rives its modern name from the tailor Pasquin, who kept a shop opposite, which was the rendezvous of all the gossips of the city, and from which their satirical witticisms on the man- ners and follies of the day obtained a ready circulation. The fame of Pas- quin is perpetuated in the term pas- quinade, and has thus become European ; but Rome is the only place in which he flourishes. The statue of Marforio, which formerly stood near the arch of Septimius Severus, was made the ve- hicle for replying to the attacks of Pasquin, and for many years they kept up a constant fire of wit and repartee. When Marforio was removed to the museum of the Capitol, the pope wished to remove Pasquin also ; but the Duke di Braschi, to whom he belongs, would not permit it. Adrian VI. attempted to arrest his career by ordering the statue to be burnt and thrown into the Tiber ; but one of the pope's friends, Lodovico Suessano, saved him, by sug- gesting that his ashes would turn into frogs, and croak more terribly than before. It is said that his owner is compelled to pay a fine whenever he is found guilty of exhibiting any scan- dalous placards. The modern Romans seem to regard Pasquin as part of their social system : in the absence of a free press, he has become in some measure the organ of public opinion, and there is scarcely an event upon whieh he does not pronounce judgment. Some of his sayings are extremely broad for the atmosphere of Rome, but many of them are very witty and fully maintain the character of his fellow-citizens for satirical epigrams and repartee. When Mezzofanti was made a cardinal, Pas- quin declared that it was a very proper appointment, for there could be no doubt that the Tower of Babel, ^< il Torre di Babel," required an inter- preter. On the visit of the emperor Francis to Rome, the following ap- peared : — " Gaudium urhis, Fletus pro- vinciarmn^ Risus mundi."' During a bad harvest in the time of Pius VI., when the pagnotta, or loaf of two bajocchi, had decreased considerably in size, the passion of the pope for the inscription which records his munificence on two- thirds of the statues in the Vatican, was satirized by the exhibition of one of these little rolls, with the inscription, Munificentid Pii Seocti,'^ The pro- ceedings of Pius VI. were frequently treated by Pasquin with considerable severity. When the sacristy of St. Pe- ter's was completed, the following in- scription was placed over the principal door : — " Quod ad Templi Vaticani o?'' namentum publica vota Jlagitahant, Pius VI, fecity &c. Pasquin s reply was as follows : — " Publica! mentiris; Nou publica vota fuore, Sed tumidi ingenii vota fuere tiii." Canova exhibited his draped figure of Italy for the monument of Alfieri, during the French invasion ; Pasquin immediately exhibited this criticism : — " Questa volta Canova 1' ha sbagliato, Ha r Italia vestito, ed e spogliata." Soon after the decrees of Napoleon had been put in force, the city was deso- lated by a severe storm, upon which Pasquin did not spare the emperor : — " L'Altissimo in su, ci manda la tempesta, L'Altissimo qua giu, ci toglia quel che resta, E fra le Due Altissimi, Stiamo noi malissimi. ' His satires frequently consist of dia- logues, of which the following are fair examples : — " I Frances! son' tutti ladri, Non tutti— ma Buonaparte." On the marriage of a young Roman, 334 R. 27. — ROME. — Basilicas ; St. Peter s. [Sect. I. called Cesare, to a girl called Roma, Pasquin gave the following advice : — Cave, Ccesar, ne tua Roma Respuhlica jiatr On the next day the man re- plied, " Ccesar imperat ! " Pasquin, however, would not be outdone, and answered, Ergo coronahitur,'^ His distich on the appointment of Holste- nius and his two successors, as libra- rians of the Vatican, is historically in- teresting. Holstenius had abjured Pro- testantism, and was succeeded in his office by Leo Allatius, a Chian, who was in turn succeeded by a Syrian, Evode Assemani. Pasquin noticed these events in the following lines : — " Praefuit lisereticus. Post hunc, scliismaticus. At nunc Turca prseest. Petri bibliotheca, vale !" Another remarkable saying is recorded in connection with the celebrated bull of Urban VIII., excommunicating all persons who took snuff in the churches of Seville, On the publication of this decree Pasquin appropriately quoted the beautiful passage in Job, " Wilt thou break a leaf driven to and fro ? and wilt thou pursue the dry stubble ?" Contra folium^ quod vento rapitur^ os- tetidis potentiam tuam^et stipulam siccam persequeris ? Basilicas. There are seven Basilicas in Rome ; four within the walls — St. Peter's, St. John Lateran, Santa Maria Maggiore, and Santa Croce in Gerusalemme ; and three beyond the walls — San Paolo, San Lorenzo, and San Sebastiano. The first churches of the early Christians were undoubtedly those edifices which had served during the latter period of the empire as tlie seats of the public ti'ibunals, or courts of justice, under the general name of Basilicce. On the es- tablishment of the Christian faith, the first churches which were erected ex- pressly for the new worship appear to have been built on the plan of these pre*existing edifices, probably on their very sites. Their design was at once simple and grand : the form was oblong, consisting of a nave and two side aisles, which were separated from the nave by a simple line of columns; arches sprang from these columns, supporting the high walls which sustained the wooden roof. The walls above the arches were pierced' with windows, by which the whole building was lighted. In some instances, as in the case of St. ApoUinare in Classe, at Ravenna, the tribune, or ahsis, was raised above the level of the church, and covered with mosaics. Externally there was a square building in front, called the quadri- porticus, having a colonnade round each side of the square. The Roman basilicas have undergone numerous ad- ditions and alterations in modern times, and many of them have lost their cha- racteristic features; but they still re- tain their ancient rank as metropolitan churches, and have other parishes sub- ordinate to them. The old St. Peter's had all the peculiarities of the basilica; and for this reason the present building preserves its title, although all the fea- tures of the original construction have disappeared. We shall therefore com- mence our description of the churches with this most magnificent of Christian temples, which our great historian of the Decline and Fall of the Roman Empire designates as the most glo- rious structure that ever has been ap- plied to the use of Religion." 1. St. Peter's. — As early as a.d. 90, St. Anacletus, the bishop of Rome, who had received ordination from St. Peter himself, erected an oratory on the site of the present structure, to mark the spot where the Apostle, after his crucifixion on the site of S. Pietro in Montorio, was interred, and where so many of the early Christians had sufi*ered mar- tyrdom. In 306, Constantine the Great built a basilica on the spot, which con* tinned from that time to be the great at- traction of the Christian world. The front of this basilica may be seen in Raphael's celebrated fresco, represent- ing the Incendio del Borgo ; and the interior is introduced in the other fresco, representing the coronation of Charle- magne. In the time of Nicholas V. (1450) it had fallen into ruin, and that Papal States.] r. 27. — rome. — Basilicas; St, Peter^s. 335 pope had already begun a new and more extensive building on the plans of Bernardino Rossellini and Leon Battista Alberti, when the progress of the works was arrested by his death. Paul II. continued the design ; but it was advancing very slowly at the ac- cession of Julius II. J who determined, with his accustomed energy, to resume the works on a systematic plan. Vasari tells us that he was animated to the task by the design for his tomb, which Michael Angelo had just completed. He accordingly secured the assistance of Bramante, who entered upon his du- ties in 1503, and began by pulling down half the walls which had been erected by his predecessors. His plan was a Latin cross, with a portico of six columns, and an immense cupola in the middle of the church, supported on four colossal pillars. In 1506 Ju- lius II. laid the foundation of Bra- mante's building, under the pillar against which the statue of S. Veronica now stands. The four pillars, and the arches which spring from them, were the only parts completed before Bra- man te's death in 1514. In the pre- vious year Julius had been succeeded by Leo. X. The new pontiff appointed as his architects Giuliano Sangallo, Giovanni da Verona, and Raphael, who has left some very interesting letters relating to his appointment. Sangallo however died in 1517, and Raphael was carried off prematurely in 1520. Raphael's plan may be seen in Serlio's work upon architecture; but neither he nor his colleagues had done much more than invent new plans and strengthen the four pillars, which had been found too weak before the death of Bramante. Leo then employed Baldassare Peruzzi, who despairing of being able to meet the expense of Bramante s plan, changed the design from a Latin to a Greek cross. The death of Leo in 1521 checked the progress of the works, and his two im- mediate successors were unable to con- ti'ibute in any material degree towards the execution of the design, so that Pe- ruzzi was unable to do much more than erect the tribune, which was completed during the reign of Clement VII. The next pope, Paul III., on his accession in 1534, employed Antonio Sangallo, who returned to Bramante's plan of a Latin cross, and altered the arrangement of the whole building, as may be seen from his designs which are preserved in the Vatican, but he died before he could carry any of them into effect. The pope appointed Giulio Romano as his successor ; but here again the same fatality occurred, and the death of that estimable artist in the same year prevented his entering on the en- gagement. The work was then com- mitted to Michael Angelo, then seventy- two years of age. The letter conferring this appointment is still preserved. The pope gave him unlimited authority to alter, or pull down, or remodel the building, precisely on his own plans. Paul III. died in 1549, and his suc- cessor, Julius III., in spite of all oppo- sition from contemporary artists, con- firmed the appointment of Michael An- gelo. Several letters are in existence, in which the illustrious artist describes the annoyances to which he was sub- jected in the progress of his task ; and one written to him by Vasari is well known, in which he advises him to " fly from the ungrateful Babylon, which was unable to appreciate his genius." Michael Angelo immediately returned to the design of a Greek cross, en- larged the tribune and the two tran- septs, strengthened the piers for the second time, and began the dome on a plan different from that of Bramante, declaring that he would raise the Pan- theon in the air. The drum of the dome was completed when the great artist was carried off by death in 1563, at the age of 89. The chief peculiarity of his dome consisted in being double, a plan which was fortunately adopted by his successors, who finished it on the precise plans and measurements which he had himself laid down. An- other part of his design was to build a Corinthian fagade in the style of the Pantheon, which, combined with the Greek cross, would have allowed the whole dome to have been visible from 336 R. 21,— ROME.— Basilicas ; St. Peter's. [Sect. I. the front. Three years after his death, ill 1566, Pius V. appointed Vignola and Pirro Ligorio as his successors, with strict injunctions to adhere to the })lans of M. Angelo in every parti- cular. Vignola constructed the two lateral cupolas, but neitlier he nor his colleague lived to complete the dome. This honour was reserved for Giacomo della Porta, who was appointed under Gregory XIII. ; he brought it to a successful termination in 1590, in the pontificate of Sixtus V., who was so anxious to see it finished, that he de- voted 100,000 gold crowns aimually to the work, and employed 600 work- men upon it night and day. When the dome was finally completed it was calculated that 30,000 lbs. weight of iron had been used in its construction. Giacomo della Porta continued, to be employed by Clement VIII., and adorned the interior of the dome with mosaics. At his death, in 1601, the plan of Michael Angelo had been faith- fully executed so far as the works had then advanced, and the only portions remaining to be added were the fagade and portico. In 1605 Paul V. (Bor- ghese) succeeded to the popedom, and being desirous of seeing the whole building completed in his reign, pulled down all that was then standing of the old basilica, and laid the foundation of the new front in 1608. He employed Carlo Maderno, the nephew of Fontana, as his architect, who abandoned the plan of Michael Angelo, and returned to the Latin cross, as originally de- signed by Bramante. He also built the fagade, which all critics concur in condemning as unsuitable to the ori- ginal design. Its great defect is the concealment of the dome, which is so much hidden by the front, that there is no point of the piazza from which it can be combined in its full proportions with the rest of the fabric. The effect of its gigantic size is therefore lost, and the front, instead of being subservient to the dome, is made to appear so pro- minent, that the grandest feature of the building hardly seems to belong to it. Notwithstanding this defect, it can scarcely be doubted that Maderno has been more severely criticised than he deserved. The circumstances which controlled his design seem to have been altogether forgotten, for although the heavy balconies which intersect the columns of the fagade lessen the effect and size, it is obvious that they were necessary for the papal benediction, and that any front in which they did not form an essential part would have been as great an anomaly as the balcony in our own St. Paul's, where it is not required. The judgment of Forsyth, which it has been the fashion to adopt without reflection, dwells on Maderno's works with a harshness of criticism, strangely in contradiction to his praise of the nave and vestibule. There is no doubt that the fagade is faulty, and ill adapted to the dome ; but an English traveller has so many examples of bad architecture at home, that he may well pause before he refuses any merit to the architect of such a work as the nave of St. Peter's. The plan of the Latin cross was not a novelty, but merely a return to the original plan of Bra- mante : a proceeding rendered neces- sary by the determination of the pope to include that portion of the site of the old basilica which had become sacred from its shrines, and which had been entirely excluded in the plan of Michael Angelo. The nave was finished in 1612; the facade and portico were finished in 1614; and the church was dedicated by Urban VIII., on the 18th November, 1626. Under Alexander VII., in 1667, Bernini began the mag- nificent colonnade which surrounds the piazza. Pius VI., in 1780, built the sacristy from the designs of Carlo Mar- chionni, gilded the roof of the inte- rior, and placed the two clocks on the fayade. From the first foundation, therefore, in 1450, to the dedication of the fabric by Urban VIII., the build- ing occupied a period of 176 years; and if we include in the calculation the works of Pius VI., we shall find that it required three centuries and a half to bring the edifice to perfection, and that its progress during that period Pajpal States.] r. 27. — rome. — Basilicas ; St. Peters. 337 extended over the reigns of no less than forty-three popes. The expenses of the works were so great that both Julius II. and Leo X. resorted to the sale of in- dulgences for the purpose of meeting them. The excess to which this prac- tice was carried is said, both by Ca- tholic and Protestant writers, to have created that reaction which ended in the Reformation. The space covered by the buildings of St. Peter's is said to be 240,000 square feet ; the original plan of Bramante would have covered 350,000 square feet, or about 8^ English acres. After this general sketch of the his- tory of the edifice, we shall proceed to the details, beginning with the Colon?iades, — It is scarcely possible to imagine anythingso perfectly adapted to the front of the basilica, or so well contrived to conceal the buildings on each side of the piazza, as these noble structures. They were built by Bejriini, in the pontificate of Alexander VII. (1657-67), and are generally considered as his masterpiece. They form two semicircular porticos, 59 feet long and 6 1 feet high, supported by four rows of columns, arranged so as to leave suffi- cient room between the inner rows for the passage of two carriages abreast. The number of columns in the tv/o porticos is 284, besides 64 pilasters. On the entablature are 192 statues of saints, each eleven feet in height. The whole structure and the statues are of travertine. The area inclosed by these colonnades measures in its greatest dia- meter 777 English feet. The colon- nades terminate in two covered galleries^ 360 feet long and 23 feet broad, which communicate with the vestibule of the Portico. These galleries are not parallel to each other, but form with the front an irregular square, which becomes broader as it approaches the portico. This arrangement tends considerably to diminish the effect of the building when seen from the extremity of the piazza ; for the eye is quite unable to appreciate the great distance from the end of the colonnades to the facade, and it is only by walking up to the steps that the stranger can believe that there is a space of 296 feet from the point where the colonnades terminate to the portico of the basilica. On entering these galleries we see at the angles of the first flight of steps two statues of St. Peter and St. Paul, which are remarkable as the work of Mino da Fiesole. The Facade is built entirely of traver- tine, from the designs,as we have already mentioned, of Carlo Maderno. It has three stories and an attic, with eight co- lumns and four pilasters of the Corinthian order. Each story has nine windows, and is disfigured by the heavy balconies, from which the pope bestows his bene- dictions on the people at Easter. The columns are 8j feet in diameter and 91 feet high, including the capitals. On the attic are thirteen colossal statues, 17 feet high, representing the Saviour and the Twelve Apostles. An inscrip- tion on the frieze of the entablature records the dedication of Paul V. The fagade is 368 feet long and 145 feet high ; but it is more adapted to a palace than to a church, and is ill calculated to harmonise with such a structure as the dome. Five open entrances lead into the magnificent Festibule, 439 feet long, 65 feet high, and 47 broad, in- cluding the two extremities. At each end is an equestrian statue ; that on the right is Bernini's aflected statue of Con- stantine, that on the left is the Charle- magne of Cornacchini, both unworthy of such an architectural picture as that presented by the vestibule. Over the central entrance of the vestibule, and consequently opposite the great door of the basilica, is the celebrated mosaic of the Navicella, representing St. Peter walking on the sea sustained by the Saviour, It was executed by Giotto in 1298, assisted by his pupil Pietro Ca- vallini, and was placed over the east entrance to the quadriporticus of the old basilica. On the destruction of that basilica, the mosaic changed places several times, and was at length placed in its present position by Car- dinal Barberini. It has suffered severely from repairs, and Lanzi says it has been so much repaired, that it has lost Q 338 R. 21 —ROME —Basilicas ; St. Peter's. [Sect. I. its original design, and seems to be exe- cuted by an altogether different artist." The original drawing for it is preserved in the church of the Capuccini. There are five doors leading into the basilica, corresponding with the entrances of the vestibule. The bronze doors of the central entrance, which are only opened on great festivals, belonged to the old basilica, and were executed in the pon- tificate of Eugenius IV., in the fifteenth century, by AntonioFilareta, andSimone, brother of Donatello. The bas-reliefs of the compartments represent the mar- tyrdom of St. Peter and St. Paul, and some events in the history of Eugenius IV., particularly the coronation of the Emperor Sigismund and the council of Florence, which took pUice in his reign. The bas-reliefs of the frame- work are by no means in character with the building ; they represent satyrs, nymphs, arid various mythological sub- jects, among which Leda and her swan, Ganymede, &c., may be recognised. Near this doorway are three inscrip- tions, containing the bull of Boni- face VIII., in 1300, granting the in- dulgence proclaimed at every recurrence of the jubilee; the verses composed by Charlemagne on Adrian I. ; and the donation made to the church by S. Gregory II. One of the adjoining doorsj which is walled up and marked by a cross in the middle, is the Porta Santa, which is pulled down by the pope in person on the Christmas-eve of the jubilee, which has taken place every twenty-five years since the time of Sixtus IV. The pope begins the demolition of the door by striking it three times with a silver hammer, and at the close of the ceremony the dates of the two last jubilees are placed over the entrance. The last took place in 1 825, in the pontificate of Pius VIII. ; the next will consequently fall in 1850. The Literior, in spite of all the criti- cisms of architects, is worthy of the most majestic temple of the Christian world. Whatever may be the defects of particular details, whatever faults the practised eye of an architect may detect in some of the minor orna- ments, we believe that the minds of most persons who enter it for the first time are too much absorbed by the unrivalled unity of its proportions to listen to any kind of criticism. The one great defect is the apparent want of magnitude which strikes every one at first sight. The mind does not at once become conscious of its immensity, and it is only after its component parts have been examined, and perhaps only after several visits, that the gigantic scale of the building can be appreciated. There can be no doubt that the colossal size of the statues contributes in a great degree to diminish the apparent magni- tude of the building ; the eye is so un- accustomed to figures of such propor- tions that they supply a false standard by which the spectator measures the details of the building without being sensible of the fact. " But thou, of temples old, or altars new, Standest alone — with nothing like to thee— Worthiest of God, the holy and the true. Since Zion's desolation, when that He Forsook his former city, what could be, Of earthly structures, in his honour piled. Of a sublimer aspect? Majesty, Power, glory, strength, and beauty— all are aisled In this eternal ark of worship undefiled. Enter : its grandeur overwhelms thee not ; And why ? it is not lessen'd ; but thy mind. Expanded by the genius of the spot. Has grown colossal, and can only find A fit abode wherein appear enshrined Thy hopes of immortality ; and thou Shalt one day, if found worthy, so defined, See thy God face to face, as thou dost now His Holy of Holies, nor be blasted by his brow." Childe Harold. The measurements of St. Peter's have been stated very ditferently by the different authorities; perhaps because sufficient distinction has not been drawn between the Roman and the French foot and the palm. On the pavement of the nave is a line on which are marked the respective lengths of St. Peter's and five other churches; St. Peter's is there stated to be 837 palms, which, calculating the palm at 8| inches, will give 610 English feet 4 inches; St. Paul's, London, 710 palms (517 feet 8 inches) ; Milan Cathedral, 606 palms (441 feet 10 Papal States!] r. 2*7. — rome. — Basilicas ; St, Peter^s. 339 inches) ; St. Paul's, Rome, 572 palms (417 feet); St. Sophia, Constantino- ple, 492 palms (358 feet 9 inches). These measurements are very probably only an approximation to the truth ; and indeed it would be difficult to find any building of great magnitude in which all the authorities agree in regard to size. The following are the measurements of the different parts of St. Peter's, in English feet, which will be found, we believe, to come nearest to the truth. The length of the interior, from the main entrance to the end of the tribune, exclusive of the thickness of the walls, is nearly 602 English feet. The height of the nave near the door is 150 feet, the width at this portion is 77^ feet. Towards the baldacchino the width increases to 89 feet. The width of the side aisles is 21 feet ; and their height 47 feet. The length of the tran- septs, from wall to wall, is 445 feet. The height of the baldacchino, from the pavement to the top of the cross, is 93 feet. The circumference of the four great pillars which support the dome, is 232 feet. The diameter of the cupola, from the external walls, is 193 feet. The height of the dome, from the pave- ment to the base of the lantern, is 400 feet; from the pavement to the top of the cross outside, 430 feet. According to these measurements, St. Peter's ex- ceeds St. Paul's Cathedral, in length, by 84 feet ; in height to the top of the cross, by 60 feet ; and in the diameter of the cupola, including the thickness of the walls, by 48 feet. The nave is vaulted, and ornamented with sunk coffers, richly decorated with gilding and stucco ornaments. Eight massive piers, supporting four arches, se- parate the nave from each side aisle. Each pier is faced with two Corinthian pilasters of stucco, having a double row of niches between them; the lower niches contain colossal statues of saints, the founders of different religious orders. Corresponding with the great arches of the nave are chapels in the side aisles, which tend to break the general effect by their interrupting lines, and reduce the side aisles to the appearance of pas- sages. With the exception of the pi- lasters, the walls and piers are generally faced with plates of marble, richly varied with medallions and other sculp- tures, which it would require pages to notice in detail. Many of the upper decorations are in stucco ; the two re- cumbent Virtues over each arch are of this material. Tlie pavement is entirely composed of marbles, arranged under the direction of Giacomo della Porta and Bernini. The leases for the holy water, sustained by cherubs, give a striking example of the immense scale of the building, and the proportion of its component parts. On entering the church, the cherubs appear of the ordi- nary size, and it is only when they are approached or compared with the hu- man figure, that they are found to be six feet high. The Dome is the great object which commands the admiration of the stranger who visits St. Peter's for the first time. Its measurements have already been given. Nothing can surpass the mag- nificence of its stupendous vault, rest- ing on the four colossal piers ; and no language can do justice to its sublime effect. The surprise of the beholder is increased by the recollection that there is another outer cupola, and that the staircase which leads to the summit passes between them. Each of the four piers has two niches, one above the other. The lower ones contain the statues of S. Veronica, holding the Sudarium, by Francesco Mochi ; S. Helena with the Cross, hy Andrea Bolgi; S. Longinus, the soldier who pierced the side of our Saviour, by Bernini ; and St. Andrew, by Fiammingo (Du Quesnoy). Each of these is about 16 feet high. The St. Andrew is the only one which possesses merit as a work of art : the other three, like all the statues in St. Peter's, with the exception of some of the recent monumental figures, are in the worst style of the decline of art. Above them are four balco- nies, in which are preserved the relics of the saints. In that over the statue of S. Veronica is kept the Sudarium, or handkerchief, containing the impres« 340 R. 27. — ROME, — Basilicas; St. Peter^s. [Sect. I. sioii of the Saviour's features, which is shown with so much ceremony to the people during the holy week. In the balcony over St. Helena is preserved a portion of the true cross, and in that over St. Andrew is the head of the saint : the lance of S. Longinus, for- merly kept in the balcony over his statue, is now preserved, with numerous other relics, in that of S. Veronica. No one is allowed to visit these relics who has not the rank of a canon of the church and it is said that the sovereigns and princes who have been admitted to examine them have first received that rank as an honorary dis- tinction. The spiral columns in the niches are said to have been brought by Titus from the Temple at Jerusalem : they belonged to the old basilica. Above these niches, on the spandrils of the arches, are four medallions, repre- senting in mosaic the /ow Evangelists, with their emblems ; the length of the pen in the hand of St. Mark is said to be six feet long. On the frieze above, running round the whole circumference, is the following inscription in mosaic; the letters are also said to be six feet long : TV . E3 PETRVS . ET . SVPER . HANG . PETRAM . AEDIFICABO . ECCLESIAM . ME AM . ET . TIBI . DABO . CLAVES . REGNI . COELORVM. The drum of the cupola is filled with thirty- two coupled pilas- ters of the Corinthian order, with six- teen windows. The concave above is divided into sixteen compartments, or- namented with gilded stuccoes and mo- saics, representing the Saviour, the Virgin, and different saints. On the ceiling of the lantern is a mosaic of the Almighty, from a painting of Cav. d'Arpino. " The cu})ola," says Forsyth, is glorious, viewed in its design, its altitude, or even its decorations ; viewed either as a whole or as a part, it en- chants the eye, it satisfies the taste, it expands the soul. The very air seems to eat up all that is harsh or colossal, and leaves us nothing but the sublime to feast on : — a sublime peculiar as the genius of the immortal architect, and comprehensible only on the spot. The four surrounding cupolas, though but satellites to the majesty of this, might have crowned four elegant churches. The elliptical cupoleftas are mere expe- dients to palliate the defect of Mader* no's aisles, which depend on them for a scanty light." The Baldacchino, or grand canopy covering the high altar, stands imme- diately under the dome. It is of solid bronze, supported by four spiral columns of the composite order, and covered with the richest ornaments, many of which are gilt. It is 93 feet high to the sum- mit of the globe and cross. It was cast by Bernini in 1633 out of the bronze stripped from the Pantheon by Urban VIII., of the Barberini family, whose armorial device, a bee, may be re- cognised on all parts of the work. The cost of the gilding alone is said to have been 40,000 scudi ; the cost of the whole canopy was 100,000 scudi, nearly 23,000/. The weight of the four spiral columns is said to be 186,000 lbs. The High Altar, under the baldacchino, stands immediately over tlie grave of St. Peter. The altar is only used on solemn ceremonies when th« pi^pe officiates in person. The Confessional is surrounded by a circular balustrade of marble ; from this are suspended 112 lamps, which are constantly burning night and day. A double flight of steps leads down to the shrine. The first object which at- tracts attention is the kneeling Statue of Pius VI., one of the finest works of Canova : the pope is represented praying before the tomb of the Apostle ; tlie attitude and the position of the figure were prescribed by Pius himself during his captivity ; but the propriety of placing any statue in a place of such peculiar sanctity has been much questioned, and is said to have been greatly regretted by Canova himself. On the right side of the nave, placed against the last pier, opposite the Con- fessional, is the well-known bronze Statne of St. Peter, sitting in a chair, with the right foot extended. On en- tering the basilica, the people kiss the toe of this foot, pressing their forehead against it after each salutation. Some Papal States.] r. 27. — rome. — Basilicas; St, Peter's. 341 antiquaries state it was cast by St. Leo, out of the bronze statue of Jupiter Capi- toliiius, and other writers of more re- cent date assert that it is the identical statue of Jupiter himself, transformed into that of the Apostle by the mandate of the pope. The attitude certaiidy corresponds with that of Jupiter Capi- tolinus, as we see it represented on medals still extant ; but beyond this the statement is entirely unsupported. The rude execution of the figure seems conclusively to prove that it is not a work of classical art ; and it seems much more likely to belong to the early ages of Christianity, when sculp- ture, like architecture, was copied from the heathen models. The Tribune, said to be decorated from the designs of Michael Angelo, is very rich in ornaments : it contains the famous chair of bronze, called the Chair of St. Peter, which incloses the identi- cal chair in which, according to the Church tradition, St. Peter and many of his successors ofliciated. The bronze covering was executed by Bernini in 1667, and is full of ridiculous conceits. It is supported by four fathers of the Church, — St. Augustin and St. Am- brose of the Latin, and St. Chrysostom and St. Athanasius of the Greek Church. The Monuments, with the exception of those of recent date, are quite un- worthy of St. Peter's as works of art. Many of them are deformed by alle- gorical figures in the worst style of the school of Bernini, and are entirely beneath criticism. The altars of the chapels in both of the side aisles are, with few exceptions, decorated with mosaic copies of well-known pictures. Some of the subjects perhaps might have been better chosen, but as a whole it is difficult to imagine a series of mosaics more beautifully executed. We shall notice the most remarkable of these, and the principal tombs, in making the cir- cuit of the basilica. Beginning from the tribune, on the right of St. Peter s chair, is the mausoleum of Paul III, (Farnese), by Guglielmo delta Porta, assisted, it is said, by the advice of Michael Angelo. The statue of the pope is of bronze : the two allegorical female figures, representing Prudence and Justice, are of marble. The Justice is said to have been so beautifully mo- delled, that circumstances occurred that rendered drapery necessary, whi(^h was added in bronze by Bernini. On the opposite side of the tribune is the monument of Urban VIll. (Barberini). The statue of the pope is of bronze ; tliose of Justice and Charity are in marble, and are classed among Bernini's most successful figures. — Proceeding onwards towards the south side of the building by the right transept, the first mosaic we meet with is a copy from Francesco Mancini's St. Peter healing the lame. Opposite to it is the tomb of Alexander VIII,, of the Ottoboni family, by Angelo Rossi : it has a bronze statue of the })ope, and two marble figures of Religion and Prudence. Near it is the altar of St. Leo, contain- ing the immense bas-relief by Algardi, representing the pope threatening Attila with the vengeance of St. Peter and St. Paul for entering Rome ; it was long considered a masterpiece of art, and is perhaps the largest l)as-relief ever exe- cuted. In front of it is the tomb of Leo XII. (della Genga), with an in- scription written by himself. Further on towards the transept is the tomb of Alexander VII. (Chigi), the last work of Bernini. The pope is represented kneeling, surrounded by four allegori- cal figures of Justice, Prudence, Cha- rity, and Virtue. Opposite this tomb is a finely -coloured oil painting on slate by Francesco Vanni, representing the Fall of Simon Magus; it is almost the only oil painting in the basilica. In the south transept is the tomb of Pius Vn., by Thorwaldsen, erected at the cost of his patriotic and enlightenetl minister. Cardinal Consalvi. The pope is represented in a sitting posture be- tween the figures of Power and Wis- dom ; but the tomb is not regarded as worthy the genius of its great sculptor, or the merits of the most benevolent and virtuous Pontiff* who ever wore the tiara. At the middle altar of this transept is a mosaic copy of the Cru- 342 R, 27. — ROME. — Basilicas ; SU Peter s, [Sect. T. clfixion of St. Peter, from the cele- brated picture of Guido. The mosaic of the Incredulity of St. Thomas at the adjoining altar is from a picture by Camuccini. Farther on is the mosaic of Ananias and Sapphira, from Ron- calli's picture in S. Maria degli Angeli. On the side of the great pier of the cupola is the mosaic copy of Raphaels Transfiguration. Under the arcade op- posite this altar is the tomb of Leo. XI., of the Medici family, by Algardi^ with a bas-relief representing the abjuration of Henry IV. of France. Near it is that of Innocent XI. (Odescalchi), by Mo- not, a French artist, with a baa-relief re- presenting the Turks raising the siege of Vienna, and two marble figures of Reli- gion and Justice. The Capella del Coro near this is well known as the chapel in which divine service is daily celebrated. It has three rows of stalls and two fine organs ; the cupola is covered with mo- saics, and the walls and ceiling are richly decorated with gilding and stucco ornaments, from the designs of Giacomo delta Por^ta. The mosaic altarpiece of the Conception is a copy of the picture by Pietro Bianchi in Sta. Maria degli Angeli. Under the arcade of this chapel is the tomb of Innocent VIII., of the Cibo family: it is entirely of bronze, and is a simple and very graceful work of Antonio Pollajuolo, Opposite, is the plain stucco monument of Pius VIII. (Castiglione) ; the place it occupies is appropriated as the temporary resting- place of the last pontiff, whose body remains here until the death of his suc- cessor. A more appropriate tomb for Pius VIII. is now in progress, at the cost of the cardinals whom he raised to the Sacred College during his brief pontificate. The Chapel of the Presen- tazione contains a mosaic copy of the Presentation of the Virgin by Francesco Romanelli, now in Sta. Maria degli Angeli. Close to this chapel are two monuments which never fail to interest the English traveller. The first on the right hand, is the tomb of Maria Cle- mentina Sobieski, wife of the Pretender James III., called among her titles Queen of Great Britain, France, and Ireland : she died at Rome in 1755. It is a porphyry sarcophagus with ala- baster drapery and a Genius holding a medallion portrait of the queen in mo- saic : it was designed by Filippo Bari- giom, and executed by Pietro Bracci, at the expense of the ^' Fabbrica " of St. Peter's. Opposite to this, is Canova's celebrated Monument of the Stuarts, It is a simple representation of the entrance to a mausoleum guarded by genii : the effect is feeble, and perhaps unworthy of Canova's fame. The principal ex- pense of this monument was defrayed from the privy purse of George IV. The following is the inscription : jacobo hi. JACOBI II. MAGN^ BRIT. REGIS FILIO, KARALO EDVARDO, ET HENRICO, DECANO PATRVM CARDINALIVM, JACOBI III. FI- LIIS, REGIiE STIRPIS STVARDI^E POSTRE- Mis, ANNO MDCCCxix. " Beneath that unrivalled dome," says Lord Mahon, lie mouldering the remains of what was once a brave and gallant heart ; and a stately monument from the chisel of Canova, and at the charge, as I be- lieve, of the house of Hanover, has since arisen to the memory of James the Third, Charles the Third, and Henry the Ninth, Kings of England, — names which an Englishman can scarcely read without a smile or a sigh ! Often at the present day does the British traveller turn from the sunny crest of the Pincian, or the carnival throng of the Corso, to gaze in thought- ful silence on that mockery of human greatness, and that last record of ruined hopes ! The tomb before him is of a race justly expelled; the magnificent temple that enshrines it is of a faith wisely reformed ; yet who at such a moment wowld harshly remember the errors of either, and might not join in the prayer even of that erring cliurch for the departed, 'Requiescant in pace!"' The chapel of the Baptistery, the last on this side of the basilica, contains the porphyry sarcophagus of the em- peror Otho II., which now serves as a baptismal vase. The mosaic of the Baptism of Christ is a copy from Carlo Maratta ; the St. Peter baptising the gaolers in the Mamertine prisons U Papal States.] r. 27.-- rome. — Basilicas; St, Peters. 343 from Passeri ; and the Baptism of the Centurion is from a picture by Procac- cini. — In the north side aisle, beginning from the entrance door, the Hrst chapel is called the Capella della Piefd, from the celebrated Pietct by Michael Angelo, a marble group representing the Virgin with the dead body of the Saviour on her knees. It was one of the great sculptor's first works, being executed when he was only in his twenty- fourth year, at the expense of the French am- bassador, Cardinal Jean Villiers, abbot of St. Denis. The crit ics of Michael An- gelo's own time objected to the youth- ful appearance of the Virgin, and to the Son being represented older than the mother ; but he justified it on the ground that it aff'orded an additional proof of the pure and spotless character of the Virgin. The group is not seen to ad- vantage in its present position, and in- deed seems lost : some portions of it are extremely beautiful, and it is much to be regretted that it is not better placed. Michael Angelo has written his name on the girdle of the Virgin ; it is said to be the only work on which he has in- scribed his name. In the celebrated letter written by Francis I. to Michael Angelo in 1507, in which the king re- quests him to send some of his works to Paris to adorn one of the royal cha- pels, this Pieta and the statue of Christ in S. Maria sopra Minerva are particu- larly mentioned. The king entreats M. Angelo to sell to the bearer of his letter, who was no other than the painter Primaticchio, some works of the same kind, " pour I'amour de moi,'' and de- scribes these productions " comme de choses que Ton m"a asseure estre des plus exquises et excellentes en votre art." On each side of the high altar are two small chapels : the one on the right, built from the designs of Bernini, has a crucifix sculptured by Pietro Cavallini, and a mosaic by Crisfofafii, representing St. Nicholas of Bari. The other chapel, called the Capella delta Co- lonna Santa, contains a column said to have been brought from the Temple at Jerusalem, and to be the one against which the Saviour leaned when he dis- puted with the doctors. It contains also a marble Sarcophagus formerly used as a baptismal font, bearing the name of Anicius Probus, prefect of Rome in the fourth century of our era. It has five compartments with bas-reliefs repre- senting Christ and the apostles ; and though highly interesting as a christian monument, is less remarkable as a work of art than the sarcophagus of Junius Bassus in the subterranean chapel. In the aisle, opposite the tomb of Innocent XIII., is the monument of Christina, queen of Sweden^ who died at Rome in 1689. It was erected by Innocent XII., from the designs of Carlo Fontatia, and is ornamented with a bas-relief by Teudo7i, a French artist, representing the queen's abjuration of Protestantism in the cathedral of Innspruck, in 1655. The mosaic at the altar of St. Sebastian is a copy of the picture in S. Maria degli Angeli, representing the martyr- dom of the saint, by Domenichino. Near it, under the arcade, are two tombs: one is that of Innocent XII. by Filippo Valle^ in which the pope is represented as a sitting figure, supported by Charity and Justice : the other is the tomb of the Countess Matilda, by Bernini; she died in 1115, and was buried in the Benedictine monastery near Mantua, but Urban VIII. removed the body to St. Peter's in 1635. The bas-relief on the front of the sarcophagus represents Gregory VII. giving absolution to the Emperor Henry IV., in the presence of the countess. The Chapel of the SS. Sacramento contains, among other rich ornaments, a beautiful tabernacle of lapis lazuli and bronze gilt in the form of Bramante's circular temple of S. Pietro in Montorio. The altarpieceof the Trinity is a fresco by Pietro da Cor^tona, who designed the stucco bas- reliefs and mosaics of the roof and cupola. This chapel contains the tomb of Sixtus IV. (della Rovere) in bronze, ornamented with bas-re- liefs, by Antonio Pollajuolo. Julius II., of the same family, is buried by the side of this monument ; the wish of the ambitious pontift' to be interred in the tomb constructed for him by Mi- 344 R. 27. — ROME. — Basilicas; St. Peter s, [Sect. I. chael Angelo in S. Pietro in Vincoli having never been fulfilled. Under the adjoining arcade, on the right hand, is the tomb of Gregory XIII., of the Buoncompagni family, the well-known reformer of the calendar: it is by Ca- millo Rusco7ii, and is a very inferior work ; the statue of the pope is sup- ported by Religion and Power. The bas-relief in front represents the correc- tion of th« calendar. Opposite is the tomb of Gregory XIV. (Sfrondati), all of which is stucco except the statues of Faith and Justice. The mosaic on tlie altar of the great pier is a copy of Domenichino's Communion of St. Je- rome. The Chapel of the Madonna, founded by Gregory XIIT., was designed by Michael Angelo, and built by Gia- como della Porta. The cupola is co- vered with mosaics designed by Giro- lamo Muziani, which have been highly praised. In this chapel St, Gregory Nazianzen is buried. Near it is the tomb of the illustrious Benedict XIV. (Lambertini), by Pietro Bracei : it has a statue of the pope, with two figures of Science and Charity. This learned pontitJ', the preceptor of Metastasio, was worthy of a monument by the first art- ists in Italy. — In the transept are some mosaics and statues which may be briefly noticed : the Martyrdom of SS. Processo and Martinian, a mosaic copy from Valentin ; the Martyrdom of St. Erasmus, from P^)U8sin ; St. Wences- laus, king of Bohemia, from Caroselli ; the statues of S. Jerome, by Pietro Bracci ; S. Cajetano, by Carlo Mo- 7ialdi ; S.Giuseppe Calasanzio, hy Spi- nazzi ; and S. Bruno, by Stoldtz. The mosaic of the Navicella, r presenting the Saviour coming to save St. Peter when the vessel is sinking, is from a ])icture by Lanfranco, Opposite to this altar is the magnificent Tomb of Clement XIII. (Rezzonico), by Canova, one of the few specimens of really fine sculpture in St. Peter's. This was the first work which established Canova's fame, and is still considered by many as his masterpiece ; it was finished in his thirty-eighth year, after eight years' labour. The pope, a fine expressive figure, is represented praying; on one side is the genius of Death sitting with his torch reversed, the most perfect statue in St. Peter's; on the other is the figure of Religion holding the cross ; the golden rays encircling her head are objectionable additions to the figure, and do not relieve the heaviness for which it is remarkable. The lions at the angles have received unqualified admiration ; the one sleeping ranks among the finest eflbrts of the modern chisel. The mosaic beyond it is a copy of the St. Michael by Guido. The mo- saic of S. Petronilla, copied from Guer- citio, is considered the finest work of this class in St. Peter's. The tomb of Clement X., of the Altieri family, near it, is by Rossi : the statue of the pope ia by Ercole Ferrata. The Grotte Futicane, the subterranean chapel. Formerly no woman was allowed to enter this part of the building without permission from a cardinal, except ou Whitsunday, when men were excluded. This subterranean chapel is that portion of the old basilica which stood over the tombs of the early martyrs ; and so carefully has it been preserved in all the alterations and buildings of the pre- sent edifice, that the original flooi has never been touched. The circular cor- ridor of the Grotte contains the chapel of the Confession, immediately under the high altar of the basilica above. It is ornamented with bronze bas-reliefs, illustrating the history of St. Peter and St. Paul, and the walls are lined with rich marbles and other decorations. The Tomb of St, Peter is immediately below the altar. Several personages of inte- rest or eminence are interred here. Among them are Adrian IV. (Nicholas Breakspeare), the only English pope who ever sat in the chair of St. Peter's, he died at Anagni in 1159; Boniface VIII.; Nicholas v.; Urban VI. ; Pius II. ; Charlotte, queen of Jerusalem and Cyprus ; the Emperor Otho II. ; and the last representatives of the royal family of Stuart, who are styled in the inscription, James III., Charles III., and Henry IX., kings of England. The monument of Boniface VIII. is attributed by Vasari Papal States.] r. 27. — rome. — Basilicas; St. Peter'' s, 345 to Arnolfo di Lapo. One of the most remarkable objects in this subterranean chapel is the sarcophagus of Junius Bassus, prefect of Rome, who died a.d. 359. It is a tine example of the sculp- ture of the period, and is one of the most interesting Christian monuments in ex- istence. It is of Parian marble, and is supposed to have been executed at Con- stantinople. Its front presents ten bas- reliefs, arranged in two rows of five each. They are separated by columns, all of which are spiral except those of the two central compartments. The subjects of the bas-reliefs are taken from the Old and New Testaments ; some of them are rather obscure, but those re- presenting Adam and Eve after the fall, Daniel in the lion's den, and Christ before Pilate, may easily be recognised. The Sacristy^ built by Pius VI from the designs of Carlo Marchionni (1775), consists of three noble halls, decorated with a richness of ornament scarcely inferior to that of St. Peter s. Among its paintings may be noticed the Ma- donna and Child with St. John, by Guido^ and the Saviour givirjg the keys to St. Peter, by Muiziani. The marble statue of Pius VI. is by Agostino Penna, the Roman sculptor. Ascent of the Dome. — By a recent regulation no person is allowed to ascend without an order from the office of the cardinal secretary of state. There is no difficulty in obtaining this permis- sion, but one of the party is required to sign it, rendering himself respon- sible for the conduct of all his party, and for any accident that may befall them. The ascent to the summit is the only means by which any idea can be formed of the immeusity of St. Peters. It presents one of the most extraordinary spectacles in the world. A broad paved staircase a cordoni leads us to the roof by so gentle an ascent that horses traverse it with their loads. The roof seems like a little village of workmen ; the two octagonal cupolas which rise above it to the height of 136 feet, and the smaller ones which cover the side chapels, and are not seen at all from below, are here found to be of great size. The houses of the workmen, who are constantly employed in the repairs of the edidce, and a fountain of water which is always flowing, increase the illusion of the scene; and as we traverse the enormous leads, it is almost impossible to believe that we are walk- ing on the summit of a building. A long series of passages and staircases carries us from the roof to the different stages of the dome, winding between its double walls, and opening on the inter- nal galleries, from which the stranger may look down on the altar below. It is from this spot that we learn to ap- preciate the stupendous size and pro- portions of the building. The people moving on the pavement scarcely look like human beings, and the mosaics of the dome, which seemed from below to be minute and delicate works, are found to be coarsely executed in the only style which could produce effect at such a distance. We can scarcely wonder, while exa- mining the immense mass at this eleva- tion, that fears have often been enter- tained for the safety of the dome, and that it has been repeatedly strengthened with bands of iron. It appears from the opinion of numerous architects that there has been an extensive settlement of the drum on the pendentives, and the dome at the present time is encircled with six bands of iron, five in the drum, one at the point where the arch begins to spring, and two on the dome. These pre- cautions seem to have removed all cause for alarm ; and it is generally admitted that the building is perfectly secure, and that no grounds whatever for ap- prehension now exist. The cost of keeping up the repairs is enormous ; the annual expenses of the fabric, in- cluding the salaries of the officials, is said to amount to 30,000 scudi, up- wards of 6200/. The staircases from this point lead to the top of the lantern, from which another flight takes us to the base of the ball, where a railing in- visible from below, allows us to enjoy the magnificence of the prospect. The ball of bronze gilt is 7J feet in dia- meter, and large enough to hold sixteen q3 346 R. 27. — ROME. — Basilicas; St. Peter's. [Sect. I. persons. A small iron ladder winds round the exterior of the ball and leads to the cross, which is 16 feet in height. The view from the balcony below the ball is one of the finest scenes in Eu- rope. The whole of Rome with her desolate Campagna is spread out like a map in the foreground, bounded on the one side by the chain of Apennines, and on the other by the Mediterranean. There is scarcely any prominent object of interest in the city which may not easily be distinguished, and the leading features of the Apennines are nowhere seen to such advantage. The lihmunations of St. Peter's during the Holy Week are too well known to re- quire a detailed description. To those who have witnessed them the impression produced by their magnificent display is too strong to be obliterated ; and those for whom the spectacle is yet in store will find that any description falls far short of the reality. Every column, cornice, and frieze, the bands of the dome, and all the details of the building to the summit of the cross, are lit up with lines of lamps, and its gigantic archi- tecture stands out against the dark sky in a complete firmament of fire. Tlie illuminations are repeated at the Fes- tival of St. Peter's on two successive evenings^ and are said to cost 1000 crowns. Eighty men are employed in lighting the lamps : they receive the sacrament before tliey ascend ; but con- sidering the hazardous nature of their task, the number of accidents is very small. There are two illuminations on each evening : the first, called the silver illumination, consists of 4400 lanterns ; the second, called the golden illumi- nation, begins at 9, when at the first stroke of the clock 1475 lamps are lighted so instantaneously that it seems the work of enchantment. The whole process is generally completed before the clock has struck the hour, or in about eight seconds : the entire build- ing is then lit up by no less than 5875 lamps. The efiect of the illuminations of the interior is well described by Forsyth : — No architecture ever sur- passed in effect the interior of this pile when illuminated at Easter by a single cross of lamps. The immediate focus of glory, all the gradations of light and darkness, the fine or the fantastic acci- dents of this chiaro-scuro, the projection of fixed or moving shadows, the sombre of the deep perspectives, the multitude kneeling around the pope, the groups in the distant aisles — what a world of pictures for men of art to copy or com- bine ! What fancy was ever so dull, or so disciplined, or so worn, as to re- sist the enthusiasm of such a scene ! I freely abandoned myself to its illu- sions, and ranging among the tombs, I sometimes mistook remote statues for the living." The principal Ceremonies and Reli - gious Services in St. Peter's and the Sistine Chapel are the following : — January 1st. Grand mass at 10 a.m., in the Sistine chapel, by the pope in person, unless when the pope resides on Monte Cavallo, when it is celebrated in the private chapel of that palace. This applies to all the ceremonies ex- cept those at Easter and Christmas, and at the Festival of St. Peter. 5th. Ves- pers in the same, at 3 p.m. 6th. The Epiphaiiy ; high mass in the same, at 10 A.M. February 2nd. Purijication of the Firgin; high mass by the pope in person, and the ceremony of blessing the Candles. On j4sh Wednesday^ high mass, and the sprinkling of ashes on the heads of the Cardinals. March and April. — Holy Week. Palm Sunday; high mass in the Sistine chapel at half-past 9 a.m., by the pope in person, and the ceremony of blessing the Palm branches. Wednesday in Holy Week; at 5 P.M. the first Miserere, of Allegri is chanted in the Sistine chapel, in the presence of the pope and cardinals. Thursday ; high mass in the same, at- 9 A.M. ; after which the pope admi- nisters the sacrament in the Capella Paolina, pronounces his benediction from the balcony of St. Peter s, washes in the Sala della Lavanda the feet of the twelve aged priests, and waits upon them at table. Previous to the bene- diction one of the cardinals curses all Jews, Turks, and heretics, by bell, book, Papal States,] r. 27.— rome. — Basilicas; St, Peter^s. 347 and candle. At 5 p.m. the second Mi- serei^e in the Sistine chapel. Previous to this a cardinal administers the Peni- tenza Maggiore in St. Peter's, and gives absolution for mortal sins which cannot otherwise be absolved. After the Mi- serere the cross of fire, 18 feet in length, is exhibited over the confessional in St. Peter's, in the presence of the pope and his whole court : the exposition of the relics follows. Good Friday ; the Adoration of the Cross in the Sistine chapel, at half-past 9 a.m., and the pro- cession to the Capella Paolina, followed by high mass in the Sistine by the pope in person. The last Miserere is chanted in the evening at 5 p.m., in the Sistine chapel ; the cross of fire, as on the preceding evening in St. Peter's, in the presence of the pope. Saturday ; high mass as before in the Sistine chapel. Easter Sunday, the grandest festival of the year : higii mass in St. Peter's by the pope in person, at 10 a.m. ; at noon, the benediction from the balcony of St. Peter's ; in the evening the illumi- nations of St. Peter's, and the giran- dola from the Castle of St. Angelo. May. — Whitsunday ; high mass in the Sistine chapel when the pope resides at the Vatican ; it is sometimes per- formed at S. Maria Maggiore. After 12 o'clock females are allowed to visit the Grotte Vaticane, or subterranean chapel. Corpus Domini; the solemn procession of the SS. Sacramento, in which the pope and all the clergy take part. June 2St\i.— The Eve of the Festival of St. Peter and St, Paul; at 6 P.M., vespers in St. Peter's in the pre- sence of the pope; the subterranean chapel is thrown open on this occa- sion ; the illuminations of St. Peter's and the girandola on the Castle of St. Angelo take place on this and the suc- ceeding evenings. 29th. High mass in St. Peter's by the pope in person, at 10 A.M. At 3, vespers in St. Peter's, in the presence of all the cardinals. November 1st. High mass by the pope in person at 10 a.m., in the Sistine chapel. At 3 p.m., vespers for the dead in the same, in the presence of the pope and the whole court. 2nd. High mass at 10 A.M. by the pope, in commemo- ration of the dead. 3rd and 5th. A similar ceremony for deceased popes and cardinals. December. First Suji- day in Advent ; high mass in the Sistine chapel, and procession of the pope to the Capella Paolina, which is illumi- nated for the occasion. On each Sun- day in Advent divine service is per- formed in the pope's chapel, either at the Vatican or the palace on Monte Citorio. 8th. Conceipt ion of the Virgin ; high mass in the Sistine chapel. 24th. Christmas Eve ; vespers in the Sistine chapel at 5. At 8 p.m. high mass, generally in the presence of the pope, which lasts till midnight. The pope on this occasion blesses the hat and sword, which he afterwards sends as a present to some Catholic prince. 25th. Christmas Day ; grand mass at 10 A,M. in St. Peter's by the pope in person, attended by the cardinals, the clergy, and the whole court. 26th. Mass at 10 a.m. in the Sistine chapel, in honour of St. Stephen. 27th. A si- milar service in honour of St. John the Evangelist. 31st. Vespers in the Sis- tine chapel, at which the pope is gene- rally present. — Vespers are performed daily in the Capella del Coro, in St. Peter's, at 3 p.m., in the presence of a cardinal : they ai'e much frequented by strangers on account of the fine music by which they are generally accompanied. The admission to the Sistine chapel at the ceremonies of the holy week is by tickets, which may be procured through any cardinal or ambassador, and through the consul or banker. Ad- mission to the loggia of the ambassa- dors and princes during the illumina- tions is only to be obtained on appli- cation to the major-domo. To see the girandola, places in the Palazzo Alto- viti may be secured at a scudo for each seat. The fees for seeing St. Peter's amount to several pauls ; there are separate sacristans for the crypts, the dome, &c., each of whom expects two pauls. 2. Basilica of St. John Lateran,* — This celebrated basilica occupies the 348 R. 27. — ROME. — Basilicas; Si John Later an, [Sect. I. site of the house of the senator Plautius Lateranus, from whom it derives its name. He is mentioned by Tacitus as concerned in the conspiracy of Piso, for wViich he was put to death by Nero. Tiie site afterwards passed into the family of Marcus Aurelius, who was born near the palace. In the fourth century the Lateran house was conferred by Con- stantine on the bishop of Rome as his episcopal residence. Constantine then founded this basilica, assisting with his own hands to dig the foundations. It was long regarded as the first of Christian churches, and the inscription over the door calls it omnium urhis et orbis Ecclesiarum Mater et Caput. The chapter of the Lateran still takes pre- cedence over that of St. Peter's ; the ceremony of the possesso, or taking possession of the Lateran palace, is one of the first forms observed on the elec- tion of a new po])e, whose coronation invariably takes place in this basilica. It is one of the four basilicas which have a " Porta Santa/' so that for 1500 years it has preserved its rank and privileges. It is also remarkable for the five general councils which have been held here, and to which we shall recur hereafter. The old basilica was nearly destroyed by fire in the ponti- ficate of Clement V., but it was re- stored by this pope, and subsequently enlarged and remodelled by many of his successors. Sixtus V. added the ])ortico of the Scala Santa from the designs of Fontana, and Clement VIII. enlarged the transepts and side aisles from the designs of Giacomo della Porta. In the time of Innocent X. (1644) Borromini loaded the nave with ornaments, and surrounded the granite columns with cumbrous piers. Cle- ment XII. (Corsini) completed the work of renovation in 1734, by adding liiC principal fagade, from the designs of the Florentine architect Alessandro Galilei. After these numerous resto- rations and capricious changes it will hardly be expected that the basilica has preserved much of its original cha- racter. The facade is a fine example of the architecture of the List century : it is built entirely of travertine, and has four large columns and six pilas- ters of the composite order sustaining a massive entablature and balustrade, on which are placed colossal statues of our Saviour and ten saints. Between the columns and pilasters are five bal- conies ; from that in the centre the p jpe pronounces his benediction on the peo- ple on Ascension Day. The whole front is broken into ornaments and details, which lessen the general effect, and make the style seem better adapted to a theatre than a church. In the vesti- bule is a marble statue of Constantine, found in his baths on the Quirinal, and bearing ample evidence of the decline of art. There are five entrances to the basilica ; the middle one has a bronze door, said to have been brought by Alexander YII. from the ruins of the vEmilian basilica, on the site of the church of S. Adriano, in the Forum ; the next door is the Porta Santa, and is of course walled up. 7Vte interior has lost the distinctive characters of the basilica under the hands of Borromini ; the roof and walls are covered with medallions and stucco ornaments, but they do not compensate for the loss of the ancient edifice. The interior as we now see it has five naves divided by four rows of piers. Those of the nave, in which Borromini has encased the columns of the old basilica, are pierced with niches, containing colossal statues of the Apostles ; they are cha- racteristic specimens of the school of Bernini, with all its extravagancies, and yet, with their acknowledged faults, the effect of so many colossal figures is imposing, and seldom fails to find ad- mirers. The St. James the Great, the St. Matthew, the St. Andrew, and the St. John, are by Rusconi ; the St. Tlio- mas and St. Bartholomew are by Le Gros ; the St. James the Less is by Angelo Rossi; the St. Thaddeus is by Lorenzo Ottoni ; the St. Simon by Fran- cesco Marat ti ; the St. Philip by Giu- seppe Mazzuoli ; and the St. Peter and St. Paul are by Mojiot, a French sculptor. The one which has the greatest merit as a work of art, is the Papal Stales.'] u. 27. — roiME. — Basilicas; St John Later an, 349 St. James the Less, by Rossi. " The Apostles appear to me to fall under the censure of an injudicious imitation of the manner of the pah iters. The dra- pery of those figures, from being dis- posed in large masses, gives undoubt- edly that air of grandeur which mag- nitude or quantity is sure to produce ; but though it be acknowledged that it is managed with great skill and intel- ligence, and contrived to appear as light as the materials will allow, yet the weight and solidity of stone was not to be overcome." — Sir J. Reyjiolds. The great ornament of the nave is the superb Corsini Chapel.^ built in the form of a Greek cross by Clement XII., in honour of his ancestor St. Andrea Cor- sini, from the designs of Alessandro Galilei (1729). Nothing can surpass the magnificence of this very beautiful structure : the richest marbles, the most elaborate ornaments and gilding, co- lumns of precious marbles, bas-reliefs, and even gems, have been lavished on its decorations with a profusion quite without a parallel in any other chapel in Rome. Notwithstanding this excess of ornament the whole has been con- trolled and subdued by a correct taste, which cannot fail to be appreciated after the deformities of Borromini's nave. The altarpiece is a mosaic copy of Guido's picture of S. Andrea Cor- sini, now in the Barberini Palace. The celebrated porphyry sarcophagus which forms the tomb of Clement XII. was taken from the portico of the Pantheon ; the cover is modern ; the bronze statue of the pope is by Maini ; and the two lateral figures are by Carlo Monaldi. Opposite, is the tomb of Cardinal Neri Corsini, with his statue and two sitting figures by Maini. The figures in the niches, re- presenting the Cardinal Virtues, are by Rusconi and other followers of Ber- nini, but they are not remarkable as works of art. — The bronze tomb of Martin V., of the princely house of Colonna, is a fine work by Simone, brother of Donatello. The high altm^ has four columns of granite, sustaining a Gothic tabernacle, curious as a work of the fourteenth century. It was con- structed by Urban V. to receive the heads of St. Peter and St. Paul, which were found during his reign among the ruins of the old basilica. It bears the arms of the pope and the king of France. The tribune^ or absis, contains four pointed windows, which appear, from the inscription attributing this part of the basilica to Nicholas IV., to belong to the thirteenth century. The vault is covered with the mosaics of the old basilica, executed in 1291 by Jacopo da Turrita, a contemporary of Cimabue, and inscribed with his name : they are interesting as examples of art in the thirteenth century, but they contrast strangely with the re- dundaiit ornaments of the modern nave. In the transept is the splendid altar of tlieSS. Sacramento, from the designs of Paolo Olivieri. The four bronze columns of the composite order are tra- ditionally said to have belonged to the temple of Jupiter Capitolinus, and to have been cast by Augustus out of the bronze rostra of the vessels captured at the battle of Actium. Above is a fresco of the Ascension by Cav. d'Arpino, who is buried in this church, near the grave of his contemporary Andrea Sacchi. The tomb of Boniface Vill. is remark- able for his portrait by Giotto, who has represented pope between two car- dinals, announcing from the balcony the jubilee of 1300 ; it is the only re- maining fragment of the paintings of Giotto, which covered the loggia of the old Lateran palace. The other paint- ings in the basilica scarcely require notice : the best are the Daniel of Pro- caccini, and the Jonas of Conca. The church ceremonies which take place in St. John Lateian are very imposing. On the Saturday before Easter, after the baptism of the Jews and infidels in the baptistery, the car- dinal bishop holds an ordination in this basilica. On Ascension Day high mass is performed here by the pope in person, who afterwards pronounces his bene- diction on the people from the balcony. The pope again performs high mass 350 R. 27. — ROME. — Basilicas ; St. John Lateran, [Sect. I. here on the Festival of St. John the Baptist, on the 24th June. The live General Councils which have given such celebrity to this basilica, and which are universally known as the Lateran Councils, are the follow- ing : — I. March 19, 1123, in the ponti- ficate of Calixtus II., at which the questions connected with the Investiture were settled. II. April 18, 1139, under Innocent II., at which the doctrines of Peter de Bruys and Arnold of Brescia were condemned, and measures taken to terminate the schism of the Antipope Anacletus II. III. March 5, 1179, un- der Alexander III., at which the schism caused by Frederick Barbarossa was terminated, and the doctrines of the Waldenses and Albigenses were con- demned. IV. November 11, 1215, un- der Innocent III., at which the Latin Patriarch of Constantinople, the Patri- arch of Jerusalem, 400 bishops, and the ambassadors of France, England, Hungary, Aragon, Sicily, Cyprus, &c., were present. At this council the doc- trines of the Albigenses were again condemned, and the errors of Almaric and the Abbot Joachim, the pretended prophet of Calabria, in regard to the Trinity, were denounced as heresies. V. May 3, 1512, summoned by Ju- lius II., and continued for a long time under Leo X. This council is remark- able for the abolition of the Pragmatic Sanction, and for the conclusion of the Concordat between the Pope and Fran- cis I., by which the liberties of the Gallican church were sacrificed. Mea- sures were also taken to supersede the acts of the oecumenical council of Pisa, convoked by Louis XII. and the em- peror Maximilian, in opposition to the Holy League of 1511, between Ju- lius II., the kings of England and of Spain, the Venetians, and the Swiss. The only general council that has been held since this time is that of Trent, A.D. 1525. The Baptistery, built by Constantine, and decorated with the spoils of an- cient edifices, is a small octagonal structure of brick-work. On the sides of the entrance are two magnificent por- phyry columns of the composite order, half- buried in the wall. Eight superb columns of the same material, said to be the largest known, sustain a cornice which runs round the building, sup- porting^ eight small columns of white marble, which seem entirely out of place, and injure the general effect. The exterior of this building, and the general arrangement of the interior, have very probably been preserved since the time of Constantine, but the building is known to have been re- paired by several popes down to the seventeenth century, when Urban VI 11. restored it as we now see it. The prin^ cipal paintings, illustrating the Life of the Baptist, are hy Andrea Sacchi ; the frescoes on the walls are by Gi- migna?ii, Carlo Maratta, and Andrea Camassei. The baptismal font is an immense porphyry vase, occupying a great part of the floor, and evidently intended for immersion. It was in this vase, which has always been held sacred from the earliest times of Christianity, as that in which Constan- tine received the rite of baptism, that Rienzi bathed, on the night of Au- gust 1, 1347, the night before he ap- peared with his insignia of knighthood, and summoned Clement XII. and the electors of Germany to appear before him. He was then crowned in the basilica of the Lateran with the seven crowns of the Holy Spirit, which he pretended to be typical of the gifts he had received from heaven. Before the close of the year this pompous display terminated in his captivity at Avignon, and it was superstitiously believed by many of his own followers that his downfall was a divine judgment for the profanation of the font. The bap- tistery is now used only on the Satur- day before Easter, for baptising con- verted infidels or Jews. The cloisters retain their Gothic of the twelfth or thirteenth century. The old episcopal throne, with its pointed canopy, was removed there in the last century. There are many curious mo- numents in these cloisters which de- serve a visit: the columns exhibit some Papal States. 1 r. 2^. -roue.- Basilicas ; S. Maria Maggiore. 351 good examples of the old mosaic orna- ments. Among the relics shown here is the mouth of a well, called the well of the woman of Samaria, two columns of Pilate's house, and a column said by the tradition to have been split when the vail of the Temple was rent in twain 1 The Scala Santa. — Under the fine portico on the north side of the build- ing, constructed by Sixtus V. from the designs of Fontana, is the Scala Santa. It is said by the Roman antiquaries that Sixtus V., in rebuilding the La- teran palace, religiously preserved that portion of the chapel and triclinium of Leo III. which had escaped the fire by which the ancient palace was de- stroyed, and constructed this portico over the Scala Santa, which had also escaped the flames. The staircase con- sists of twenty-eight marble steps, said by the Church tradition to have be- longed to Pilate's house, and to have been the identical stairs which the Saviour descended when he left the judgment-seat. They are only allowed to be ascended by penitents on their knees ; and the multitude of the faith- ful who visit them is so great, that Clement XII. found it necessary to protect them by planks of wood, which are said to have been three times re- newed. In a chapel at the summit, called the Sancta Sanctorum, is a painting of the Saviour, five feet eight inches in height, one of the numerous pictures attributed to St. Luke, and said by the tradition to be an exact likeness of the Saviour at the age of twelve. This chapel contains also a large collection of relics, and is held so sacred that no woman is allowed to enter it. Near it is a tribune erected by Benedict XIV. to receive the mo- saics which covered the triclinium of Leo III. They are valuable on ac- count of their antiquity. They repre- sent the Saviour giving the keys to St. Peter with one hand, and a standard to Constantine with the other. They have recently been restored by Camuc- cini. Fontana's portico, which con- tains these objects, is a fine structure, consisting of a double arcade of two orders : the lower Doric, and the upper Corinthian. The Scala Santa is in the middle, and on each side are two pa- rallel staircases, by which the penitents descend. The celebrated Lateran Pa- lace, rebuilt as we have already stated by Sixtus V., was converted into a public hospital by Innocent XII., in 1693. It was the palace of the popes from the time of Constantine to the period of the return of the Holy See from Avignon (1377), when Gregory XI. transferred the papal reisidence to the Vatican. 3. Basilica of Santa Maria Maggiore, the third basilica in rank, and one of the four which have a Porta Santa. It was founded on the highest summit of the Esquiline, a.d. 352, by Pope Libe- rius, and John, a patrician of Rome, in fulfilment of a vision representing a fall of snow, which covered the precise space to be occupied by their basilica. From this legend, which is represented in a bas-relief in the Borghese chapel, the edifice was called S. Maria ad Nives ; it afterwards took the name of S. Maria Maggiore, from being the principal of all the Roman churches dedicated to the Virgin. It is supposed to occupy the site of a temple of Juno Lucina, which probably supplied the columns of the interior. The interior has undergone numerous alterations and additions, which have impaired the simplicity of its original plan ; but in spite of these changes it has retained more of the characters of the basilica than any other church within the walls of Rome. It was enlarged in 432 by Sixtus III. on its present plan, which has been preserved amidst all the sub- sequent reparations. The tribune and mosaics were added in the twelfth cen- tury by Nicholas IV. The whole building was repaired by Gregory XIII. in 1575, and the principal fagade was added in 1741 by Benedict XIV. from the designs of Ferdinando Fuga. At the same time the interior was com- pletely renovated, the columns were re- polished and adapted to new bases and Ionic capitals, and the building gene- 352 R. 27. — ROME. — Basilicas ; S. Maria Maggiore. [Sect. I. rally was reduced to the form in which we now see it. Tliere are two fagades, one in front and another at the back of the basilica. The first, by Fuga, is one of the most unhappy of the many fail- ures exliibited by tlie church architec- ture of Rome. Its details are not wortii describing. From the balcony in the upper portico the pope pronounces his benediction on the people on the Fes- tival of the Assumption. The vault of the portico is covered with the mosaics of Gaddo Gaddi, which were formerly on the old fagade ; they aie well pre- served, and have lately been restored by Camuccini. Tlie other front, con- structed by Ca7'lo Ramaldi, in the pon- tificate of Clement X., is in better taste, but is scarcely adapted to a church. There are five doors in the principal front, including the Porta Santa, which is of course walled up. The interior is perhaps the finest church interior of its class in existence. It consists of an immense nave, divided from two side aisles by a single row of tliirty-six Ionic columns of white marble. These support a continued entablature, which has unfortunately been broken by the modern arches con- structed by Sixtus V. anfl Benedict XIV. as entrances to the side chapels. Upon the entablature rests the upper wall of the nave, with a range of pilas- ters corresponding in number to the columns. The length of the nave is 280 English feet, and the breadth rather more than 50 feet. The roof, designed by Sangallo, is flat, and divided into live rows of panels. It is elaborately carved, and gilt with the first gold brought to Spain from Peru, which was 2)resented to Alexander VI. by Ferdi- nand and Isabella. Tlie side aisles are comparatively narrow, and have vaulted roofs little in character with the nave. The whole building is richly but taste- fully decorated, and it would be diffi- cult to exaggerate the effect produced by its simple and beautiful plan. The end of the nave above the arch of the tribune is covered with mosaics of great interest in the history of art. They represent in compartments diiferent events of the Old Testament, illustrat- ing chiefly the lives of Moses and Joshua, Abraham, Isaac, and Jacob. They are known by Church documents to have been in existence in the eighth century, and are considered by many writers to be as old as the fifth. The tri- bune is covered with mosaics by Jacopo da Turrita^ the artist of those still seen in St. John Lateran : they represent the Coronation of the Virgin, and are in- scribed with the name Jacobus Torriti. The high altar is formed of a large urn of porphyry, over which rises the bal- daccliino erected by Benedict XIV. from the designs of Fuga : it is sup- ported by four porphyry columns of the Corinthian order, entwined with gilt })alm-leaves, and is surmounted by six bronze angels by Pietro Bracci. The Chapel of the SS, Saci^amento^ erected by Sixtus V. on the designs of Fontana, in 1586, is rich in marbles and decorations. It contains the tomb of this pope, with his statue by Valsoldo ; and that of Pius V., a fine mass of verde antique adorned with bronze ornaments. The altar of the Sacrament has a fine tabernacle sustained by four angels in bronze gilt. It is said that this chapel was commenced when Sixtus was a cardinal, and that Gregory XIII. sus- pended his allowance on the ground that he must be a rich man to incur such an expense. The work would have been postponed in consequence of this proceeding, if Fontana had not placed at the disposal of Sixtus the whole of his savings, amounting to 1000 crowns ; an act of generosity which the cardinal repaid by his constant patron- age after his accession to the popedom. The frescoes of the chapel are by Gio' hattista Pozzo^ Cesare Nebbia, and other contemporary artists. In this chapel is preserved the sacred Presepio, or the cradle of the Saviour, which forms the subject of a solemn ceremony and pro- cession on Christmas Eve, at which the cardinal-vicar generally officiates. The richness of this chapel is far surpassed by the Borghese Chapel, built by Paul V. from the designs of Flaminio Ponzio (1608J, and remarkable for the mag- Papal States.] -roue, -Basilicas ; S. CroceinGerusalemme^ 353 iiificence of its architecture and deco- rations. The altar of the Virgin has four fluted columns of Oriental jasper, and is celebrated for the miraculous painting of the Madonna, traditionally attributed to St. Luke, and pronounced to be such in a papal bull attached to one of the walls. On the entablature of the altar is the bronze bas-relief representing the miracle of the snow. Tlie frescoes on the sides of the windows above the tombs and those on the great arches are by Guido, with th^ exception of the Madonna, which was painted by Lanfranco. The frescoes around the altar and on the pendentives of the cupola are by Cav, (T Aiyino ,* those of the cupola, representing the Virgin standing on the half moon, are by Lodovico Ci- goli. Lanzi says that in this composi- tion, " owing to some oveisight in point of perspective, which notwithstandiug his earnest entreaties he was not allowed to correct, he appears to great disad- vantage ; and that if it had perished, and his oil painting in the Vatican had come down to us uninjured, this great artist would have enjoyed a higher re- putation, and Baldinacci his encomiast have gained greater credit." The tombs of this chapel are remarkable : tljat ot Paul v., the founder of the chapel, is covered with bas-reliefs and small sta- tues by Buonvicino, Ippolito Buzi, and other followers of the school of Bernini. The tomb of Clement VIII., of the Aldrobrandini family, who gave Paolo Borghese his cardinal's hat, is covered with bas-reliefs by Mochi, Pietro Ber- nini, and other sculptors of the same school. In other parts of the basilica are the Gothic tomb of Cardinal Gonsalvus, with an niscription dated 1299; the tomb of Clement IX. (Rospigliosi), with sculptures by Guidi, Fancelli, and Er- cole Ferrata ; that of Nicholas IV. (1292) ; and the sepulchral stone of Platina, the learned librarian of the Vatican in the fifteenth century, and the historian of the popes. Tlie ceremonies in this basilica dur- ing the year are of a very imposing kind. At the Feast of Pentecost the pope performs high mass here, unless it takes place in the Sistine chapel. On the Festival of the Assumption, August 15th, high mass is always performed in this basilica by the pope in person, who afterwards pronounces from the balcony his benediction on the people. On the 8th September the pope again performs high mass here in honour of the Nativity of the Virgin. The ceremony on Christ- mas Eve, in which the Presepio is car- ried in procession, has been already noticed ; it takes place at 3 a.m., but is not calculated to repay the traveller who looks only to the ceremonial dis- play. In front of the basilica is one of the mjst beautiful Corinthian columns in existence, called the Colonna della Fer- gine. It is of white marble, and is the only one which has survived to attest the magniticence of the basilica of Con- stantine, for which it was no doubt taken from some edifice of classical times. It is said to be forty-seven feet high with- out the capital and base, which are not proportioned to the size of the column. It was erected here by Paul V. in 1513, under the direction of Carlo Maderno. On the top is a bronze statue of the Virgin standing on the half moon. Near this is a small pillar in the form of a cannon surmounted by a cross, placed here to commemorate the absolution given by Clement VIII. in 1595 to Henry IV. of France, on his conversion from the Protestant faith. The inscrip- tion, "In hoc signo vinces," engraved on that part which represents the cannon, has given rise to some speculation as to its intended application. 4. Basilica of Sa?ita Croce in Geru- sakmme, the fourth of the Roman basi- licas, was founded by the Empress Helena in the Horti Variani of Helio- gabalus, close to the Amphitheatrum Castrense. It derives its name from the portion of the true cross deposited in it by the empress, and from the earth of Jerusalem which was brought here and mixed with the foundations. It was consecrated by St. Silvestei, and v/as entirely repaired by Gregory II. in the eighth century. It underwent frequent alterations under later popes, and was 354 R 27. — ROME. — Basilicas ; S, Paolo fuorile Mure, [Sect. I. reduced into its present form by Bene- dict XIV. in the last century. The facade was then added, and many of the columns were walled up in the form of piers to support the roof. Eight of the original columns, fine masses of Egyptian granite, still remain, and di- vide the nave from the two side aisles. The high altar is remarkable for the ancient bath of basalt, with four lions' heads, in which the bodies of two saints are now deposited. Two of the columns which support the baldacchino are of the marble called occhio-di-pavone. The vault of the tribune is covered with frescoes by Pinturicchio, representing the Invention of the Cross. Below the basilica is the subterranean chapel of St. Helena, decorated with mosaics by Baldassare Peruzzi, The consecration of the golden rose, which the popes in former times sent annually to one of the great sovereigns, took place in this basilica. At present it is remarkable only for its large collections of relics, among which some bones of Thomas a Becket are shown. The Convent of Santa Croce, formerly celebrated for its fine library, has become a Reclusorio for women. During the French admi- nistration the library was removed to the Vatican ; it was subsequently re- stored, but many of the rarer manu- scripts had been stolen or lost. This is the last of the four basilicas within the walls of Rome. 5. Basilica of San Paolo fuori le Mure, about four miles beyond the Porta San Paolo, on the road to Ostia. Twenty years ago there was no object at Rome which the student of Christian art regarded with more lively interest than this magnificent temple of the earliest ages of our faith. It was built by the Emperor Theodosius in 386 on the site of a more ancient basilica founded by Constantine above the tomb of the apostle. It was completed by Honorius, and restored in the eighth century by Leo III. In all its subse- quent repairs the original plan was carefully preserved ; and in spite of the malaria which spread over the neighbouring Campagna, it was one of the first places to which every traveller endeavoured to make a pilgrimage. It was a perfect museum of Christian an- tiquities, entirely without a rival in any other city of Europe, with the single exception of llavenna. The lofty nave, 260 feet long and 136 feet wide, was sustained by forty Corinthian columns of Greek marble and pavonazzetto: and the whole building presented an assem- blage of columns amounting to no less than 138, most of them ancient, and forming by far the finest collection in the world. Under the high altar was the tomb which the Church tradition, from the earliest times, had pointed out as the burial-place of the Apostle Paul, whose body, according to Pla- tina, the historian of the popes, had been removed here from the Vatican in the pontificate of Cornelius, a.d. 251. The mosaics of the tribunes, the bronze gate cast at Constantinople, the series of papal portraits, the Gothic windows of the north side, the Porta Santa, and the monuments and the altars all com- bined to increase the interest of the building — an interest which carried the mind back at once into the middle ages, and presented it with one of the most venerable types of Christian tem- ples. To English travellers the basi - lica had an additional interest, since it was the church of which the sovereigns of England were protectors previous to the Reformation, precisely as the em- peror of Austria is the protector of St. Peter's, the king of France of St. John Lateran, and the queen of Spain of Santa Maria Maggiore. All this, how- ever, has passed away, and the fabric in which Christian worship had been per- formed uninterruptedly for 1500 years is now a heap of ruins. On the 16th July, 1824, the roof took fire during some repairs, and fell into the aisles, where it raged with such extraordinary fierceness that the enormous columns of the nave were completely calcined, and the large porphyry columns of the altars and those of the tribune were split into fragments. The only portions which escaped are the western facade, with its mosaics of the thirteenth century ; a Papal States,] r. 27. — rome. — . ■Basilicas; S, Lorenzo, 355 colonnade erected by Benedict XIII. ; the tribune, and the mosaics of the fifth century on its vault ; some portions of the portraits of the popes ; part of the bronze gate ; the forty columns of the side aisles; and some sarcophagi with bas-reliefs. Since the occurrence of this calamity large sums have been contributed by the Catholic sovereigns and princes, and by each successive pope, for the restoration of the build- ing ; and the work is now in progress under the direction of the Roman ar- chitects ^e//^ and Poletti. The transept and the high altar were finished and dedicated in 1841 by the present pope : nothing can exceed the richness and magnificence of this part of the edifice, but years must elapse before its com- pletion can be looked for. It has fre- quently been regretted that the re- building was ever undertaken on the ancient site, which must remain un- inhabitable on account of the mala- ria. Many would rather have seen the basilica left as a ruin, and as a pic- turesque memorial of Christian anti- quity. For many years prior to its destruction the monks were compelled by the malaria to leave the spot before the summer heats began ; and unhap- pily there is good reason for believing that the pestilence increases rather than diminishes in severity. The Cloisters of the Benedictine mo- nastery adjoining are highly curious as an example of the monastic architec- ture of the twelfth and thirteenth cen- turies. In addition to many interesting sepulchral monuments they present al- most every known variety of column ; spiral, twisted, fluted, and sometimes two or three of these fanciful varieties combined. Many of them, as well as the entablature, are covered with mo- saics. 6. Basilica of San Lorenzo, about a mile beyond the walls, on the road to Tivoli. This ancient basilica is gene- rally attributed to Constantine, but it appears to have been founded by the Empress Galla Placidia in the fifth century. It was entirely rebuilt in 578 by Pelagius II. Towards the end of the eighth century Adrian I. reversed the plan of the building by adding a new nave in the place of the old tribune, and bringing the entrance immediately opposite tlie altar. From that time the general arrangement has been tolerably preserved, although the building has been repaired and altered by many of the popes. In 1216, Ho- norius III. added the east wing of the portico, and in 1657 Alexander VII. re- stored the whole building in its present form. The portico has six Ionic co- lumns, four of which are twisted ; they appear to be too rude to belong to clas- sical times, and are probably not older than the restorations of Adrian I., in the eighth century. The paintings of the portico are referred to the time of Honorius III. ; they represent different events in the history of this pope and of St. Lawrence. Among others, may be seen the coronation of Peter Cour- tenay, Count of Auxerre, as emperor of the east, which took place in this basilica in 1216. Another curious painting is that of the demons con- tending for the soul of St. Lawrence, and weighing his actions in a balance. The Inferior presents a nave divided from two side aisles by twenty-two Ionic columns of Egyptian granite. The ancient tribune of Pelagius II., as in many of the old basilicas, is raised above the floor of the nave ; it contains ten magnificent fluted columns of pavo- nazzetto, differing in size and material from those of the nave, and evidently taken from some ancient building. They are buried half-way up their shafts below the present pavement. Eight of them have Corinthian, and two have composite capitals, beautifully worked. The entablature is composed of fragments of ancient marbles, among which friezes and other ornaments may be recognised. Above this is a gallery of twelve smaller columns, two of which are of green porphyry, and ten of pavonazzetto. The pavement is of that kind of mosaic called opus Alexan- drinum. The high altar and its marble baldacchino, supported by four por- phyry columns, stands above the con- 356 R. 27. — ROME. — Basilicas ; S. Sebastian. [Sect. I. fessioiial, where the bodies of St. Law- rence and of St. Stephen are said to be interred. The scene of the martyrdom of St. Lawrence is now marked by the church of S. Lorenzo in Pane e Perna near Sta. Maria Maggiore ; and a con- stant tradition has pointed out the road to Tibur as the place of his burial. Behind the altar is a sarcophagus, with bas-reliefs representing a vintage. In the nave are the two ambo/ies, or marble pulpits, highly interesting relics of the earliest ages of Christianity, and only to be found in three other churches. They stand on each side of the nave ; the Epistle was chanted from the one on the south side, and the Gospel from that on the north side. In the volute of the eighth column of the nave are sculp- tured a lizard and a /rog, which have induced Winckelmann to suppose that all tiiese columns were taken from one of the tenjples attached to the Portico of Octavia. Pliny tells us that the archi- tects of the temples and Portico of Me- tellus, which occupied the site of the Portico of Octavia, were two Spartans, called Sauros and Batrachus, and that being wealthy, the only reward they asked was the permission to inscribe their names upon their work. This was refused; but they introduced their names into the ornaments of the build- ing, under the figures of a lizard and a frog. The identity of the column seems to be established by the later discoveries of Professor Nibby, who found among the ornaments of the entablature frag- ments representing trophies and other memorials of a naval victory, which he supposed to allude to that of Actium. Near the door is another ancient sarco- phagus with very beautiful bas-reliefs, representing a Roman marriage : it was converted in the thirteenth century into the tomb of Cardinal Guglielmo Fieschi, the nephew of Innocent IV. On the right of the tribune is a small subterra- nean chapel, celebrated for the indul- gences and privileges conferred on it by different popes in releasing souls from purgatory. Close to this chapel is the descent into the Catacombs of Sfa. Cyriaca, in which the body of S. Lo- renzo is supposed to have been at first interred. These catacombs form a low gallery with ledges by the sides, and are said to extend to the church of S. Agnese. They are seldom visited, as those of S. Sebastian afford a better idea of these Christian sepulchres, and are explored with far less risk. 7. Basilica of San Sehustiano, about two miles beyond the gate of that name on the Via Appia, the last of the seven basilicas. The foundation of this basilica is scarcely less ancient than that of the others we have described, and is generally attributed to Constan- tine. But the present edihce is not older than 1611, when it was entirely rebuilt by Cardinal Scipio Borghese, from the designs of Flaminio Ponzio. All traces of the ancient basilica have disappeared, and neither the architec- ture nor the decorations present any- thing which requires notice. Tlie chapel of S. Sebastian, designed by Ciro Ferri, has a recumbent statue of the saint by Antonio Giorgetti, errone- ously attributed to his master Bernhii. St. Sebastian is buried under the altar. In the subterranean chapel the bodies of St. Peter and St. Paul are said to have been deposited by some Greeks who were detected in the act of re- moving them from the ^'atican. The sanctuary is famous for its relics ; a mere enumeration of them would make a long list ; but the most remarkable is the stone which is said to contain the impression left by the Saviour's feet, when he was met by St. Peter at the spot now occupied by the little church of Domine quo vadis, which was built to commemorate the event, and so called from the words with which St. Peter addressed the Saviour. The door on the left of the entrance leads into the celebrated Catacombs^ called the Cemetery of San Calisto, bishop of Rome in the third century, who is said to have introduced them into general use as public cemeteries. The most probable explanation of these immense subterranean chambers is that they were originally excavated by the j ancient Romans for the purpose of pro- Papal States.] r. 27- — rome. — Churches, 357 curing the pozzolana; and Cicero is supposed to allude to them in his ora- tion for Milo when he mentions the hiding-place and receptacle for thieves on the Via Appia. They consist of a series of irregular winding passages, generally arranged in three stories. From the principal avenues, others branch oft* indifferent directions;, here and there are open spaces which served as chapels or places of meeting, and on each side of the passages are the niches for the dead. There can be no doubt that the early Christians were accus- tomed to assemble here for divine wor- ship and for concealment ; the fact is confirmed by abundant authorities, in- cluding all the fathers of the Church. Whatever may be the disposition of the traveller to doubt many of the traditions which he will meet with at Rome, it is surely impossible to enter these catacombs with any other feel- ings than those of deep and earnest interest, or to pass lightly by the se- pulchres which still contain the ashes of martyrs who bore testimony to the truth of those principles of faith which Protestants and Catholics hold in equal veneration. These melancholy tombs are tlieir own interpreters, and appeal more powerfully to the feelings than any arguments which can be ad- vanced. As in the catacombs of Na- ples, Syracuse, and Malta, we frequently meet with small chapels or oratories ; the niches are generally square, but some of them are vaulted and form small chambers, which still retain traces of stucco. All the larger recesses seem to have been closed up externally ; in others there is a grave about the ordi- nary length in which the body has been covered with earth ; a semicir- cular excavation for the head is gene- rally added. In some of these niches small apertures may be seen which have evidently been intended for lamps. The graves of children, as in the cata- combs of Malta, occur in a very large proportion : sarcophagi do not appear to have been common, and it is re- markable that in all the passages yet explored very little marble of any kind, except of course that used for the inscriptions, has been found. The ex- tent of these catacombs is almost in- credible: they are said to have been traced for a distance of nearly twenty miles, and some of the passages are supposed to reach as far as Ostia. There is good reason for believing that this statement is not exaggerated : the excavations now seen by travellers are a very small portion of what has been already explored; but the danger of allowing such a labyrinth of subterra- nean passages to remain open has made it necessary to close them. It is also well known that the catacombs of St. Sebastian, although said to be the most extensive, are by no means the only excavations of the kind ; we have al- ready mentioned those of Santa Cyriaca, and there are many others of consider- able magnitude in other directions around Rome. Nearly all the monu- ments and mscriptions found in these catacombs have been removed to the Vatican, where they cannot fail to attract attention on entering the mu- seum. With a few exceptions, where the inscriptions relate to ])agan inter- ments, these monuments belong to the early Christians; but they present little variety, except in the arrangement of the well-known emblems and in the composition of the inscriptions. Churches. The fifty-four parish churches of Rome form but a very small proportion of the whole number. We can scarcely pass through three streets in succession without meeting with at least one church ; and in many instances some of the most interesting are in the least frequented quarters of the city. Up- wards of 300 churches are enumerated in the Tesoro Sagro, independently of those classed under the head of Basi- licas, which comprehend many more than those which have a right to the distinction. As might be expected in so large a number, there are compara- tively few which possess any general interest for the stranger. The following list includes those which are in any 358 R. 27. — ROME. — Churches, [Sect. I. way remarkable for their works of art, their monuments, or their architecture. Ill visiting the churches the usual fee to the sacristan is two pauls. >S. Agnese in the Piazza Navona^ built on the spot where St. Agnes is said to have been publicly exposed after her torture, and to have struck with blind- ness the first person who saw her degra- dation. This is one of the most ele- gant churches, and the best example of the Greek cross in Rome. It was entirely rebuilt in 1642 by the princes of the Pamfili family, from the designs of Girolamo Rainaldi, and is generally regarded as his masterpiece. The fa- cade of travertine is by IBorromini, who appears to have been controlled by the chaster style of his predecessor, and to have indulged less in minute details than in any other public building on which he has left any record of his capricious style. The cupola was add- ed by Carlo Rainaldi. The interior is rich in marbles and stucco ornaments, and has eight fine columns of marble. The entrance and three splendid chapels form the Greek cross; they are decorated with bas- reliefs, which do not merit the praises bestowed on fhem by Algardi. The cupola was painted by Ciro Ferri and his pupil Corhellini. Among the statues and sculptures of this church we may mention the St. Sebastian, an antique statue altered by Paolo Campi ; the St. Agnes by Ercole Ferrata ; the group of the Holy Family by Domenico Guidi ; and the bas-relief of St. Cecilia by A7it07iio Raggi. The tomb of In- nocent X. is by Maini. In the subter- ranean chapel the bas-relief of the altar, representing St. Agnes miracu- lously covered with hair, is by Algardi : it has been highly praised, but it can hardly be classed among his successful efforts. S. Agnese fuori le Mure, about a mile beyond the Porta Pia, one of the few churches which have preserved their ancient form and arrangement without change. It was founded by Constantine, at the request of his daughter Constantia, on the spot where the body of St. Agnes was discovered. The church being below the level of the soil, we descend into it by a marble staircase, whose walls are covered with sepulchral inscriptions. The interior presents some striking characteristics of the basilica : it cbnsists of a nave sepa- rated from the two side aisles by six- teen ancient columns, ten of which are of various marbles, four of the rare porta-santa, and two of pavonazzetto. Another row of sixteen columns of smaller size support the upper part of the building and the gallery, which is almost an unique example of its kind. Under the high altar, with a baldacchino sustained by four porphyry pillars, is the tomb of St. Agnes. Her statue on the altar is composed of an antique torso of Oriental alabaster, with modern head, hands, &c. in bronze gilt. The tribune has a mosaic of the seventh century, bearing the name of the saint. At the altar of the Virgin is a fine Head of Christ, said to be by Michael Angela, and a beautiful antique candelabrum of white marble. S. Agostino, built in 1483 by Cardinal d'Estouteville, ambassador of France, from the designs of the Florentine ar- chitect, Baccio Pintelli. The whole building was restored in the last cen- tury by Vanvitelli (1740). The ele- gant but simple front is of travertine taken from the Coliseum : the cupola was the first constructed in Rome. The interior retains some traces of its original Gothic, and has a nave and side aisles. The great interest of this church is de- rived from the celebrated fresco by Ra- phael on the third pilaster on the lefc hand : it represents the prophet Isaiah and two angels holding a tablet. If we may believe Vasari's story, Raphael painted this fresco after he had seen the prophets of Michael Angelo in the Sis- tine chapel. The well-known tradition that he had clandestinely obtained ac- cess to the chapel during the absence of Michael Angelo, and immediately re- painted the Isaiah which he had previ- ously finished in his own style, does not rest on good authority, and is now generally discredited. The imitation, however, is evident, and the painting as Papal States.] R. 27.— ROME. — Churches, 359 a whole is by no means equal to those works ill which Raphael's genius was entirely uncontrolled. The fresco was injured in the time of Paul IV. by attempts to clean it, and was cleverly restored by Daniele da Volterra. In the chapel of St. Augustin is a fine picture of the saint and two lateral paintings by Guercino. At the last altar is the Madonna of Loreto, by Michelangelo da Caravaggio. The statue of St. Thomas of Yillanova is by Ercok Ferrata. The fine group in marble, representing the Virgin, the infant Saviour, and St. An- drew, is a remarkable work of Andrea Contucci da Sa?2Sovi?io, The high altar and its four angels are from the designs of Bernini. The Madonna, venerated as one of St. Luke's too numerous per- formances, is evidently the work of early German artists. In the adjoining convent, a fine build- ing designed by V anvitelli, is tlie Bibli- oteca Angelica^ so called from Cardinal Angelo Rocca, who founded it in 1605. It is the third library in Rome, and contains nearly 90,000 volumes and 2945 MSS. In this number are com- prised many valuable works from the collection of Holstenius, presented by Cardinal Barberini. Among its trea- sures are some valuable cinque-cento editions, some inedited Chinese and Coptic MSS., a Syriac Gospel of the seventh century, a Dante of the four- teenth century with miniatures, and an edition of Walton's Polyglot, with the preface acknowledging the encourage- , ment of Cromwell, the Serenissimus Princeps," which was afterwards altered to suit the dedication to Charles II. The library is open daily, except on holidays, from 8 a.m. to noon. Andrea delle Fratte, close to the College of the Propaganda, restored at the end of the sixteenth century from the designs of Guerra. The cupola and steeple are among the most fantastic works of Borromini. The front is by Chev. Valadier (1825), professor of architecture at the Academy. In the chapel of S. Francesco diPaola are two angels by Bernini; the Death of St. Anna is by Paceiti. In this church are the tombs of the celebrated Prussian sculptor, Rudolph Schadow, by his countryman Wolf ; of Angelica Kauff- mann ; and George Zoega, the learned Danish antiquary, the well-known au- thor of the best work extant on the Obe- lisks. The tomb of Schadow recalls one of the many noble actions of Thor- waldsen. When that estimable man was requested by the late king of Prussia to execute a large work for Berlin, he replied that there was one of his Ma- jesty's own subjects then in Rome, who was, he humbly submitted, a fitter ob- ject for his patronage. The result is well known to those who have seen the Spi?i?iing Girl of this accomplished sculptor. This church is remarkable for the ceremony of the Tre Ore, or three hours of Christ's agony on the cross, and the Selfe Dolori of the Vir- gin, which takes place on Good Friday, from 12 to 3 p.m. S. Andrea al Noviziato on the Mo?ite Cavallo, a curious little church built by Prince Camillo Pamfili, nephew of Innocent X., from the designs of Ber- nini, as the Noviciate of the Jesuits. It has a Corinthian fagade, and a semicir- cular portico with Ionic columns. The interior is oval and is richly decorated. In the chapel of St. Francis Xavier are three paintings by Baciccio (Giambat- tista Gaullij, the Genoese painter, which Lanzi cites among the best examples of his serious style : they represent St. Francis Xavier baptizing the queen of India, and the death of the saint in the desert island of Sancian in China. The chapel of St. Stanislaus Kostka has some paintings by David, the celebrated French painter, while a student in Rome ; and an altarpiece representing S. Sta- nislaus, a charming picture by Carlo Marafta. Under the altar the body of St. Stanislaus is preserved in an urn of lapis lazuli. The tomb of Charles Emanuel IV., the king of Sardinia, who abdicated in 1802, and became a Jesuit in the adjoining convent, is by Fesfa, a Piedmontese sculptor. The painting at the high altar, representing the Crucifixion of St. Andrew, is by Borgognone. In the convent is shown 360 R. 27. — ROME. — Churches. [Sect. I. the chamber of St. Stanislaus, converted into a chapel by Giuseppe Chiari. It I contains a singular statue of the saint ' dying, by Le Gros : the head, hands, and feet are of white marble, the robes are of black, and the couch of yellow marble. S. Andrea della Valle, one of the best specimens of church architecture in Rome. It was built in 1591 from the designs of Olivieri, and finished by Carlo Maderno. The fine facade is by Carlo Rainaldi ; between its coupled columns of the Corinthian and compo- site orders are niches containing statues by Domenico Guidi, Ercole Ferrata. and Fancelli. The interior is celebrated for its paintings. The cupola, one of the most beautiful in Rome, is painted by Lanfranco^ and is considered one of his most successful works. He devoted four years to the execution, after a long and minute study of Correggio's cupola at Parma. The glory which he intro- duced was considered to form an epoch in art ; and Passeri, after describing its effect, says that " it remains an unri- valled example ; for as far as we can form any idea of these glories, he has in the judgment of the most dispassionate critics attained the highest point of ex- cellence, not only in the general har- mony of the whole, which is the main point, but in the distribution of the colours, the arrangement of the parts, and the strong character of the chiaro- scuro." At the four angles are the four Evangelists in fresco by Domenichino ; and on the vault of the tribune are his Flagellation and Glorification of St. Andrew. The latter perhaps are the most remarkable: the correctness and purity of their design can hardly be surpassed, and yet we know that they were severely criticised by contempo- rary artists. Of the evangelists, the St. John is an admirable figure, power- fully coloured and beautiful in expres- sion. Amidst the outcry against these frescoes, Domenichino is said to have visited them some time after their exe- cution, and to have said, "Non mi pare d'esser tanto cattivo." Lanzi speaking of the evangelists, says that " after a hundred similar performances, they are still looked up to as models of art." Beneath the frescoes of Domenichino at the tribune are three large historical frescoes representing different events in the life of St. Andrew, by Calahrese (Mattia Preti). Lanzi considers that they are heavy and disproportioned, and suffer from comparison Avith those of Domenichino. In the Strozzi chapel is a bronze Pietd, copied from that by Michael Angelo in St. Peter's. In the transept is a picture of S. Andrea Avel- lino by Lanfranco, Over the two late- ral doors are the tombs of Pius II. and Pius III. (Piccolomini), by Pasquino of Montepulciano. The St. vSebastian in an adjoining chapel is by Giovanni de Fecchi, of Borgo San Sepolcro. In the Rucellai chapel is the tomb of Giovanni della Casa, the learned archbishop of Benevento, who died in 1556. He was the biographer of Cardinals Bembo and Contarini, and the author of the Gala- teo, or Art of Living in the World. Another tomb of some interest is that of Cardinal Gozzadino, nephew of Gre- gory XV. The last chapel contains an Assumption by Domenico Passig- nani; and four statues, of which S. Martha is by Francesco Mochi, St. John the Evangelist by Buonvicino, the Baptist by Pietro Bernini^ and the Mag- dalen by Cristoforo Santi. This church is supposed to stand very nearly on the Curia of Pompey, the memorable spot on which Caesar fell. S. Angelo in Pescheria^ near the Por- tico of Octavia, supposed to occupy part of the site of the Temple of Juno, noticed in the description of the Portico, under Antiquities (p. 324). It contains a picture by Fasari, in the chapel of St. Andrew. But it is more remarkable from its connexion with the history of Rienzi. It was upon the walls of this church that he exhibited the allegorical picture of Rome, which first roused the people against the nobles. It was here also that he assembled the citizens by sound of trumpet to meet at midnight on the 20th May, 1347, in order to establish the good estate." After pass- ing the night in religious observances. Papa/ States.] r. 27. — rome. — Churches, 361 Rienzi marched out of the church in armour, but with his head uncovered, attended by the papal vicar and numer- ous followers bearing allegorical stand- ards of Peace, Liberty, and Justice. He proceeded in this way to the Capitol, and there standing before the lion of basalt, called on the people to ratify the articles of the Good Estate. This me- morable scene terminated, as the reader is no doubt aware, in the elevation of Rienzi to power as the tribune and libe- rator of Rome. >S. Antonio Abate, supposed to occupy the site of a temple of Diana. In the chapel of the saint is a specimen of opus Alexandrinum of the third cen- tury, representing a tiger tearing a young bull. On the Festival of St. Antony, January 17, droves of animals of all kinds are brought to the door of this church to receive a benediction and be sprinkled with holy water. The horses of the pope, of the cardinals, and of the Roman princes are seen here on this occasion with the horses and mules of the peasantry, who are dressed out in their holiday costumes. The benediction is supposed to keep them free from disease for the ensuing year : altogether it is a curious and characteristic scene. " The best defence of such a ceremony will be found in the benefit likely to result to the objects of it, from its teaching that comprehen- sive charity which includes even the inferior creatures in the great circle of Christian benevolence. Tliere is some- thing that takes a delightful hold on the imagination in the simple creed of the untutored Indian. Without at- tempting, however, to raise the mysteri- ous veil which is drawn over the lot of the lower animals in the scale of crea- tion, it is difficult not to sympathise with any doctrines that inculcate kind and humane feelings towards them." — Matthews. SS. Apostoli, founded by Pelagius 1., in the sixth century, rebuilt by Martin v., of the Colorma family, about 1420. The tribune was added by Sixtus IV., and the portico by Julius II., when Cardinal della Rovere. The interior I was restored by Francesco Fontana. Under the portico is a large antique bas-relief of an eagle holding a crown of oak, much admired as a specimen of ancient art. Opposite is the monu- ment erected, by Canova to his early friend arxd countryman Giovanni Vol- pato, the celebrated engraver : it repre- sents in bas-relief a figure of Friendship weeping before the bust of the de- ceased : the inscription was written by Marini. Tlie {?iterior of the church is remarkable for another fine work of Canova, the tomb of Clement XIV. (Ganganelli), placed over the door of the sacristy. By Marini's inscription on the monument of Volpato we are told that this interesting work was exe- cuted by Canova in his twenty-fifth year, and we may therefore regard it as one of the first efforts of the new school of sculpture. It has a sitting statue of the pope, and two figures re- presenting Temperance and Clemency. Another monument of interest is the tablet erected by Canova to the memory of his first patron, Falieri, the senator of Venice. A Latin inscription marks the spot where the heart of Maria Cle- mentina, wife of the Pretender, is de- posited : her tomb we have already noticed in St. Peter's. The paintings in this church are not remarkable : the altarpiece, representing the Martyrdom of the Apostles Philip and James, is by Domenico Muratori : it is the largest altarpiece in Rome, and is feebly praised by Lanzi for its just propor- tions and skilful management of the lights. The triumph of the Franciscan Order in the middle of the roof is by Baciccio, The St. Antony, by Benedetto Luti, in the chapel of that saint, is mentioned by Lanzi as one of his most esteemed works. The festival of St. Bonaventurais celebrated in this church in the presence of the whole college of cardinals, on the 14th July. A7'a Coeli. — We have already stated, in the description of the Antiquities, that the church of S, Maria d' Ara Coeli is supposed to occupy the site of the Temple of Jupiter Feretrius. The church is of high antiquity, probably R 362 R. 27. — ROME. — Churches. [Sect. I. as old as the sixth century. The facade of brick-work, which is still unfinished, is more recent, and the fragment of Gothic which it retains in its pointed windows and cornice seems to refer it to the fifteenth century. It is both externally and internally the ugliest of all the Roman churches. The interior has a nave and two side aisles, separated by twenty-two large columns of diffe- rent sizes and materials, taken probably from various buildings, without regard to uniformity of style. Twenty are of Egyptian granite, and two of marble. Their bases and capitals are also dif- ferent: and some are so much shorter tlian the others that it has been neces- sary to raise them on pedestals. On the third column on the left of the main entrance is this inscription, in let- ters evidently antique : — A cvbicvlo AVGVSTORUM. Its authenticity has not been doubted, and it would therefore appear to prove that the church was built with the spoils of the Palace of the Cae- sars. The floor of the church is entirely mosaic, of a very ancient kind, contain- ing some specimens of rare stones. The name of Ara Coeli has given rise to considerable controversy : the Church tradition tells us that it is derived from the altar erected by Augustus near the site of the present high altar, to com- memorate the prophecy of the oracle of Delphi respecting the coming of our Saviour. It bore the inscription, Ai^a primogenito Dei, from which the legend has derived the modern title. Others reject this as a mere tradition of the monks, and tell us that the church in the middle ages bore the name of S. Maria in Aurocielo, The controversy possesses little interest, and is not worth pursuing further. The church and con- vent belonged to the Benedictines until 1252, when Innocent IV. transferred it to the Franciscans, who have held it to the present time. On entering the church by the principal door the first chapel on the right contains an admirable series of frescoes by Pinturicchio, illus- trating the life of St. Bernardino of Siena, which have recently been re- Stored by Camuccini. They represent the saint assuming the habit of a monk, his Preaching, his Vision of Christ, his Penitence, his Death, and his Glorifica- tion. Of the other pictures in the church the most remarkable are the Ascension by Girolamo Muziano, cha- racterised by Lanzi as a work *' piena d'arte the S. Girolamo of Giovanni de^ Vecchi, of Borgo San Sepolcro ; the lateral pictures in the chapel of St. Margaret of Cortona, representing the Conversion and Death of the saint, by Filippo Evangelist i, the able assistant of Marco Benefial, who frequently exhi- bited the works of Evangelisti as his own ; the Transfiguration, in one of the last chapels, cited by Lanzi among those works of Girolamo Siciolante dci Sermoneta in which he approached nearest to Raphael ; and the frescoes on the roof of the chapel of St. Antony, by Niccolo da Pesaro. There are some in- teresting tombs in this church : the Gothic mausoleum of the Savelli, a name which carries us back into the middle-age history of Rome, is by Agostino and Angela da Siena, from the designs, as Vasari tells us, of Giotto. The base is formed of an ancient sar- cophagus covered with bacchanalian emblems. Near the high altar is the tomb of Cardinal Giambattista Savelli, which Nibby considers to bespeak the style of Sansovino. In the floor of the left transept is the tomb of Felice de" Fredis, whose inscription claims im- mortality for him as the discoverer of the Laocoon. He died in 1529, and the inscription is gradually becoming illegible : it is an interesting record, and ought not to be allowed to disappear. The celebrated traveller of the seven- teenth century,Pietro della Vaile, whose Travels in Turkey, Egypt, Persia, and India have been translated into Eng- lish and French, is also buried in this church. Another interesting tomb is that of Cardinal F. Matteo Acquasparta, general of the Franciscans, mentioned by Dante in the twelfth canto of the Paradiso for the moderation with which he administered the rules of his order. The AraCceli is held in great veneration by the Romans on account of a mira- Papal States. 1 R. 27. — ROME. — Churches. 363 culous wooden figure of the infant Sa- viour, the Simtissimo Bambino, whose powers in curing the sick have given it extraordinary popularity. The legend says that it was carved by a Franciscan pilgrim out of a tree which grew on the Mount of Olives, and painted by St. Luke while the pilgrim was sleeping over his work. The bambino is ex- tremely rich in gems and jewellery, and is held in such sanctity in cases of severe sickness, that it is said by the Italians themselves to receive more fees tlian any physician in Rome. The Presepio, or Festival of the Bambino, which occurs at the Epiphany, is at- tended by crowds of peasantry from all parts of the surrounding country. The altar is converted on this occasion into a kind of stage, on which the Nativity is represented by means of pasteboard figures as large as life. To English tra- vellers the Ara Coeli has peculiar inte- rest from its connexion with Gibbon. It was in this church, as he himself tells us, ^' on the 15th of October, 1764, as he sat musing amidst the :uins of the Capitol, while the bare-footed friars were singing vespers, that the idea of writing the Decline and Fall of the city first started to his mind." In front of the church, facing the Campidoglio, are the 124 steps of Grecian marble said to have belonged to the Temple of Venus and Rome. Like the Santa Scala at the Lateran, penitents frequently as- cend them on their knees. An inscrip- tion on the left of the great door states that they were constructed in 1348, the year of the plague, by Maestro Lorenzo of the Rione Colonna, the expenses being defrayed by charitable contribu- tions. S. BartolommeOy on the island of the Tiber, built on the ruins of the cele- brated temple of ^sculapius, noticed under the Antiquities, in a preceding page. The relics of the saint were brought here in 983 ; the church was rebuilt in 1113 under Paschal II., and entirely restored in 1624 by Cardinal Santorio, from the designs of Martino Lunghi, who added the facade. The interior has a nave and two side aisles divided by twenty -four granite co- lumns, supposed to be taken from tlie ruins of the temple. >S. Bernardo, in the Piazza de' Ter- mini, a circular building of consi- derable interest as one of the halls or temples which stood at the two front angles of the outer wall of the Baths of Diocletian (see p. 307). It has been preserved entire by the pious care of Catherine Sforza, countess of Santa Fiora, who in 1598 converted it into a church dedicated to St. Bernard, and presented it to the Cistercian monas- tery which she founded and endowed. It is a remarkable building of the kind ; the interior is richly ornamented with stuccoes, and the effect of the lofty dome is peculiarly striking. The lead with which this dome is covered was found among the ruins of the Baths. S. Bibiana, founded in the fifth cen- tury, and entirely remodelled by Ur- ban VIII. from the designs of Bernini, who added the facade. The eight co- lums separating the nave from the side aisles are antique. On the walls of the nave are ten frescoes, illustrating the life of the saint; those on the right are by Jgosfino Ciampelii, and those opposite by Pietro da Cortona. The statue of S. Bibiana at the high altar is universally admitted to be the masterpiece of Bernini. It is graceful and pure in style, and forms a remark- able contrast to the fantastic taste which characterises his later works. Beneath the altar is a magnificent sarcophagus of Oriental alabaster 17 feet in circum- ference, with the head of a leopard in the middle : it contains the bodies of S. Bibiana and two other saints. S. Bonosa, in the Trastevere, near the church of St. Chrysogonus, a small but ancient church, which seems to have escaped notice amidst the mul- titudes of other edifices which have higher pretensions in regard to art. It is remarkable for a tradition that it is the burial-place of Rienzi. It appears to be a mere tradition, for no authority has been adduced in its support, and we have been unable to trace it to its R 2 864 R. 2*7. ROME, . — Churches, [Sect. L source. If we are to rely on the state- ment of the very curious Biography of Rieiizi, attributed to Tommaso Forti- fiocca, and republished in 1828 at Fori! by Zeferino Re, of Cesena, the body of the Tribune was burnt by the Jews in the " Campo deir Austa," supposed to be the open space surrounding the mausoleum of Augustus, then the for- tress of the Colonna family. We are told by the same writer that this pro- ceeding was ordered by Giugurta and Sciaretta Colonna, that the body was reduced to dust, and not a fragment left : cosl quel corpo fu arso, fu ridotto in polvere, e 7ion ne rimase cica. On tlie floor of the church are two sepul- oliral stones r on one is a small figure in the civil costume of the twelfth cen- tury, with a coat of arms, and the words Niccolo Vedda ; the other had a female figure, but the head and the inscription have been removed, with the exception of the words Ions . Smenus. The occurrence of th^ word Niccolo perhaps gave rise to the tradition. Cappuccini (S. Maria della Conce- zione), built by Cardinal Francesco Barberini, brother of Urban VIII., from the designs of Antonio Casoni. It is celebrated for the well-known picture of the Archangel Michael by Guido, classed by Lanzi among his best works in his softer manner. Forsyth calls it the Catholic Apollo. ^' Like the Bel- videre god," he says, *' the archangel breathes that dignified vengeance which animates without distorting ; while the very devil derives importance from his august adversary, and escapes the laugh which his figure usually provokes." Smollett's criticism is not so compli- mentary : he describes the archangel as having the airs of a French dancing- master.'' The Lucifer is said to be a likeness of Cardinal Pamfili, after- wards Innocent X., who had displeased Guido by his criticisms. The common story tells us that it is the portrait of LTrban VIII. ; but the fact that the pic- ture was painted for Cardinal Barbe- rini, the pope's brother, would seem to throw discredit on the statement, even if it were not established that the satire was directed against his prede- cessor, Innocent X. Cardinal Barberini is buried in the church : his grave is marked by the simple inscription on the pavement, Hicjacet pulvis, cinis, ef nihil. Over the entrance door is Giotto^s original design for the Navicella, which he executed in mosaic under the por- tico of St. Peter's. In the chapel op- posite to Guido's archangel is the Con- version of St. Paul, one of the best works of Piet?'o da Coi^tona. " Who- ever," says Lanzi, would know to what lengths he carried his style in his altarpieces should examine the Con- version of St. Paul in the Capuchin Church at Rome, which though placed opposite to the St. Michael of Guido, nevertheless fails not to excite the ad- miration of such professors as are willing to admit various styles of beauty in art." The Ecstasy of St. Francis, by DomenichinOy removed a short time ago in order to be copied in mosaic, was painted gratuitously for the church. The Dead Christ, in the third chapel, by his scholar, Andrea Camassei, is cited by Lanzi among his creditable works. In another chapel is the tomb of Prince Alexander Sobieski, who died in Rome in 1714. Under the church are four low vaulted chambers, which constitute the cemetery of the convent. The earth was brought from Jerusalem. The walls are covered with bones and skulls, and several skeletons are standing erect in the robes of the order. W^henever a monk dies, he is buried in the oldest grave, from which the boneg of the last occupant are then removed to the general receptacle. As ladies are not allowed to enter the cloisters of the convent, they are of course unable to visit this cemetery. S. Carlo ai Catinari, so called from the manufacturers of wooden dishes who used to carry on their trade in the Piazza. The church was rebuilt in 1612 from the designs of Rosati and Soria. It is dedicated to S. Carlo Bor- romeo. The cupola is one of the highest in Rome, and is celebrated for the four frescoes on the penden fives, by Domeni- chinOf representing the Cardinal Virtues. Papal States.] r. 27. — rome. — Churches. 365 Behind the altar is a fine half-fissure of S. Carlo, in Iresco, by Guido, formerly on the fagade of the church. At the high altar is the immense picture re- presenting the Procession of S. Carlo during the Plague at Milan, by Pietro da Cortona, " a composition," says Lanzi, " vast enough to dismay the boldest copyist." The Death of St. Anna is the masterpiece of Andrea Sacchi. Near this altar is the tomb of Cardinal Gerdil of Piedmont, the emi- nent metaphysician and natural phi- losopher, who was at one time tutor to the prince royal of Sardinia. He died at Rome in 1 S02. His ' Treatise on the Immortality of the Soul,' his * Intro- duction to the Study of Religion,' his * Reflections on Education,' in opposi- tion to Rousseau, and * the Pheno- menon of Capillary Tubes,' still hold a high rank in modern Italian lite- rature. S. Carlo in the Corso, a fine church, with a heavy, disproportioned front added by Giobattista Menicucci and Fra Mario da Canepina. The church is from the designs of Onorio Lunghi (1614), completed by Pietro da Cor- tona. The interior, consisting of a nave and side aisles divided by Corinthian pilasters, is handsome, but in bad taste. At the high altar is the large picture of S. Carlo Borromeo presented by the Virgin to the Saviour, esteemed one of the best works of Carlo Marat ta. The rich chapel of the right transept has a mosaic copy of the Conception, by the same painter, in S. Maria del Popolo, the statue of David by Pietro Pacilli, and that of Judith by Lehrun. This church contains the tomb of Count Alessandro ^"erl•i, the well-known au- thor of the ' Notti Romane.' On the festival of S. Carlo Borromeo, on the 4 th November, the pope performs high mass in this church, at 10 a.m. S, Carlo alle Quatiro Fotita?ie, one of the extravagant and capricious designs of Borromnii, built in 1640. It is worth notice chiefly because it occupies the exact space of one of the great piers of the dome of St. Peter's. The court of the adjoining convent is in the same diminutive proportions, although it has two porticos of twenty-four columns. S. Cecilia, in the Trastevere ; built on the site of the house of St. Cecilia, part of which is still shown. Its foun- dation dates from 230, in the pontificate of Urban I. It was rebuilt by Pas- chal I. in 821, and entirely restored in 1725 by Cardinal Doria. In the fore-court is a fine antique marble vase. The body of the saint is buried beneath the high altar ; the silver urn in which it was formerly deposited was stolen by the French. The recumbent statue of St. Cecilia by Stefano Maderno is one of the most expressive and beautiful sculptures which the seventeenth cen- fury produced. It represents the dead body of the saint in her grave-clothes, in the precise attitude in which it is said to have been found many years after her martyrdom on this spot. The tribune contains some curious mosaics of the ninth century, belonging to the restored church of Paschal I. San Clemente^ on the Esquiline, near the Baths of Titus, between the Lateran and Coliseum. This is one of the most interesting churches in existence. An ancient tradition of the church tells us that it stands on the site of the house of Clement, the fellow-labourer of St. Paul, and the third bishop of Rome : it is supposed to have been founded by Constantine. In 772 it was restored by Adrian I.; the choir was repaired about A.D. 880 by .lohn VIII.; the mosaics of the tribune were added in the eleventh century ; and Clement XL (Albani), in the beginning of the last century, repaired and restored the whole edifice in its present form. In front is a quadriporticus, surrounding a court 58 feet long by 48 broad, entered by a small portico, which belongs probably to the eighth century. The interior consists of a nave, separated from the two side aisles by sixteen columns of different marbles and sizes, evidently taken from some ancient building. In front of the altar is the marble inclosure of the Pre«%/ery, bearing the monogram of John VIII., and therefore as old as the ninth century. At the sides are the 366 R. 27. — ROME. — Churches. [Sect. I. amhones^ or marble pulpits, from which, as we have stated in the account of the Basilica of S. Loienzo, the epistle and gospel were read. Behind this are the absis or tribune, the ancient altar, and the episcopal seat, raised on a platform and divided from the rest of the church by two gates. The pavement is tesse- lated, and many parts of the ambones and altar are covered with mosaics. The vault of the tribune is also covered with mosaics of the eleventh century. The Capella della Passione, on the left of the entrance, contains the interesting frescoes by Masaccio, representing the Crucifixion of the Saviour, and the History of St. Clement and St. Cathe- rine, which have been so often studied in reference to the history of art. They have frequently been retouched, and have consequently sufl^red much from restorations. The Evangelists on the roof are said to have escaped, and they certainly present many characteristics of that fine old master. The chief sub- jects are as follows : the Annunciation and St. Christopher ; St, Catherine forced to idolatry ; her Instruction of the daughter of King Maximilian in prison ; her Death ; her Dispute with the Alexandrian Doctors ; the Miracle of her Deliverance ; her Martyrdom. Opposite are the History of St. Cle- ment and the Crucifixion. In the right aisle, near the high altar, is the tomb of Cardinal Rovarella, an inte- resting work of the fifteenth century : bearing the date of 1478. Among its bas-reliefs the thyrsus and other baccha- nalian emblems used as symbols by the early Christians are conspicuous. The adjoining convent belongs to the Irish Dominicans. S, Costanza, near the church of S. Agnese, beyond the Porta Pia, errone- ously considered by the older antiquaries to be a temple of Bacchus. It was built by Constantine as a baptistery, in which the two Constantias, his sister and daughtf r, are supposed to have been baptized. The building is circular, sixty-nine feet in diameter, with a peri- style of twenty-four coupled granite columns supporting a dome. The vault is covered with mosaics with vine-leaves and bunches of grapes, which gave rise to the idea that it was a temple of Bac- chus. But independently of the evi- dence afforded by* the style of architec- ture and the construction of the build- ing, which belong evidently to the decline of art, the porphyry sarcophagus of the family of Constantine, which was removed from its position in this church to the museum of the Vatican by Pius VI., is covered with bacchanalian sym- bols of the same kind, and they are now well known to have been frequently adopted as emblems by the early Chris- tians. It has been supposed by some authorities that the columns were taken from some ancient temple. The capi- tals are richly worked, and were thought by Desgodetz worthy of being illus- trated in his great work on the anti- quities of Rome, in which a plan and section of the building may be seen. It was consecrated as a church by Alex- ander IV., in the thirteenth century, and dedicated to St. Constantia, whose body is interred, with the relics of other saints, under the altar in the centre of the edifice. Between this church and S. Agnese is an oblong inclosure, for- merly called the Hippodrome of Con- stantine. It is now proved by excava- tions to have been a Christian cemetery. S. Cosimo e Damiano^ in the Roman Forum, a very ancient church, built on the site of the temple of Remus, and noticed under that head in the general description of the Antiquities (p. 288). aS. Francesca Romana, close to the Basilica of Constantine, partly built on the site of the Temple of Venus and Rome, and restored by Paul V. from the designs of Carlo Larabardi. It con- tains some curious mosaics of the ninth century ; the tomb of St. Francesca, covered with rich marbles and bronzes, by Bernini ; and the tomb of Gregory XI., erected in 1384 by the senate and people, from the designs of Pietro Paolo Olivier i, with a bas-relief representing the return of the Holy See to Rome after an absence of seventy- two years at Avignon. Under the vestibule is the mausoleum of Antonio Rido of Padua, Pafal States.] R. 27. — rome. — Churches. 361 governor of St. Angelo in the fifteenth century : its sculptures give a good ex- ample of the military costume of the period. At the festival of S. Francesca Romana, on the 9th March, high mass is celebrated in this church in the pre- sence of the college of cardinals. S. Fraiicesco a Ripa^ founded in the thirteenth century in honour of St. Francis of Assisi, who lived in the con- vent and hospital adjoining, during his visits to Rome. The present church and convent were rebuilt by Cardinal Lazaro Pallavicini, from the designs of Matteo Rossi. The church contains some works of art, among which are the Virgin and Child with St. Anne, one of the best works of Baciccio ; a Dead Christ, by A7inibale Caj^acci ; and the recumbent statue of the Blessed Luigi Albertoni, by Bernini. In the convent the apartments occupied by St. Francis are still shown. Gesz), the church of the Jesuits, one of the richest churches of Rome, begun in 1575 by Cardinal Alessandro Farnese, from the designs of Vignola. The facade and cupola were added by Giacomo della Porta. The interior is rich in marbles of the rarest kinds, and is decorated in the most gorgeous style. The frescoes of the cupola, tribune, and roof are by Baciccio^ and are considered his best works. The paintings at the different altars are not of the first class. At the high altar, designed by Giacomo della Porta, is the Circumcision, by Girolamo Muziano, praised by Lanzi as a " tavola bella e ben ornata." The Death of St, Francis Xavier, in the right transept, is by Carlo Maratta. The chapel of S. Ignazio is one of the richest in Rome. It was designed by the celebrated Padre Pozzi, and is bril- liantly decorated with lapis lazuli and verde antique. The marble group of the Trinity is by Bernardino Ludovisi : the globe held by the Almighty is said to be the largest mass of lapis lazuli known. The altarpiece of St. Ignatius is by Padre Pozzi. Behind this pic- ture is the silver statue of the saint. His body lies beneath the altar in an urn of bronze gilt, adorned with pre- cious stones. The two allegorical mar- ble groups at the sides of the altar, representing Christianity embraced by the barbarous nations, and the Triumph of Religion over Heresy, are fantastic works of the French sculptors, Theocb?t and Le Gros. By the side of the high altar is the tomb of Cardinal Bellar- min, the celebrated controversialist of the Roman church. It was designed by Rainaldi; the two figures of Reli- gion and Wisdom are by Bernini. There are two great ceremonies at this church. The first, in honour of St. Ignatius, takes place at his festival, on the 31st July. The second and most important occurs on the last day of the year, when a solemn Te Deum is sung in the pre- sence of all the cardinals, magistrates, and public bodies of Rome. 5^. Giorgio in Felabro, the only church in Rome dedicated to the tutelary saint of England. It is of high antiquity, the foundation dating from the fourth century. It was rebuilt in the time of Gregory the Great, and again in the eighth century under Pope S. Zacharias. In the thirteenth century it was restored by the prior Stefano, who added the portico, as we see by an inscription still legible. The interior has sixteen co- lumns of different materials and styles, taken from the ruins of ancient edifices. The head of St. George was deposited here by Pope S. Zacharias. The high altar and tabernacle are probably of the twelfth century. The frescoes in the tribune are attributed to Giotto, but they have suffered greatly from the carelessness of restorers. This church has an historical interest in connexion withRienzi which entitles it to respect, and gives it strong claims upon the pro- tection of the Roman antiquaries. On the first day of Lent, 1347, Rienzi affixed to its door his celebrated notice announcing the speedy return of the Good Estate : — In breve tempo li Ro- mani torneranno al loro ontico buono stato. Notwithstanding this, and al- though it gives title to a cardinal, the church would have perished a few years ago, if the Congregation of S. Maria del Pianto had not inter- S68 R. 27. ROME." , — Churches, [Sect. I. posed and obtained a grant of it from Pins VII. as their private oratory. S. Giovanni Decollato, belonging to the Confraternita della Misericordia, whose office it is to administer consolation to condemned criminals, who are buried within the precincts of the church. It has some remarkable paintings, among which the most interesting is the Head of St. John the Baptist, by Gior- gio Fasari, cited by Lanzi among those which are sufficient to establish his re- putation, and praised by the same authority for *' the exquisite perspective by which it is set ofit'.*'' The other pic- tures aie the Birth of John the Baptist, by Jacopo del Zucca^ his able pupil ; the fine figures at the last altar, by Jacopino del Confe, a scholar of Andrea del Sarto; and an altarpiece by Fran- cesco Salviati, in the adjoining oratory. S. Giovanni de' Fiorentini, built by the Florentines in the form of a basilica in 15S8, from the designs of Giacomo della Porta. The fine facade was added by Clement XII,, from the designs of Alessandro Galilei (1725). The chapel of S. Girolamo contains an altarpiece representing St. Jerome praying before a crucifix, by Santi di Tito, On one of the side walls is a fine picture of St. Jerome writing, by Cigoli : it has all the design and expression of Raphael, with the colour and force of Titian. In the transept is the celebrated picture by Salvator Rosa^ representing S. Cosimo and S. Damiano condemned to the flames, described by Lanzi among the works of this master which are well conceived and of powerful effect. The chapel of the Crucifix was painted by Lanfranco, Giovanni Grysogono, in the Traste- vere, founded by Constantine, and re- built in 1628 by Cardinal Borghese, from the designs of Giobattista Soria. The twenty -two granite columns af the interior were evidently taken from some ancient building. The picture of St. Chrysogonus transported to heaven, by Guercino, now in England, was for- merly in this church. It contains a copy of it, and a Madonna by Cav. d*Arpino, The church is remarkable for several tombs of Corsican families : some well-known names, and among them that of Pozzo di Borgo, may be recognised. S. Giovanni e Paolo^ the church of the Passionist Convent on the Caelian, well known by the solitary palm-tree standing in the convent garden. It was built by Pammachus, a friend of St. Jerome, on the site of the house occupied by the titular saints who were officers in the court of Constantia, and were put to death by Julian the Apos- tate. It has a portico of eight granite columns, and twenty-eight ancient co- lumns of marble in the nave. The pavement is one of the best examples of the opus Alexandrinnm, The vault of the tribune is painted by Christofatio RoncaUi (Pomarancio). In the fourth chapel on the right is an altarpiece by Marco Benejial. Beneath this church are the remains of the Vivarium, de- scribed under the Antiquities (p. 324). *S. Giuseppe de* Falegnami, over the Mamertine Prisons, is remarkable for a Nativity, the first work which Carlo Maratta exhibited in public. The pri- sons are described under Antiquities. 8. Gregorioj on the Caelian, founded in the seventh century on the site of the family mansion of Gregory the Great, who was descended from the noble house of Anicia. The portico was added in 1(333 by Cardinal Scipio Borghese, from the designs of Soria ; and the church was rebuilt in 1734 from the designs of Francesco Ferrari. The in- terior has sixteen fine columns of Egyp- tian granite, taken from some ancient building. In the chapel of the saint are some sculptures of the fifteenth cen- tury, illustrating the history of his life. The Capella Salviati has a finely -co- loured picture of St. Gregory, by A?in. Caracci. In front of the church are three detached chapels built by St. Gregory himself, and restored by Car- dinal Baronius. The first, dedicated to St, Silvia, mother of St. Gregory the Great, has a statue of the saint by Nic- colo Cordieri, pupil of Michael An- gel o, and a fresco on the roof represent- ing the Almighty with Angels, by Guide, Papal States.] r. 27. — rome. — Churches. 369 The second, dedicated to St. Andrew, contains the celebrated frescoes painted as rival performances by Guido and Domenichino. The St. Andrew ador- ing the Cross as he is led to Execution is by Guido ; the Flagellation of the Saint is b}' Dumenichino. Among the criticisms on these pictures, that of Annibale Caracci is not the least re- markable : " Guido's," he said, " is the painting of the master : this of Domeni- chino is the painting of the scholar, who knew more than the master.'' Lanzi tells us that while Domenichino was painting one of the executioners, he endeavoured to rouse himself to anger, and was surprised in the act of violent gesticulation by Annibale Caracci, who was so much struck with the spectacle, that he embraced him, and said, " Do- menichino, to-day I must take a lesson from you.'" So novel, says Lanzi, and at the same time so just and na- tural, did it appear to him that the painter, like the orator, should feel within himself all that he undertakes to represent to others. It is a com- mon tale," he says, that an old wo- man once stood a long while examin- ing Domenichino's picture, comment- ing upon it part by part, and explaining it to a boy whom she happened to have with her ; and that turning afterwards to Guido's painting, she took a cursory view of it, and passed on." The third chapel, dedicated to S. Barbara^ has a fine statue of St. Gregory by Niccold Cordieri, begun it is said by Michael Angelo. In the middle of the chapel is preserved the marble table on which St. Gregory fed every morning twelve poor pilgrims. In the church is in- terred the celebrated Imperia, the As- pasia of the court of Leo X., called by Geronimo Negri the " cortigiana nobile di Roma " In the cloisters is another tomb of more interest to English tra- vellers, — that of Sir Edward Carne of Glamorganshire, doctor of civil law of the University of Oxford, who was united with Cranmer in 1530 in the celebrated commission appointed to ob- tain the opinion of the foreign univer- sities respecting the divorce. He was ambassador to the Emperor Charles V., by whom he was knighted. He after- wards became ambassador to the court of Rome ; and Bishop Burnet, in his History of the Reformation, has pub- lished several of his despatches. On the suppression of the English embassy by Elizabeth, he was recalled, but Paul IV. detained him at Rome, where he died in 1561. The present pope was for many years the abbot of this convent, and is now doing much to embellish the church and the adjoining chapels. His friend and successor, Cardinal Zurles, who died, it is sup- posed by poison, during his visit to the convents of the order in Sicily, is bu- ried in the church, where a monument has been erected to his memory by the present pope. The terrace of the church commands one of the most picturesque views of the Palace of the Caesars. S. IgnaziQ, the church of the Jesuits college, with its massive front by Al- gardi, is, if possible, richer in ela- borate decorations than the church of Gesu. Its magnificence is not in the best taste, but is nevertheless imposing from its excessive brilliancy. The paintings of the roof and tribune are by Padre Pozzi, and are chiefly remark- able for their perspectives. The Lan- celotti chapel contains the tomb of S. Lodovico Gonzaga, with a bas-relief representing the Apotheosis of the saint, by Le Gros. It is much admired for its mechanical execution, but is full of faults in composition and taste. Near the side door is the tomb of Gregory XV., by the same sculptor. S. Lorenzo in Datnaso, close to the magnificent Palace of the Cancelleria, built by Cardinal Riario, nephew of Sixtus IV., from the designs of Bra- man te. It is remarkable for the tomb of the accomplished scholar and poet Annibale Caro, who died here in 1566. His bust is by Dosio. The statue of S. Carlo Borromeo in the sacristy is by Ste/ano Maderno. S. Lorenzo in Lucina^ founded by Sixtus IV. in the beginning of the fifth century, and restored in its present form by Paul V. in 1606, from the designs R 3 370 R. 2T. ROME. , — Churches, [Sect. I. of Cosmo da Bergamo. At the high altar, which was designed by Rainaldi, is the celebrated Crucifixion by Guido. The chapel of S. Francesco has a paint- ing by Marco Benefial, This church contains the tomb of Poussin, designed by Lemoine, and executed by French artists, at the suggestion and partly at the cost of Chateaubriand, while French ambassador at Rome: the bas-relief represents the well-known landscape of the Arcadia. S, Luca, one of the most ancient churches in Rome, rebuilt in the thir- teenth century by Alexander IV., and dedicated to Santa Martina. In 1588 Sixtus V. gave it to the Academy of Painters, who rebuilt it in the ponti- ficate of Urban VIII., and dedicated it to St. Luke, their patron saint. The designs for this new church were fur- nished by Pietro da Cortona^ who was so much pleased with his work that he called it his daughter. The Assump- tion, by Sehastiano Co?ica, is praised by Lanzi as a work of great merit,. The subterranean church, containing the tomb of S. Martina, is remarkable for its flat roof, and for the chapel erected by Pietro da Cortona at his own cost. This skilful artist was a liberal bene- factor by legacy to this church ; he endowed it with his whole fortune, amounting to 100,000 scudi. The^ca- demi/ adjoining is described under its proper head. S. Luigi de' Francesi^ founded by Catherine de' Medici, and built in 1589 by the King of France, from the designs of Giacomo della Porta. The second chapel on the right contains two brilliant frescoes by Domen 'tchino ; they represent the Angel offering the crowns to S. Cecilia and her husband S. Vale- rian ; Saint Cecilia expressing her con- tempt for the Idols ; her distribution of her clothes among the poor ; her Death and Apotheosis. These interesting works, though somewhat theatrically treated, are remarkable examples of Domeni- chinos peculiar style of composition and colouring. The fine copy of Ra- phael's St. Cecilia is by Guido. In the chapel of St. Matthew are two superb pictures, representing the calling of the Saint, and his Martyrdom, by 3Iichnel- angelo da Caravaggio, The paintings on the roof, and the Prophets on the sides, are by Cav. d'Jrpi?io. The Assump- tion, at the high altar, is one of the best works of Francesco Bassano. In the sacristy is a small picture of the Virgin, attributed to Correggio. This church contains many interesting tombs of eminent Frenchmen : among them are those of Cardinal de Bernis by Maximi- lian Laboureur ; Cardinal de la Grange d'Arquien, father-in-law of Sobieski ; Cardinal d'Ossat, ambassador of Henry IV. ; and Seroux d'Agincourt, the ce- lebrated archaeologist and writer on Italian art. Not the least interesting is that of Pauline de Montmorin, erected by Chateaubriand. S, MarcellOf the church of the Ser- vites, in the Corso, a very ancient church, dating as far back as the fourth century, when it gave title to a car- dinal. It was rebuilt in 1519 from the designs of Sansovino, with the excep- tion of the fagade, which was added by Carlo Fontana in the worst possible taste. The chapel of the Crucifix is celebrated for the fine paintings by Pe- rino del Vaga^ representing the Creation of Eve, " where,"' says Lanzi, there are some infantine figures that almost look as if they were alive : a work de- servedly held in the highest repute." The St. Mark and the St. John are by the same painter, with the exception of the hand and bare arm, which were finished by Daniele da Volterra. In this chapel is the tomb of the illustrious Cardinal Consalvi, minister of Pius VII., one of the most enlightened statesmen of Italy, the most honest and most liberal reformer of the papal ad- ministration, whose death is still in- volved in that painful mystery which strengthens the popular impression that it was produced by poison. The tomb is by Rainaldi^ and is much admired as a specimen of modern art. Another tomb of some interest is that of Pierre Gilles, the French traveller and writer on Constantinople and the Bosphorus, who died here in 1555. The ceremony Papal States. 1 r. 27. — rom E. — Churches. 371 of the Exaltation of the Cross takes place in this church in the presence of the whole college of cardinals, on the 14th September. Cardinal Weld, the last English cardinal, was titulary of this church. S. Marco, founded by Pope S. Marco in 337, and dedicated to the Evangelist. It was rebuilt in 833 by Gregory IV., who covered the interior with mosaics. In 1468 Paul II., after the construction of the Palace of Ve- nice, entirely rebuilt it, with the excep- tion of the tribune, which is still stand- ing with the mosaics of the ninth cen- tury. The portico was then added, from the designs of Giulianoda Majano. The interior has a nave and two aisles separated by twenty columns of jasper, and a few paintings. The most remark- able are the Resurrection by Palma Giova?ie, erroneously attributed to Tin- toretto ; the St. Mark the Evangelist, and the St. Mark the Pope, by the School of Perugino ; the Nativity of the Virgin hy IlBolognese (Gio. Francesco Grimaldi) ; the Adoration of the Magi by Carlo Maratta ; the Virgin and Child and S. Martina, by Ciro Ferri. The monument of Leonardo Pesaro of Venice is by Catwva. On the Festival of St. Mark, April 25th, there is a so- lemn procession of all the clergy of Rome from this church to St. Peter's. ^. Maria degli Angeli. — This magni- ficent church occupies the Pinacothek or great hall of the Baths of Diocle- tian, which was altered by Michael Angelo for the purposes of Christian worship during the pontificate of Pius IV, It is one of the most imposing churches in Rome, and is frequently adduced to prove how much St. Peter's has suffered by the abandonment of the original plan of a Greek cross. The arrangement of the ancient baths is de- scribed in a previous page, under the head of " Antiquities." The great hall was converted by Michael Angelo into a Greek cross by the addition of a wing : Vanvitelli in 1740 reduced the church to its present form by adopting the cir- cular aula of the baths as a vestibule, and enlarging the choir on the opposite side. The hall, which Michael Angelo had preserved as a nave, was thus con- verted into a transept ; but the altera- tion, although it gave greater room to the fabric, was not a happy one. On account of the dampness of the ground Michael Angelo was obliged to raise the pavement about 8 feet, so that the bases of the original columns re- main necessarily buried. Of the six- teen columns of the church eight only are antique : these are of Oriental gra- nite, with attached bases of white mar- ble. The others are of brick, stuccoed in imitation of granite, and were added by Vanvitelli. In the vestibule are the tombs of Salvator Rosa ; of Carlo Ma- ratta ; of Cardinal Parisio, professor of jurisprudence at Bologna; and of Car- dinal Francesco Alciati, the learned chancellor of Rome under Pius IV., and nephew of the celebrated author of the ' Paradoxes and Emblems.' The tomb of Salvator Rosa has an inscrip- tion, which represents him as the " Pic- torum sui temporis nulli secundum, poetarum omnium temporum princi- pibus parem ;" a friendly eulogy, which the judgment of posterity has not con- firmed. At the entrance of the great hall is the noble statue of S. Bruno, by the French sculptor Houdon. It is re- corded that Clement XIV. was a great admirer of this statue : "It would speak,'' he said, if the rule of his order did not prescribe silence." The hall, now forming the transept of the church, is stated by Nibby to be 308 feet long, 74 wide, and 84 high : the length of the present nave from the entrance to the high altar is 336 feet. The granite columns are 45 feet high and 16 feet in circumference. Among the works of art preserved here is the fine fresco of S, Sebastian by Domenichino, 22 feet high, originally painted on the walls of St. Peter's, and removed with consum- mate skill by the famous engineer and architect Zabaglia. Opposite, is the Baptism of the Saviour by Carlo Ma- ratta, mentioned by Lanzi as one of the largest works he ever painted; the Death of Ananias and Sapphira is by Cristofano Roncalli ; the Fall of Simon 372 R. 21. — ROME, — Churches. [Sect. I. Magus by Pompeo Battoiii, is one of the finest works produced during the last century. Most of the altarpieces were painted for St. Peter's, and were superseded by mosaic copies, which have been already noticed (p. 341). On the pavement is the meridian traced by Bianchini in 1701, with the assistance of Maraldi, pupil of the famous astro- nomer Cassini, whose meridian in S. Petronio at Bologna has been already mentioned. It was traced with exceed- ing care, and is said to be one of the most accurate in Europe. Behind the churcli is the Certosa convent, with its celebrated cloister designed by Michael Angelo. It was founded and endowed by the Orsini family. The cloister is formed by a portico sustained by 100 columns of travertine, supporting four long cor- ridors, which once contained a rare collection of engravings. In the centre of the square are the immense cypresses planted around the fountain by Mi- chael Angelo when he built the cloister : they are said to measure 13 feet in cir- cumference. The'* Pope's oil- cellar," as it is called, is a mere chamber of the ancient baths, but it presents nothing of any interest. S. Maria deW Anima, begun in 1400 with money bequeathed for the purpose by a native of Germany, and com pleted from the designs of Giuliano Sangallo. The fine interior contains at the high altar the Madonna with angels and saints by Giulio Romano, much injured by inundations of the Tiber and by careless restorations ; an indifferent copy of thePieta of Michael Angelo, by Nanni da Baecio Bigio, the Florentine sculptor ; the frescoes of Ser- 7noneta in the chapel of the Crocifisso ; and the frescoes of Francesco Salviati in the chapel del Cristo Morto. The noble tomb of Adrian VJ. was designed by Baldasmre Peruzzi, and sculptured hy M. Angelo Senese and Niccold Triholo. Near the tomb of Cardinal Andrea of Austria is that of Lucas Holstenius of Hamburgh, the well-known librarian of the Vatican, the biographer of Por- phyry, who abjured Protestantism, and died in Rome in 1661. Two small tombs by Fiammingo (Du Quesnoy) are interesting examples of that sculp- tor. At the entrance of the sacristy is the tomb of the Due de Cleves, with a bas-relief representing Gregory XIII. giving him his sword. ,S. Maria in Cosmedin, already no- ticed under the Antiquities as standing on the site of the tem])le of Ceres and Proserpine. It is said to have been built by S. Dionysius in the third cen- tury. It was restored by Adrian I. in 782, in the form of a basilica. Being intended for the Greek exiles, who were driven from the east by the Icono- clasts, under Constantine Copronimus, and having a school attached to it for their use, it acquired from that cir- cumstance the name of Scuola Greca : in later times it has taken the name of Bocca di Verita, from the marble mask under the portico. The name of Cos- medin is supposed to refer either to the order of the school or to the ornaments of the church. It has a nave divided from two side aisles by twelve ancient columns of marble. The pavement is of opns Alexandrinum. The two ambones and the pontifical chair are of the twelfth century. The picture of the Madonna in the tribune is a specimen of early Greek art. The tabernacle of white marble and mosaic is by Deodato Cosimati. The church contains the tomb of the learned Gio. Mario Cres- cimbeni, the founder and I i torian of the Arcadian Academy, born at Ma- cerata in 1663, who died here in 1728, while priest of this church. For the Antiquities of the site, see p. 281. S, Maria di Loreto, one of the churches at the northern extremity of the forum of Trajan. It was restored with extraordinary skill by Antonio Sangallo in 1506, and has a double dome by his uncle Giuliano Sangallo. The church is chiefly remarkable for the statue of St. Susanna by Fiammingo (Du Quesnoy), one of the greatest pro- ductions of modern art in Rome, and without exception the most classical work which emanated from the school of Bernini. It forms an interesting link in tracing the progress of sculpture Papal States.] R. 27. — rome. — Churches. 373 from the first symptoms of its decline in the school of Michael Angelo; and we shall look in vain for any work of equal merit in the sculptures of the seventeenth century. At the high altar is a picture attributed to Perugino. S. Maria sopra Minerva, so called from being built on the site of a temple of Minerva, erected by Pompey after his victories in Asia. It was rebuilt in 1375 under Gregory XI., and granted to the Dominicans : it was restored in the seventeenth century by Cardinal Barberini, from tb^ designs of Carlo Maderno. It is the only Gothic church in Rome. On the unfinished facade are some inscriptions marking the rise of the Tiber at different periods from 1422 to 1598. The interior is imposing. On the right of the high altar is the full- length statue of Christ by Michael An- gelo, one of his finest single figures, higldy finished, but deficient in that expression of divinity which we look for in a representation of the Saviour. This statue is mentioned in the letter of Fran- cis I. to Michael Angelo, quoted in our account of the Pieta in St. Peter's, in a previous page, as one of those works which made the khig desirous to enrich his chapel at Paris with some produc- tions of the same matchless genius. In the second chapel on the right hand is the S. Lodovico Bertrando hy Baciccio; the paintings on the pilasters are by Muziano. The chapel of the Annun- ciation, painted by Cesare Nebbia, con- tains the statue of Urban VII. by Buon- vicino. In the Aldobraridini chapel is the Last Supper by Baroccio, said to be one of his last works : it wa« or- dered, as Lanzi tells us, by Clement X. The other paintings of this chapel are by Cherubino Albert i ; the statue of Clement VIII. is by Ippolito Buzio ; the St. Sebastian, the figures of the Father and Mother of the Pope, and the Charity, are by Cordieri ; that of Religion is by Mariani. In the small chapel adjoining is a Crucifixion, at- tributed to Giotto, The Carafla chapel, dedicated to St. Thomas Aquinas, has some interesting frescoes by Filippino Lippi ; the roof is beautifully painted by Raffaellino del Garbo, the accom- plished scholar of Lippi ; the altar- piece is a charming work of Beato Angelico da Fiesole : all these paint- ings have been recently restored. The tomb of Paul IV. in this chapel is by Pirro Ligorio, the celebrated archi- tect of the sixteenth century. In the chapel of the Rosary, the Madonna at the high altar is by Beato Angelico ; the history of St. Catherine of Siena is by Giova?mi de^ f^ecchi ; the ceiling, re- presenting the Mysteries of the Rosary, is by Marcello Fenusti. The Altieri chapel has an altarpiece by Carlo Maratta, representing the five saints canonized by Clement X. conducted before the Virgin by St. Peter. At the altar of the sacristy is a Crucifixion by Andrea Sacchi. In the chapel of S. Vincenzo Ferrerio is a picture of the saint by Bernardo Castelli, the Genoese painter, the well-known friend of Tasso. This church contains some very inter- esting tombs. Behind the high alfar are those of Leo X. and Clement VII. by Baccio Bandinelli ; not far from these are the tombs of Cardinal Casa- nata, of the learned Padre Mamachi, and of Cardinal Bembo, the celebrated restorer of learning, the friend of Mi- chael Angelo, Raphael, and Ariosto : it was erected, as the inscription tells us, by his natural son, Torquato Bembo. Another interesting tomb to English travellers is that of Cardinal Howard, " Magnse Britanniae Protector," the grandson of Thomas, earl of Arundel, who died in Rome May 21, 1694. Close to the side door are the magnificent tombs of Cardinal Alessandrino, by Giacomo della Porta ; of Cardinal Pi- mentelli, by Bernini ; and of Cardinal Benelli, by Carlo Rainaldi. Near them is the tomb of Beato Fra Giovanni Angelico da Fiesole, the illustrious painter, whose devotional works and purity of life are happily expressed in the inscription ; '* Non mihi sit laudi quod eram velat alter Apelles, Sed quod lucra tuts omnia, Christe, dabam. Altera nam terris opera extant, altera coelo Urbs me Joannem flos tulit Etrurise." 374 R. 27. — ROME. . — Churches. [Sect. I. The tomb of Benedict XIII. (Orsini) is by Car/o Marchionni. In the nave is the tomb of Paulus Manutius, son of the celebrated Aldus Manutius of Venice : he died at Rome in 1574, after he had printed the Scriptures and the Works of the Fathers, and com- posed his famous ' Commentaries on Cicero,' and his learned treatise ' De Curia Romana.' It is scarcely pos- sible to find a more interesting monu- ment in the history of typography. The following is the simple but expressive inscription : pavlo manvtio aldi fi- Lio . OBiiT cioioLXXiv. On the last pilaster of the nave is the monument of Raphael Fabretti, the learned anti- quary of Urbino, who died at Rome in 1700 : his works on the ancient Aque- ducts, and his Syntagma on Trajan's Column, are well known. At the en- trance of the chapel of the Rosary is the tomb of Guillaume Durand, the learned Provencal and bishop of Mende, author of the ' Speculum Juris' and the ^ Rationale divinorum officiorum.' The * Rationale' is said to have been one of the earliest printed books. His tomb is remarkable for its mosaics and sculptures by Giovanni Cosimati. The Festival of St. Thomas Aquinas, on the 7th March, is observed in this church with great solemnity, and high mass is performed in the presence of all the cardinals. On the Festival of the An- nunciation, on the 25th of the same month, the pope attends high mass in the church, and afterwards bestows their dowry on the young girls por- tioned by the Society of the Annun- ziata. The Library of the Minerva, called the Biblioteca Casanatense from Cardinal Casanata its founder, is one of the most celebrated in Rome : it con- tains upwards of 120,000 printed books and 4500 MSS. The most ancient of the latter is a Pontifical on parchment of the ninth century, illuminated with miniatures. The Hebrew Pentateuch has given rise to some controversy, being supposed by some writers to have been printed at Soura in Portugal, by others at Soria in Spain, while the Neapolitans claim the honour for their town of Sora. Two unpublished trea- tises by S. Thomas Aquinas have been recently found here : one entitled * De Adventu Statu et Vita Antichristi ;' the other ' De Judicio Finali,' in which the mysteries of the Apocalypse are explained. A large Bible on parch- ment, stamped by hand with wooden characters, is interestirjg in the history of printing. The collection of the prints published by the Calcografia Camerale is one of the finest collec- tions known, and already amounts to many thousands. This library is richer in printed books than any other in Rome, and is only surpassed by the Vatican in manuscripts. S, Ma7^ia di Motite Santo. — This and the corresponding church of S. M, de Miracoli are well known to English travellers. They stand at the extremity of the Corso, in the Piazza del Popolo, and divide that main thoroughfare from the V. Ripetta and V. Babuino. They were begun by Alexander VI 1. from the designs of Rainaldi, and finished by Cardinal Gastaldi, legate of Bo- logna, in the seventeenth century, from the designs of Carlo Fontana. They are not remarkable for their architec- tural merits, and contain nothing worthy of notice. Such an entrance into Rome was worthy of something better than the architecture of these churches. S, Maria della Navicella^ so called from a small marble ship which LeoX. placed in front of it. The church is one of the oldest in Rome, and stands on the site of the house of S. Cyriaca, from which it is sometimes called in Dom?iica. It was entirely renewed by Leo X. from the designs of Raphael. The portico is by Michael Angelo. The interior has eighteen fine columns of granite and two of porphyry. The frieze of the nave is painted in chiaro- scuro by Giulio Romano and Perino del Faga. In the Confessional are the re- mains of S. Balbina. The mosaics of the tribune are of the ninth century, when the church was restored under Paschal I. S. Maria del Orto^ in the Trastevere, near the Ripa Grande, deserves notice Papal States.'] r. 27.— Rome. — Churches. 375 for its architecture. It was designed by Giulio Romano about 1530, with the exception of the fagade, which was added by Martino Lunghi. It con- tains an Annunciation by Taddeo Zuc~ cat^i. The architecture of the high altar is by Giacomo delta Porta, S, Maria detta Pace, built by Sixtus IV. in 1487, as a memorial of the peace of Christendom, after it had been threatened by the Turks in 1480. It was designed by Baccio Pintelli, and restored by Alexander VII. from the designs of Pietro daCortona, who added the semicircular portico. The interior consists of a nave and an octagonal cupola in good taste. Over the arch of the first chapel, on the right hand in entering the church, are the Four Sibf/ts by Raphaet. They represent the Cu- masan, Persian, Phrygian, and Tiburtine Sibyls, and are universally classed among the most perfect works of this illustrious master. The Angels who hold the tablets are by Timoteo delta Fite, from Raphael's drawings. Un- like the Isaiah in the Agostino, these frescoes do not show the imitation of Michael Angelo for which that picture is remarkable : they were very probably suggested by the works of the Siscine chapel, but they bear distinct evidence of the peculiar grace and sweetness of Raphael's own style. In regard to the common story of the jealousy of the two great artists, it is said that when Michael Angelo was consulted by the banker Chigi on the price which Ra- phael could claim for these Sibyls, Michael Angelo replied that every head was worth a hundred crowns. They have recently been restored, and have unfortunately suffered in some import- ant parts. The frescoes of the cornice above are by Rosso Fiorentino. The four paintings of the cupola have been much admired : the Visitation is by Carlo Maratta ; the Presentation in the Temple is one of the finest works of Baldassare Peruzzi ; the Nativity of the Virgin is by Francesco Fanni ; the Death of the Virgin is considered the masterpiece of Gio. Maria MorandL The high altar, from the designs of Carlo Maderno, has some graceful paintings on the ceiling by Alhani. The roof of the last chapel is covered with frescoes by Baldassare Peruzzi, representing various events of the Old Testament. The chapel with arabesques is by Simone Mosca. The cloisters of this church are remarkable for their ele- gant architecture by Bramante (liQi). S. Maria del Popolo, founded, ac- cording to tradition, by Paschal II. in 1099, on the spot where the ashes of Nero are said to have been discovered and scattered to the winds. The tradi- tion states that the people were con- stantly harassed by the phantoms which haunted the spot, and that the church was built to protect them from these ghostly visitants. It was rebuilt by Sixtus IV., from the designs of Baccio Pintelli, in 1480, and was completed and embellished by Julius II., by Agostino Chigi, and other wealthy citizens. Alexander VII. modernised the whole building on the plans of Bernini. The sculptures and paintings collected in its numerous chapels make it one of the most interesting churches in Rome. The first chapel on the right of the entrance, dedicated to the Virgin and to St. Jerome by Cardinal della Rovere, contains the celebrated altarpiece of the Nativity, by Pinturic- chio. The second, or the Cibo chapel, designed by Carlo Fontana on the plan of a Greek cross, is rich in verde and nero antico, pavonazzetto, alabaster, and precious marbles : the fine picture of the Conception is by Carlo Maratta. The third chapel, dedicated to the Vir- gin by Sixtus IV., is remarkable for its frescoes by Pintm^icchio, lately restored by Camiiccini. In the fourth, is the bas-relief of St. Catherine between St. Antony of Padua and St. Vincent, an interesting work of the fifteenth cen- tury. The ceiling of the choir is covered with frescoes by Pinturicchio in his best style. The painted windows are by French artists, Claude and Guillaume, who were invited to Rome by Bramante : they are the oidy examples of painted windows in Rome. Near this are the magnificent tombs of Cardinal Ascanio 376 R 27. — ROME, . — Churches, [Sect. I. Sforza and the Cardinal di Recanati, Ijy Andr^ea Scmsovino, the sculptor of the beautiful bas reliefs atLoreto ; they are perhaps the most celebrated tombs of the fifteenth century in Rome : San- sovino was brought to Rome by Julius II. purposely to execute them. Vasari bestows upon their beautiful statues the highest praise, and declares that they are so perfectly finished that they leave nothing more to be desired. They de- serve to be carefully studied by all who are interested in tracing the progress of sculpture from the period of the revival. In the chapel on the right of the high altar is the Assumption, by Annibale Caracci, The Crucifixion of St. Peter and the Conversion of St. Paul are by M. Angela Caravaggio. The Chigi chapel, the second on the left hand, was constructed and decorated from the designs of Raphael. The mosaics of the cupoln, representing the creation of the heavenly bodies, were from his designs, but were not finished for a long time after his death. The original plan was to cover the ceiling with a series of subjects from the creation to the fall of Adam ; the walls were to have paintings illustrating the New Testament ; and these two series were to be coiniected by four statues of Pro- phets. The mosaics of the Creation have recently been made known by the ex- cellent outlines of Gruner, the Prussian engraver, whose name has become asso- ciated with some of the finest works of Raphael. The Nativity of the Virgin, at the high altar, was begun by Sebas- tian del Piombo and finished by Salviati, The Statue of Jonah sitting on a whale, long known to have been designed by Raphael^ is now proved by Passavant to have been sculptured by the great artist. The Daniel and the Habakkuk are by Be?yiini ; the Elijah is by Lorenzetto, Near this chapel is the tomb of the Princess Odescalchi Chigi, by Paolo Posi: the lion is cleverly sculptured, but the monument is remarkable rather for its magnificence than for its good taste. In the corridor of the church are numerous very interesting monu- ments : some of them are ornamented with fine sculptures of the fifteenth cen- tury, and on others some curious epi- taphs may be noticed. S. Maria in Trastevere^ said to be the first church publicly consecrated to divine worship in Rome : it certainly appears to have been the first dedicated to the Virgin. It was founded as a small oratory by St. Calixtus in 224, rebuilt in 340 by Julius I., and by him dedicated to the Virgin. In 707 it was ornamented with mosaics by John VH., and subsequently restored by Gregory II. and III. Adrian I. added the side aisles ; Benedict III. built the tribune; Innocent II., in 1139, restored the whole building, and deco- rated the fagade with mosaics, which are still preserved. Nicholas V. reduced it to its present form, on the plans of Bernardino Rossellino. The mosaics of the fagade represent the Virgin and Child and the five wise virgins : they were restored in the fourteenth century by Pietro Cavallini, who assisted Giotto in executing his Navicella at St. Peter's. The twenty-one granite columns, which divide the nave from the two side aisles, were evidently taken from ancient edi- fices : some have Ionic and some Co- rinthian capitals. The Ionic capitals have either in the volutes or the flowers small figures of Isis, Serapis, and Har pocrates. The fine Assumption, by Domenichino^ is considered one of the best frescoes in Rome. Domenichhio also designed the chapel of the Madonna di Strada Cupa, and painted the grace- ful figure of a child with flowers in a compartment of the ceiling. The tri- bune has two series of mosaics : the upper ones, representing the Saviour, the Virgin, and several saints, were ex- ecuted in the twelfth century, when the church was restored by Innocent II. ; those below, representing the Virgin and the twelve Apostles, are by Pietro Cavallini. The Confessional contains the remains of St. Calixtus and four other early popes, who have obtained a place in the calendar. This church has some interesting tombs : among them may be specified those of Lan- franco and Ciro Ferri, the painters; and Papal States.] r. 27. — rome. — Churches. 377 of Giovanni Bottari, the learned librarian of the Vatican, editor of the Dictionary of the Delia Cruscan Academy, an able writer on art, who died canon of this church in 1775. In the sacristy are the tombs of Cardinal d'Alen^on, bro- ther of Philip le Bel, and of Cardinal Stefaneschi, both by Paolo, the cele- brated Roman sculptor of the fourteenth century. Near this church is the im- mense Benedictine Co/went of San Ca- lisfo, celebrated for the Latin Bible of S. Paolo, one of the most beautiful MSS. of the eighth century, said to have been a present from Charlemagne. It is remarkable for its superb miniatures and initial letters. Tiie double frontis- piece has on one side a picture of the emperor and two squires, and on the other the empress attended by one of her ladies. The whole Bible is filled with illuminations of the utmost deli- cacy and richness of ornament, and is one of the most valuable specimens of its kind. S, Maria a Trevi (de' Crociferi), said to have been founded by Belisarius. This church, situated near the Fountain of Trevi, derives its popular name from the order of the Crociferi, to whom it was presented by Gregory XIII. in 1573. It was rebuilt by Alexander VII. from the designs of Giacomo del Duca. It contains some fine pictures of the Venetian school, principally by Palma Vecchio. The small historical subjects round the altar of the Croci • fisso are by IlBolognese (Gio. Francesco Grimaldi). The pictures of Palma Vecchio are at one of the side altars ; another altar has a picture of the Vene- tian school, probably by one of Palma's scholars. >S. Maria in Vallicella^ called also Chiesa Nuova, one of the largest and most imposing churches in Rome. It was built by S. Filippo Neri, assisted by Gregory XIII. and Cardinal Cesi, from the designs of Martino Lunghi. The interior is rich in marbles and ornaments designed by Pietro da Cor- tona, who painted the roof, the cupola, and the vault of the tribune. In the first chapel on the right is the fine Crucifixion, by Scipiojie Gaetani, called the Roman Vandyke. The Coronation of the Virgin in the chapel of the tran- sept is by Cav. d'Arpino, The high altar is remarkable for three paintings by Rubens in his early youth : the cen- tral picture represents the Virgin in a glory of angels ; the others represent, on one side, St. Gregory, S. Mauro, and S. Papias; on the other, S. Domitilla, S. Nereo, and S. Achilleo. The chapel of S. Filippo Neri contains a mosaic copy of Guido's picture of the saint ; and a series of paintings on the roof, illustrative of different events in his life, by Crisiofano Roncalli. The body of the saint is buried beneath the altar. In the next chapel is the fine Presenta- tion in the Temple, by Baroccio, The roof of the sacristy is painted by Pietro da Cortona ; the subject is the Arch- angel Ijearing the symbols of the Passion to Heaven : it is finely coloured, and remarkable for the efiect of the fore- shortening. The statue of S. Filippo is by Algardi, In an inner chamber is a fine picture by Guercino, Beyond this is the chamber of S. Filippo, still re- taining the furniture which he used. In the small chapel is preserved the picture, by Guido, which so powerfully affected him : the ceiling is painted by Pietro da Cortona. Returning to the church, the second chapel on the right hand has the beautiful Visitation, by Baroccio; the last chapel on this side is painted by Cav» d'Ai'pino. This church contains the tombs of the cele- brated Cardinal Baronius, of Cardinal Taruggi, and Cardinal Maury. S. Fi- lippo was the inventor of those compo- sitions of sacred music which took the name of oratorio from the oratory which he founded. Oratorios are still performed in this church during Lent, at which females are not allowed to be present. S. Filippo is also entitled to honourable praise for having induced Card inal Baronius to write his celebrated Annals. At his festival, on the 26th May, a grand mass is celebrated in this church, in the presence of the pope and cardinals. The adjoining Convent of S, Filippo Neri is one of the best works 378 R. 27. — ROME . — Churches. [Sect. I, of Borromini. The flat roof of the ora- tory is an able imitation of that of the Cella Solearis of the Baths of Cara- calla. The Library contains some in- teresting works. The ' Enarrationes in Psalmos,' by St. Augustin, on parch- mentj is the oldest MS. A Latin Bible of the eighth century is attributed to Alcuinus. Several inedited manu- scripts of Cardinal Baronius are pre- served here. ^. Maria in Via Lata, by the side of the Doria Palace, is said by the church tradition to occupy the spot where St. Paul lodged with the centurion. The church was founded by Sergius I. in the eighth century, rebuilt by Inno- cent VII r. in 1485, and restored in 1662 by Alexander VII., when the facade was added by Pietro da Cor- tona, who considered it his masterpiece of architecture. In the subterranean church is a spring of water, which is said by the tradition to have sprung up miraculously, to enable the apostle to baptize his disciples. S. Maria della Fittoria, so called from a miraculous picture of the Madonna, whose intercession is said to have ob- tained many victories over the Turks. It was built in its present magnificent style in 1605, by Paul V. The im- posing facade was added from the de- signs of Gio. Battista Soria, at the expense of Cardinal Borghese, in return for the present of the hermaphrodite found in the gardens of the adjoining Carmelite convent, and now in the Museum at Paris. The interior is by Carlo Maderno. The flags suspended from the roof were captured from the Turks when they were compelled to raise the siege of Vienna, September 12, 1683. The Virgin and St. Francis in the second chapel, and the two lateral pictures, are by Domenichino. The chapel of S. Teresa contains the cele- brated reclining statue of the saint in the ecstasy of divine love, with the Angel of Death descending to transfix her with his dart, by Bernini: it is not S. Sahina, on the Aventine, supposed to occupy the site of the Temple of Juno Regina. It was formerly sup- posed that the Temple of Diana stood upon this spot, but the ancient topo- graphy of the Aventine is so obscure, that it would be a hopeless task to fol- low the speculations of the antiquaries. Both temples are now believed, from the expressions of the classical writers, to have stood upon this summit of the hill. S. Sabina was built in the form of a basilica in 423, by Peter, an Illyrian priest, on the site of the house of St, Sabina, as we learn by an inscription in mosaic over the princijjal door. It has been restored at various times, and has lost a great deal of its original character. It was reduced to its pre- sent form by Sixtus V. in 1587. It has a nave and two side aisles, sepa- rated by twenty-four fluted columns of white Grecian marble, of the Co- rinthian order, with attic bases. Arches spring from the columns, as in all the basilicas. The last chapel on the right contains the fine picture of the Virgin of the Rosary, S, Domenico, and St. 384 R. 27. ROME.- . — Churches, [Sect. I. Catherine of Siena, by Sassoferrato, Lanzi mentions it as an instance of his partiality for small pictm-es. " It is, however," he says, " well composed, and painted co7i amove, insomuch that it is looked upon as a perfect jewel," Between the church and the cloisters of the monastery is a hall, with spiral columns : from this side we may exa- mine the richly-sculptured doorway of white marble, supposed to be the work of the twelfth century. In the fore- court are some early Christian sculp- tures and inscriptions. In the gardens of the monastery is an olive-tree, said to have been planted b3'^ S. Domenico. From the corridor there is a fine view ©f all the southern quarter of Rome. On the steep declivity beneath the mo- nastery are extensive ruins of brick- work, of which nothing is known. The Cave of Cacus is placed on this side of the hill by those antiquaries who endeavour to give a real existence to the imagination of the poets. Near S. Sabina are two other churches, which may be briefly mentioned : S. Alessio and S. Maria Aventina, called also the Priorato, from the priory of Malta to which it belongs : S. Alessio, supposed to mark the position of the Armilustrum, where Plutarch tells us that Tatius was interred. The church is supposed to date from the ninth century. S. Maria Aventina, or the Prhrato, is remark- able for the magnificent view which it commands over an immense extent of the city and suburbs. The church was restored in 1765 by Cardinal Rezzo- nico, from the designs of Piranesi, who has overloaded it with ornaments. An antique marble sarcophagus, with bas- reliefs of the Muses, serves as the tomb of a Bishop Spinelli. In the vineyards on this summit of the Aventine some interesting antiquities have been found, among which are the bas-relief of the Endymion, and the infant Hercules in basalt, in the Capitoline Museum ; Diana of Ephesus in Oriental alabaster, and several fragments of mosaic pave- ments relating to hunting and to other attributes of Diana. ;S. Silvestro di Monte Cavallo, belong- ing to the priests of the mission, is re- markable for the four circular paint- ings on the pendentives of the cupola of the second chapel, by Domenichino, They represent David dancing before the Ark, the Queen of Sheba sitting with Solomon on the Throne, Judith showing the Head of Holofernes, and Esther in a swoon before Ahasuerus. Lanzi classes them among his finest frescoes, and says, that for the compo- sition and the style of the drapery, they are by some preferred to all the rest. In another chapel is the Assumption, considered the best work of Scipione Gaetani. The last chapel but one has a roof painted by Cav, d'Arpino, and some paintings on the lateral walls by Polidoro da Caravaggio. The cardinals meet in procession at this church, pre- viously to their going in procession to the conclave. S, Stefano Rotondo, on the western extremity of the Caelian hill, one of the most remarkable churches in Rome, long supposed to be an ancient tem- ple ; but the bad construction of the building, the unequal height and dif- ferent orders of the columns, and the cross which is visible on some of the capitals, evidently show that it cannot be referred to classical times. It is known from Anastatius that S. Sim- plicius dedicated it in 467, and it is now generally regarded as a building of that period. The name expresses its circular form. The intercolumniations of the outer peristyle were filled up by Nicholas V. (1447), to form the outer wall of the present building. The in- terior, 133. feet in diameter, has fifty-six columns of granite and marble, partly Ionic and partly Corinthian; thirty-six of these are in the outer circle, and twenty in the inner. The former have a series of low arches springing from them. In the central area are two co- lumns higher than the rest, supporting a cross wall, which is supposed to have been intended to sustain the roof. The plan and details of this curious build- ing are given by Desgodetz, who exa- mined the whole minutely, and de- clared his inability to determine what Papal States,] r. 27. — rome. — Churches. 385 kind of roof it originally had, since the walls are too weak to support a dome of the ordinary construction. The windows are remarkable, as bearing a strong resemblance to those in our early Gothic buildings The walls are covered with frescoes by Niccold Cir- cignani (Pomarancio) and Tempesta, representing the martyrdoms of differ- ent saints : a series of paintings which are displeasing to the eye and imagi- nation, without having any recom- mendations as works of art. In the chapel of S. Primus and S. Felix are some mosaics of the seventh century. In the vestibule is an episcopal chair, in which Gregory the Great is said to have preached. The church is ex- tremely damp, and is only opened for divine service early on Sunday morn- ings. S. Teodoro, commonly called S. Toto, a circular building at the southern ex- tremity of the Forum, under the Pala- tine hill, supposed by the older anti- quaries to mark the site of the Temple of Vesta, but now regarded as the Tem- ple of Romulus. The present building shows by its construction that it belongs to the decline of art : it is supposed to have been built by Adrian I. in the eighth century, restored by Nicholas V. in 1450, and by Clement XI. in 1700. The mosaics of the tribune are of the time of Adrian I. The claims of this church to be considered an an- cient temple are fully considered in the description of the Antiquities (p. 289). S. Tommaso degli Inglesi, in the Tras- tevere, not far from the Farnese and Fal- conieri palaces. This church cannot fail to interest the English traveller. It was founded in 775 by Offa, king of the East Saxons, and dedicated to the Holy Trinity. A hospital was after- wards built by a wealthy Englishman, John Scoppard, for English pilgrims. The church was destroyed by tire in 817, and rebuilt by Egbert. Thomas a Becket during his visit to Rome lodged in the hospital ; and on his canonization by Alexander III., two years after his death, the church was dedicated to him as St. Thomas of Can- terbury. In addition to this institution, another hospital and a church, dedicated to St. Edmund, king and martyr, were founded by an English merchant, near the Ripa Grande, for the benefit of Eng- lish sailors arriving at Rome by sea ; but as the commerce of the two coun- tries declined, the new establishments were incorporated with those of St. Thomas. The united hospitals were converted into a college for English missionaries by Gregory XIII. in 1575, and the church was afterwards rebuilt by Cardinal Howard. It is said to have been endowed with considerable property by John Scoppard abovemen- tioned. The hall of the college con- tains some curious portraits of the Ro- man Catholics who were put to death in the reigns of Henry VIII. and Eliza- beth. There are several portraits of the same kind in the church painted by N, Cit^cignani (Pomarancio). One of the arms of Becket is shown among the relics. On the 29th December, the Festival of St. Thomas a Becket, high mass is performed in this church in the presence of the cardinals. Trinita de' Monti, well known to English visitors from its conspicuous position above the Piazza di Spagna, and from the fine staircase of 135 steps which leads to it (p. 332). The church was built in 1495 by Charles VIII., king of France, at the request of S. Francesco di Paola. It suffered severely at the time of the French revo- lution, and was abandoned in 1798, but was restored by Louis XVIH., from the designs of Mazois. It now belongs to a convent of nuns, who devote them- selves to the education of the children of the higher classes. In the second chapel on the right hand is the picture of Christ giving the keys to St. Peter, by M, Ingres^ of the French Academy. In the third chapel are the Assumption, the Presentation in the Temple, and the Massacre of the Innocents, by Daniele da Volterra, The Assumption has suffered considerably, and a great part of it has en- tirely disappeared : on the right we may still recognise the portrait of Michael Angelo. The Massacre of the Innocents s 386 R. 27. — ROME. — Palaces ; the Vatican, [Sect. I. is better preserved. The great painting of this church is \he Descent from the Cross, the masterpiece of Daniele da Volterra ; executed with the assistance of Michael Angelo, and considered by Poussin to be the third greatest picture in the world, inferior only to Raphael's Trans- figuration, and to the St. Jerome of Do- menichino. " We might," says Lanzi, almost fancy ourselves spectators of the mournful scene, — tiie Redeemer, while being removed from the cross, gradually sinking down with all that relaxation of limb and utter heljjlessness which belongs to a dead body ; the assistants engaged in their various duties, and thrown into different and contrasted attitudes, in- tently occupied with the sacred remains which they so reverently gaze upon ; the mother of the Lord in a swoon amidst her afflicted companions ; the disciple whom he loved standing with outstretched arms, absorbed in contem- plating the mysterious spectacle. The truth in the representation of the ex- posed parts of the body appears to be nature itself. The colouring of the heads and of the whole picture accords precisely with the subject, displaying strength rather than delicacy, a har- mony, and in short a degree of skill, of which M. Angelo himself might have been proud, if the picture had been inscribed with his name. And to this I suspect the author alluded, when he painted his friend with a looking- glass near it, as if to intimate that he might recognise in the picture a reflec- tion of himself." A few years ago the fresco was skilfully detached from the wall and removed to the sacristy, in order to undergo some necessary restora- tions. The fifth chapel contains a Noli- me-tangere, by Giulio Romano, The other pictures in this church are chiefly by students of the French Academy, many of whom have since risen to emi- nence. Trinita de Pellegrini, in the Traste- vere, built in 1614, with a facade de- signed by Francesco de' Sanctis. It is remarkable chiefly as containing the celebrated picture of the Trinity, by Guido; a Madonna and Child with Saints, by Cav. d'Arpino ; and the St. Francis, by Giovanni de" Vecchi, On the Thursday and Friday of Holy Week, the Roman nobility and several of the cardinals assemble in this church, and wash the feet of the poor pilgrims. The female nobility may also be seen here on these occasions, performing the same office for the female pilgrims. Palaces and Museums. The Vatican. — There is no palace in the world which approaches the Vatican in interest, whether we regard its prominent position in the history of the church, or the influence exercised by its museums on the learning and taste of Christendom for nearly 300 years. It is an immense pile of build- ings, irregular in their plan, and com- posed of parts constructed at diff'erent times, without a due regard to the ge- neral harmony of the whole. There seems to have been a palace attached to the Basilica of St. Peter's from a very early period, probably as early as the time of Constantine. It is quite clear that the palace was in existence in the eighth century, for Charlemagne resided in it at his coronation by Leo III. In the twelfth century this palace had become so dilapidated from age that it was rebuilt by Innocent III., who entertained Peter II., king of Ara- gon, in the new edifice. In the fol- lowing century it was enlarged by Nicholas III., whose additions occupied the site of the present Tor di Borgia. The popes for upwards of a thousand years had inhabited the Lateran Palace, and did not make the Vatican their permanent residence until after their return from Avignon in 1377. Gre- gory XI. then adopted it as the papal palace, chiefly on account of the greater security given to it by the vicinity of the Castle of St. Angelo. John XXIII., in order to increase this security, built the covered gallery which still com- municates between the palace and the castle. From that time the popes seem to have vied with each other in the ex- tent and variety of their additions. Nicholas V., in 1450, conceived the Papal States,] r. 27. — rome. — Palaces ; the Vatican. 387 idea of making it the largest and most beautiful palace of the Christian world, but he died before he could accomplish his design, and was only able to renew a portion of the old palace. Alex- ander VI. completed tliis building nearly as we now see it. The chapel of San Lorenzo, the private chapel of Nicholas V., well-known from the fres- coes of Beato Angelico da Fiesole, is considered to be the only part of the edifice which is older than his time. The buildings of Alexander VI. were distinguished from the later works by the name of the Old Palace, and are now called from their founder the Tor di Borgia. To this structure Sixtus IV. in 1474 added the Sistine. Chapel, from the designs of Baccio Pintelli. About 1490 Innocent VIII. erected at a short distance from the palace the villa called the Belvedere, from the designs of Antonio PoUajuolo. Julius II. conceived the idea of uniting the villa to the palace, and employed Bra- mante to execute the plan. Under his direction the celebrated Loggie were added, and the large rectangular space between the palace and the villa was divided by a terrace sepai'ating the garden of the villa from the lower courts of the palace, which he intended to convert into an amphitheatre for bull-fights and public games. In the gardens of the Belvedere Julius laid the foundations of the V atican museum. This honour has been often attributed to Leo X. ; but Cabrera, in his very curious Spanish work on the Antiqui- ties, published at Rome in 1600, enu- merates the Laocoon, the Apollo, the Cleopatra, and other statues placed there by Julius II. After his death Leo X. completed the Loggie under the direction of Raphael. Paul II L built the Sala Regia and the Capella Paolina from the designs of Antonio Sangallo ; and Sixtus V. completed the design of Bramante, but destroyed the unity of the plan by constructing across the rectangle the line of build- ings now occupied by the library. When Cabrera wrote his description, Sixtus V. had begun a new and more imposing palace on the eastern side of the court of the Loggie, and it was then advancing towards completion under Clement VIII. This is now the ordi- nary residence of the popes, and is by far the most conspicuous portion of the mass of buildings which constitute the Vatican Palace, Numerous alterations and additions were made by succeeding pontiffs. Under Urban VIII. Bernini constructed his celebrated staircase, called the Scala Regia; Clement XIV, and Pius VI. built a new range of apartments for the Museo Pio-Clemen- tino ; and Pius VII. added theBraccio Nuovo, a new wing covering part of the terrace of Bramante, and running pa- rallel to the library. Leo XII. began a series of chambers for the gallery of pictures, which were finished and ap- propriated to their original purpose by the present pope. It can hardly be expected that an edifice whose deve- lopment may thus be traced for up- wards of four centuries, should have preserved any uniformity of plan ; and hence the general effect of the palace is far from pleasing, although many of its proportions and details are of con- siderable merit. It is rather a collec- tion of separate buildings than one re- gular structure. The space it occupies is immense : its length is said to be 1151 English feet, and its breadth 767 feet. It is a common saying that the palace, with its gardens, covers a space as large as Turin. The number of its halls, chambers, galleries, &c., almost exceeds belief : it has 8 grand stair- cases, 200 smaller staircases, 20 courts, and 4422 apartments. From these statements the stranger may form some idea of its contents ; but before we describe them in detail it is necessary to advert to the restric- tions by which the study of the anti- quities and public galleries of Rome is unhappily impeded. It is a matter of annoyance to intelligent visitors to find themselves shut out from all at- tempts to make the slightest sketch, unless they have previously obtained permission from some one of the many mediocre artists employed by the go- s2 388 R. 21 -ROME. -Palaces ; Vatican (Sistine Chapel). [Sect. I. veniment. This extends to objects even in the open air, and is an illiberality not to be found in any other country. As it is of recent date» we hope that the pope may become aware of it, and put an end to a custom so little in ac- cordance with the usual character of Rome. The Scala Begin, the famous stair- case of Bernhii, is one of his most re- markable works, and is celebrated for the effect of its perspective. It consists of two flights, the lower decorated with Ionic columns, and the upper with pilasters ; the stucco ornaments are by Algardi. This staircase leads to the Sola Regia, built by Antonio San- gallo, in the pontificate of Paul III., as a hall of audience for the ambas- sadors. It is decorated with stucco ornaments by Daniele da Volterra and Perino del ^ aga, and is covered with frescoes, illustrating various events in the history of the popes, by Vasari, Marco da Siena, Taddeo and Federigo Zuccari, Orazio Samacchini, Giro- lamo Sicciolante, and Giuseppe Porta. The most remarkable of these paint- ings are the Absolution of the Emperor Henry IV. by Gregory VII., in the presence of the Countess Matilda, by Taddeo and Federigo Zuccari ; the At- tack of Tunis in 1553, by the same ; the Massacre of St. Bartholomew, the Removal of the Holy See from Avignon by Gregory XI., tlie League against the Turks, by Giorgio Vasari; and Fre- derick Barbarossa receiving the Blessing from Alexander III. in the Piazza of St. Mark, by Giuseppe Porta. The Sala Regia serves as a vestibule to the Ca- pella Sistina and the Capella Paolina. The Capella Sistina, or Sistine Cha- pel, is so called from Sixtus IV., who built it in 1473, from the designs of Baccio Pintelli. It is a lofty ob- long apartment, about 150 feet long and 50 broad, with a gallery running round three of the sides. The walls beneath the windows are divided into two portions : the lower one, now painted with representations of Ijangings, was intended to be covered with the tapes- tries executed from the cartoons of Raphael ; the upper contains a series of remarkable frescoes by eminent ar- tists of the fifteenth century, whom the pope employed to decorate the chapel with their paintings. It was designed, says Lanzi, to give a representation of some passages from the life of Moses on one side of the chapel, and from the life of Christ on the other, so that the Old Law might be confronted bv the New, the type by the person typified. Two of these subjects are on the sides of the main entrance, and six on each side wall. They occur in the following order. First Series : — 1. The Journey of Moses andZipporah into Egypt, Liica Signorelli, one of the best; 2. Moses killing the Egyptian ; Moses driving away the Shepherds who prevent the Daughters of Jethro from drawing Water, and the Appearance of tlie Lord in the fiery Bush, Sandi'o Botticelli; 3. The Overthrow of Pharaoh in the Red Sea, Cosimo Rosselli ; 4. Moses giving the Commandments, Cosimo Ros- selli ; 5. The Rebellion of Korah, San- dro Botticelli ; 6. The Death of Moses, Luca Signo7'elli. Second series : — 1. The Baptism of Christ, Perugino ; 2. The Temptation, Sand?v Botticelli ; 3. The Calling of St. Peter and St. Andrew, Dom, Ghirlandajo ; 4. The Sermon on the Mount, Cosijno Rosselli ; 5. Peter receiving the Keys, Peri/gino, very fine ; 6. The Last Supper, Cosimo Rosselli. At the sides of the entrance doorway are the Archangel bearing away the body of Moses by Francesco Salviati, and the Resurrection by Do7n. Ghirlandajo, both much injured by repairs in the time of Gregory XHI. Between the windows is a series of twenty-eight popes, by Sandro Botticelli. These paintings are highly interesting in the history of art, but they lose their importance before the magnificent crea- tions of Michael Angelo, whose ge- nius has given such celebrity to the Sistine chapel. The Roof, begun after his return to Rome in 1508, at the earnest entreaty of Julius II., was finished in 1512 : it is generally stated that the actual exe- cution of the work, after the comple- Papal States.] r.2T -rou^.- Palaces ; Vatican {Sistine Chapel). 389 tion of the cartoons, occupied only twenty months. The design was evi- dently a continuation of the scheme of Scripture history, already begun upon the walls by the older masters, and illustrated, as we have seen, by means of types and antetypes ; but it is re- markable as containing a much larger proportion of subjects from the Old Testament than from the New. It is evident at the first glance that no one but an architect and a painter could have conceived the architectural deco- rations which form, as it were, a frame- work for the principal subjects. No language can exaggerate the grandeur and majesty of the figures which are subservient to the general plan, and carry out the sublime idea which pre- sides over it, even in the minutest de tails. On the flat central portion of the roof is a series of four large and five small subjects, from the Creation to the Deluge. The large compartments are : — 1. The Creation of the Sun and Moon ; 2. The Creation of Adam ; 3. The Fall and the Expulsion from Paradise ; the serpent is here repre- sented after the manner of the early masters with a female head ; the Eve is admitted by all critics to be one of the most faultless personifications of female beauty which painting has yet embodied. The whole subject was so much admired by Raphael that he made a sketch of it, which has passed into the Lawrence collection. 4. The Deluge, with a multitude of small figures : this was the first subject which Michael Angelo painted, and it is con- jectured on apparently good grounds that he found the effect was lost in consequence of the small size of the figures, and adopted a more colossal proportion in the other subjects. The smaller compartments represent : — 1. The Gathering of the Waters ; 2. The Separation of Light from Darkness ; 3, The Creation of Eve; 4. The Sacri- fice of Noah ; 5. The Intoxication of Noah. The curved portion of the ceil- ing is divided into triangular compart- ments, dn which are twelve sitting figures of Prophets and Sibyls, the largest figures in the composition. No- thing can be imagined more grand or dignified than these wonderful crea- tions : the sibyls embody all that is majestic and graceful in woman, and the prophets are full of inspiration. Each figure has its name inscribed below it, and it is therefore unnecessary to particularise them. In the recesses between these figures, and in the arches over the windows, is a series of groups illustrating the genealogy of the Vir- gin, and coming down to the birth of the Saviour. In the angles of the ceiling are four types of the Redemp- tion, taken from the history of the de- liverance of the Jewish nation : they represent, 1. The Punishment of Ha- man ; 2. The Brazen Serpent; 3. David beheading Goliath.; 4. Judith with the Head of Holofernes. The great fresco of the Last Judg- ment, sixty feet high and thirty broad, occupies the end wall immediately op- posite the entrance. The wall was pre- viously covered by three frescoes by Perugino, representing the Assumption of the Virgin, Mos€S in the bulrushes, and the Nativity. Michael Angelo de- signed this great work in his sixtieth year at the request of Clement VII., and completed it in 1541, during the pontificate of Paul III., after a labour of nearly eight years. In order to en- courage him in his task, the pope went in person to his house, accompanied by ten cardinals ; — " an honour," says Lanzi, " unparalleled in the annals of art." At the suggestion of Sebastian del Piombo, the pope, as we are told by the same authority, was anxious to have the picture painted in oils ; but this point be could not carry, M. An- gelo having replied that he would not execute it except in fresco, and that oil painting was occupation fit only for women and idlers, or such as had plenty of time to throw away. In the upper part of the picture is the Saviour seated with the Virgin on his right hand, which is extended in condemnation. Above, in the angles of the vault, are groups of angels bearing the instru- ments of the passion. On the right of 390 R. 2T. -ROME- Palaces ; Vatican (Sistine Chapel). [Sect. 1. the Saviour is the host of saints and patriarchs, and on the left the martyrs, with the symbols of their suffering : St. Catherine may be recognised with her wlieel, St. Bartholomew with his skin, St. Sebastian with his arrows, St. Peter restoring the keys, &c. Below is a group of angels sounding the last trump, and bearing the books of life and death. On their left is represented the fall of the damned : the demons are seen coming out of the pit to seize them as they struggle to escape ; their features express the utmost despair, con- trasted with the wildest passions of rage, anguish, and defiance; Charon is ferry- ing another group across the Styx, and is striking down the rebellious with his oar, in accordance with the description of IDante, from which Michael Angelo sought inspiration : " Batte col remo qualunque s'adagia." On the opposite side the blessed are rising slowly and in uncertainty from their graves ; some are ascending to heaven, while saints and angels are assisting them to rise into the region of the blessed. It is impossible to exa- mine these details without appreciating the tremendous power by which the composition is pre-eminently distin- guished. The imagination never real- ised a greater variety of human pas- sions, and art has never yet so completely triumphed over such diflficulties of exe- cution. The boldness of the drawing, the masterly foreshortening of the figures, the anatomical details, — all combine to make it the most extraordinarj'^ picture in the history of art. The conception is such as the genius of Michael Angelo alone could have embodied, and the result is full of grandeur and sublimity. Yet, with all these excellences, it ap- peals more to the reason than to the heart. There is no expression of holi- ness or divine rejoicing to distinguish the hosts of heaven from the fallen spi- rits ; the Saviour himself has a terrific aspect, which accords neither with the majesty of the judge, nor with his cha- racter as the Son of God ; and we look in vain for any figure which speaks peace to the soul in the midst of the tremendous spectacle. As a subject for study, the Last Judgment is altogether unrivalled, and no painting was ever executed which illustrates in a manner so instructive to the artist the difference between the beautiful and the sublime. It is a remarkable fact in i\vi history of the picture, that it narrowly escaped destruction in the lifetime of the great artist. Paul IV. took offence at the nudity of the figures, and wished the whole to be destroyed. On hearing of the pope's objection, Michael Angelo said, Tell the pope that this is but a small affair, and easily to be remedied ; let him reform the world, and the pic- tures will reform themselves." The pope however emploj^ed Daniele da Volterra to cover the most prominent figures with drapery, an office which procured for him the epithet Bracket - to?ie, or the breeches-maker. Michael Angelo submitted to the pope's will, but revenged himself on Messer Biagio of Siena, the master of the ceremonies, who first suggested the indelicacy of the figures. He introduced him in the right angle of the picture, standing in hell as Midas with ass's ears, and his body surrounded by a serpent. Biagio complained to the pope, who requested that it might be altered ; but M. An- gelo declared that it was impossible ; for though his holiness was able to effect his release from purgatory, he had no power over hell. In the last century Clement XII. thought that the process of Daniele da Volterra had not been carried far enough, and in his fas- tidious scruples did serious injury to the painting by employing Stefano Pozzi to add a more general covering to the figures. We see it therefore under many disadvantages: the damp of two centuries and a half, the smoke of the candles and incense, and the neglect which it has evidently experienced, have obscured its effect and impaired the brightness of its original colouring. The accidental explosion of the powder magazine in the castle of St. Angelo in 1797, which shook the buildings to their foundations, is said to have seri- Papal States. 1 r. 27. — rome. — Palaces; Vatican (Loggie) . 391 ously injured all the frescoes in the I Vatican. [The church ceremonies which take place in the Sistine chapel are described in the account of St. Peter's, at p. 346.] Capella Paolina. — Near the Sistine Chapel, and opening likewise on the Sala Regia is the Capella Paolina, built in 1540 by Paul III., ivoxn the designs of Antonio Sangallo. It is only- used on great ceremonies, and is seldom open. It is remarkable for two frescoes by Michael Angela, which were so much injured by the smoke of the candles in the time of Lanzi, that it was even then difficult to form an opinion of their colouring. The first and the best pre- served is the Conversion of St. Paul, who is represented lying on the ground, with the Saviour in the cloud sur- rounded by angels. The composition is very fine, and full of dignity. Tlie other subject is under the window, so that it is impossible to see it in a good light. It represents the Crucifixion of St. Peter ; and though blackened by smoke, still retains many traces of the master-hand. The other frescoes of this chapel are by Lorenzo Sabbat ini, and Federigo Zuccari, who painted the roof. Sala Ducale. — The saloon leading from the Sala Regia to the Loggie is called the Sala Ducale, in which the popes in former times gave audience to princes. It is now used during the Holy Week for the ceremony of wash- ing the feet of the pilgrims, and has latterly been the hall in which the new cardinals have received consecration. The Loggie were begun by Julius II., from the designs of Bramante, and completed by Raphael in the pontifi- cate of Leo X. They form a triple portico, of which the two lower stories are supported by pilasters, and the third by colunms. The only part finished by Raphael is that which faces the city. The other corresponding wings were added by Gregory XIII. and his suc- cessors, in order to complete the uni- formity of the court of San Damaso. The first story is covered with stuccoes and arabesques, executed by Giovanni da Udine from the designs of Raphael The second contains the celebrated fres- coes which liave given to it the name of the " Loggia of Raphael." It is com- posed of thirteen arcades, sustained by pilasters covered with stucco ornaments and painted arabesques by Giovanni da Udincy from the designs of Raphael, who is said to have derived the idea from the recently discovered paintings in the Baths of Titus. Nothing can surpass the exquisite grace and delicacy of these decorations : figures, flowers, ani- mals, mythological subjects, and archi- tectural ornaments are combined with tlie most delightful fancy ; and though seriously injured by the troops of Charles V. and by the restorations of Sebastian del Piombo, they are full of interest. An engraving only can afford any idea of their infinite variety. Lanzi con- fesses that to give a suitable description of these numerous landscapes, trophies, cameos, masks, and other subjects which the divine artist eitlier designed himself or formed into new combinations from the antique, would, as Taia has ob- served, " be a task far beyond the reach of human powers." Each coved roof of the thirteen arcades contains four frescoes connected with some particular epoch of Scripture history, executed from Raphael's designs by Giulio Ro- mano, Perino del A aga, Pellegrino da Modena, Francesco Penni, and Raffaele del CoUe. There are therefore fifty-two separate pictures : of these, forty-eight, being those of the first twelve arcades, represent difierent events in the history of the Old Testament ; the last four in the arcade, close to the entrance of the Stanze, are taken from tlie New Testa- ment, and serve to connect the typical subjects of the former series with the es- tablishment and triumph of the Church, represented in the frescoes of the adjoin- ing Stanze. The Old Testament sub- jects begin with the Creation, and end with the building of the Temple of So- lomon : they occur in the following order. — 1. The Creation of the world, executed by Raphael with his own hand, as Lanzi tells us, in order to serve as a model for the rest. 2. The history 392 R 27. — ROME. — Palaces; Vatican (Stanze). [Sect. I. of Adam and Eve. 3. The history of Noah : these three subjects are by Gitdio Romano : the Eve in the Fall, in the second arcade, is supposed to be by Raphael himself. 4. Abraham and Lot; 5. Isaac ; both by Francesco Penni. 6. Jacob, by Pellegrino da Modena, 7. Joseph ; 8. Moses ; both by Giulio Romano. 9. A continuation of the same subject, by Raffaele del Colle. iO. Joshua ; and 11. David, by Perino del Faga. 12. Solomon, by Pellegrino da Mode?ia. 13. New Testament sub- jects, — the Adoration of the Magi, the Adoration of the Shepherds, the Baptism of the Saviour, and the Last Supper, by Gmlio Romano. Lanzi justly says that the exposure of the gallery to the inclemency of the weather has almost reduced it to the squalid appearance of the ancient grotesques; but they who saw it after it was finished, when the lustre of the gilding, the snowy white- ness of the stuccoes, the brilliance of the colours, and the freshness of the mar- bles, made it resplendent with beauty on every side, must have been struck with amazement as at a vision of Para- dise. Vasari says much of it in these few words, that it is impossible either to execute or imagine a more beautiful v/ork." The two other wings of this loggia have little interest by the side of these beautiful compositions : they con- tain a series of frescoes in continuation of the New Testament history, painted by Sicciolante da Sennojiefa, Tempesla, Lorenzo Sabbatini^ &c. [The stanze and the museum are open on Mondays and Thursdays, except on Festas, from noon to 4 o'clock, or rather from the I'Qth to the 23rd hour according to Roman time ; so that the hour of open- ing varies with the season from 12 to 3 (p. 251). In summer they are only open on Thursdays. To see the statues by torchlight, which should on no account be omitted, application must be made to the major-domo : his order will admit fifteen persons. The fee to the custode on this occasion is eight scudi.] The Stanze of Raphael are four chambers adjoining the loggia just de- scribed. Before Raphael's visit to Rome Julius II. had employed Luca Signo- relli, Pietro della Francesca, Pietro Perugino, and other celebrated artists of the period, to decorate these cham- bers with their pencils. They were still proceeding with their task, when Ra- phael was summoned to Rome by the pope in order to assist them. He wag then in his twenty-fifth year, which fixes the -date in 1508. The first sub- ject which he painted here was the Dispnta, or the Dispute on the Sacra- ment, in the Camera della Segnatura. The pope was so delighted with his success, that he ordered the works of the earlier masters to be destroyed, in order that the whole might be painted by his hand. A ceiling by Perugino, to which we shall advert hereafter, was preserved at Raphael "s intercession as a mark of respect to his beloved master, but all the other works were effaced, with the exception of a few minor paintings on some of the ceilings. Raphael immediately entered upon his task, and the execution of the work oc- cupied the great painter during the re- mainder of his life, which was too short to allow him to complete the whole. Those subjects which were unfinished at his death were executed by his pupils. The prevailing idea which may be traced throughout these paintings is an illustration of the establishment and triumphs of the Church, from the time ^ of Constantine. The subjects of the loggia were intended to be the types of the history of the Saviour and of the rise and progress of the Church ; and hence the connected series has an epic character which adds considerably to its interest, and in a great measure explains the subjects. Those which seem to have less connexion with this scheme, as the Philosophy, Theology, &c., are supposed to have been executed before Raphael had conceived the idea of making the whole work subservient to a comprehensive cycle of Church history. With the exception of the two figures of Meekness and Justice in the Sala di Costantino, all the paintings are in fresco. A few years after they were completed they were seriously injured Papal Stales.] r. 27.— home. — Palaces; Vatican (Stanze), 393 during the fearful sack of Rome by the Constable de Bourbon, whose troops are said to have lit fires in the centre of the roonns. In the last century they were carefully cleaned by Carlo Ma- ratta; but the smaller compositions underneath the principal subjects were so much obliterated, that he found it necessary to repaint them. As most travellers will be desirous of examining the paintings in the order of their exe- cution, we shall begin with the Camera della Segnatura, which we have already mentioned as the first in point of time. The Stanza of the Heliodorus and the Stanza del Incendio are the next in succession, and the Sala di Costantino is the last, being executed after the death of Raphael by his scholars. I. Camera della Segnatura, often called the Chamber of the School of Athens. This chamber contains the celebrated subjects illustrative of Theo- logy, Philosophy, Poetry, and Juris- prudence. The roof: — The arrange- ment of the compartments and several of the mythological figures and ara- besques were completed by Sodoma, before the arrival of Raphael, who has preserved them without change. The subjects painted by Raphael are the round pictures, containing the allego- rical figures of the V^iitues just men- tioned, and a corresponding number of square pictures illustrating their attri- butes : thus we have Theology and the Fall of Man, Poetry and the Flaying of Marsyas, Philosophy and the Study of the Globe, Jurisprudence and the Judgment of Solomon. The walls : — The four subjects on the walls are ar- ranged immediately under the allego- rical figures on the roof, with which each subject corresponds. 1. Theology^ better known as the Disputa del Sacra- mento, suggested by the " Triumphs" of Petrarch. In the centre of the picture is an altar, with the eucharist over- shadowed by the dove, as the symbol of Christ on earth : the fathers of the Latin church, St. Gregory, St. Jerome, St. Ambrose, and St. Augustin, sit beside it. Near them are the most eminent theologians and divines ; while at each side is a crowd of laymen attentively listening to the tenets of the church. These groups are remarkable as con- taining several interestiRg portraits : Raphael has represented himself and Perugino as bishops ; in the right cor- ner is a profile of Dante, with a wreath of laurel; near him are St. Thomas Aquinas and Scotus. On the same side is Savonarola, dressed in black, and in profile like the others. The figm-e leaning on a parapet, with his hand upon a book, is Bramante. In the upper part of the composition are represented the Trinity, with the Virgin and St. John the Baptist in glory, sur- rounded by a group of ten majestic figures, representing patriarchs and the evangelists ; the Saviour and the evan- gelists have gold glories, in the manner of the older masters. Underneath this composition is a chiaro-scuro, by Perino del Vaga, represertting the Angel ap- pearing to St. Augustin on the sea- shore, and warning him not to inquire too deeply into the mysteri-es of the Trinity. 2. Poetry^ represented by Mount Parnassus, with Apollo and the Muses, and an assemblage of Greek, Roman, and Italian poets, Apollo is seated in the midst of the picture play- ing a violin, and surrounded by the Muses and the epic poets ; on his right are Homer, Virgil, and Dante, in a red robe, and crowned with laurel. Homer, a fine inspired figure, is re- citing, while a young man is engaged in writing down his inspirations. Near Virgil is another figure crowned with laurel, supposed to be Raphael him- self. Below these, and on each side of the window are the lyric poets ; on one side is Sappho holding a book which bears her name, and addressing a group of four figures, representing Corinna, Petrarch, Propertius, and Ovid, a fine tall figure, in a yellow dress. On the other side of the window is Pindar, a venerable old man, engaged in earnest conversation with Horace. Close by are Callimachus, with his finger on his lips, and a beardless figure, supposed to be Sannazaro. Above these is Boc- caccio. Near this fresco is inscribed s3 394 R. 27. — ROME. — Palaces ; Vatican {Stanze). [Sect. I. the date 1511. 3. Phihsophy, well known by the popular title of the " School of Athens." A Portico, or Temple, of imposing architecture, is filled with the greatest philosophers of the ancient world. On a flight of steps in the centre of the composition stand Plato and Aristotle, holding a volume of his ethics, in the act of disputation, and surrounded by the most illustrious followers of the Grecian philosophy. Plato, as the representative of the spe- culative school, is pointing towards heaven ; Aristotle, as the foimder of the ethical and physical philosophy, points towards the earth. On the right is Socrates, explaining his doctrines to Alcibiades and other disciples. On the lower platform are the minor philo- sophers. On the left is Pythagoras writing on his knee, surrounded by Empedocles and other followers ; one of these wears a turban, and another holds a tablet inscribed with the har- monic scale : behind him a youthful figure in a white mantle, with his hand in his breast, is a portrait of Francesco Maria della Rovere, duke of Urbino, the friend and patron of Raphael, and the nephew of Julius II. On the right, Archimedes, a portrait of Bramante, ''col capo basso," is represented tracing a geometrical problem on the ground, surrounded by a group of graceful youths attentively watching the pro- gress of the figure : the young man kneeling by his side, and calling the attention of his companion to the pro- blem is Federigo II., duke of Mantua. Behind this group, in the angle of the picture, are Zoroaster and Ptolemy, one holding a celestial and the other a terrestrial globe, as the representatives of Astronomy and Geography : they are both in the act of addressing two figures in the background, which are portraits of Raphael himself and his master Pe- rugino. Between this group and that of Pythagoras a solitary and half-naked figure on the steps is Diogenes with his tub. This masterly composition is uni- versally regarded as one of Raphael's most sublime conceptions ; nothing can surpass the dignity of the elder figures, and the beauty of the younger groups has been the theme of every critic : it contains fifty-two figures, all charac- terised by the variety and gracefulness of their attitudes, and their masterly connection with the principal action of the picture. The arrangement of the subject may be regarded as a proof of the learning of the period : there is abundant evidence that Raphael con- sulted the learned men who figured at the court of Julius on the details of the composition, and a letter is still extant in which he asks the advice of Ariosto on the leading argument of the picture. The original cartoon, from which some slight variations may be traced, is pre- served in the Ambrosian library at Milan ; some of the old engravings converted it into Paul preaching at Athens, and altered several of the figures to correspond with this idea. The historical chiaro-scuro underneath this fresco, by Perino del Vaga, repre- sents the death of Archimedes while absorbed in his studies. 4. Jurispru' dence, represented in three compart- ments : in the first over the window are three allegorical figures of Prudence, Fortitude, and Temperance ; the first has her youthful features partly con- cealed by a bearded mask of old age, to show her knowledge of the past and future. On one side of the window, Justinian, under the figure of Forti- tude,, is presenting the Pandects to Tri- bonian, in allusion to the civil law ; on the other Gregory TX., as Tem- perance, delivers the Decretals to an advocate of the Consistory, in allusion to the canon law. The arrangement of this subject, in which law is made de- pendent on morals, seems to have been suggested by the ethics of Aristotle. The pope is a portrait of Julius II. ; near him are Cardinal de' Medici, afterwards Leo X., Cardinal Farnese, afterwards Paul III., and Cardinal del Monte. II. Stanza of the Heliodorus^ with the date of 1514, illustrating the tri- umphs of the Church over her enemies, and the miracles by which her doc- trines were substantiated. The roof is Papal States,] r. 27. — rome. — . ■Palaces; Vatican (Stanze), 395 arranged in four compartments, con- taining subjects from the history of the Old Testament : the Covenant of Abra- ham, the Sacrifice of Isaac, Jacob's Dream, and the Appearance of God to Moses in the fiery Bush. The walls : — 1 . The Expulsion of Heliodorus from the Temple, taken from third chapter of the second book of Maccabees, an allusion to the successful efforts of Julius II. in overcoming by the sword the enemies of the papal power. In the foreground is Heliodorus with his attendants in the act of bearing away the treasures of the temple, and flying before the two youths who are scourging them with rods. Heliodorus himself has fallen beneath the feet of the horse on which sits the avenging angel who drives them from the temple. In the back- ground is Onias the high- priest, at the altar, praying for the divine interces- sion. In the left of the picture is a group of amazed spectators, among whom is Julius II., borne in by his attendants on a chair of state, and ac- companied by his secretaries; one of these is a portrait of Marcantonio Rai- mondi, the celebrated engraver of Ra- phael's designs ; the other has this in- scription, ' J. Pietro de Foliariis Cremo- nens.' '* Here," says Lanzi, " you may almost fancy you hear the thundering approach of the heavenly warrior and the neighing of his steed ; while in the different groups who are plundering the treasures of the temple, and in those who gaze intently on the sudden con- sternation of Heliodorus, without being able to divine its cause, we see the expression of terror, amazement, joy, humility, and every passion to which human nature is exposed." The whole of this fine composition is characterised by the exceeding richness of its co- louring : in this respect the Heliodorus and the Miracle of Bolsena are justly regarded as the very finest productions in the whole range of art, not even ex- cepting the celebrated frescoes of Titian at Padua. The Heliodorus shows how far Raphael had profited by the inspi- rations of Michael Angelo, but he has here combined the dignity of form, the I variety and boldness of the foreshorten- ing, which characterise the works of that great master, with a grace and beauty of sentiment peculiarly his own. 2. The Miracle of Bolsena, illustrating the infallibility of the doctrines of the Church by the representation of the miracle described at page 195. Over the window is the altar, with the offi- ciating priest regarding the bleeding wafer with reverential astonishment; behind him are the choir-boys and the people pressing forward with mingled curiosity and awe. On the other side of the altar is Julius II. praying, at- tended by some cardinals and his Swiss guard. No contrast can be stronger than that presented by the religious confidence of the pope, the formal de- votion of the prelates, and the rude military obedience of the Swiss sol- diers. This fresco was the last work completed by Raphael during the reign of this illustrious pope, without whose patronage and encouragement it is more than probable that neither these wonderful productions, nor the Last Judgment of Michael Angelo, would ever have existed. 3. The Attila, re- presenting S. Leo I. arresting Attila at the gates of Rome, in allusion to the victory of Leo X. over Louis XII. in 15)3, in driving the French out of the states of Milan. On the right of the picture Attila is represented in the midst of his cavalry shrinking in terror before the apparition of St. Peter and St. Paul in the heavens ; his followers are already flying in amazement. On the other side is the pope, attended by two cardinals and the officers of his court; their calm expression contrasts strongly with the wild terror of the Huns. The pope is a portrait of Leo X., the reigning pontiff ; he may also be recognised as one of the attendant car- dinals, which has been adduced as a proof that the painting was commenced in the reign of Julius II., while Leo was yet the Cardinal de' Medici, On the left of the pope are three figures on horseback : the one in a red dress on a white horse is supposed to be a portrait of Perugino ; the cross-bearer is Ra- 396 R. 2T, — ROME. — Palaces ; Vatican {Stanze). [Sect. F. phael. 4. The Deliverance of St. Peter, an allusion to the liberation of Leo X., while cardinal and papal legate at the court of Spain, after his capture at the battle of Ravenna.— (See p. 96.) It is remarkable for the effect of the four lights. Over the window, the angel is seen through the gratings of the prison awakening the Apostle, who is sleeping between the two gaolers. The interior is illumined by the rays of light pro- ceeding from the angel. On the right of the window the angel is conducting St. Peter from the prison while the guards are sleeping on the steps ; the light, as in the former case, proceeds from the person of the angel. On the other side of the window, the guards have been alarmed and are rousing themselves to search for their prisoiier ; one holds a torch, from which, and from the moon shining in the distance, the light of the group is derived. Vasari tells us that one of the frescoes painted in the Stanze by Pietro della Francesca was destroyed to make room for this picture. The subject of Pietro's fresco is unknown, but it is not im- probable that it exhibited some of those extraordinary effects of light and shade for which that great painter was re- markable, and suggested the similar effects which Raphael here for the first time introduced into his compositions. The chiaro-scuro subjects in this cham- ber are allegorical allusions to the reigns of Julius II. and Leo X. in. Stanza of the Incendio del Borgo. • — The subjects of the paintings in this room are a continuation of the glorification of the Church, illustrated by events in the history of Leo III. and IV. The selection of these ponti- ficates is supposed to be complimentary to the name of the reigning pontifl*. The roof is remarkable for the frescoes of Perugino, which Raphael's afiection for his master would not allow him to ef- face, when the other frescoes of the early painters were destroyed to make room for his works. It contains four circu- lar pictures, representing the Almighty surrounded by angels, the Saviour in glory, the Saviour with the Apostles, and his glorification between Saints and Angels. The walls are partly painted by Raphael, and were completed in 1517. 1. Incendio del Borgo, repre- senting the destruction of the suburb of Borgo, or the Citta Leonina, in the pontificate of its founder Leo IV., A.D. 847. This district, as we have elsewhere remarked (p. 257), was in- habited by the Anglo-Saxon pilgrims, from whom, according to Anastatius, it derived the name of Saxonum Vicus." The same authority tells us, that in the language of these pilgrims, to whom he gives the name of Angli^ the district was called Burgiis^ and that in consequence of their neglect it was burnt to the ground. The Church tra- dition relates that the fire was ap- proaching the Vatican, wVien the pope miraculously arrested its progress with the sign of the cross. In the back- ground is the front of the old basilica of St. Peter's : in the balcony for the papal benediction is the pope bearing the cross, surrounded by the cardinals ; on the steps below, the people who have fled to the sanctuary for shelter^ are raising their outstretched arms, in the act of imploring his intercession. On each side are the burning houses. On the right a group of men are en- deavouring to extinguish the flames, while two fine female figures are bear- ing water to their assistance. On the left are several groups escaping with their kindred. Another group of dis- tracted mothers and their children, in the centre of the composition, are ear- nestly stretching out their arms to the pope and imploring succour. The composition of this subject is of the very highest class : the forms and action of the principal figures bear evident marks of the influence of Michael Angelo. The details seem to have been sug- gested by the burning of Troy : the group of the young man carrying off his father recalls the stoiy of -^neas and Anchises, followed by Ascanius and Creusa. A considerable part of this picture was painted by the scho- lars of Raphael : the group just de- scribed was coloured by Giulio Ro- Papal States.'] r. 27. — -rou^*— -Palaces ; Vatican (Stanze) . 397 mano. 2. The Justijication of Leo III. befoi'e Charlemagne. — The pope is re- presented clearing himself on oath of the calumnies thrown upon him by his enemies, in the presence of the emperor, the cardinals, and archbishops. The pope is a portrait of Leo X., and the emperor is a portrait of Francis I. 3. The Coronation of Charlemagne by Leo IIL in the old basilica of St. Peter's : a fine expressive composition, partly painted by Raphael, and partly, it is said, by Perino del Vaga. The pope and emperor, as in the former case, are portraits of Leo X. and Fran- cis L 4. The Victory of Leo IF. over the Saracens at Ostia, painted from Raphael's designs by Giovanni da Udine. The chiaro-scuro subjects of this chamber were painted by Polidoro da Caravaggio : they are portraits of the princes who have been eminent benefactors of the church. One of them will not fail to interest the Eng- lish traveller : it bears the inscription, Astulphus Rex sub Le07ie IF. Pont. Bri- tanniam Beato Petro vectigalem fecit. Ethelwolf was king of England during the reign of Leo IV. (847-855). The inscription confirms the opinion of those historians who regard him as the first sovereign of England who agreed to pay the tribute of Peter's pence to the Holy See. The doors of this cham- ber are celebrated for their elaborate carvings by Giovanni Barile and Fra Giovanni da Verona. They were care- fully copied by Poussin at the com- mand of Louis XIIL, who intended to use them as models for the doors of the Louvre : they are supposed to have been designed by Raphael. IV. Sala di Costantino. — This large chamber was not painted until after the death of Raphael. He had pre- pared the drawings, and had begun to execute them in oil. The figures of Justice and Benignity were the only portions of the composition which he actually painted, for the work was in- terrupted by his death, and ultimately completed in fresco by Giulio Ro- mano, Francesco Penni, and RafFaele del Colle. The subjects are illustra- tive of the sovereignty of the church, and their mode of treatment seems to have been suggested by the celebrated frescoes of Pietro della Francesca, ia the church of S. Francesco at Arezzo. 1. The Battle of Const antine and Max- entius at the Ponte Molle, entirely de- signed by Raphael, and executed by Giulio Romano ; the largest histo- rical subject ever painted. No other composition by Raphael contains such a variety of figures, such powerful and vigorous action, such animation and spirit in every part of the picture. Bellori says that he appears to have been borne along by the energy of the warriors he was painting, and to have carried his pencil into the fight. It represents the very moment of victory : Maxentius is driven into the Tiber by Constantine, whose white horse rushes forward as if partaking of the energy of his rider. One body of the troops of Maxentius is flying over the bridge in disorder, while another on the left hand is gallantly sustaining the last struggle of despair. In the midst of this tumultuous scene an old soldier is seen raising the dead body of a young standard-bearer, one of those touching episodes which are so peculiarly cha- racteristic of the gentle spirit of the master. The colouring, on the whole, is rough and dusky in the middle tints, but very powerful in parts. Lanzi says that Poussin praised it as a fine specimen of Giulio's manner, and con- sidered the hardness of his style well suited to the fury of such a combat. 2. The Cross appearing to Co?istantijie while addressing his troops prior to the battle. This and the succeeding sub- jects are the least interesting of the series.: it is said that many deviations were made from Raphael's designs, and several episodes may be recognised, which could not have entered into any composition dictated by his genius. In the background are several Roman monuments. The execution of this subject is by Giulio Romano. 3. The Baptism of Cotistantine by St, Silvester, painted by Francesco Penni (II Fal- tore), who has introduced his portrait 398 R.2T -ROUE -Palaces ; Vatica7i (Tapestries of Raphael). [Sect.I. in a black dress with a velvet cap. The scene is interesting as a contem- porary representation of the baptistery of St. John Lateran. 4. Constantines gift of Rome to the Pope, painted by Raffaele del Colle. The eight figures of popes between these four subjects are said to be by Giulio Romano. The chiaro-scuro subjects are by Polidoro da Caravaggio ; the Triumph of Faith on the roof is an inferior work by Tom- maso Lauretti ; the other paintings of the roof are by the Zuccari. Tapestries of Raphael, in a gallery adjoining the Stanze, which it will "be desirable to notice here in connexion with the other works of Raphael. They are called the Arazzi, ivom. being worked at Arras in Flanders. In 1515 and the following year Raphael designed eleven cartoons for the tapestries which LeoX. required to cover the walls of the Sis- tine chapel. These cartoons were exe- cuted in distemper by his own hands, assisted by his pupil Francesco Pemii ; and the English traveller will hardly require to be informed that seven of the number are preserved at Hampton Court. The tapestries from these car- toons were worked under the direction of Bernhard van Orley, the able pupil of Raphael, then resident in Flanders. Ten of the subjects represent the his- tory of St. Peter and St. Paul ; the eleventh, of which all trace is lost, was the Coronation of the Virgin. A second series of thirteen tapestries was executed at a later period, and not altogether from the designs of Raphael : they re- present various scenes in the life of Christ, and some among the number are so much inferior to the first series in design, that there can be no doubt of their being the composition of his scholars. During the sack of Rome by the Constable de Bourbon, in 1527, the tapestries were seriously injured and stolen from the Vatican : they were restored in 1553 by the Constable Anne de Montmorenci, but some valuable portions of them were lost for ever. They were again carried otf by the French at the invasion of 1798, and were sold to a Jew in Paris, who burnt one of them for the sake of the gold and silver threads used in the bright lights. The speculation fortunately failed, and the Jew offered to sell the remainder to Pius VII., by whom they were of course gladly purchased. First series. — The ten subjects of this series have suffered much from time, and are greatly faded, but the beauty of their composition is of course imperishable, and considering the difficulty of the material, they are worked with surprising fidelity to the original designs. The two sets of tapes- tries are unfortunately not arranged in their proper order on the walls, and are hung indiscriminately in two chambers, which are separated by the gallery of geographical maps. The ten subjects which were formerly placed in the Sis- tine chapel are the following : — 1. The punishment of Elymas the sorcerer, much injured. 2. The Stoning of Ste- phen. On the margin below is repre- sented, in imitation of the ancient bas- reliefs, the return of Cardinal de' Medici to Florence as the papal legate : the cartoon of this subject is lost. 3. Tli and other well-known statues in the British Museum, which were presented by George IV. to Pius VII. The last chamber formerly contained the full- length portrait of George IV. by Sir Thomas Lawrence : it had little har- mony with the masterpieces of the gal- lery, and has been judiciously removed to one of the apartments of the palace. Museo Pio - Clementino, so called from the popes Clement XIV. and Pius VI. , from whom it received its most important accessions and its greatest splendour. It contains the collections made by Julius II., Leo X., Clement VII. , and Paul III., and is without ex- ception the most magnificent museum of antique sculpture in the world. Pius VI. contributed more munificently to its completion than any of his prede- cessors, and there is hardly a corner of the museum in which some object does not bear the inscription, Munificentid Pit Sexti, The frequent recurrence of this record has been ridiculed by Pas- quin ; but the best apology for the pope is the simple fact that he enriched the museum with more than 2000 statues, and built from their foundations the Hall of Animals, the Gallery of the Muses, the Circular Hall, the Hall of the Greek Cross, the Hall of the Biga, the Grand Staircase, and other portions of the building, which have justly been classed among the most splendid works of papal times. [It is necessary to men- tion here that the numbers on the dif- ferent objects have been frequently changed, and that many of them do Papal States, '\ r. 27. — rome. — Palaces; Vatican {Museum). 411 not occur in regular sequence. The principal objects, however, which we shall notice are so conspicuous, that the stranger will have no difficulty in recognising them at once independently of the numbers.] Entrance. — I. Square vestibule, adorned with arabesques by Daniele da Volterra. 1. The Torso Belvedere^ sculptured by Apollonius, son of Nestor of Athens, as we learn by a Greek inscription on the base, found in the Baths of Caracalla. This noble fragment has commanded the admira- tion of the first sculptors of modern times. Michael Angelo declared that he was its pupil, and was indebted to it for his power in representing the human form ; and Winckelmann considered that it approaches nearer to the sublime than the Apollo Belvedere. It is gene- rally supposed to represent Hercules in a state of repose after labour. Winck- elmann thought that it had the left arm over the head, but Visconti contends that it formed part of a group, and that the arm surrounded some other figure. Flaxman adopted this idea, and intro- duced it into one of his finest composi- tions. 3. Sarcophagus of Scipio. — Few objects in the museum have been made so well known by models and engrav- ings as this celebrated monument of republican Rome. It is of the coarse peperino of the Alban hills, in the Doric style, ornamented with a frieze of roses and triglyphs. The inscription bears the name of Lucius Cornelius Scipio Barbatus, great grandfather of Scipio Africanus,andthe conqueror of the Sam- nites, who was consul B.C. 297. Jt is one of the most ancient Latin inscrip- tions which have been preserved to us, and is often so incorrectly given on the models, that the following copy will doubtless be acceptable : — cornelivs . LVCIVS . SCIPIO . BARBATVS . GNAIVOD. PATRE . PROGNATVS . FORTIS . VIR . SA- PIENSQVE . QVOIVS . FORMA . VIRTVTEI . PARISVMA . FVIT . CONSOL . CENSOR . AIDILIS . QVEI . FVIT . APVD . VOS . TAVRASIA . CISAVNA . SAMNIO . CEPIT . SVBIGIT . OMNE . LOVCANA . OPSIDESQV. ABDOvciT. When the sarcophagus was first opened in 1781, upwards of 2000 years after the death of Scipio Barba- tus, the skeleton was found entire, with a ring upon one of the fingers. The bones were carefully collected by the Senator Angelo Quirini, who removed them to Padua. The ring found its way to England, in the valuable collection of the Earl of Beverley. The history of this interesting relic is given by the learned antiquary Dutens, in his ^Re- cherches sur 1' Usage des Voutes.' He had left England in 1768 on his travels with Lord Algernon Percy, and was in Rome at the time of the discovery. He says, " Le squelette etoit tres entier. II avoit au doigt une bague, que le Pape Pius VI. me fit Thonneur de me donner, et que j ai placee dans le beau recueil des antiques de Lord Beverley." It is scarcely possible to imagine a more interesting relic, and the reader will be gratified to know that it is still preserved among the other treasures of Lord Be- verley's collection. The sepulchre of the Scipio family, on the Appian, is noticed at length in the description of the Tombs (p. 317). The bust of pepe- rino crowned with laurel, above the sarcophagus, is supposed to be that of Ennius. On the wall are the original inscriptions found in the recesses of the ! tomb. II. Round vestibule. — 1-5. Frag- ments of statues : those which are clothed are remarkable for the fine arrangement of the drapery. 6. Bas-relief of Pluto and Proserpine. 8. On the balcony an antique dial with twelve sides, each con- taining the name of a wind in Greek and Latin. The view from this balcony is so beautiful that it gave the name of Belvedere to this portion of the palace. III. Chamber of Meleager. — 1. Statue of Meleager with the boar s head and the dog, found in the Baths of Titus in a perfect state, with the exception of the left hand, which is supposed to have held a spear. On the walls are some bas-reliefs representing ^neas and Dido, the apotheosis of Homer, a Ro- man galley, and a colossal head of Trajan. Cortile di Belvedere, built from the designs of Bramante. This court is an octagonal space, surrounded by an t2 412 R. 27. — ROME. — Palaces; Vatican {Museum), [Sect. I. Open portico, with four small cabinets in the circumference, which contain some of the most celebrated examples of ancient art. The portico contains nu- merous statues, bas-reliefs, sarcophagi, and baths, which it will be necessary to notice as we pass on, alternately with the cabinets. Beginning on the right hand, the following are the most inte- resting objects : Politico, Compartment I. — 37. A large oval sarcophagus, with bas-reliefs of fauns and bacchantes, found in 1777 in laying the foundations for the sacristy of St. Peter's ; it contained two skele- tons. 39. Sarcophagus with a Greek and Latin inscription to Sextus Varius Marcellus, father of the Emperor Heli- ogabalus. 45, 46. Two fine baths with lions' heads, one in black, the other in green basalt, found in the Baths of Caracalla. First Cabinet. — The Perseus and the two boxers Creugas and Damoxenus, by Ca?iova. These celebrated figures were brought here while the ancient statues were at Paris ; the Perseus was placed on the pedestal of the Apollo, and obtained the name of the Consola- trice. On the restoration of the Apollo and the Laocoon, the Perseus and the boxers were ordered to remain here, in opposition, it is said, to the wishes of Canova, who felt that they must chal- lenge comparison when standing by the side of those masterpieces of ancient art. 50. Minerva. 51. Mercury. Portico, Compartment II. — A sarco- phagus with a fine bas-relief of Bacchus and Ariadne, found at Orta. 46. Statue of a Roman matron, supposed to be Sal- lustia Barbia Orbiana, wife of Alexan- der Severus, as Venus attended by Cupl d . 47. Large sarcophagus of the lower em- pire, with bas-reliefs representing the battles of the Amazons, with the con- test of Achilles and Pentesilea, interest- ing as showing that the received etymo- logy of the word Amazon must have been of comparatively recent date. Second Cabinet. — The Belvedere An- tinous, considered by Visconti to be Mercury, found near S. Martino ai Monti, in the pontificate of Paul III. The loss of the right arm and left hand seriously interferes with the sym- metry of the figure, and the foot on which it rests is so badly restored that it produces an appearance of deformity. The proportions of this beautiful statue have received unqualified praise : its high finish is combined with elegance of form and with all the gracefulness of youth. Domenichino made it his con- stant study, and declared that he was indebted to it for his knowledge of the beautiful. Its anatomy is pronounced by John Bell, the first critic on this point, to be faultless in every respect : he dwells with enthusiasm on its just proportions, the balance and living pos- ture of the figure, the exquisite forma- tion of the legs and ancles, and its entire freedom from insipid flatness of feature and from strained anatomy. 57. A bas-relief of the battle of the Ama- zons, with another representation of Achilles and Pentesilea. 58. An Isiac festival and procession going to sa- crifice. Portico, Compartment III. — A sar- cophagus, with bas-reliefs of the Ne- reids bearing the arms of Achilles ; another with reliefs of the four seasons ; another with the battle of the Amazons ; a fourth with bacchanalian figures. Two fine baths of red granite. At the entrance of the Hall of Animals are two shepherd's dogs (68, 69). Third Cabinet, — The Laocoon, found in the Vigna de' Fredis, between the Sette Sale and the basilica of S. Maria Maggiore, in 1506, during the pontificate of Julius II., who rewarded the discoverer, Felice de' Fredis, by bestowing on him half the revenue de- rived from the gabella of the Porta San Giovanni (p. 362). Some idea may be formed of the value attached to its discovery, by the fact that the tolls thus appropriated were entirely the property of the basilica of St. John Lateran, and that Leo X. compromised the matter by granting to the family of de' Fredis the lucrative office of Apo- stolic Secretary, on condition that the revenue granted by his enthusiastic predecessor should be restored to the Papal States,'] r. 27 — rome. — Palaces; Vatican {Museum) . 413 church. Michael Angelo, who was in Rome at the time of its discovery, called it the wonder of art ; and a cu- rious letter, written by Cesare Trivulzio to his brother Pomponio, July 1, 1506, describing the excitement produced by the event, is preserved in the Lettere Pittoriche. After a great deal of con- troversy there is no longer any doubt that the Laocoon is the group described by Pliny in the following interesting passage : — "The fame of many sculp- tors is less diffused, because the num- ber employed upon great works pre- vented their celebrity ; for there is no one artist to receive the honour of the work, and where there are more than one they cannot all obtain an equal fame. Of this the Laocoon is an ex- ample, which stands in the palace of the Emperor Titus, a work which may be considered superior to all others both in painting and statuary. The whole group, the father, the buys, and the awful folds of the serpents, were formed out of a single block, in accord- ance with a vote of the senate, by Age- sander, Polydorus, and Athenodorus, Rhodian sculptors of the highest class.'' — (Lib. xxxvi. c. 5.) The great dif- ficulty in this passage is the statement that the group is sculptured out of a single block; Michael Angelo is said to have denied the fact on its first dis- cover}^, and subsequent investigation has fully confirmed the accuracy of his judgment. Three separate pieces can be clearly made out : the first is the son on the left hand, the second is the upper part of Laocoon himself down to the knees, and the rest of the group is the third. Winckelmann no doubt suggested the true mode of reconciling these facts with the statement of Pliny, by adverting to the probability that the joinings were imperceptible in his time ; indeed it is said to have required the practised eye of a sculptor to dis- cover them in the time of Michael An- gelo. The right arm of the father, and those of the two children, are restora- tions. In the opinion of Canova the right arm of Laocoon is not in its ori- ginal position, as a projection on the head of the figure shows that the hand, or some other part of the composition, rested on the head. At present the an- gles formed by the group are disagree- able to the eye, and detract from the effect of its intense action. Another knob on the serpent shows that the child on the left had his hand in a similar position. Vasari tells us that Baccio Bandinelli made an arm for the Laocoon in wax in 1525, which he fol- lowed in his copy, now in the gallery of the Palazzo Vecchio at Florence. This restoration, which was not adopted, seems to have suggested the present form, for the group is represented as we now see it in Marliani's engraving, published in 1544. Giovanangelo Mon- torsoli began a restoration of the arm in marble by order of Clement VII., about 1532. He made it bend back, so as to come over the head of the figure ; but it does not appear to have been completed, as Winckelmann men- tions an arm of this kind which was lying near the statue in his time in an unfinished state. The common story, that Michael Angelo began the restora- tion of the figure, and gave up the task in despair, because he found he could do nothing worthy of so admirable a piece," cannot, we believe, be traced iuither than ' Spence's Anecdotes,' and probably had its origin in the attempt of Montorsoli, above mentioned; the similarity of the Christian names of the two sculptors may have aided if it did not cause the misapprehension. The present arm is of terra-cotta, and is said by Winckelmann to be the work of Bernini. The arms of the children were added by Agostino Cor- nacchini of Pistoia, who merely fol- lowed Bandinelli's design for the first restoration. Scholars have often de- sired to connect this group with the fine description of the fate of Laocoon in the second ^neid ; but the passage will not bear the application, and af- fords not the least evidence that it was suggested by the sculpture. There can be no doubt of the inspiration of the fol- lowing passage from ' Childe Harold,' which has invested the statue with ad- 414 R. 27. — ROME, — Palaces; Vatican {Museum) . [Sect. I. ditional interest for the English tra- veller — " Or, turning to the Vatican, go see Laocoon's torture dignifying pain — A fatlier's love and mortal's agony With an immortal's patience blending: — vain The struggle ; vain, against the coiling strain And gripe, and deepening of the dragon's grasp. The old man's clench ; the long envenom' d chain Rivets the living links,— the enormous asp Enforces pang on pang, and stifles gasp on gasp!" The bas-reliefs in this chamber repre- sent (79) the triumph of Bacchus over the Indians; (80) a bacchanalian pro- cession. The statues in the niches are Polyhymnia, and a nymph with a shell, found near the basilica of Con- stantine. Portico, Compartment lY. — Alto- relievo, representing Hercules and Te- lephus, Bacchus and the Satyr ; a sar- cophagus, with cupids carrying arms ; another, with tritons and nereids ; a bas-relief on the wall, representing Augustus going to sacrifice ; another representing Rome accompanying a victorious emperor ; and two large baths of granite. Fourth Cabinet. — The Apollo Bel- vedere, found about the beginning of the sixteenth century at Porto d'Anzo, the ancient Antium. It was purchased by Julius II. when Cardinal della Ro- vere, and was one of the first specimens of ancient sculpture placed in the Bel- vedere, so that we may regard it as the point from which the Vatican museum had its origin. It is supposed to have stood in the baths of one of the impe- rial villas at Antium, which was a favourite retreat of many of the early emperors, and the birthplace of Cali gula and Nero. Some doubt has been expressed as to the character in whicli Apollo is represented. Visconti con- sidered it the statue described by Pau- sanias, and dedicated to the god in his medical capacity after the great plague of Athens. Winckelmann, whose en- thusiasm on the subject almost bordered on the extravagant^ was of opinion that he has just slain the serpent Python. The left hand and right fore- arm have been badly restored by Montorsoli. Both ancles and the right leg were broken when it was discovered ; the original fragments were fortunately not lost, but they have been joined in so careless a manner as to impair the ac- tion of the figure in the eye of a sculp- tor or anatomist. It is now generally admitted that the statue is of Carrara (Luna) marble; the opinion of Vis- conti that the marble is Greek, though neither from Pentelicus nor Paros, has found few supporters. Canova not only rejected this idea, but considered that the statue is a copy from a work in bronze ; and that the peculiarities of style in which a bronze statue dif- fers from one in marble, are distinctly traceable, more particularly in the drapery. The first sculptors of our time coincide in the opinion of Ca- nova ; some have even fixed the age of the statue, and referred it to the time of Nero. The Italian writers describe it as the work of Agasias of Ephesus, the sculptor whose name occurs on the Fighting Gladiator in the Louvre, which was also found at Antium ; but there is no direct evidence to support the conjecture, or give it probability. Lord Byron has thrown the influence of his genius over this statue in one of his finest descriptions : — " Or view the Lord of the unerring bow. The God of life, and poesy, and light — The Sun in human limbs array'd, and brow All radiant from his triumph in the fight ; The shaft hath just been shot — the arrow bright With an immortal's vengeance ; in his eye And nostril beautiful disdain, and might And majesty flash their full lightnings by. Developing in that one glance the Deity. But in his delicate form- a dream of Love, Shaped by some solitary nymph, whose breast Long'd for a deathless lover from above. And madden'd in that vision — are express'd All that ideal beauty ever bless'd The mind with in its most unearthly mood. When each conception was a heavenly guest— A ray of immortality — and stood Starlike, around, until they gather'd to a godT' Papal States.] r. 27. — rome. — Palaces; Vatican (^Museum) , 415 The bas-reliefs in this cabinet represent a hunt, and Pasiphae with the bull. The statues in the niches are a Minerva, a!id a Venus Victrix. Portico^ Compartment Y. — A sarco- phagus with a bas-relief of Ganymede ; another with Bacchus between a faun and a bacchante ; a bath of green basalt, found in the Baths of Caracalla. Hall of Animals^ divided by the ves- tibule into two parts, and paved chiefly with mosaics found at Palestrina. The sculptures of animals in this hall con- stitute the finest collection ever formed, and fully confirm the statement of Pliny respecting the excellence of Gre- cian sculptors in their representations of animals. It has been called a me- nagerie of art. The animals, of course, will be recognised at once, without the necessity of a particular description. The following are the most remarkable objects. Left branch. — In the niche, a colossal statue, supposed to be Tibe- rius. A group of a centaur and a ne- reid. Hercules leading away Cerberus ; a cameFs head ; a crocodile ; a sphynx, in flowered alabaster ; a sow and pigs, supposed to allude to the history of Alba Longa ; the head of an ass crowned with ivy ; a group of Hercules slaying Geryon, and carrying off his oxen ; a lion tearing a horse. Right bra?ich. — The beautiful greyhounds making love ; the celebrated group of Mithras stab- bing the bull, with the dog, the serpent, and the eagle, the mystical types of the Mithratic worship. The stag in flowered alabaster ; the lion in yellow breccia, with the teeth and tongue of different marble. The large lion in grey marble (bigio). The lion with a ball under his paw. Europa and the bull. Hercules and the Nemaean lion. Group of Diomed and his horses slain by Hercules. Equestrian statue of Com- modus throwing a javelin. Galki^y of Statues. — On the right hand, an armed statue of Clodius Albinus. The celebrated half-figure, called the Genius of the Vatican^ in Parian marble, supposed to be by Praxiteles ; it was once winged- A sitting statue of Paris holding the apple. Hercules. Minerva with the olive-branch. Caligula. A muse. The Amazon, one of the finest statues in this collection, but probal)ly inferior to the Amazon in the Capitol. A sitting female figure as Urania, found in the villa of Cassius at Tivoli. A sitting figure of the celebrated comic poet Posidippus, a Greek statue of the time of Alexander, found near the church of S. Lorenzo in Pane e Perna. Left side. — A corresponding statue of Me- nander found at the same place. Sit- ting statue of Dido (?), Neptune. Narcissus. Bacchus as a river god. Diana and her hound. The second repe- tition of the Faun of Praxiteles (p. 410), placed immediately opposite the Ge- nius of the Vatican. A female draped figure (Pudicitia?), found in the Villa Mattei. The celebrated recumbent sta- tue of Ariadne sleeping, formerly called Cleopatra, solely because the bracelet has some resemblance to a serpent. Nothing can surpass the gracefulness of this figure : the position is that of profound sleep, the bending limbs are exquisitely formed, yet managed with a modesty of expression which gives the figure a higher character than we find in any other statue of this class. The drapery is managed with consum- mate skill, and altogether it is one of the most interesting draped statues in the museum. It is celebrated by Cas- tiglione, under the name of the Cleo- patra, in a beautiful Latin poem written in honour of its discovery. The cande- labra on each side were found in Ha- drian's villa at Tivoli. Near the en- trance of the Hall of Animals is the figure of a bacchante. Hall of Busts, 1st Chamber.— 2. Alexander Severus. 4. Julius Caesar. 6. Augustus. 10. Marcus Agrippa. 20. Marcus Aurelius. 26. Menelaus. 42. Cato and Portia (?), a mere name supported by no authority. 2nd Chamber. — 48. Lucius Verus. 49. Se- rapis, in black basalt. 54. Caracalla. 56. Augustus. 57. Septimius Severus. 58. Nero, as Apollo. 75. Julia, daugh- ter of Titus. 80. Antinous. 83. Ha- drian. 3rd Chamber. — 106. Colossal 416 R. 27. — ROME. — Palaces; Vatican {Museum). [Sect. I. bust of Jupiter seated, holding the light- ning ; on the pedestal a bas-relief of Silenus and a Faun. Of the numerous other busts in these chambers there are scarcely any which have been identified •with certainty. On the balcony out- side, seen from the lower room of this gallery, are several statues ; the second from the window is a repetition of the Venus of Praxiteles (p. 417). Cabinet of the Masks, remarkable chiefly for the fine mosaic pavement found in Hadrian's villa. 7. A satyr in rosso antico, from the same spot. 12. The apotheosis of Hadrian, in Greek marble. 1 5, 18. Frieze, with the labours of Hercules, in bas-relief. 19. A square vessel in rosso antico. 20. A Sella bal- nearia of the same material, formerly in the Lateran Palace. In the niches, besides the satyr already mentioned, are statues of Paris, Minerva, Ganymede, Adonis, and Yenus coming out of the bath. Hall of the Muses, adorned with six- teen Corinthian columns found in Ha- drian's villa. Nearly all the statues and busts were found together in the villa of Cassius at Tivoli. The mosaic pavement contains some interesting fragments. The tiger was found in the March of Ancona, the head of Medusa near the arch of Galienus, and the theatrical figures near the site of ancient Lorium. The Hermes of the seven wise men have their names inscribed in Greek characters ; they are highly interesting as the most authentic likenesses which have been preserved to us. The Muses are also remarkable as fine characteristic figures. 9. Melpomene. 10. Thalia. 11. Urania. 13. Clio. 14. Poly- hymnia. 15. Erato. 16. Calliope. 17. Apollo Citharoedus. 18. Terpsi- chore. 19. Euterpe. 21. Epicurus. 22. Zeno. 23. ^schines, very rare. 24. Demosthenes. 25. Antisthenes 26. Metrodorus. 27. Alcibiades. 28. Epimenides. 29. Socrates, very rare. 30. Themistocles. 31. Zeno of Elea. 34. Aspasia, unique. 36. Pericles, very fine and full of expression. 38. Bias. 39. Lycurgus. 40. Periander. 44. Pittacus. 45. Solon. Circula?^ Hall, built by Pius VI., from the designs of Michaelangelo Simonetti. In the centre is the grand porphyry basin, 42 J feet in circumfer- ence, found in the Baths of Titus. It stands on the celebrated mosaic pave- ment found at Otricoli in 1780, repre- senting the head of Medusa and the battle of the Centaurs and Lapitha?. On each side of the entrance are two large female heads, found in Hadrian's villa, representing Tragedy and Co- medy. In the circumference are statues and colossal busts in the following order, beginning on the right hand : — 3. Jupiter, found at Otricoli. 4. Faus- tina, wife of Antoniims Pius, from Ha- drian's villa. 5. Hadrian, found in his mausoleum, a work of the very finest sculpture, perfectly unbroken, interesting as a work of art and as a grand intellectual head. 6. Anti- nous, from Hadrian's villa. 7. Ocean. 8. Serapis. 9. Claudius, with a civic crown. 10. Julia Pia. 11. Plotina. 12. Helvius Pertinax. 13. Hercules carrying the young Ajax. 14. Augus- tus in sacrificial robes. 15. Ceres. 16. Antoninus Pius. 17. Nerva. 19. Juno, from the Barberini Palace. 20. Juno Sospita, with the goatskin, shield, and sandals. 21. Bacchus and a satyr, with a tiger. Hall of the Greek Cross, built from the designs of Simonetti, a noble hall, with one of the finest doorways of mo- dern times, ornamented by two colossal statues in the Egyptian style in red granite, found in Hadrian's villa ; they serve as Caryatides to the massive en- tablature. The pavement is composed of ancient mosaics, with arabesques and a head of Minerva, found among the ruins of Cicero's villa at Tusculum. The principal objects in this hall are the two immense sarcophagi of por- phyry, the largest known, and probably the largest ever constructed in that material. One of these is the Sat'co^ phagus of St. Constantia, the daughter of Constantine, found in the tomb erected to her by the emperor near the church of S. Agnese (p. 358). It is ornamented with bas-reliefs represent- Papal States.] r. 27. — rome. — Palaces; Vatican {Museum), 417 iug a vintage, a christian as well as a bacchanalian symbol. Constantia died A.D. 354, and although the style of sculpture indicates that decline of art which is evident in all the works executed in the time of Constantine, many antiquaries are disposed to consi- der it much older than the fourth cen- tury. Paul II. shortly before his death had begun to remove it from the tomb to serve as his own monument in the Lateran. Sixtus IV., his successor, restored it to its original position, but it was vdtimately brought to the Vatican by Pius VI. as a companion to the Sarcophagus of the Empress Helena. This interesting sarcophagus exhibits a better style of art than that of St. Con- stantia; it is covered with alto-reliefs representing a battle, with the capture of prisoners and portraits of Constan- tine and his mother ; the cover is orna- mented with figures of Victory and fes- toons. It was found in the tomb of our countrywoman St. Helena, now called the Torre Pignattara, beyond the Porta Maggiore, and was removed by Anastatius IV. to the Lateran, from whence it was brought to this museum by Pius VI. The statues in this hall were chiefly found at Otricoli : the most remarkable are the sitting figure of a Muse holding a book ; Erato with the lyre, a female statue veiled ; and a youth veiled holding a patera. Behind the sarcophagus of St. Helena is a curi- ous monument, found in the ruins of a villa near Tivoli, bearing the name of Sypiiax king of Numidia, who was brought to Rome by Scipio Africanus to grace his triumph. Although there is no doubt of its antiquity, it is difficult not to regard it as apocryphal. Livy refers to the statement of Polybius, that Sy- phax was led in triumph, and contends that he died previous to that event at Tibur ; at the same time admitting that Polybius is an authority by no means to be slighted. It is clear from this that the circumstances attending the death of Syphax were doubtful in the time of Livy, and it would be useless to attempt to reconcile them with this in- scription. It is, however, worthy of remark that his death is placed by that historian at Tibur, where this monu- ment was discovered in the fifteenth century. The inscription is remarkable for its abbreviations ; the principal facts it relates are the death of Syphax in captivity at Tibin* in his forty-eighth year, and the erection of the monument by P. C. Scipio. An exact copy will be found in Dr. Burton's Antiquities, with the reading cleverly modernised. At the foot of the stairs leading to the hall of the Biga is a very interesting statue, — a repetition of the Venus of Praxiteles, in Greek marble. That this is really the original design of that cele- brated statue is proved by two coins of Cnidos, having Cnidos on one side and Venus on the other, in the exact posi- tion of this figure. Nothing can be more interesting than to be thus in pos- session of the design of these great works of ancient art. The statue vv'as covered with bronze drapery by one of the popes, from a fastidious feeling of modesty. At the bottom of the stairs are recum- bent statues of river gods : one, in white marble, is supposed to represent the Ti- gris ; the other, in grey marble, is called the Nile. Hall of the Biga, a circular chamber, so called from the ancient white mar > ble chariot of two wheels which is pre- served there. It has two horses yoked to it, and seldom fails to receive the admiration of travellers ; but unfortu- nately, it derives nearly all its beauty from the art of the restorers. The seat of the car, and the body of one of the horses, are the only parts which are ancient ; the wheels, the second horse, and all the remaining portions, are mo- dern additions. In the niches and cir- cumference of the room are the follow- ing statues; — 1. Perseus. 2. Sarda- napalus, with the name engraved on the mantle. 3. Bacchus. 4. Alcibia- des, with his foot resting on his helmet. 5. Colossal statue of a priestess veiled, in Greek marble, from the Giustiniani Palace at Venice. 6. Apollo, with his lyre. 8. A Discobolus, found by our countryman, Hamilton, the painter, among some ruins on the Appian. 9. Sta- 418 R. 27. — ROME. — Palaces ; Vatican {Museum). [Sect- I. tue of a warrior, called the Phocion. 10. A repetition of the Discobolus of Myrofi, whose name it bears; found near the Trophies of Marius, on the Esqui- line. in 17S1. Part of the right leg is restored. The strigil, or scraper used in the baths, is introduced on the block which supports the figure. 11. A cha- rioteer of the Circus. 12. A philo- sopher holding a scroll ; the body is of Greek, the head of Carrara marble. 13. The Apollo Sauroctonos of Praxi- teles, a very interesting statue, found in the Villa Spada. There is a celebrated repetition of it in bronze in the Villa Albani. Museo Gregoriano^ one of the most interesting departments of the museum, created entirely by the present pope, who is entitled to the gratitude of every student of Etruscan antiquities for the zeal and liberality with which he has preserved these valuable objects of Etruscan art among the accessible trea- sures of the Vatican. It is impos- sible not to regard with admiration the taste exhibited in the formation of this museum, in the centre of a district which derived its ancient arts and civi- lization from the Etruscans. Its col- lections enable us to trace the influence exercised by that wonderful people on the early development of Rome, and to study upon one spot the monuments which serve as connecting links be- tween the mythologies of Egypt, Greece, and Italy. Many of these objects would have been dispersed, perhaps irreco- verably lost, if the public spirit of Gregory XVI. had not secured them for the Vatican. This amiable pontiff is the more entitled to our praise when we consider the limited means at his command ; and we believe that we are correct in stating that his private in- come has been almost entirely devoted to this object. The collection bears abund- ant evidence of the enthusiasm with which the pope has pursued his favour- ite study ; and it must be a subject for congratulation that his idea of collect- ing into one museum all the Etruscan antiquities discovered in his dominions, has been thus far realised. The objects have been arranged in a series of cham- bers, under the direction of Cav. Fabris, assisted by Signor Genarelli. The first rooms contain a collection of terra-cotta monuments, sarcophagi with recum- bent figures, and other remains, which it would require a volume to particu- larise in detail. In the first is the re- markable series of funeral urns in- scribed with Oscan characters, which were found a few years back under a supposed bed of lava at Albano. — (See Route 41.) They are considered to re- present the huts inhabited by the Latin tribe to which they belonged, and are extremely curious as illustrations of a style ditl'ering from all other monu- ments of the kind. The horses' heads in terra-cotta were found over (he en- trance to a tomb at Vulci. In the adjoining gallery and chambers is an extensive collection of votive offerings, small busts and profiles, with orna- mented tiles, &c. ; a statue of Mercury found at Tivoli, so elegantly propor- tioned that it has been supposed to be of Roman workmanship; and a sarco- phagus found at Corneto, and covered with reliefs which supply us with a complete epitome of the funeral rites of the Etruscans. The collection of Bronzes is highly interesting, and con- tinually increasing by tlie addition of new objects. The statues of the boy wearing the bulla, found at Tarquinii, and the warrior in armour, are among the rarest of its treasures. The statue of the warrior was found at Todi in 1837 ; his helmet terminates in a cone ; and his coat of mail, which is beauti- fully worked, bears an inscription on the baldric. The war-chariot is one of the most celebrated ol)jects in the col- lection ; it is elaborately ornamented, and is so perfect, that doubts of its authenticity were long entertained. By the side of the car are fragments of colos- sal statues : one was found in the harbour of Civita Vecchia, the other at Chiusi. Among the other objects are a winged Mercury, pieces of body armour, wea- pons of defence, stamped shields, im- plements of agriculture, a tripod found at Vulci, sacrificial altars, household Papal States.] r. 27. — rome. — Palaces; Vatican (Museum) , 419 utensils, &c. Two cabinets are filled with minor collections, among which may be mentioned a series of bronze idols found at Caere ; comic masks ; strigils, or scrapers used in the baths ; specchj, or looking-glasses, &c. Many of the latter are highly polished, some are gilt on the reverse, and others are ornamented with engraved figures or inscriptions. The stamped clay -pieces, with spots, supposed to be Etruscan money, are not the least remarkable. In the centre of the room is a poly- gonal table, divided into compartments, and revolving on a pivot for the con- venience of visitors. These compart- ments are covered with glass, and con- tain a miscellaneous collection of gold ornaments, more varied and instruc- tive than any other that has yet been formed. The extent of the collection is less remarkable than the elaborate character of the workmanship. The gold and silver filagrees of Genoa, the gold chains of Venice and Trichino- poly, do not excel them in minuteness of execution, and rarely approach them in taste. The patterns of the female ornaments are exquisitely beautiful, and might be worn as novelties in any court of modern Europe. Nearly all these surprising specimens of ancient art were found in the sepulchres. In one compartment are wreaths for the head, chaplets for the priests and magis- trates, and bands for the female head- dress ; some are simple fillets, while others are composed of leaves of ivy, myrtle, and olive. In other compart- ments are necklaces, bracelets, brooches, earrings, and armlets of solid gold, in every variety of pattern ; many of them are elastic, and the greater number are in the form of a serpent, either single or coiled. The bullae, or amu- lets worn on the breast, are of large size, and elaborately worked. The rings are of various kinds ; some are set with jewels, others are jointed, others are simply composed of scarabaei set on a swivel. The earrings are even more varied in their patterns; some consist of a single stone set in gold, while others are in the form of a ram's head, a bird, or other animals. The fibulae for fastening the toga, the chains for the neck, the gold lace, &c., are so beautiful and minute in workmanship, that modern skill can produce few spe- cimens of equal delicacy. But the most remarkable objects in this room are those found in one of the tombs at Caere, and recently in the possession of General Galassi. The most valuable of these is a stamped breastplate of solid gold, with fibulae of the most ela- borate description, wrought with con- summate skill. The other objects from the same tomb consist of stamped shields, terra-cotta and other images, the wheels of a sepulchral car, a bronze bier, a tripod, and a singular alphabet of terra-cotta, arranged in single letters and in syllables. A dark passage leads from this room to the Chamber of the Tomhs^ in which are preserved faithful copies of the paintings discovered in the sepulchres, and which lose their colours soon after they are exposed to the light : the subjects are nearly all taken from the tombs at Tarquinii ; they do not give the complete series of any single tomb, l:)ut are a selection of the choicest subjects which have yet been found. As the originals are fast perishing, these copies are of great value as studies of costume and do- mestic manners. The details of each picture, when regarded in this light are of exceeding interest ; in one we have all the particulars of a boar-hunt, with huntsmen in full costume ; in another we have a horse-race, with the judges, the stand, the prize, and all the anxiety of the start ; in another is re- presented a death- bed scene of touching interest, copied from the Camera del Morto at Tatquinii ; in others are seen various dances, games, and religious ceremonies. A small room adjoining has been fitted up as a fac -simile of an unpainted tomb ; it is entered by a low door, exactly copied from the origi- nal, and is divided in the interior into two vaulted chambers ; the sarcopha- gus stands in the usual position on one side, while the walls are hung with vases^tazze, and other sepulchral objects. 420 R. 27. — ROME. — Palaces ; Vatican {Museum^, [Sect. I. Tlie Gallery of the Vases and Tazze, formerly distributed in a number of small apartments, is a complete field of study ; days and weeks might be spent in the mere examination of the subjects represented. It contains a col- lection of examples of all the known varieties of Etruscan workmanship, the elegant forms of Magna Grecia and Campania contrasting with the pecu- liar outlines of those which belong more especially to Etruria. On one side are the light yellow vases, with particoloured griffins, sphynxes, and mythological animals, in which we trace Etruscan art to its Egyptian ori- gin. In another part we see the pure red vases with black figures, marking the most ancient period of Etruscan workmanship independently of Egyptian influence : in another are the exam- ples in which the manufacture attained its highest perfection, as shown in the black vases with red figures, where the skill of the designer has realised the most beautiful forms, and combined them with a grace and power of expres- sion unattainable in the earlier manu- facture. The black vases of Volterra with black reliefs, and the red vases of Arezzo with red reliefs, may also be recognised. The collection of Tazze is perhaps the most interesting in the museum : it contains numerous spe- cimens of the highest rarity and beauty, many of which can hardly be surpassed in size, in delicacy of form, or in the interest of the subjects chosen. Two of the most beautiful had been mended when discovered, a remarkable proof of the value set upon them by the Etruscans themselves. The subjects present us with a complete epitome of ancient mythology ; we recognise most of the deities with their symbols, and several well-known episodes in the Trojan war, and the siege of Thebes. The most interesting of the whole col- lection is the series called the Tazze Argonautiche, illustrating the continu- ous history of the Argonautic Expe- dition. We may here trace every suc- cessive stage of that celebrated expe- dition, from the first preparations for the voyage to the final interposition of Minerva in saving Jason from the dra- gon. Nothing can exceed the beauty of these representations, and we cannot imagine a more interesting subject for the engraver, both as a specimen of Etruscan art, and as an illustration of one of the most popular subjects of classical mythology. In this hall is a bust of the enlightened pontiff by whom this museum was created : it is a good work of Cav. Fabris, the present director of the museum. The Egijptian branch of the Grego- rian Museum is inferior in importance to the Etruscan, but if continued in the spirit in which it has been commenced, it carmot fail to be of great value to the student in enabling him to connect the arts of Etruria with those of Egypt. Gallery of the Cafidelabra, an impos- ing hall, upwards of 1000 feet in length, built by Pius VI. from the designs of Simonetti, and filled with a miscella- neous collection of antique candelabra, columns, statues, &c., arranged in six compartments. Nearly all these objects explain themselves without the fatigue of a particular description, and it will be sufficient to mention the following as the most remarkable ; — Compa7'tment I. — 2. Children with birds' nests. 14. A hawk, in black basalt. Compartment II. — 3. A satyr, with Pan extracting a thorn from his foot. 9. Diana of Ephesus, from Hadrian's villa. 29. A sepulchral altar with bas-reliefs, the genii of Death, &c. 31, 35. Sarcophagi with the history of Orestes and Clytem- nestra, and the story of Protesilaus. Compartment III. — In this division are arranged all the objects found at Tor Marancio, on the farm of the Duchess of Chablais, who presented them to the museum, as we read in an inscription placed here to record the donation. The triple Hermes of Bacchus, Libera, and Mercury, with reliefs of Venus Ana- dyomene, Apollo, and other divinities, is the most interesting object. Com- partment IV. — 12. Sarcophagus with Bacchus and Ariadne. 35-37. The genius of Death. 43. The beautiful group of the boy struggling with the Papal States.] r. 27. — rome. — Palaces; Vatican (Library). 421 goose : a repetition of this subject, but far inferior, is in the Capitol. 36. Sar- cophagus with bas-reliefs representing Diana slaying the children of Niobe. Compa7'tme/if V. — I. Statue of a female runner in the public games. 3. Ne- mesis, from Hadrian's villa. 8. Statue of a comedian. Compartment VI. — 6. Sarcophagus with Diana and Endy- mion. 10. Ganymede. 15. A shepherd. 17. A milestone with an inscription. Gallery of Maps. — This fine hall, 420 feet in length, is celebrated for its series of geographical maps, painted in fresco in 1581 by Padre Ignazio Danti, afterwards archbishop of Alatri. They are interesting chiefly as illustrations of the geographical knowledge of the pe- riod. Those of the Italian provinces are particularly valuable in relation to local boundaries. The painted roof is not so much noticed as it deserves. LiBBARY. The Vatican Library may be consi- dered to have been founded by Nicho- las V. (1447), who transferred to his new palace the manuscripts which had been collected in the Lateran by St. Hilary as early as the fifth century. The library at the death of Nicholas V. is said to have contained 9000 MSS., but many of them were dispersed by his successor CalixtusIII. (Borgia). These losses were not repaired until the time of Sixtus IV. (della Rovere), whose zeal in restoring and augmenting the library is celebrated by Ariosto and by Platina, who was appointed its librarian about 1480. The present building was erected by Sixtus V. in 1588, from the designs of Fontana, a new apartment having become necessary to receive the collections made by his three immediate predecessors, and particularly by Leo X., who had sent agents into distant countries to collect manuscripts. The celebrity of the library dates properly from the close of the sixteenth century, when the munificence of the popes was aided by the acquisition of other im- portant collections. The first was that of the famous Fulvius Ursinus in 1600, followed by the valuable collections of the Benedictine monastery of Bobbio, composed chiefly of Palimpsests. The library then contained 10,660 MSS., of which 8500 were Latin and 2160 Greek. The Palatine library, belonging to the elector palatine, captured at Heidelberg by Tilly, and presented to Pope Gre- gory XV. in 1621 by Duke Maximilian of Bavaria, was the next accession ; it contained 2388 MSS., 1956 of which were Latin and 432 Greek. In 1626 the Vatican received the library of Ur- bino, founded by Duke Federigo, whose passion for books was so great, tliat at the taking of Volterra in 1472, he re- served nothing but a Hebrew Bible for his own share of the spoil. This collec- tion enriched the Vatican with 1711 Greek and Latin MSS. In 1690 the Bibliotheca Alexandrina, the collection of Christina queen of Sweden, passed into the library ; it comprehended all the valuable treasures taken by her father Gustavus Adolphus at Prague, Wurtzburg, and Bremen, and amounted to 2291 MSS., of which 2101 were La- tin and 190 Greek. Clement XI. in the beginning of the last century pre- sented 55 Greek MSS. to the collec- tion; and in 1746 it received the splen- did library of the Ottoboni family, containing 3862 MSS., of which 3391 were Latin and 474 Greek. About the same time it was augmented by 266 MSS. from the library of the Marquis Capponi. The last addition of import- ance was that of 162 Greek MSS. from the convent ofS.Basilio at GrottaFerrata. At the peace of 1815, the late king of Prussia, at the suggestion of Humboldt, applied to Pius VII. for the restoration of some of the manuscripts which had been plundered from the Heidelberg library by Tilly. A more favourable I moment for this request could not have i been chosen : the service rendered to t the church by the restoration of the I pope to his throne was acknowledged i by that enlightened and virtuous pontiff I on all occasions ; and in this instance ] the request of the king of Prussia was immediately answered by the restora- j tion of many MSS. of great importance I to the German scholar and historian. 422 R. 27. — ROME. — Palaces; Fatican {Library). [Sect. T. At the present time the Vatican Library contains in the Oriental collection 590 Hebrew, 787 Arabic, 80 Coptic, 71 ^.thiopic, 459 Syriac, 64 Turkish, 65 Persian, 1 Samaritan, 13 Armenian, 2 Iberian, 22 Indian, 10 Chinese, and 18 Sclavonic Manuscripts. The amount of the whole collection of Greek, Latin, and Oriental manuscripts is 23,580, the finest collection in the world. The num- ber of printed books is not more than 30,000, though it has been loosely stated at 100,000 volumes. The library is open daily from 9 in the morning until noon, excepting during the recess, which begins on the I6th of June and continues until November. On Thursdays and on feast-days it is always closed. The fee to the custode for a party is from five to ten pauls. The Entrance Hall contains in a glass case a fine papyrus relating to the fune- ral rites of the Egyptians. In the ad- joining room, called the Chamber of the Scribes, is a series of portraits of the cardinal librarians The ceiling is painted by Paul Brill and Marco di Firenze. The Great Hall, which forms the chief body of the library, is divided by pilasters into two portions, and is deco- rated with frescoes by Scipione Caje- tani, Paris Nogari, Cesare Nebbia, and other artists, representing the history of the library, the general councils of the church, and the buildings erected by Sixtus V. From this we enter the im- mense double gallery^ celebrated for the elfect of its perspective. Attached to the pilasters and the walls are the painted cabinets or presses which con- tain the books ; these are shut with close doors, so that a stranger might walk through the entire suite of apartments, and have no suspicion that he is sur- rounded by the first literary treasures in the world. In this respect the Vati- can Library contrasts disadvantageously with the imposing halls of the British Museum, where everything tends to sustain the literary air which we in- stinctively look for in a library ; here nothing meets the eye but bright fres- coes and Etruscan vases^ and the effect which might be produced by the appear- ance of the books is entirely lost. On one of the pillars of the great hall is an o\i\ Russia?! Calendar on wood. A more - interesting object is the Sarcophagus of white marble, containing the winding sheet of Asbestus, found about two miles beyond the Porta Maggiore. Two fine tables of granite suppoii^ted by bronze figures, and a beautiful spiral column of Oriental alabaster, will not fail to attract attention. The Galleries Q,ox\\aA\\ the presses with the manuscripts. In the left gallery are the sitting statues of Aristides the sophist of the second century, and of St. Hippolytus, bishop of Porto in the third century, seated in the pastoral chair, on which is engraved the cele- brated Paschal Calendar, composed to combat the heresy of those Christians who observed Easter on the same day as the Jews : it was found in the catacombs of S. Lorenzo. At the end of this gallery is the Museum of Chris- tian Antiquities, containing .an interest- ing collection of lamps, paintings, glass vessels, gems, personal ornaments, and other relics of the early Christians, found in the catacombs. One of the most remarkable collections is that in the second press, containing the different instruments of torture by which many of the early Christians suffered martyr- dom. The bas-reliefs on the walls were taken from the sarcophagi in the cata- combs ; they are highly interesting, not only as examples of christian art, but as illustrations of the religious feelings of the time. Some of them are symbol- ical of the consolations of Christianity in relation to death and sin ; the history of Moses and of Jonas and the miracles of the Saviour are the most remarkable subjects. Among the other collections are amber vessels with reliefs and chris- tian symbols, carvings in ivory, and other objects which scarcely require enumeration. In the fourteenth press is the Diptychon Rambonense of Agil- trude, wife of Guido da Spoleto, a curi- ous specimen of Italian art of the ninth century. A portrait of Charlemagne in fresco is not less interesting, and pro- Papal States J\ r. 27. — rome. — Palaces; Vatican {Library). 423 bably a century older. The iron ar- mour of the Constable de Bourbon, whose sword is preserved in the Roman college, is a melancholy record of the cruel pillage which desolated Rome more than all the attacks of the bar- barians, neither sparing the monuments of antiquity nor the works of the great masters of the revival. The armour of such a man seems strangely placed in the Vatican which he so barbarously plundered. The next chamber, called the Stanza de Papiri, contains a valu- able series of diplomas and charters from the fifth to the eighth century, and is remarkable for its historical fres- coes by Mengs. The beautiful cande- labra of Sevres china were presented to Pius VII. by Napoleon. The apart- ments beyond this contain printed books, an invaluable series of illustrated works, a collection of Byzantine and early Ita- lian paintings, the library of works on art formed by Cicognara, and the cabi- net of medals. The cabinet of ancient and modern engravings, begun by Pius VI., and completed by Pius VII., has a ceiling painted by Guido. Another room adjoining contains a curious col- lection of objects in terra-cotta, found among the ruins of Rome, and arranged and presented by Cajetano Marini. The right Gallery contains the presses with the printed books, and is orna- mented with frescoes illustrating the history of Pius VI. and VII. It con- tains a small museum of profane anti- quities in bronze, ivory, glass, &c., con- sisting principally of lamps, vases, and personal ornaments. The most curious remains are the nails, tiles, and other fragments of the framework of Caesar's villa on the lake of Nemi, long sup- posed to be the timbers of an ancient vessel. (See Route 41.) The principal manuscript treasures of the library are the following : — The Bible of the sixth century^ in capital letters, containing the oldest version of the Septuagint, and the first Greek ver- sion of ihe New Testament. The Virgil of the fourth or ffth century, in capital letters, with fifty miniatures, including a portrait of Virgil, well known by the engravings of Santo Bartoli. The Te- rence of the ninth century, with minia- tures. These versions of Virgil and Terence were in the library of Cardinal Bembo, and passed with its other col- lections into the ducal library of Ur- bino : the Terence was presented to bis father, Bernardo Bembo, by Porcello Pandonio, the Neapolitan poet. A Terence of the fourth or fifth century, the oldest known. Fragments of a Virgil of the twelfth century. Cicero de Repuhlica, the celebrated palimpsest discovered by Cardinal Mai, under a version of St. Augustin's Commentary on the Psalms. The Palimpsest of Livy, Lib. 91, from the library of Christina, queen of Sweden. The Plu- tarch from the same collection, with notes by Grotius. The Seneca of the fourteenth century, with commentaries by Triveth, an English contemporar)'- scholar, from the library of the dukes of Urbino. A Pliny, with interesting figures of animals. The Menologia Grceca, or Greek calendar of the tenth century, ordered by the Emperor Basil ; a fine example of Byzantine art, bril- liantly illuminated with representations of basilicas, monasteries, and martyr- doms of various saints of the Greek church. The Homilies of St. Gregory Nazianzen of the year 1063, and the Four Gospels of the year 1128, both Byzantine MSS. of great interest; the latter is from the Urbino library. A Greek version of the Acts of the Apo- stles, written in gold, presented to In- nocent VIII. by Charlotte, queen of Cyprus. The large Hebrew Bible, in folio, from the library of the Duke of Urbino, richly illuminated, for which the Jews of Venice ofi'ered its weight in gold. The Commentaries on the New Testament, with miniatures of the four- teenth century, by Niccold da Bologna. The Breviary of Matthias Corvinus of the year 1490, beautifully written and illuminated, from the Urbino library. The Parchment Scroll of a Greek MS. of the seventh century, 32 feet long, with miniatures of ihe history of Joshua. The Officium Mortis, with beautiful miniatures. The Codex Mexicanus, a 424 R, 27. — ROME. — Palaces; Vatican {Gardens). [Sect.!. calendar of immense length. The au- tograph copy of the De Saa'amentis of Henry FIIl.^ with the inscription on the last page, * ' Anglorum rex Henricus, Leo Decime, mittit Hoc opus et fidei teste et amicitie." The Letters of Henry FHI. to Anne Boley?i, seventeen in number ; nine are ill French, and eight in English. The Dante of the fifteenth century, with mi- niatures by Giulio Clovio, the friend of Annibale Caro, and pupil of Giulio Romano, from the Urbino library. The Dante del Boccaccio, in the handwriting of Boccaccio, with notes said to be by Petrarch. Tasso^s Autographs, con- taining a sketch of the first three cantos of the Gerusalemme, written in his nine- teenth year, and dedicated to the Duke of Urbino ; and several of his Essays and Dialogues. Petrarch's Autographs, including the Rime. The Latin poem of Donizo, in honour of the Countess Matilda, with her full-length portrait, and several historical miniatures of great interest; among which are the repent- ance of the emperor Henry IV., his absolution by Gregory VIL, &c. The Life of Francesco Ma?na and of Federigo di Montefeltro, dukes of Urbino, with mi- niatures, by Giulio Clovio. The auto- graph copy of the Annals of Cai^dinal Baronius, in twelve volumes. The Trea- tise of the Emperor Frederick IL on Hawking, from the Heidelberg library. Several Manuscripts of Luther, and the principal part of the Christian Cate- chism, translated into German by Me- lancthon, 1556. Among the printed books are some of the most beautiful copies of prin- ceps editions, and others which have acquired celebrity from their extreme rarity. The most remarkable of these are the following : — The Epistles of St. Jerome, printed at Rome in 1468 ; only two other copies are known. The prin- ceps edition of Aulus Gellius : only two other copies of this valuable edition are known ; it bears the imprint of Rome, 1469. The Polyglot of Cardinal Ximenes (1514-17) ; only three other copies known. One of the three known copies Henry FHI. on the Seven Sacraments, printed at London in 1501. The Aldine Greek Bible of 1518; and the Arabic Bible printed at Rome in 1671. Manufactory of Mosaics. — Travellers who have admired the beautiful mo- saics of St. Peters should visit, before they leave the Vatican, the interesting studio in which they are manufac- tured. It is a large establishment, most ably directed by Camuccini, whose obliging attentions in atfording every facility to strangers are worthy of great praise, and are perfectly in accord- ance with the character of this distin- guished painter. The number of ena- mels of different tints preserved for the purposes of the works amounts to no less than 10,000. The manufacture is by no means so mechanical as is gene- rally supposed : great knowledge of art, and a full appreciation of the different schools, is requisite to do justice to the subjects which are thus invested with immortality ; and some idea of the dif- ficulty of the process may be formed from the fact, that many of the large pictures have occupied from twelve to twenty years in execution. Gardens of the Fatican. — Few travel- lers visit these interesting gardens, which deserve to be better known to the English tourist. In the time of Pius VII. they acquired some cele- brity as the place where that estimable pontiff received the English ladies whom he honoured with an audience. The first portion to be noticed is that called the Giardino della Pigna, begun by Nicholas V., and enlarged by Ju- lius II. from the designs of Bramante, who constructed the four fagades. In front of the principal fagade is a large niche, containing the two bronze pea- cocks and the colossal pine-apple, 11 feet high, found in the mausoleum of Hadrian, and supposed by some anti- quaries to have stood on the summit of the building. The Casino del Papa, built by Pius IV. from the designs of Pirro Ligorio, is one of the most ele- gant villas in Rome. It is decorated with paintings by Baroccio, Federigo Zuccari, and Santi di Titi, and has a beautiful fountain which pours its Papal Slates.'} r. 27. — home. — Palaces ; Capitol (^Piazza). 425 waters into a basin of pavonazzetto, adorned with antique groups of chil- dren riding on a dolphin. Among its antiquities is an interesting series of bas-reliefs in terra-cotta, collected by Canova. The most interesting frag- ment of ancient architecture in the gardens is the pedestal of the Column of Antoninus Pius, found on Monte Citorio in 1709, and removed to this spot after the ineffectual attempt of Fontana to raise the shaft, which was discovered at the same time. This pedestal is 11 feet high and 12 broad, and is ornamented with alto-reliefs, representing the apotheosis of Anto- ninus and Faustina, funeral games, allegorical figures of Rome, and a ge- nius holding an obelisk. The inscrip- tion has been already quoted in the account of the column at p. 299. The Capitol. The great square of palaces which now occupies the summit of the Capl- toline Hill under the name of the Piazza del Campidof/lio, was built by Paul III. from the designs of Michael Angelo. The effect as we approach it from the Corso is imposing, al- though it has little in accordance with our preconceived ideas of the Roman Capitol. The easy ascent by steps a cordoni was opened in 1536 for the en- trance of the Emperor Charles V. At the foot of the central steps are two Egyptian lionesses, in basalt, brought here from the church of S. Stefano in Cacco, near the CoUegio Romano, by Paul IV. They are not to be con- founded with the lions of basalt at whose base Rienzi fell. On the summit of the steps, at the angles of the balus- trades, are two colossal statues, in Pen- telic marble, of Castor and Pollux standing by the side of their horses : they were found in the Ghetto, in the middle of the sixteenth century. Near these, on the balustrade, are the cele- brated marble sculptures called errone- ously the Trophies of Marius. We have already noticed this misnomer in the description of the fountain where these sculptures were discovered (p. 325). Their style of art conclusively proves that they are imperial works ; Winck- elmann referred them to the time of Domitian, and recent antiquaries have even assigned to them so late a date as that of Septimius Severus, though the excellent workmanship evidently be- speaks a much earlier period of art. Near these are the statues of Constan- tine and his son, found in the baths on the Quirinal. On the right of the ascent, at the extremity of the balus- trade, is the celebrated Columna Milli- aria^ the milestone of Vespasian and Nerva, which marked the first mile of the Appian Way : it was found in 1584 in the Vigna Naro, a short dis- tance beyond the Porta San Sebastiaiio. The corresponding column on the left balustrade sustains an antique ball, said by tradition to be that which con- tained the ashes of Trajan, and was held by the colossal statue which stood on the summit of his historical column (p. 301). In the centre of the piazza is the bronze equestrian statue of Marcus Aurelius. In the middle ages it was supposed to be a statue of Constantine, a fortunate error for the interests of art, since it was this circumstance alone which preserved it from destruction. It first stood near the arch of Septimius Severus ; it was then placed in front of the Lateran, and was moved to its pre- sent position by Michael Angelo in 1538. It stands on a pedestal of mar- ble made out of a single block of an architrave found in the Forum of Tra- jan. It is the only equestrian statue in bronze which has been preserved to us as a specimen of ancient art, and is ad- mitted to be the finest equestrian statue in existence. It was originally gilt, as may be seen from the traces still visible on the horse's head. The admiration of Michael Angelo for the statue is well known ; it is related that he said to the horse Cammina^ and declared that its action was full of life. So highly is it piized, that even in recent years an officer was regularly appointed to take care of it, under the name of the Cus- tode del Cavallo, at a salary of ten scudi a month. It was found near St. 426 R. 27. — ROME. — Palaces; Capitol {P, of Senator), [Sect. I. John Lateran, and a bunch of flowers is annually presented to the chapter of that basilica as an acknowledgment that it belongs to them. While the statue stood in front of the Lateran in 1347, it played an important part in the re- joicings which celebrated Rienzi s ele- vation to the rank of tribune. On that memorable occasion wine was made to run out of one nostril and water out of the other. On the three sides of the piazza are the three separate buildings designed by Michael Angelo. Most critics find fault with the architecture as being too much broken into details ; while others praise the general design, and contend that the great defect is the want of cha- racter in the central mass, and the divergence of the side buildings so as to make them appear shorter than they really are. The large windows in the side fronts, inserted by Giacomo del Duca, the pupil of Michael Angelo, greatly injure the unity of the plan. The central building is the palace of the Senator ; that on the right is the I^alace of the Couservatori ; that on the left is the Museum of the Capitol. Palace of the Senator, Founded by Boniface IX. at the end of the fourteenth century, on the ruins of the Tabularium, as a fortified place for the residence of the Senator. The facade was ornamented by Michael Angelo with Corinthian pilasters, and made to harmonise with his new palaces. In front it is ascended by a double row of steps. At the base is a large fountain constructed by Sixtus V., and orna- mented with three statues: that in the centre is Minerva, a tine figure in Pa- rian marble with porphyry drapery, found at Cora, and commonly called the statue of Rome triumphant; the two others are colossal figures of river gods, in Parian marble, representing the Nile and the Tiber, found in the Co- lonna Gardens, and referred by Nibby to the time of the Antonines, The principal apartment in this palace is the hall in which tlie Senator holds his court : it contains statues of Paul III., Gregory XIII., and Charles of Anjou as Senator of Rome in the thirteenth century. In the upper rooms the Aca- demy of the Lincei hold their meetings. From this we may ascend to the summit of the Tower, remarkable for one of the most instructive views of Rome, de- scribed in detail at p. 263. The great bell of the Capitol, the celebrated Pata- rina, captured from Viterbo in the mid- dle ages, is suspended in this tower, and is rung only to announce the death of the pope and the beginning of the Car- nival. The city prisons occupy the base of the palace : in the passages leading to them some interesting re- mains of the substructions of the Capi- tol and of the Tabularium have been discovered (p. 273). [The museums and gallery of the Capitol are open to the public on the same days as the collections of the Vatican, viz., on Mondays and Thurs- days, from the 19th to the 23rd hour, according to Roman time ; so that the hour of opening varies with the season from noon to 3 p.m. They remain open for four hours. Admission at other times is easily obtained by a fee to the custode.] Palace of the Conservator], On the south side of the square, contain- ing the Protomoteca, or collection of Busts of illustrious men, the Gallery of Pictures, the Bronze Wolf, &c. Under the arcade on the right hand, is a colossal statue of Julius Caesar, the oidy statue of the emperor which is recognised as authentic. On the left is a statue of Augustus in a military dress, with the rostrum of a galley on the pedestal, an allusion probably to the battle of Ac- tium. In diflerent parts of the court are several interesting fragments : a colossal marble head of Domitian ; the cippus of Agrippina, wife of Germani- cus ; two fragments of porphyry columns found in the basilica of Constantine; the fine group of the lion attacking a horse, found in the bed of the Almo, remarkable for its fine workmanship and for the restorations of Michael Angelo ; a hand and head of a colossal bronze Papal States.] r 21 -kome.- Palaces ; Capitol (Conservatori). 427 statue, formerly supposed to be the re- mains of a statue of Commodus. This head has been identified by some anti- quaries with that which Commodus placed on the colossus of Nero; but Nardini has disposed of this theory by adverting to the fact that the statue of Nero was of marble : he considers that it more probably behmged to the bronze statue of Apollo v^hich stood in the Palatine library. Winckelmann also doubts whether it is the head of Com modus. In the back part of the court are the statue of Rome triumphant; the keystone of the Arch of Trajan, with a bas-relief of a captured province, pro- bably Dacia ; the two captive kings, in grey marble, of the time of Pompey ; and the Egyptian statues of Ptolemy Philadelphus and Arsinoe, with hiero- glyphics on their backs. The feet and hand of another colossal statue, in mar- ble, are interesting fragments ; they were formerly supposed to belong to the head of Domitian described above, but they differ from it both in workmanship and proportion. Protomofeca, a suite of eight rooms presented to the Arcadian Academy by Leo XII. They contain a series of busts of illustrious personages, includ- ing those which formerly stood on the cornice of the Pantheon. I. In this room are suspended the regulations of Pius VII., defining the privilege of ad- mission to tliis new temple of fame. The six busts preserved here are those of eminent foreigners, which were placed in the Pantheon among the native wor- thies, on the ground that they had become entitled by their long residence at Rome to the honour of naturalised Italians : they are those of Nicholas Poussin, Ra- phael Mengs, Winckelmann, Angelica Kauffmanii, d'Agincourt, and Joseph Suvee, director of the French Academy. II., containing the busts of celebrated artists of the thirteenth, fourteenth, and fifteenth centuries, executed entirely at the cost of Canova. Among them are Brunelleschi, Niccolo di Pisa, and Gi- otto, by Alessandro d'Este ; Orcagna, by Laboureur ; Massaccio, and Lorenzo Ghiberti, by Carlo Finelli; Beato An- gel ico da Fiesole, by Biglioschi ; Dona- tello, by Ceccarini. III. The bust of Pius VII., by Ca?iova. Busts of cele- brated artists of the sixteenth century, all of which, with the exception of that of Raphael, were executed at the cost of Canova. Among them are Titian, Mi- chael Angelo, and Bramante, by Ales- sandro d Este ; Leonardo da Vinci, and Correggio, by Albacini ; Palladio, by Biglioschi; Fra Bartolommeo, Paolo Veronese, and San Michele the archi- tect, by Domenico Manera ; Andrea Mantegna, by Rainaldi ; Luca Signo- relli, by Pierantoni ; Perugino, by Raimondo Trent anove ; Andrea del Sar- to, by Antonio d' Este ; Marc Antonio Raimondi, the celebrated engraver, by Laboureur ; and Raphael, executed at the cost of Carlo Maratta. IV. Busts of artists of the sixteenth, seventeenth, and eighteenth centuries : Marchi, the military architect and engineer, by Biglioschi ; Giulio Romano, and Dome- nichino, by Alessandro d Este j Cara- vaggio, Sebastian del Piombo, Ghir- landajo, and Giovanni da Udine, by Laboureur: all executed at the cost of Canova. Annibale Caracci, executed at the cost of Carlo Maratta ; and the following, contributed chiefly by the families of the artists : Marco Benefial, Flaminio Vacca, Perino del Vaga, Tad- deo Zuccari, and Bartolommeo Baro- nino. V. Busts of Pickler, the cele- brated engraver on gems, by Kevetson ; Cajetano Rapini, and Pietro Bracci, by Pacetti; Camillo Rusconi, by Giuseppe Rusconi ; Pietro Berettini, by Pieran- toni; Piranesi, by Alessandro d'Este^ executed at the cost of Canova. VI. Busts of eminent authors and discoverers : Dante, and Tasso, by Alessandro d Este; Columbus, by Trent anove ; Galileo, by Manera; Muratori, by Tadolini ; Tira- boschi, by A?itonio d'Este : all presented by Canova. Trissino, the poet, by Giuseppe Fabris ; Alfieri, by Manera ; Petrarch, and Ariosto, by Finelli ; Gol- doni, by Biglioschi; Metastasio, by Ce- racchi, presented by Cardinal Rimi- naldi ; Annibale Caro, by A?tfomo d'Este, presented by the Duchess of Devonshire ; Bodoni, the celebrated 428 R. 27. — ROME. — Palaces ; Capitol {Conservatori) . [Sect. I. printer, by Akssandro (TEste ; Aldus, the printer, by Teresa Benincampi ; Venuti, the antiquary, by Pierantoni ; Morgagni, the anatomist, by Tadolini ; Verri, author of the Notti Romane. by Atitonio (P Este ; Daniele Bartoli, by Barha ; Giobattista Beccaria, by Boyli- ani. YII. This chamber contains the monument of Canova, executed by Fabris, at the cost of Leo XII. VIII. Busts of celebrated musicians and com- posers : Cimarosa, by Canova, presented by Cardinal Consalvi ; Antonio Maria Sacchini, presented by Dannery ; Co- relli, presented by Cardinal Ottoboni ; Paisiello, presented by his sister, and executed by Pierantoni. At the foot of the staircase, Micliael Angelo's restoration of the Duilian Column, with the celebrated fragment of the ancient inscription, will not fail to attract attention : it is noticed at length in the description of the column, at p. 300. On the staircase, opposite the Protomoteca, are some interesting bas-reliefs : that of Curtius leaping into the gulf is curious, tlie gulf being there represented as a marsh (p. 273). The other reliefs were found near the church of S. Luca in the Roman Fo- rum, and represent the leading events in the life of Marcus Aurelius. On the walls of the landing-place are two other bas-reliefs, representing Marcus Aurelius on a pedestal reading to the people, and the apotheosis of Faustina, the remains of his triumphal arch in the Corso, demolished by Alexander VII. ; they are interesting fragments of a good style of art. Halls of the Conservatori, not open to the public, but access is easily ob- tained by a fee to the custode. \st room, painted in fresco by Cav. clArpino, with subjects taken from the history of the Roman kings : the finding of Romulus and Remus, the foundation of Rome, the rape of the Sabines, Numa Pompilius sacri- ficing with the vestals, battle between Tullus Hostilius and the army of Veil, battle of the Horatii and Curiatii, &c. The other objects of interest are the marble statue of Leo X. ; another of Urban VIII., by Bernini; and one of Innocent X., in bronze, by Algardi. 2nd room, painted by Laureii, with subjects from the republican his- tory of Rome: Mutius Scsevola burn- ing his right hand before Porsena, Brutus condemning his two sons to death, Horatius Codes on the Subli- cian bridge, the battle of Lake Re- gillus. The statues in this room are celebrated Roman generals of modern times : Marc Antonio Colonna, the con- queror of the Turks at Naupactos ; Tom- maso Rospigliosi ; Francesco Aldo- brandini ; Alessandro Farnese, duke of Parma, distinguished as a commander in Flanders ; and Carlo Barberini, bro- ther of Urban VIII. ^rd room, painted in fresco by 7iiele da Folterra, with subjects taken from the Cimbric wars. This hall contains the famous Bronze Wolf of the Capitol, one of the most interesting monuments of the early arts and his- tory of Italy. " And thou, the thunder-stricken nurse of Rome ! She-wolf! whose brazen-imaged dugs im- part The milk of conquest yet within the dome Where, as a monument of antique art. Thou standest : — Mother of the mighty heart, Which the great founder suck'd from thy wild teat, Scorch'd by the Roman Jove's etherial dart. And thy limbs black with lightning— dost thou yet Guard thine immortal cubs, nor thy fond charge forget r" It would be easy to fill a volume with a mere examination of the controversies to which this celebrated monument has given rise. Some authorities identify it with the wolf mentioned by Diony- sius and Livy, others regard it as the wolf of Cicero, while Winckelmann and later antiquaries confound the two, and describe the wolf mentioned by the historian as the same which was struck with lightning in the time of Cicero. The wolf of Dionysius was an ancient work of brass," standing, when he saw it, at the Temple of Ro- mulus under the Palatine. The wolf of Cicero is mentioned by the orator Papal States.] r,2^.-rom'e -Palaces ; Capitol {Conservator}). 429 both in jirose and verse, in the Catiline orations, and in his poem on the Con- sulate, as a small gilt figure of Ro- mulus sucking the teats of a wolf, which was struck with lightning, and which his hearers remembered to have seen in the Capitol : — " Tactus est ille etiam qui banc urbem condidit Ro- mulus, quern inauratum in Capitolio parvum atque lactantem, uberibus lu- pinis inhiantem fuisse meministis.'' — Catilin. iii. 8. It is generally admitted that the wolf of Cicero is not the one mentioned by Dionysius ; while the gilding still visible on the monument before us, and the fractures in the hind legs which nppear to have been caused by lightning, have induced the most judi- cious writers to regard it as the one cele- brated by Cicero in the passage above quoted. There is no doubt of its high antiquity: the workmanship is mani- festly Etruscan, at least the workman- ship of the wolf; for the twins, in the opinion of Winckelmann, are modern. The great difficulty which has arisen in the solution of the question, is the dis- crepancy in the statements of the anti- quaries respecting the precise spot on which it was discovered. It would lead us beyond our limits to follow the authorities on this subject ; but the reader will find the whole question ably examined in Sir John Hobhouse's note to the passage of Childe Harold which we have quoted above. Jn re- gard to the main fact, " it is," he says, " a mere conjecture where the image was actually dug up ; and perhaps, on the whole, the marks of the gilding and of the lightning are a better argument in favour of its being the Ciceronian wolf than any that can be adduced for the contrary opinion. At any rate it is reasonably selected in the text of the poem as one of the most interesting relics of the ancient city, and is cer- tainly the figure, if not the very animal, to which Yirgil alludes in his beautiful verses : — " Geminos huic ubera circum Ludere pendentespueros, etlambere matrem Impavidos : illam tereti cervice reflexam Mulcere alternos, et corpora fingere lingua." Among the other objects in this cham- ber the following are remarkable : — The bronze statue of the youth extract- ing a thorn from his foot, one of the most graceful figures in the museum ; a bust of Junius Brulus, a noble but somewhat doubtful head ; Diana Tri- formis; and a bas-relief of a sarco- phagus, representing the gate of Hades between genii, emblematical of the four seasons, not older probably than the third century. room, containing the celebrated Fasti Consulares, found near the three columns in the Roman Forum (see Temple of Minerva Chalcidica, p. 284). These interesting marbles contain a list of all tlie consuls and public officers from Romulus to the time of Au- gustus : they are much mutilated, and broken into numerous fragments ; but the inscriptions are still legible, and have been illustrated with great learn- ing by the celebrated Cav. Borghesi of San Marino (p. 109). The records preserved by these inscriptions have not been uniformly kept: after B.C. 143 they become imperfect, several magis- trates after that time are altogether omitted, and only one of the ten tri- bunes is mentioned. 5//i room (Hall of Audience), con- taining a bust in rosso antico supposed to be Appius Claudius, a bust of Tibe- rius, two bronze ducks said to have been found among some ruins on the Tarpeian rock, a head of Medusa by Bernini, and a bust of Michael Angelo^ said to be sculptured by himself : the head is bronze, and the bust white marble. A Holy Family in this room is attributed to Giulio Romano (?). room, ornamented with a frieze painted in fresco by Annihale Caraczi, representing the triumphs of Scipio Africanus, The walls are hung with tapestry, made in the hospital of San Michele from the designs of Rubens. The busts in the four corners of this room are uncertain, but have been called Sappho, Ariadne, Poppaea wife of Nero, and Socrates. 7th room^ painted in fresco with subjects taken from the history of the 430 R. 27. — ROME. — Palaces; Capitol {Gallery), [Sect. I. Punic wars, by Sodoma (?) ; they were formerly attributed to Perugino. The statues called Cicero and Virgil are mere names, unsupported by any au- thority. Sth room, a chapel containing a Madonna and Child throned, with two adoring angels in the heavens, by Pin- turicchio, lull of beauty and expres- sion ; the Evangelists, by Caravaggio ; the Eternal Father, on the roof, by the School of the Caracci ; Sta. Cecilia, S. Alexis, S. Eustachius, and B. Luigia Albertoni, by Romanelli, Gallery of Pictures, founded by Be- nedict XIV. (Lambertini) in the be- ginning of the last century. Although more numerous than the V^atican gal- lery, it contains few important works, and by far the greater part of the col- lection consists of second-rate and even third-rate pictures. It is open on Mon- days and Thursdays, at the same hours as the Museum. First Hall. Pietro da Cortona. 2. Sacrifice of Iphigenia. 15. Rape of the Sabines, very spirited. 65. Triumph of Bacchus. 86. The Virgin adoring the Saviour. — Garofalo. 6. Sta. Lucia. 8. Madonna, with angels and four doctors of the church. 13. Marriage of St. Cathe- rine. 17, 19. Two Holy Families. 41. Holy Family, with a rough sketch of the Circumcision at the back. — Guido, 10. Portrait of himself. 1 1. St. Jerome. 70. The blessed Spirit soar- ing to Paradise. — Felasquez. 18. A por- trait, finely coloured. — Dosso Dossi. 35. Christ in the Temple. — Annibale Caracci. 36. Charity. 39. Madonna and Child, with St. Cecilia and a Carmelite saint. 40. Another Madonna and Child, with St, Francis. — Guer- cino, 38. The celebrated Persian Sibyl. 60. St. John the Baptist. — Correggio. 43. Marriage of St. Catherine, a repe- tition of the celebrated picture in the museum at Naples. — Albafii. 44. Ma- donna and the Saviour. — Tintoretto. 45. The Magdalen. — Romanelli. 46. David with the head of Goliath. 67. St. Ce- cilia. — Agostino Caracci. 48. Sketch of the Communion of St. Jerome, in the Gallery of Bologna (p. 29). — Daniele da Folterra, 51. St. John the Baptist. — Domenichino. 52. The Cumaean Sibyl, an inferior repetition of the celebrated picture in the Borghese gallery. — N, Poussin. 58. Triumphs of Flora, a re- petition of the same subject in the Louvre. — Carlo Caliari, son of Paolo Veronese. 75. Holy Family. — Rubens. 76. Romulus and Remus. First Bo- lognese School, attributed to Francia. 87. The Madonna throned. — Caravaggio, 90. Meleager, in chiaro-scuro. Second Room. Pietro da Cortona. 2. Copy of Ra- phael's Galatea. 41. Defeat of Darius at Arbela. — Garofalo. 6. Adoration of the Magi. 10. Madonna in glory. 50. Madonna, with two saints in glory. 52. The Annunciation. 60. Adoration of the Shepherds. 62. Madonna and Child, with St. John. — Lodovico Maz- zolino. 9. Christ disputing in the Tem- ple, formerly attributed to Lippo Lippi. — Claude. 11, 12, 58. Landscapes. — Guido. 25. Love. 4U. Europa. 44. Po- lyphemus. 100. St. Sebastian, a cele- brated picture. — Baroccio. 33, The Ecce Homo. — Titian. 37. The Woman taken in Adultery. 43. A portrait. 67. The Baptism of Christ. — Giulio Romano. 46. Judith. — Fra Bartolommeo. 47. ThePre- sentation in the Temple. — Andrea Sac- chi. 48. Holy Family. — Annibale Ca- racci. 54. St. Francis. — Bassano. 63. Judgment of Solomon. 92. Head of an old man. — Guercino. 65. Sta. Pe- tronilla, considered by many as his masterpiece, perhaps the finest picture in the gallery ; it was formerly in St. Peter's, where it has been replaced by a mosaic copy. 74. St. Matthew. 93. Augustus and Cleopatra. 95. St. John the Baptist. — Lodovico Caracci. 68. St. Francis. 71. Holy Family. 89. St. Sebastian. 114. Sta. Cecilia. — Cara- vaggio. 72. Gipsey, fortune-telling. — Perugino. 73. Virgin, Child, and two angels. — Giovanni Bellini. 75. St. Ber- nard. 82. His own portrait. — Salvator Rosa. 76, 86. Landscapes. — Fenusti(^). 80, Portrait of Michael Angelo, for- Papal States.] r. 27. — rome. — Palaces; Capitol (Museum). 431 merly attributed to himself. — Roma- nelli. 90. Innocence with the dove. — Dome?iichino, 109. St. Barbara, a half- length, very fine. — Paolo Feronese. 119. The kneeling Magdalen. 123. Rape of Europa, a repetition of the master- piece in the ducal palace at Venice. The Secret Cabinet, opened only on application to the Director, contains a few fine pictures, which scarcely called for such precautions. They would not have been considered indelicate if al- lowed to remain among the other pic- tures of the gallery, and the ideas asso- ciated with a secret cabinet would have been avoided. Among them are the Vanity of Titian; the Fortune of Guido, called by Lanzi " one of the prodigies of Guido's art, ' repeated in the Berlin museum ; the Magdalen of Guido ; St. John the Baptist, by Guercino ; the cartoon of Gmlio Romano s Stoning of Stephen, in the church of San Stefano at Genoa, Museum of the Capitol. The building on the north side of the piazza opposite to the palace of the Con- servatori, contains the Museum of the Capitol. It was begun by Clement XII., and augmented by Benedict XIV., Clement XIII., Pius VI., Pius VII., and Leo XII. It is an interesting col- lection, but is much less extensive than that of the Vatican, and contains few first-rate works of sculpture. In one of the small chambers leading out of the portico is the Sarcophagus re- cently found outside the Porta San Sebastiano. The bas-relief on the front is extremely interesting and of great value as a work of art, being one of the finest known examples of bas- relief. It represents the battles of the Gauls and Romans. The Gauls have cords round their necks, precisely as we see in the Dying Gladiator : an addi- tional proof that that celebrated statue is a Gaul, and not a gladiator. At the bottom of the Court is the colossal re- cumbent statue of a river god, well known by the popular name of Mar- forio ; it was found near the Arch of Septimius Severus, and became famous as the vehicle for the replies to the sati- rical witticisms of Pasquin (p. 333). The two sarcophagi found in the cata- combs of S. Sebastian are interesting for their bas-reliefs. In the Vestibule are the following : — 1. Endymion and his dog. 3. Colossal statue of Mi- nerva. 4. Consular fasces in bas-relief. 4. Fragment of a statue of Hercules with the Hydra. 5. Apollo. 7. Semi- colossal Bacchante. 9. A Roman pro- vince (Dacia ?), found near the Tem- ple of Antoninus Pius. 10. Colossal head of Cybele, found in Hadrian's villa. 17. Twea, mother of Sesostris, in black granite, with hieroglyphics. 22. The same in red granite, of the time of the Ptolemies, both found in the gardens of Sallust. 23. Colossal statue of Diana. 25. Polyphemus. 26. Mer- cury. 28. Hadrian in the sacrificial robes, found near S. Stefano Rotondo. 31. Colossal bust of a warrior, proba- bly Pyrrhus or Mars, found on the Aventine. 32. Hercules killing the Hydra. A finely draped fragment of a female figure near this is an elaborate specimen of sculpture in porphyry; it remained for many years neglected at the base of the stairs of Aracoeli. Chamber of Canopus, so called from the statues in the Egyptian style, found in the hall dedicated to Canopus in Hadrian's villa. They are not genuine Egyptian monuments, but merely copies, of the time of Hadrian. Their sole in- terest therefore consists in their being illustrations of the art and taste of the period. The double hermes of Isis and Apis on a lotus flower, the Isis with a head-dress of peacock's feathers, the Serapis bearing the modius on his head as an emblem of fecundity, the marble statue of Anubis with the dog's head, and the fine head of Hadrian, are the most remarkable. Hall of Inscriptiojis, containing a col- lection of imperial and consular in- scriptions, 122 in number, from Tibe- rius to Theodosius. The most interest- ing objects in this hall are the square altar of Pentelic marble, with bas-re- liefs in the oldest style of Greek sculp- ture, representing the labours of Her- 432 R. 27. — ROME. — Palaces; Capitol {Museum). [Sect. I. cules, found at Albano ; and the funeral altar of T. Statilius Aper, measurer of the public buildings, with bas-reliefs, in which the trowel, the compasses, the plummet, the foot, and various instru- ments of his business are introduced. They show that the ancient Roman foot was not quite twelve English inches (11.59). Hall of the Sarcophagus, so called from the fine sarcophagus of Pentelic marble, celebrated for its bas-relief representing the history of Achilles. The subject of the principal front is the quarrel between Achilles and Agamemnon. The sub- ject of one of the sides, is the departure of Achilles from Scyros; and of the "^Dther, his resolution to avenge the death of Patroclus. At the back is a fine relief of Priam interceding for the body of Hector. This interesting sarcophagus was found in the remarkable tumulus called the Monte del Grano, on the road to Frascati, three miles from the gate of S. Giovanni. The celebrated Portland Vase, now in the British Museum, was found in it. The two figures on the lid of the sarcophagus were formerly supposed to rej)resent Alexander Severus and Mammea his mother; but this idea is rejected by the modern authorities. 4. Mosaic re- presenting Hercules conquered by Love, found at Porto d'Anzo. 11. Sitting statue of Pluto with Cerberus, found in the Baths of Titus. Staircase. — On the walls of the stair- case are the celebrated fragments of the Pianta Capifolina, the plan of Rome in white marble, found in the Temple of Remus in the Roman Forum (p. 289), and supposed to be of the time of Septi- mius Severus or Caracalla. These frag- ments, in twenty-six compartments, are invaluable to Jhe Roman topographer, and have more than once enabled us to throw light on disputed questions con- nected with the antiquities. The Gallery. — Opposite to the stair- case are two finely preserved busts of Marcus Aurelius and Septimius Seve- rus. The walls of the gallery are covered with the inscriptions found in the Co- lumbarium of the Liberti of Livia, on the Appian, in 1726. Among the busts and statues are the following : — 2 Bust of Faustina, wife of Antoninus Pius. 5. Euterpe. 12. Satyr playing on a flute. 13. A repetition of the Cupid of Praxiteles, of which we have already noticed an example in the Vatican (p. 407> 14. Silenus. 15. Pompey CO- 17. Cecrops. 18. Cato the censor. 19. Agrippina and Nero. 21. Marcus Aurelius. 23. The laughing Bacchus. 27. Paris. 28. Sarcophagus, with bas- reliefs of the rape of Proserpine. 29. Octagonal cinerary urn, with finely sculptured Cupids, &c. 32. Psyche. 34. Vespasian. 36. A Discobolus, badly restored. 37. A wine vase, with bacchic figures. 38. Bust of Juno, the grandest bust of the goddess in exist- ence, very beautiful and feminine, and finely preserved. 42. The Delia Valle Jupiter, so called from the family to whom it belonged. 44. Diana Luci- fera. 48. Sarcophagus, with bas-reliefs of the birth and education of Bacchus. 50. Bust of Scipio Africanus, with the wound on the left side of his head care- fully worked out. 51. Phocion. 54. Antinous. 55. Venus. 58. Jupiter Ammon. 60. Ceres. 63. Tiberius. 64. Bacchus, with the panther. 65. Jupiter, with the eagle : on the altar underneath is a bas-relief, giving the history of the vestal Quinctia drawing the ship, with the portrait of Cybele on her waist. 66. Jupiter Serapis. 68. Bust of Hadrian, in alabaster. 74. Si- lenus. 75. Domitius Enobarbus, father of Nero. 76. Caracalla. Hall of the Fase, so called from the noble vase of white marble in the mid- dle of the room (1), found near the tomb of Caecilia Metella. It stands on a circular pedestal, with bas-reliefs of twelve divinities, found at Nettuno, considered by Winckelmaim as an undoubted monument of Etruscan art, and by other authorities as an example of the early Greek style. It was evi- dently the mouth of an ancient well; the marks of the cords are still visible. 2. Bronze vase found in the sea at Porto d'Anzo, with a very curious Greek in- scription, stating that it was presented Papal states. r. 27. — rome. — Palaces; Capitol {Museum), 433 by Mithridates, king of Poiitus, to the college of Gymnasiarchs. 36. A group of Diana Triformis, in bronze, as Diana, Luna, and Hecate. 37. The celebrated Iliac Table, containing the history of the Iliad and the fall of Troy, by Stesichorus, with the deliverance of u^neas; engraved and illustrated by Fabretti, who refers it to the time of Nero. 39. Sacrificial tripod. 40. Ro- man weights, scales, measures, a statera or steelyard, &c. 41. Triumph of Bac- chus. The bronze foot found at the base of the Pyramid of Caius Cestius, and supposed to belong to a statue which stood in front of the monument. 47. Diana of Ephesus, the Multimam- mea, as the nurse of all things. 69. The fine sarcophagus of Gerontia, with bas-reliefs of the histor)?^ of Diana and Endymion. On it are two mosaic masks, found in the vineyard of the Jesuits, on the Aventine. 100. A small sarcophagus, with interesting reliefs, representing the creation and destruc- tion of the soul according to the doc- trines of the later Platonists. 101. The celebrated mosaic of Pliny's Doves, one of the finest and most perfectly pre- served specimens of ancient mosaic. It represents four doves drinking, with a beautiful border surrounding the composition. It is supposed to be the mosaic of Sosus, described by Pliny in his thirty-fifth book, as a proof of the perfection to which the art had been carried in his day. He says there is at Pergamos a wonderful specimen of a dove drinking, and darkening the water v/ith the shadow of her head ; on the lip of the vessel others are pluming them- selves. Mirabilis ibi columba bi- bens, et aquam umbra capitis infus- cans. Apricantur aliae scabentes sese in cathari labro.'* It was found in Hadrian's villa in 1737 by Cardinal Furietti, from whom it was purchased by Clement XIII. Hall of the Emperors. — On the walls are interesting bas-reliefs, arranged in the following order : — A. Triumphs of Bacchus, and children at the games of the Circus. B. Bacchus on a tiger, with fauns and satyrs. C. The Caly- donian boar- hunt, not antique. E. The Muses. F. A very beautiful relief of Perseus delivering Andromeda G. So- crates with History, and Homer with Poetry. H. Endymion sleeping with his dog, found on the Aventine. I. Hylas carried otT by the Nymphs. In the middle of the room is the cele- brated sitting Statue of Agrippina (?), mother of Germanicus, remarkable for the ease of the position and the ar- rangement of the drapery. Around the room are arranged on two shelves seventy-six busts of the emperors and empresses in chronological order, a col- lection of great value, which presents us with authentic portraits of some of the most remarkable personages in his- tory. The following are the most in- teresting : — 1. Julius Csesar. 2. Au- gustus. 3. The young Marcellus (?). 4. Tiberius. 5. Drusus. 6. Antonia, his wife. 7. Germanicus. 9. Caligula, in basalt. 1 1 . Messalina, wife of Clau- dius. 13, U. Nero. 16. Galba. 20. Titus. 21. Julia. 24. Nerva. 26. Plo- tina, wife of Trajan. 27. His sister Mariana. 28. His niece Matidia. 29, 30. Hadrian. 31. Julia Sabina, his wife. 32. ^lius Caesar, his adopted son. 33. Antoninus Pius. 35, 36. Marcus Aurelius. 39. Lucius Verus. 40. His wife, Lucilla. 41. Commodus. 47. Clodius Albinus. 48, 49. Septi- mius Se verus. 50. His wife, Julia Pia. 51. Caracalla. 52. Geta. 53. Ma- crinus. 55. Heliogabalus. 57. Alex- ander Severus. 59. Maximus. 68. Tribonian. 75. Julian the Apostate. On the outside of the window is an ancient sun-dial, with the lines drawn on a concave surface. Hall of the Philosophers. — The bas- reliefs on the walls are the following : — A. Frieze of a temple of Neptune. B. Death of Meleager. C. Calliope instructing Orpheus. F. An interment. G. Funeral procession. I. A victory. L. A sacrifice to Hygeia in rosso an- tico. M. A bacchic scene, with the name of Callimachus, found at Orta. In the middle of the hall is the bronze statue of a boy, on a triangular altar, supposed to be one of the twelve Ca- u 434 R. 27. — ROME. — Palaces ; Capitol (Museum). [Sect. I. milli, or young priests instituted by I Romulus. Round the room, on two shelves, are arranged seventy -nine busts of philosophers, poets, and historians. I. Yirgil. 4, 5, 6. Socrates. 7. Alci- biades. 8. Carneades, 10. Seneca. II. Plato. 20. Marcus Aurelius. 21. Diogenes. 22. Alcibiades. 24. Ascle- piades. 27. Pythagoras. 30. Aristo- phanes (?). 31, 32. Demosthenes. 33. Pindar. 34. Sophocles. 37. Hippo- crates. 38. Aratus. 39, 40. Demo- ciitus. 41, 42, 43. Euripides. 44, 45, 46. Homer. 48. Aspasia (?). 49. Cleo- patra. 51. Sappho. 51. L^^sias. 59. Herodotus (?). 60. Thucydides (?). 62,64. Epicurus. 63. Double Hermes of Epicurus and Metrodorus. 66. Aris- totle. 68, 69. Masinissa. 72, 73. Ju- lian the Apostate. 74. Cicero. In addition to the head of Plato already noticed (11) there are several others which bear his name, but they are only bearded images of Bacchus. The last bust to be noticed is that of Gabriele Faerno of Cremona, the poet, one of the few busts executed by Michael Angela. The Saloon. — The two columns of giallo antico, which are such conspi- cuous ornaments of the niche in this saloon, were found near the tomb of Cecilia Metella. The two Victories which sustain the arms of Clement XII. were taken from the Arch of Marcus Aurelius in the Corso. In the middle of the hall are the following : — 1. Ju- piter, in nero antico, on a circular altar found at Porto d'Anzo. 2,4. The two beautiful centaurs in nero antico, two of the finest works of ancient sculpture in Rome ; they were found in Ha- drian's villa. On the base are the names of the sculptors, Aristeas and Papias of Aphrodisium. 3 Colossal statue of the infant Hercules, in green basalt, found on the Aventine ; the altar underneath has bas-reliefs representing the history of Jupiter. 5. ^sculapius, in nero antico, on a circular altar, both found at Porto d'Anzo. 6. Hygeia. 7. Ptolemy Apion, as Apollo. 8. Venus coming out of the bath. 9, 10, II. Amazons. 12. Two portraits as Mars and Venus, found on the island at the mouth of the Tiber. 13. A Muse. 14. Minerva. 15. A satyr. 16. Apollo. 17. Minerva. 18. Colossal bust of Trajan with a civic crown. 19. Male statue with the head of Augustus. 20. Female statue with the head of Lu- cilla. 21. Lucius Antonius. 22. Ha- drian, found near Ceprano. 23. Male figure in the toga. 24. Roman matron (Julia Pia?). 25. Hercules, in bronze gilt, found in the Forum Boarium, one of the few statues in which the gilding is preserved, but the figure is man- nered, and somewhat formal. The altar luiderneath bears a dedication to Fortune. 26. Isis, with the lotus. 27. An athlete. 28. A gymnasiarch, found in Hadrian's villa. 29. A sibyl (?). 31. Umentia, found on the Aventine. 32. Colossal bust of Antoniims Pius. 33. Diana. 34. A hunter with a hare, found near the Porta Latina. 35. Har- pocrates, with his finger on his mouth, found in Hadrian's villa in 1744. ** Qaique premit vocem digitoqiie silentia suadet." Ov. Met. ix. 691. Hall of the Faun. — On the wall is the celebrated Table of Bronze, inscribed with part of the Lex Regia, containing the Senatus Consultum conferring the imperial power on Vespasian — the very table on which Rienzi expounded to his followers the power of the Roman people. It was found near St. John Lateran. The reliefs on the walls occur in the follow- ing order : — A. Four cars drawn by two horses each, led by Cupids, with the attributes of Apollo, Bacchus, Diana, and Mercury. B. Vulcan as an ar- mourer. C. Front of a christian sar- cophagus. 1. The celebrated Faun in rosso antico, found in Hadrian's villa, valuable not only for its rare material but for its fine sculpture : it stands on a mystical altar. 3. Colossal head of Hercules, on an altar dedicated to Nep- tune. 6. A fine colossal head of Bac- chus, also on a rostral altar. 7. This altar and the two preceding were found in clearing the harbour of Porto d'Anzo, and are supposed to have been votive offerings from sailors. 13, Sarcopha- gus, with bas-reliefs representing the Papal States. 1 r. 27. — rome. — Palaces ; Capitol (^Museum), 435 story of Diana and Endymion. 15. The boy with a comic mask, full of nature, and very fine as a work of art. IG. A girl playing with a dove. 18. Leda. 19. Alexander the Great (?). 20. Isis, restored with a head of Juno. 21. A repetition of the boy and goose in the Vatican (p. 420), but far inferior in execution ; the altar beneath it is dedicated to the Sun. 26. Sarcophagus^ with bas-reliefs of the battle of Theseus and the Amazons. Among them is a group of extraordinary beauty, repre- senting a soldier dragging an Amazon from her horse, while another Amazon seizes his hand and intercedes for her companion. This group was mentioned by Flaxman in his lectures as one of the finest specimens of bas-relief. Hall of the Dying Gladiator. — Nearly all the sculptures in this hail are of the highest character of art. The first, of course, is the celebrated figure from which it derives its name : 1. The Dying Gladiator. There is no l(;nger any doubt that this wonderful figure is a Gaul, probably a Gaulish herald, and it is generally supposed by the most eminent modern sculptors that it formed one of a series of figures illustrating the incur- sion of the Gauls into Greece. Tlie cord round the neck is seen as one of the distinctive characters of the Gauls in the bas-relief on the remarkable sarcophagus lately found near the gate of San Sebastiano (p. 431), and the horn has been considered conclusive as to the office of the herald. Montfaucon and Matlei supposed that it is the statue by Ctesilaus, the contemporary of Phidias, which Pliny describes as " a vjounded man dying, who perfectly expressed how much life was remaining in him." But that masterpiece was of bronze, and if the present statue be considered to agree with Pliny's description, it can only be regarded as a copy. The right arm and the toes of both feet were admirably re- stored by Michael Angelo. "I see before me the gladiator lie : He leans upon his hand — his manly hrow Consents to death, but conquers agony, \nd his droop' d head sinks gradually low — And through his side the last drops, ebbing slow From the red <;ash, fall heavy, one by one, Like the first of a thunder-shower ; and now The arena swims around him — he is gone, Ere ceased the inhuman shout which hail'd the wretch who won. He heard it, but he heeded not — his eyes Were with his heart, and that was far away ; He reck d not of the life he lost nor prize. But where his rude hut by the Danube lay. There were his young barbarians all at There was their Dacian mother — he, their sire, Butcher'd to make a Roman holiday. All this rush'd with his blood — shall he ex- pire. And unavenged ? Arise, ye Goths, and glut your ire !" Childe Bar old. One of the most accurate of critics, John Bell, describes the anatomy of the Dying Gladiator as perfect in every re- spect. ''It is,'' he says, " a most tragi- cal and touching representation, and no one can meditate upon it without the most melancholy feelings. Of all proofs this is the surest of the effect produced by art. Although not colossal, the pro- portions are beyond life, perhaps seven feet ; and yet from its symmetry it does not appear larger than life. The forms are full, round, and manly ; the visage mournful ; the lip yielding to the effect of pain ; the eye deepened by despair ; the skin of the forehead a little wrin- kled ; the hair clotted in thick sharp- pointed locks, as if from the sweat of fight and exhausted strength ; the body large ; the shoulders square ; the ba- lance well preserved by the hand on which he rests ; the limbs finely round- ed ; the joints alone are slender and fine. No affectation of anatomy here ; not a muscle to be distinguished, yet the general forms perfect as if they were expressed. The only anatomical feature discernible is that of full and turgid veins, yet not ostentatiously ob- truded, but seen slightly along the front of the arms and ancles, giving like the clotted hair proof of violent exertion. The singular art of the sculptor is par- ticularly to be discerned in the extended leg : by a less skilful hand the posture might have appeared constrained ; but here, true to nature, the limbs are seen gently yielding, bending from languor, the knee sinking from weakness, and V 2 436 R. 27. — ROME, — Private Palaces. [Sect. I. tlie thigh and ancle-joint pushed out to support it. The forms of the Dying Gladiator are not ideal or exquisite like the Apollo ; it is all nature, all feeling.'* It was found at Porto d'Anzo by Car- dinal Albani about 1770, and was for some time in the collection of the Villa Ludovisi, from which it was purchased by Clement XII. 2. A noble statue of Zeno, found at Civita Lavinia, in a villa of Antoninus Pius. 3. Cupid and Psyche, found on the Aventine, two finely proportioned and most graceful figures. 4. A repetition of the Faun of Praxiteles, We have already noticed two others in the Vatican (p. 410) ; this is the most beautiful of the three : it was found in the Villa d'Este at Tivoli. 5. A Roman mati'on. 6. The famous statue of Antinous, found in Hadrian "s villa. This exquisite statue has com- manded the admiration of all critics by its exceeding beauty. " In the Anti- nous," says John Bell, " the anatomist would look in vain to detect even the slightest mistake or misconception ; yet such is the simplicity of the whole com- position, so fine and undulating the forms, that a trifling error would appear as a gross fault. Every part is equally perfect : the bend of the head and de- clining of the neck most graceful ; the shoulders manly and large without clumsiness; the belly long and flat, yet not disfigured by leanness ; the swell of the broad chest under the arm ad- mirable; the limbs fintly tapered; the ease and play of the disengaged leg wonderful, having a serpentine curve arising from an accurate observance of the gentle bendings of the knee, the half turning of the ancle, and the elastic yielding natural to the relaxed state in that position from the many joints of those parts.'' The statue is interesting to mineralogists, as the marble contains in the right leg a piece of pure iron, long supposed to have been introduced in repairing it ; another piece occurs in the breast. 8. A female statue, perhaps Flora, finely draped, found in Hadrian's villa. 9. The Amazo7i,oue of the grand- est figures of its class, much finer than the repetition in the Vatican (p. 415). 10. Marcus Brutus. 12. Colossal statue of Juno (?), called the Juno of the Capitol. 13. Bust of Alexander the Great. 14. Antinous, as an Egyptian divinity, from Hadrian's villa. 15. Ariadne, or Bacchus, crowned with ivy, very fine. 16. A Danaid (?), called also Electra or Pandora. 17. Apollo holding the lyre, found in the sulphur- ous waters on the road to Tivoli. Private Palaces. The palaces of Rome constitute one of its peculiar and characteristic features. No Jess than seventy-five are enumerated by Vasi ; but without including those which have slight pretensions to the honour of the title, there can be no 8esar lie. Folding his robe in dying dignity. An oR'ering to tliine altar from the queen Of gods and men, great Nemesis ! did he die. And thou, too, perish, Pompey ? have ye been Victors of countless kings, or puppets of a scene ?" In a note to this passage of Childe Harold, Sir John Hobhouse examines the evidence on the authenticity of the statue. " The projected division of the Spada Pompey," he says, " has already been recorded by the historian of the Decline and Fall of the Roman Em- pire. Mr. Gibbon found it in the me- morials of Flaminius Vacca ; and it may be added to his mention of it, that Pope Julius III. gave the contending owners 500 crowns for the statue, and presented it to Cardinal Capo di Ferro, who had prevented the judgment of Solomon from being executed upon the image. In a more civilised age this statue was exposed to an actual opera- Papal States. 1 r. 27, — rome. — Palaces (Torlonia). 453 tion ; for the French, who acted the Brutus of Voltaire in the Coliseum, resolved that their Csesar should fall at the base of that Pompey which was supposed to have been sprinkled with the blood of the original dictator. The nine-foot hero was therefore removed to the arena of the amphitheatre, and, to facilitate its transport, sufliered the tem- porary amputation of its right arm. The republican tragedians had to plead that the arm was a restoration ; but their accusers do not believe that the integrity of the statue would have pro- tected it. The love of finding every coincidence has discovered the true Caesarian ichor in a stain near the right knee ; but colder criticism has rejected not only the blood, but the portrait, and assigned the globe ( f power rather to the first of the emperors than to the last of the republican masters of Rome. Winckelmann is loth to allow an heroic statue of a Roman citizen, but the Grimani Agrippa, a contemporary al- most, is heroic ; and naked Roman figures were only very rare, not abso- lutely forbidden. The face accords much better with the ' homiriem inte- grum et castum et gravem,' than with any of the busts of, Augustus, and is too stern for him who was beautiful, says Suetonius, at all periods of his life. The pretended likeness to Alexander the Great cannot be discerned, but the traits resemble the medal of Pompey. The objectionable globe may not have been an ill-applied flattery to him who found Asia Minor the boundary, and left it the centre of the Roman empire. It seems that Winckelmann has made a mistake in thinking that no proof of the identity of this statue with that which received the bloody sacrifice can be derived from the spot where it was discovered. Flaminius Vacca says sotto una canfina, and this cantina is known to have been in the Vicolo de' Leutari, near the Cancellaria; a posi- tion corresponding exactly to that of the Janus before the basilica of Pompey "s Theatre, to which Augustus transferred the statue after the curia was either burnt or taken down. Part of the Pom- peian sliade, the portico, existed in the beginning of the fifteenth century, and the atriuin was still called Satrum, So says Biondus. At all events, so imposing is the stern majesty of the statue, and so memorable is the story, that the play of the imagination leaves no room for the exercise of the judg- ment, and the fiction, if a fiction it is, operates on the spectator with an effect not less powerful than truth." Among the other antiques of this palace, the most remarkable are the sitting statue of a philosopher (Antisthenes ?), and the eight beautiful bas-reliefs which formed the stairs of St. Agnese fuori le Mure, where they were discovered in the last century, with the sculptured side downwards. The Gallery has a small collection of pictures. I. — Guer- 01710. David with the head of Goliath. — Caravaggio. A female holding a com- pass. — Amiibale Caracci. The Caritas Romana (p. 283). II. — Guido. Judith with the head of Holofernes; Lucretia. — Salvator Rosa. Head of Seneca. — heo7iardo da Vi7ici (?). Christ disputing in the Temple. — Teniers. A landscape. — xilbani. Time unveiling Truth. — Michaelaiigelo de Bambocci. The Revolt of Masaniello in the market-place at Naples. III. — Paolo Veronese, Beatrice Cenci. — Guercino, Dido, one of the finest pictures in the collection. — Ghe- rardo delta Notte. Christ before Pilate. lY. —Titian. Portrait of Paul III.— Guido. Portrait of Cardinal Spada; the Flight of Helen. — Correggio (?). Two heads of boys. — Guercino. Mag- dalen. — Mantegna, Christ with saints. Albert Durer. St. Jerome — Caravaggio. A female musician ; St. Anne and the Virgin. Palazzo Torlonia^ built, by the Bo- lognetti family, about 1650, from the designs of Carlo Fontan'a, and pur- chased at the beginning of the present century by the late Giovanni Torlonia, the banker, afterwards duke of Bracci- ano. All its collections date from this period, and the principal works it con- tains are the productions of modern artists. The ceilings of the rooms are painted by Camuccini, Pehgi, and 454 R. 27. — ROME. — Historical Houses, [Sect. I. Landi; and in a cabinet built for the purpose is Canovas statue of Hercules throwing Lycas into the sea. The pre- sent duke has shown considerable taste in the recent arrangements and decora- tions, and has made important additions to the gallery of pictures, which con- tains a few good paintings interspersed with the usual amount of indiiFerent works. It is rather the foundation of a gallery than one which will bear a com- parison with those of the older palaces of Rome. The P. Torlonia in the Tras- tevere, formerly the P. Giraud, is no- ticed under that head. Palazzo di Fenezia, at the extremity of the Corso, the ancient palace of the republic, built in 1468 by Paul II., a Venetian, from the designs of Giuliano da Majano. The materials, like those of the Farnese Palace, were plundered from the Coliseum. It is not remark- able for any works of art, but is histori- cally interesting as the residence of seve- ral popes, of the duke of Ferrara, Borso d'Este, and of Charles VIII. of France, on his passage through Rome to com- plete the conquest of Naples. The pa- lace was conferred by Pius IV. on the republic of Venice, because it was the first pov/er that admitted the Council of Trent. It remained in the possession of the republic until the period of its fall, when it passed to the emperor of Aus- tria. Its battlemented walls give it the air of an old feudal fortress. It is now the residence of the Austrian ambas- sador. Palazzo Pldoni, formerly the P. Caf- farelli and P. Stoppani, near the church of S, Andrea della Valle, interesting as the most important building designed by Raphael in Rome (1513). The up- per part is a subsequent addition, and harmonises badly with the simple solid- ity of the ground plan. At the foot of the stairs is a statue of Marcus Aurelius. Among the other antiques are the frag- ments of the Fasti Sacri, the Calendar of Verrius Flaccus, found in the last cen- tury atPalestrina by Cardinal Stoppani, and illustrated with great learning by the late Professor Nibby. Historical Houses. — The attrac- tions offered to the traveller by the princely palaces and museums of Rome too frequently distrac^t attention from the unobtrusive houses identified with the memory of great names in the his- tory of art. The first in interest is the House of Raphael, situated in the Via Coronari, No. 1245, on the left hand, towards the Piazza di Panico, a small piazza near the Ponte di S. Angelo. In this house the great painter resided for many years before he purchased Bra- mante's beautiful palace in the Borgo Nuovo (see P. degli Convertiti). It is the very house with which he endowed the chapel in the Pantheon, beneath which his ashes still repose. It was reno- vated and partly rebuilt in 1705, when Carlo Maratta painted on the fa^,ade a portrait of Raphael in chiaro-scuro. This interesting record is now almost effaced, and it is said that the house itself is not applied to the purpose indi- cated in the will. We are at a loss to comprehend the reason why the Romans, alive on all occasions to the beauties of art, should feel indifference to the resid- ence of the greatest artist who enriched their city with the miracles of his match- less genius. House of Pietro da Cortona. — In the little street called the Via Petacchia, near the Tomb of Bibulus, is this inte- resting house, built and inhabited by Pietro da Cortona. His skill and judg- ment in architecture are shown even on the small scale on which his house is constructed ; the windows, the door, the portico, and the little court are of the Doric order, and still exhibit many traces of the peculiar taste of this very estimable artist. House of Bernini, near the Barberini Palace. The house inhabited by Ber- nini deserves honourable mention. We are indebted to him for some fine works of architecture and sculpture; and not- withstanding the exaggeration which he introduced into both these branches of art, we must not make him responsible for the decay of taste or for the errors of his successors. The palace still con- tains his semi-colossal statue of Truth, Papal Statss,"] r. 27. — rome. — Private Collections. 455 and deserves to be distinguished by an inscription. House of the Zuccari. — At the ex- tremity of the Via Felice is the house formerly called the Palazzo dellaRegina di Pologna, in commemoration of Maria Casimira queen of Poland, who resided in it for some years. It is interesting as having been built by Taddeo and Fede- rigo Zuccari as their private residence. The interior was adorned by Federigo with frescoes, representing, as Lanzi tells us, " portraits of his own family, con- versazioni, and other curious and novel subjects, executed with the assistance of his scholars, and with very little care; in which, more than in any of his other works, he appears a trifier — the fitting leader of a degenerate school." A few years ago the palace was the residence of the Prussian consul-general Bar- tholdi, under whose auspices it has be- come remarkable for a higher class of frescoes, painted in one of the upper chambers by some of the most eminent German artists of our own time. They are illustrative of the history of Joseph : the Joseph sold by his brethren is by Ovei^beck ; the scene with Potiphar's wife, by Ph. Feit ; Jacob's Lamenta- tion, and the Interpretation of the Dream in prison, by JV. Schadoiv ; the Inter- pretation of the King's dream, &c., by Cornelius ; the seven years of plenty, by Ph, Feit ; the seven years of famine, by Overheck. House of Poussi?i, in the little Piazza della Trinity, No. 9, near the Trinita de' Monti, recently occupied by an English family. For nearly forty years this house was occupied by Nicholas Poussin. Many of the great painter's most interesting letters are dated from it, and he died there at an advanced age in 1665. The Pincian is identified with the names of the most celebrated landscape painters. Immediately oppo- site the house of Poussin is the House of Claude Lor rain ; and that of Salvator Rosa is not far distant. House of Conrad Sweynheim. — Ad- joining the Palazzo Massimi is the house in which the celebrated Conrad Sweynheim and Arnold Pannartz esta- blished the first printing press at Rome in 1467. They had previously been settled at Subiaco ; but in consequence of a disagreement with the monks they migrated to Rome in 1467, and had the honour of establishing in this city the second printing press in Italy. The imprint of their works specifies the locality as in domo Petri de Maxi- mis." The De Oratore of Cicero and the Urhs Dei were printed there in the first year of their establishment. The house was restored about 1510 by Bal- dassare Peruzzi. Private Collections. — There are a few private Collections in Rome which are not inferior in interest to those of many of the palaces. They are shown to strangers with great liberality, but it is of course necessary to apply for permission beforehand. Museo Campana^ near the Monte di Pieta. — The museum of Cavaliere Cam- pana is of great value to the student of Etruscan antiquities. It has been created entirely by this gentleman, and nearly all its important objects were found on his own property, and exca- vated under his personal superintend- ence. It is always gratifying to the intelligent traveller to find a museum of so much interest in the possession of a gentleman who thoroughly appreciates its historical importance. It consists of several valuable collections. The cabi- net of Coins contains a most instructive series of Etruscan, Consular, and Impe- rial examples, in bronze and silver ; me- dals of Magna Grsecia, Sicily, and various cities of Greece in silver and in gold, all in the highest state of preserva- tion, and most of them as yet inedited. Those in gold and silver amount to many hundreds, and those in bronze are not far short of four thousand. It would be difficult to find a more com- plete collection in any museum in Italy, and it is by far the most extensive in Rome. It has been many years in progress, and has been formed partly from the numismatic collections of the Albani family, from those of Cav. de' 456 R. 27- — ROME. — Private Collections, [Sect. I. Rossi, the Avvocato Tomassini, the Gabrielli, Rusci, and other private cabinets, and partly from the excava- tions in the Etruscan tombs on Cav. Campana's property. The collection of Etruscan antiquities comprises an unique series of sarcophagi^ and statues in terra-cotta of the size of life, found for the most part in the tombs of Tar- quinii and Tuscania : the sarcophagi, painted in various colours, are unrivalled in size, in form, and in the figures and bas-reliefs for which they are remark- able. The Roman terra-cottas, from their beautiful style and perfect imita- tation of Greek art, are the object of general admiration. The novelty of the subjects and compositions, the variety and number of the examples, their fine designs and workmanship, make this cabinet equal if not superior to any collection of antique plastic works hitherto brought together. The collec- tion of Etruscan jewellery, formed dur- ing the latest discoveries in the tombs, contains some exquisite specimens of ancient art in gold and other orna- ments ; the earrings in the form of genii, the necklaces of scarabaei, the filagree brooches, and the chains for the neck, surpass the finest productions of Trichi- nopoly and Genoa. One of the most remarkable objects in this cabinet is the superb scarabaeus of sardonyx, with an engraving representing Cadmus con- quering the dragon. All these works exhibit a refinement of taste and an elaborate delicacy of execution, which is not excelled and scarcely equalled by the handicraft of modern times. The next room is decorated ^ithancient frescoes^ found by Cav. Campana in the progress of his excavations in vari- ous parts of the contorni of Rome. One of these is of peculiar rarity and value both as a work of art and as an histori- cal monument : it contains numerous figures, with the names and respective conditions of each person inscribed in Greek characters. The collection of ancient bronzes contains a fine series of Etruscan and Roman specimens in the highest state of preservation. In the cabinet of glasses are numerous ollse, phials, vases, and other antique glass vessels of new and beautiful forms, and of extraordinary magnitude. The first in interest and value are the three ele- gant tazze of blue, white, and yellow glass, each mounted on a stand of gold filagree, precisely as they were taken from the tomb. The last collection of this museum, so honourable to Cav. Campana's spirit and intelligence, and so rarely found in the residence of a private gentleman in any part of Europe, has been removed to his villa on the slopes of the Ceelian, near the Coliseum. It contains an interesting series of cine- rary urns and vases, with several busts and statues. Most of the inscriptions are entirely new, and as yet inedited. Gallery of Cav, Camuccini, — The house of this well-known painter con- tains a small but interesting collection, which is open to the public on Sundays, from 12 to 2. Among the most remark- able works are the following : — Raphael, Three very beautiful paintings ; two of them are saints, and the third a Ma- donna and Child. — Giulio Romano. Por- trait of Michael Angelo. — Titian, Venus and Adonis; a landscape, with the Olympus added by Giova?ini Bellini, — Andrea del Sarto. A portrait. — Dome- 7iichino, Susanna. — Claude, A sunset on the sea. Gallery of Cav. Thorwaldsen, — The private residence of this great sculptor is remarkable not only for the casts from many of his finest works, but also for an interesting collection of paint- ings by the most eminent modern ar- tists who have been resident at Rome during his own sojourn of twenty -five years. It is impossible to imagine a more charming gallery, when we know that many of the works it contains were commissions given as encourage- ments to artists who were entirely in- debted to his patronage for their sub- sequent success, and that others are me- morials of private friendships formed at an early period of their career with fellow-students, who have since risen to the highest honours of their profes- sion in the great capitals of Germany. Among these works of both classes are Papal States.] r. 27. — rome. — Artists^ Studios (Sculptors). 457 several fine and characteristic paintings by Overbeck, Cornelius, fV. Schadow, Koch,Carste?is, fJ'e/ter, Meier, Kraft, &c. The names of Sanguinetti and other Italian painters show the liberality of this excellent man to artists uncon- nected with him by any national ties. As a further proof of this remark we may mention a circumstance which will, we are sure, be gratifying to Bri- tish travellers. On our last visit to Thorwaldsen we heard him assure our countryman, Thomas Dessoulavy, that he should not consider his collection complete until it possessed a landscape from the hand of that very admirable painter. The history of Thorwaldsen's career at Rome is not less remarkable than that of Canova, for a highminded feeling of brotherhood towards all whom Art has united in her pursuit, and there are few instances where a man of equal eminence has been able to boast of such '^troops of i'riends" who delight to do him honour. Artists' Studios. — Among those characteristics of Rome which are ca- pable of affording the highest interest to the intelligent traveller, we know none which possess a greater charm than the studios of the artists. Travellers in general are little aware of the interest they are calculated to afford, and many leave Rome without making the ac- quaintance of a single artist. In the case of English travellers, in particular, this neglect is the more inexcusable, as many of the finest works of our coun- trymen in Rome are to be found in the most celebrated private galleiies of Great Britain. The instruction to be derived in the studios of these gentle- men is unquestionable, and is alTorded on all occasions in the most obliging manner. Those who have any feel- ing for art will not neglect the re- sources so abundantly placed within their reach. We have already adverted to the cordial feeling with which the artists of all nations pursue their studies at Rome. It is an agreeable surprise to all who visit it for the first time to find the artists of so many countries living together on such amicable terms. It gives the finest impression of the arts they profess, when we see that they have such influence over the professors as to unite them in bonds of friendship, whatever may be the diversity of their national customs, or of their tastes in art. In regard to the native artists, and particularly those who are famous as landscape painters, it is an extraordi- nary fact, that although in Rome the colouring of nature is so beautiful, colour is the point in which they do not generally excel. Sculptors. — Cav. Thorwaldsen, Casa Buti, on the Pincian, and the Piazza Barberini. Tliere is no sculptor in Rome, perhaps not in Europe, who has acquired so much fame as Thor- waldsen. This is no doubt to be attri- buted to his extraordinary power in uniting art and nature, the greatest dif- ficulty of sculpture. The same com- bination is seen in the outlines of our own Flaxman, but Thorwaldsen has carried it through every department in the grandest style of art. The works of his old age not only confirm his fine taste, but present still greater perfection than those by which his fame was first established. — John Gibson, R.A., No. 6, 7, Via dell a Fontanella. First among our countrymen resident at Rome is this distinguished sculptor, who merits the high praise of having united the styles of the two greatest sculptors of mo- dern Rome, Canova and Thorwaldsen : his works are imaginative and learned, and embrace both the lieroic and pas- toral styles with equal excellence. — JVyatt^ No. II, Via della Fontenella, in his sculpture emulates the milder style of character and expression which prevails, if a comparison may be al- lowed between the sister arts, in the paintings of Raphael : he applies this style to Greek art, and produces statues inferior to others in grandeur, but sur- passing all in loveliness. — Macdonald, No. 6, Corso. In addition to some imaginative works of the highest class, Macdonald has obtained more fame for the truth and beauty of his busts than any artist in Rome, and his studio always bears satisfactory evidence of X 458 R. 27. — ROME. — Artists^ Studios (Painters). [Sect. I. the extent of his popularity. — Tenera?ii. No. 33, 34, Via delle Colonnette, and No. 40, Piazza Barberini. Teneranis style of sculpture is in the finest dra- matic taste, combined with deep feeling for nature. He is decidedly the greatest Italian sculptor now living, uniting the beautiful forms of nature with tlie charms of Greek art. — Tadolini, No. 105, Via Babuino, a Bolognese sculptor, very popular in Italy. — fVolf, Via Fe- lice. The works of this Prussian artist belong to the scliool begun by Thor- waldsen : they show great originality and remarkable power of execution. — Fhielli, No. 47, Via di S. Niccolo di Tolentino. In the present state of sculpture tlie vigorous genius of Finelli would make him the first in his pecu- liar line ; but he is occasionally une- qual, sometimes producing works which rival ancient Greece, and at others not coming up to the standard of modern Italy. — Bie7iaime, No. 5, Piazza Bar- berini, continues to dwell on the beau- tiful fable of Psyche, and treats his favourite subject with fine form and execution. — Cav. Fahris^ No. 130, Via Felice, one of the directors of the Va- tican Museum, has acquired some re- putation for his busts and monuments. Cav. Fabris took casts of the skull and right hand of Raphael when the tomb in the Pantheon was opened in 1833, and preserved some of the metal rings and points by which the shroud was fastened (p. 288). — Hogan^ No. 12, Vicolo degli incurabili, excels in subjects of religion. — Gott, No. 155, Via Babuino, remarkable for his exe- cution of animals. — Fred. Th^upp, near the Palazzo Borghese, an English artist of great promise, and originality of style, — W. Theed, No. 9, Vicolo degli Incurabili, another of our countrymen who has distinguished himself in the higher walks of sculpture. Painters. — Baron Camuccini, No. 4, Via del Greco, stands the foremost in historical painting. His works are re- markable for classical taste and force in drawing : his colouring is occa- sionally unequal to the power of his compositions. — Overheck^ No. 16, A'ia Margana. This eminent German wa^ one of the first masters of the modern school who recurred to the simple style of the early Italian painters. His sub- jects are chiefly of a religious character, and are thus particularly adapted to the pure devotional feeling which charac- terises the period of art which he has adopted as his model. — Agricola, Pa- lazzo Giustiniani, has great popularity among the Italians : his style is formed on the school of Raphael Mengs, and consequently presents a mixture of the qualities of various painters. His altar- pieces are free from faults, even to tameness, and in this peculiar style he is not surpassed by any artist of modern Italy. — }'enry Williams, No. 12, Piazza Mignanelli. No artist is entitled to more honourable mention than Penry Williams : his style is peculiarly his own ; his feeling for every thing that is beautiful in nature is combined with the most delicate yet powerful execu- tion, and he is without doubt the first in what the Italians call " Quadri di genere.'' — Thomas Dessoulavi/, No. 41, Via della Croce. Unfortunately for English art, Dessoulavy is one of the rare examples of an historical landscape- painter : his great merits are well known to admirers of this beautiful branch of art, and have been honoured with the highest praise by the first German cri- tics. No artist in modern times has invested the ruins and classical scenery of Rome with so great an interest; no one has so thoroughly realised the glow- ing landscapes of Tivoli, or the grand forest scenes of the Borghese gardens. His style, which is entirely original, shows infinite learning in Italian com- position, and has great force in effect. — Reinhai^t, No. 49, '\'ia delle Quattro Fontane, the first German historical landscape-painter, the Nestor of the Ro- man artists. In December, 1839, he had completed a residence in Rome of half a century, and his jubilee was cele- brated with an enthusiasm which none but German artists can imagine. His severe style somewhat detracts from the pleasure of his colouring ; but all his works are powerful in composition, and Papal States.] k. 27. — rome. — Colleges (Sapienza). 459 are highly praised by the German cri- tics. — Marinoni, Via di Gesu e Maria, an Italian landscape-painter of great merit, far beyond his countrymen in colour and elfect. — Minardi, Palazzo Doria, considered the first draughtsman in Italy. His Madonnas have given him a high reputation in the milder region of art. — Marco, a German land- scape-painter, celebrated for his imagi- native compositions, executed with ex- traordinary minuteness of detail. — Po- desti, Palazzo Pentini, in great esteem as an historical painter : he is, perhaps, rather melodramatic than historical, and excels in mythology and romance. — Catel, No. 9, Piazza di Spagiia, the Prussian landscape-painter, excellent in his views of Naples, which only want a richer colouring to make them per- fect.-— ^2, Via Margutta (?), the first painter of wild boars in Italy : his great experience as a cacciatore (p. 252) particularly qualifies him for this dif- ficult class of subjects. — Meyer, Via Pinciana, a Danish painter of comic subjects : his studies of the Italian cha- racter in its comic features are quite unrivalled : every line is true to nature, and the dry humour which pervades his works is admirably expressed. — Newbold, 107, Via Sistina, an English landscape-painter of considerable merit. — Edward Lear, A'ia Felice, another English artist of great promise ; a series of lithographic drawings, lately pub- lished in London from his sketches, show his skill in Roman landscape and composition. — Cromek, Via Felice, the first architectural artist in water-colours, celebrated for his drawings of the Italian cathedrals. — Canevari, Palazzetto Bor- ghese, the best portrait-painter in Rome, often considered to approach the charms of Vandyke in colouring and taste. — Cavalier i, No. 49, Via Margutta, also to be noticed as a fashionable portrait- painter. — Among the copyists of the old masters, the most eminent is the Cav, Chatelain, No. 26, Via Ripetta, whose copies of the principal pictures in the Roman galleries are well known in England. Another able copyist is Giuseppe MazzoUni, whose works are also popular among British travellers. — Our countrywoman, Miss Chawner, Via Laurina, No. 6, is also entitled to honourable mention as an admirable copyist of old masters in water-colours. Her works exhibit the strength and depth of oils, with the transparency and clearness of water-colours. — As an his- torical engraver, one of the best is Folo, No. 1 3, Piazza di Spagna, who pursues the peculiar walk of art in which his father was for many years distin- guished. Their burin has diffused the knowledge of some first-rate pic- tures. Colleges and Academies. Collegia della Sapienza, the University of Rome, founded by Innocent IV. in 1244, as a school for the canon and civil law. It was enlarged in 1295 by Boniface VIII., who added the theo- logical schools; the philological pro- fessorships were added in 1310 by Cle- ment V. Subsequent pontiffs enlarged the plan by the introduction of scienti- fic studies, and endowed the university with the produce of various articles of excise. The present building was begun by Leo X. from the designs of Michael Angelo, and finished in 1576, under Gregory XIII., by Giacomo dellaPorta. The oblong court, with its double por- tico, sustained in the lower story by Doric, and in the upper by Ionic pilas- ters, was built by this able architect. The church and its spiral cupola are in the most fantastic style of Borromini. The university derives the title of the Sapienza from the inscription over the principal entrance, Initium Sapientiee timor Domini. Its organisation was entirely remodelled by Leo XII. in 1825, and placed on a level with that of the other universities of Italy. The bull containing the decree, conferred upon it and the University of Bologna, the rank of the two primary univer- sities of the Papal States. It is governed by a cardinal high chancellor, and by a rector chosen from the advocates of the Consistory : it has five colleges, ap- propriated to theology, law, medicine, natural philosophy, and philology. The number of professors is forty-two, five of whom are attached to the college of theology, seven to the college of law, thirteen to the college of medicine, X 2 460 R. 21. — ROME. — Colleges (C, Romano). [Sect. I. >eleven to that of natural philosophy, and six to that of philology. All their lectures are gratuitous, their salaries being fixed and paid by the govern- ment. The number of students is seldom less than 1000. Attached to the university is a Library^ founded by Alexander VII., and liberally increased by Leo XII. It is open daily, with the exception of Thursdays, from 8 to 1 2, and for two hours in the afternoon. The Museum contains a cabinet of mi- nerals, an extensive series of geological specimens illustrative of Brocchi's work on the * Suolo di Roma,' a collection of fossil organic remains of the environs of Rome, a small collection of zoology and comparative anatomy, and a cabinet of gems formed by Leo XII. On the ground floor of the university are the Scuole delle Belle Arte, directed by the eleven professors of the Academy of St. Luke, who give lectures in painting, sculpture, architecture, perspective, de- corative painting, anatomy, mythology, and costume. On the third floor is the School of Engineers, founded by Pius VII. Dependent on the univer- sity is the Botanic Garden, adjoining the Salviati Palace, in the Trastevere. It has received many important acces- •sions of rare plants within the last few years, but is still susceptible of great improvement. Many of the professors of the Sapienza are celebrated through- out Italy for the high character of their attainments, and the reputation of a few is not confined to Europe. Nothing can exceed the courtesy with which the literary and scientific men of Rome are ready to impart their knowledge to strangers ; and their society adds con- siderably to the interest of the traveller who is capable of enjoying it. As a proof that mind is not without its resources at Rome, we may adduce the names of many distinguished men who rank in the first class of European li- terature and science : — in philology we may mention Cardinal Mai, the dis- coverer of the Palimpsests of Cicero ; Sarti, the celebrated Hebraist; Lanci, the Arabic scholar; Laureani, the li- brarian of the Vatican, well known by his Latin letters ; and Cardinal Mezzo- kfanti, whose polyglot acquirements we have noticed in the description of Bo- logna. In mathematics we may cite Pieri, Venturoli, Cavalieri, and Sereni ; in natural philosophy, the Padre Pian- ciani, and Bonell i ; in natural history, the Prince of Canino, better known by his scientific cognomen of Charles Lucien Bonaparte (p. 441), and Me- taxa, the professor of zoology and com- parative anatomy ; in mineralogy, Mon- signore de' Medici - Spada, already mentioned at p. 313 ; in moral philo- sophy, Mastrofini and Pacetti ; in po- litical economy, Morichini; in astro- nomy, Conti, Ricchebach, and Bar- locci ; in anatomy, Pietro Lupi ; and in medicine, De Matthaeis. Collegio Romano^ built in 1582 by Gregory XIII., from the designs of Bartolommeo Ammanati. The course of instruction, which is entirely directed by the Jesuits, embraces the learned languages, theology, rhetoric, and dif- ferent branches of natural philosophy. Attached to the college are an obser- vatory, a library, and the museum founded by the learned Father Kir- cher. The observatory is under the direction of the Padre Pianciani. The library contains som.e Chinese works on astronomy collected by Jesuit mis- sionaries, and some editions of the classics with notes by Queen Christine of Sweden. It was formerly celebrated for its literary treasures, but many of the most valuable works have disap- peared. The museum of Father Kir- cher contains a curious collection of antiquities and other objects, many of which are more interesting as curio- sities than from their scientific value. The cabinet of medals contains a com- plete series of Roman and Etruscan coins, and the most perfect known col- lection of the Roman As. These have recently been arranged by P. Marchi on an original and ingenious system, showing the relations of the early cities of Italy. So far as the coins have yet been identified, the researches of P. Marchi have established the existence of forty distinct coinages prior to the foundation of Rome. The Etruscan an- tiquities of the museum were long con- sidered unique, but the Gregorian col- lection in the Vatican has now thrown Papal States.'] r.27.-rome. -Academies (St. Luke, Arcadia). 461 them into tlie shade. The most interest- ing object is the famous Cisfa Mystica, a cylindrical vase and cover of bronze, ornamented with exquisite engravings of the Argonautic expedition ; the up- right figures on the lid are beauti- fully worked. Among the other spe- cimens of Etruscan workmanship are chains, bracelets, necklaces, and other ornaments. The bronzes and terra-cottas are also interesting, but do not require a particular description. Among the curiosities is the sword of the Constable de Bourbon, of Indian steel, bearing his name on the blade and that of two Italian generals, to whom it had pre- viously belonged. Collegio de Propaganda Fide, in the Piazza di Spagna. The establishment of the Propaganda was founded in 1622 by Gregory XV., for the purpose of educating as missionaries young fo- reigners from infidel or heretical coun- tries, who might afterwards return and spread the Catholic faith among their own countrymen. The present build- ing was erected by Urban VIII. from the designs of Bernini, and completed under tlie direction of Borromini. The celebrated printing-office established here by this pontiff is rich in Oriental characters, and has produced many works of great typographical beauty. The annual examination of the pupils, which takes place in September, is an interesting scene, which few travellers who are then in Rome omit to visit. Academy of St. Luke. — The Roman Academy of the Fine Arts was founded in 1588 by Sixtus V., who endowed the Confraternita of painters with the church adjoining, formerly dedicated to St. Martin. The academy is com posed of painters, sculptors, and archi- tects, who direct the schools of the fine arts. In the apartments are preserved several works of art, which will repay a visit. Among these are landscapes by Gaspar Poussin and Sidvatoi- Rosa ; a beautiful picture of St. Luke taking the portrait of the Virgin, attributed to Raphael; a fragment of a fresco by the same master; the Saviour with the Pha- risee, by Titian; and the statue of Ca- nova, by the Spanish sculptor Alvarez, presented as a testimony of gratitude f(u* Canova's ])atronage. During the French occupation of Madrid, Alvarez offered to sell some of his works to Eugene Beauharnois, who consulted Canova on the subject. His answer was quite in accordance with his usual generosity towards the artists of all countries: the sculptures of Alvarez," he said, "remain on sale in his studio, because they are not in mine." The collection of portraits includes, like that of Florence, a great number of artists of more or less repute ; many are those of living professors. The skull so long preserved here with veneration as that of Raphael, has been proved, since the discovery of his body in the Pantheon, to be that of Desiderio de' Adjutori, a person of no reputation for genius either in art or letters. The inscription written by Bembo deserves to be recorded : — " Ille hie est Raphael, timuit quo sospite vinci Rerum ma^na parens, et moriente mori." Accademia Archeologica, one of the most eminent antiquarian societies of Italy, includnig among its members some of the most learned archaeologists of Europe. It has published several volumes of transactions. The duties of permanent president are sustained by Prince Pietro Odescalchi, the repre- sentative of one of the most estimable families in Italy. Accademia d Arcadia. — Few of the Italian societies are so celebrated as the Arcadian Academy of Rome, founded in 1690 by Gravina and Crescimbeni. Its laws, says Mr. Spalding, were drawn out in ten tables, in a style imi- tating the ancient Roman. The con- stitution was declared republican; the first magistrate was styled custos ; the members were called shepherds ; it was solemnly enacted that their number should not exceed the number of farms in Arcadia; each person on his admis- sion took a pastoral name, and had an Arcadian farm assigned to him ; the business of the meetings was to be con- ducted wholly in the allegorical lan- guage, and the speeches and verses as 462 R. 2^1 -ROM-E.-Academies ; Hospitals ^- Charities. [Sect. I. much so as possible. The aim of the academy was to rescue literary taste from the prevalent corruptions of the time : the purpose, the whim, and the celebrity of some among the origi- nators, made it instantly fashionable ; and in a few years it numbered about 2000 members, propagating itself by colonies all over Italy. The associa- tion completely failed in its proposed design, but its farce was played with all gravity during the eighteenth cen- tury ; and besides Italians, scarcely any distinguished foreigner could escape from the City of tlie Seven Hills with- out having entered its ranks. In 1788, Goethe was enrolled as an Arcadian, by the title of Megalio Melpomenio ; and received, under the academic seal, a grant of the lands entitled the Mel- pomenean Fields, sacred to the Tragic Muse. The Arcadia has survived all the changes of Italy : it still holds its meetings in Rome, listens to pastoral sonnets, and christens Italian clergy- men, English squires, and German counsellors of state by the names of the heathens. It publishes, moreover, a regular journal, the Giornale Arca- dico; which, although it is a favourite object of ridicule with the men of let- ters in other provinces, particularly the Mileinese, in their Biblioteca Italiana, condescends to follow slowly the pro- gress of knowledge, and often furnishes foreigners with interesting information, not only literary but scientific." The meetings take place every Friday in the Protomoteca of the Capitol. Accademia de Lwcei, the earliest sci- entific society in Italy, founded in 1603 by Galileo, and other contemporary philosophers. It was re-organised in 1795, and is still devoted to natural history and science. The meetings are held in the upper rooms of the Palace of the Senator. Accademia Tiber ina^fouuded in 1812 for the promotion of historical studies, especially those relating to Rome. The meetings take place every Monday in the Palazzo Macarini. Accademia Filarmonica, an institution of recent date, whose fine concerts afford the most agreeable proof of the increas- ing taste for music among the educated classes of Rome. The academy is go- verned by a president and council, and holds its sittings during the season in the Palazzo Lancellotti. The Academies of France, Florence, and Naples are merely establishments where a small number of artists, selected from the academies of their respective countries, are boarded by their govern- ments for a certain period. The Aca- demy of France is lodged in the Villa Medici, on the Pincian; that of Flo- rence in the Palazzo di Firenze, near the Borghese Palace ; and that of Na- ples in the Farnesina. Arch ecological J?istif?^ie, founded a few years since under the auspices of the present King of Prussia, and maintained in the most efficient state by the Chevalier Bunsen, while Prus- sian Minister at Rome. It is also supported by Chevalier Kestner, the Hanoverian Minister, and by most of the distinguished resident foreigners. Travellers who are desirous of ])rofiting by their visit to Rome should not fail to become members. Many eminent Prussian scholars have been lecturers at the Institute, and the names of Platner, Bunsen, Rostell, Gerhard, Lep- sius, and Braun, are to be found in the transactions it has published. The meetings are held weekly at the Prus- sian palace on the Ca[)itol, when lec- tures on various topics connected with Etruscan and. Roman antiquities are gratuitously delivered. The Institute has corresponding committees in Lon- don, Paris, and Berlin. Hospitals and diAmTABLE In- stitutions. No city in Italy is so much distin- guished by its works of charity as Rome ; and no hospitals in Europe are lodged in such magnificent palaces, or endowed with greater liberality. The Romans boast that there is no city of the world in which so large a sum is devoted to institutions of charity, in proportion to the population. The an- nual revenue of these establishments is Papal States^] r. 27. — rome. — Hospitals and Charities, 463 not less than 840,000 scudi, of which 540,000 are derived from eridovvmeiits, and 300.000, including 40,000 from a tax on the lottery, are contributed from the papal treasury. The hospitals can accommodate altogether about 4000 patients, at an average cost of two pauls a day each person. The maximum of deaths is 11 '60 per cent., the minimum 5 • 43. Notwithstanding their rich endow- ments the hospitals are not so well kept as those of Tuscany, or of the chief pro- vincial cities of the Papal States. " The priests," as Dr. Fraser tells us, seem to have more power than the physi- cians, and the professional traveller will detect many considerable faults in the clinical arrangements, which the medical officers ought to have sufficient energy to remove." The principal hos- pital is that of Santo Spirito, on the right bank of the Tiber, founded in 1198 by Iimocent IIL, and so richly endowed, that it has acquired the title of il piii gran signore di Roma." It contains the hospital for the sick of all classes, the Foundling Hospital, and the Lunatic Asylum. '* The three es- tablishments," according to Dr. Fraser, can raise 2000 beds ; the average number in use is 1000. They are not clean, and the rooms are badly venti- lated. A clinical ward is attached, in which lectures are given daily. The museum is not rich, and seems to be neglected ; the library contains the collections of books and instruments bequeathed by the celebrated Lancisi." The average number of patients re- ceived annually is 11,900 ; the average number of deaths is rather more than 7 per cent. The Foundling Hospital receives annually about 800 found- lings. The mortality is immense ; out of 3840 children deposited in the five years from 1829 to 1833, no less than 2941 died, being more than 72 per cent. In addition to this there are other foundling hospitals in other parts of Rome, which swell the number of children to upwards of 3000 annually, and offer such facilities, that abaii- doned children are brought to Rome from all parts of the States, and even from the kingdom of Naples. The Lunatic Asylum contains on an aver- age 400 patients, about a third of whom are females. The old system of re- straint is pursued, with all its manifold objections. — S. Giovanni occupies part of the old Lateran Palace, and is the best conducted in Rome ; it is chiefly appropriated to fever cases, and can number about 400 beds. — >S. Gallicano, in the Trastevere, a fine building, for cutaneous diseases, with 240 beds. — La Consolazione, at the foot of the Ca- pitol, the surgical hospital : it dates as far back as the year 1015. The num- ber of beds does not amount to 100. All the cases of stabbing are taken to this hospital. The average immber of patients annually is 82(i ; the average deaths are nearly 6 per cent. — >S. Gia- comOj near the Corso, for incurables. The average number of patients per annum is 1625, the deaths about 12 per cent. — Benfratelli, or the Hospital of S. Giovanni Calabita, deriving its more recent name from its motto, Fate bene, fratelti, Do good, brethren," founded by the Spanish St. Juan de Dios in 1538, and still served by the monks hospitalers of the order : it contains only 80 beds, and is appro- priated chiefly to acute cases. — >S. Tri- nita de Pellegrini, near the Monte di Pieta, instituted for poor convalescents, who are received here for three days or more on leaving the other hospitals. — S. JRocco, a lying-in hospital. — In ad- dition to these hospitals there are thir- teen societies for bestowing dowries on girls at their marriage, and presents on their taking the veil. More than three- fourths of the women aimually married receive these dowries from the public purse ; and no less than 32,000 scudi, or 8000/., are expended in this manner, on an average, in a single year. The pope also distributes from his private almonry from 30,000 to 40,000 scudi per annum in charity. A commission of subsidies distributes relief to the poor at their own houses to the annual amount of 172,000 scudi. All this is independent of the large sums distri- buted by the local confraternitas. It 464 R. 27. — ROME. — English Burial-ground. [Sect. I. will no doubt surprise the traveller to find, that with such a profusion of cha- rities the mendicity of Rome should be so apparent ; but there can be no ques- tion that the immense funds annually expended are lavished in indiscrimi- nate and injudicious charity, which offers a premium to idleness, and creates the very misery which it is so ready to relieve. The Hospital of San Michele, at the Ripa Grande, on the right bank of the Tiber, is an immense establishment, begun by Innocent XII. in 1686, and finished by Clement XI. and Pius VI. It was formerly used as an asylum for poor children, and for aged and infirm persons ; but in recent years it has been applied to industrial purposes, under the able direction of Cardinal Tosti, who has long superintended it as pre- sident. It contains on its present plan a house of industry for children of both sexes, a house of correction for juvenile offenders and women, an asylum for old people, and a school of arts in which drawing, painting, architecture, music, statuary, &c., are gratuitously taught to the children of the poor. It contains also twenty- five looms, which supply the papal troops and the apos- tolical palaces. The wool used is en- tirely of native produce; the spinning and warping are done by hand, chiefly by the women confined in the prisons. The immber of persons employed in the establishment is upwards of 800, but the quantity of cloth produced is only about 80,000 yards; an amount so small, from the absence of machi- nery, that its cost far surpasses the or- dinary price in the market. A manu- factory of tapestry is dependent on the school of arts, and makes good progress. The educational system begun by Car- dinal Tosti has been attended with great advantages, and the hospital has the credit of producing some very able workmen. The introduction of modern improvements in manufacture, and par- ticularly the stimulus of machinery, are the chief objects to be desired : the interior arrangements are excellent ; and, taken as a whole, the institution does honour to Rome, and to the dis- tinguished prelate under whose con- stant and unremitting labours it has attained its present state of usefulness. The English Burial- ground is one of those objects which travellers of all classes and of all tastes will regard with melancholy interest. It is situated near the Porta San Paolo, close to the Pyramid of Caius Cestius. The si- lence and seclusion of the spot, and the inscriptions which tell the British traveller in his native tongue of those who have found their last resting-place beneath the bright skies of the Eternal City, appeal irresistibly to the heart. The appearance of the cemetery has an air of romantic beauty, which forms a striking contrast with the tomb of the ancient Roman and with the massive walls and towers which flank the city on this side. Among those who are buried here are the celebrated anatomist John Bell, and the poets Shelley and Keats. The grave of Shelley is in the old burial-ground, close to that of one of his children. The following is the inscription : — " Percy Bysshe Shelley. CorCordium. Natus iv Aug. mdccxcii. obiit VIII Jul. MDCCCXXii. Nothing of him that doth fade. But doth suffer a sea change Into something rich and strange." The expression Cor Cordivm, " the heart of hearts," is said to be an allu- sion to the remarkable fact, that when his body was burnt in the gulf of Spe- zia, the heart was the only portion that the fire did not consume, in the ad- joining cemetery is the grave of his friend, John Keats, with the following inscription : — "This grave contains all that was mortal of a young English poet, who, on his death-bed, in the bitterness of his heart at the malicious power of his enemies, desired these words to be engraved on his tombstone, ' Here lies one whose name was writ in water.' February 24, 1821." By far the greater number of monuments bear the names of Englishmen; the other Protestants interred here are chiefly Germans and Swiss. The monuments are in better taste than those of the English cemetery Papal States.] R. 27. — RO ME. — Climate. 465 at Leghorn, and some of them have con- siderable pretensions as works of art. The ground is well kept ; the deep trench which surrounds it was cut at the expense of the papal government, by whose liberality the new burial- ground was also enclosed. A sum of money amounting to about 1000 scudi, subscribed by British and German Protestants, is invested in the Roman funds, the interest of which is applied to defray the salary of a sexton and the expenses of repairs. Climate. — The description of the Pro- testant burial-ground, where so many monuments bear the names of our coun- trymen who have visited Rome in the pursuit of health, naturally leads to the consideration of the climate. Sir James Clark describes it as ^'mild and soft, but rather relaxing and oppressive. Its mean annual temperature is 10° higher than that of London^ 1° below that of Naples, and 4° below that of Madeira. The mean temperature of winter still remains 10° higher than that of London, and is somewhat higher than that of Naples, but is 11° colder than Madeira. In spring the mean temperature is 9° above London, 1° colder than Naples, and only a little more than 4° colder than Madeira. In range of tempera- ture Rome has the advantage of Naples, Pisa, and Provence, but not of Nice. Its diurnal range is nearly double that of London, Penzance, and Madeira. In steadiness of temperature from day to day Rome comes after Madeira, Nice, Pisa, and Penzance, but precedes Na- ples and Pau." In regard to moisture, Sir J. Clark says that Rome, although a soft, cannot be considered a damp cli- mate. Upon comparing it with the dry, parching climate of Provence, and with that of Nice, we find that about one-third more rain falls, and on a greater number of days. It is, however, considerably drier than Pisa, and very much drier than the south-west of France.'' To these observations we may add that the frosts which occur in January are not of long continuance, frer[uently occurring during the night and disappearing before the noon-day sun. The thermometer in an ordinary winter seldom falls lower than 26° Fah- renheit. Snow is not common, and sel- dom lies on the ground for more than twenty-four hours. The tramontana, or dry north wind, prevails often for a con- siderable time during the winter and spring : when long-continued, it is mo- derate and agreeable; but it is some- times harsh and penetrating, and attend- ed with severe storms, which seldom extend beyond three days. The sirocco, or south wind, although relaxing and enervating, produces little inconveni- ence during the winter months; in sum- mer its debilitating effects are more apparent and oppressive. All classes at Rome agree in regarding the hour immediately following sunset as the most unhealthy part of the day, and in the summer especially few of the native Italians expose themselves to its influ- ence. Another local peculiarity which deserves notice is the regularity with which the Romans avoid the sunny side of the street : it is a common saying that none but Englishmen and dogs walk in the sunshine at Rome, and the practice of our countrymen certainly justifies the proverb. In a city built like Rome the native practice in this instance is unquestionably correct; for the rapid transition from a powerful sun to shady streets open to the keen and piercing spring winds is severely felt by invalids. The malaria fevers, which have existed since the time of Cicero and Horace, have no doubt been in- creased by the depopulation of the country. They are described by Sir James Clark as " exactly of the same nature, both in their origin and general characters, as the fevers which are so common in the fens of Lincolnshire and Essex in our own country, in Holland, and in certain districts over the greater part of the globe. The form and aspect under which these fevers appear may differ according to the concentration of the cause, or to some peculiar circum- stances in the nature of the climate or season in which they occur ; but it is the same disease, from the fens of Lin- colnshire and the swamps of Walcheren x3 466 R. 27. ROME, . — Climate. [Sect. I. to the pestilential shores of Africa, only increased in severity, cceteris paribus, as the temperature of the climate increases. Malaria fevers seldom appear at Rome before July, and they cease about Octo- ber, a period during which few strangers reside there. The fevers of this kind which occur at other seasons are gene- rally relapses, or complicated with other diseases. One of the most frequent ex- citing causes of this fever is exposure to currents of cold air, or chills in damp places, immediately after the body has been heated by exercise and is still per- spiring. This is a more frequent source of other diseases also among strangers in Italy, than is generally believed by those who are unacquainted with the nature of the climate. Exposure to the direct influence of the sun, especially in the spring, may also be an exciting cause : it has certainly appeared to me to produce relapses. Another cause of this disease is improper diet. An idea prevails that full living and a liberal allowance of wine are necessary to pre- serve health in situations subject to malaria. This is an erroneous opinion, and I have known many persons suffer in Italy from acting on it." Sir J. Clark also remarks the exemption of the populous parts of large towns, in consequence of the greater dryness of the atmosphere, and adds " a person may, I believe, sleep with perfect safety in the centre of the Pontine marslies by having his room kept well heated by a fire during the night." According to the experience of the Romans, the mias- mata which produce malaria fevers rise chiefly from the Campagna, and from the damp grounds of the deserted villas : they are dense and heavy, hanging upon the ground like the night fogs of Essex, and seldom rising in calm weather more than five or six feet above its surface. They are invariably dispelled by fire, and their advance is prevented by walls and houses. Hence we find that the convents on some of the hills within the immediate circuit of the city walls are occupied from year to j^ear by reli- gious communities without inconveni- ence, wliile it would be dangerous to sleep outside the same walls for a single night. Nothing is now better under- stood than that the progress of malaria at Rome is dependent on the state of the population : whenever the popula- tion has diminished, the district in which the decrease has taken place has l^ecome unhealthy ; and whenever a large number of persons has been crowded into a confined space, as in the Glietto and tlie Trastevere, the healthiness of the atmosphere has be- come a})parent in spite of the filthy habits of the people. The Roman writers, who have collected some curi- ous proofs of these facts, state that street pavements and the foundations of houses efiectually destroy malaria by prevent- ing the emanation of the miasmata ; and that Avhenever a villa and its gardens are abandoned by the owners as a mere appendage to the family palace, the site becomes unhealthy, and remains so as long as it continues uninhabited. It is also well known that the body is more susceptible of the influence of malaria during sleep than when awake : hence the couriers who carry the mails at all seasons between Rome and Naples make it a rule not to sleep during the passage of the Pontine marshes, and generally smoke as an additional security. In regard to Rome as a residence for invalids, it is generally considered one of the best places in Italy in the early stages of consumption. In this class of patients, the symptoms which had continued during the whole journey frequently disappear after a short residence ; but in the advanced stages the disease generally proceeds more rapidly than in England. In bronchial affections and in chronic rheumatism Sir James Clark has found it beneficial ; but " with persons dis- posed to apoplexy, or who have already suffered from paralytic affections, and valetudinarians of a nervous melancho- lic temperament, or subject to mental despondency, the climate of Rome does not agree : in many such cases, indeed, a residence at Rome is fraught with danger ; nor is it proper for persons dis- posed to hsemorrhagic diseases, or for Papal States.] r. 27. — home. — Vilias (Albani). 467 those who have suffered from intermit- tent fevers.'' The following excellent remarks are of great importance to the invalid: — "There is no place where so many temptations exist to allure him from the kind of life which he ought to lead. The cold churches, and the still colder museums of the Vatican and the Capitol, the ancient baths, &c., are full of danger to the delicate invalid ; and if his visits be long or frequently repeated, he had better have remained ill his own country. When an invalid does venture into them his visit should be short, and he should choose for it a mild warm day. It is a grievous mis- take to imagine that when once in such a place the evil is done, and that one may as well remain to see the thing fully. This is far from being the case : a short visit to these places is much less dangerous than a long one. The body is capable of maintaining its temperature and of resisting the injurious effects of a cold damp atmosphere, for a certain length of time with comparative im- punity ; but if the invalid remain till he becomes chilled, and till the blood forsakes the surface and extremities and is forced upon the internal organs, he need not be surprised if an increase of his disease, whether of the lungs or of the digestive organs, be the consequence of such exposure. Excursions into the country when the warm weather of spring commences, particularly Avhen made on horseback, is another and a frequent source of mischief to delicate invalids." YlLLAS. A few cardinals,'' says Forsyth, " created all the great villas of Rome. Their riches, their taste, their learn- ing, their leisure, their frugality, all conspired in this single object. While the eminent founder was squander- ing thousands on a statue, he would allot but one crown for his own din- ner. He had no children, no stud, no dogs to keep. He built indeed for his own pleasure, or for the ad- miration of others ; but he embel- lished his country, he promoted the resort of rich foreigners, and he afforded them a high intellectual treat for a few pauls, which never . entered into his pocket. His taste generally descends to his heirs, who mark their little reigns by successive additions to the stock. Hoiv seldom are great fortunes spent so elegantly in England ? How many are absorbed in the table, the field, or the turf? expenses which centre and end in the rich egotist himself ! What English villa is open like the Borghese, as a common drive to the whole metropolis ? And how finely is this liberality an- nounced in the inscription on the pe- destal of an ancient statue in that park : Qttisquis e5, si liber, legum compedes ne hie tiineas. Ito quo voles, fetito quae ciipis, abito quando voles,''' &c. J^illa Alba7n^ beyond the Porta Salara, built in the middle of the last century by Cardinal Alessandro Albani. The design was entirely his own, and was executed under his superintendence by Carlo Marchionni. " Here,'' says For- syth, " is a villa of exquisite design, planned by a profound antiquary. Here Cardinal Albani, having spent his life in collecting ancient sculpture, formed such porticos and such saloons to re- ceive it as an old Roman would have done : porticos where the statues stood free upon the pavement between co- lumns proportioned to their stature; saloons which were not stocked but embellished with families of allied sta- tues, and seemed full without a crowd. Here Winckelmanri grew into an an- tiquary under the cardinal's patronage and instruction ; and here he projected his history of art,, which brings this col- lection continually into view." At the French invasion the Albani family incurred the vengeance of the con- querors, who plundered the villa of 294 pieces of sculpture. At the peace of 1815, the spoils, which had actually been sent to Paris, were restored to Prince Albani, who was unable to in ■ cur the expense of their removal, and therefore sold them all, with the single exception of the Antinous, to the King of Bavaria. Notwithstanding these losses, the villa is still rich in first-rate 468 R. 27. — ROME. — Villas (AlLani), [Sect. 1. works, and is the tbird sculpture gal- lery in Rome, being surpassed only by the Vatican and the Capitol. It is a rare example of a collection in which the primary consideration has been the value of the objects, and not their numbers. I. — TTie Portico, sustained by twenty-eight columns of rare marbles; the principal objects are the following : — A statue of Juno Lucina (?) bearing a torch, in the act of descending from Olympus ; statues of Tiberius, Lucius Verus, Trajan, Marcus Aurelius, An- toninus Pius, and Hadrian. II. — The Galleries (on the ground floor), chiefly filled with Hermes or termini of philo- sophers and warriors, of doubtful au- thenticity. 1 . Of the eight Hermes in this division, only two, the Epicurus and the Scipio Africanus, are considered genuine ; the others bear the names of Themistocles, Hamilcar, Leonidas, Ma- sinissa, Hannibal, and Alexander the Great. The other sculptures are, — the celebrated Mercury, with a Greek and Latin inscription; the sitting statue of the young Faustina, full of ease and grace, found near the Forum of Nerva ; two statues of Venus ; a Muse ; a Faun ; and a priestess of Isis (?). At the ex- tremity of this division is the A trio delle Cariatide, decorated with rich marbles, and so called from the celebrated Caryatid bearing the names of Kriton and Nicolaos, Athenian sculptors of the first age of the empire, and from the two Canephorse, of beautiful work- manship, found in 1761 near Frascati. It contains also a graceful vase ; busts of Vespasian, Lucius Verus, and Titus; and a colossal mask of Silenus. 2. The second division contains eighteen Her- mes, of which only two, the Euripides and the Numa, are authentic, not- withstanding the names inscribed on them ; a female statue bearing a flower, in the style of the ^ginetan marbles ; a small imitation of the Faun of Prax- iteles (p. 410) ; two other Fauns ; statues of Diana, Apollo, and an Etruscan priestess. At the extremity of the Gal- lery is the Atrio di Giunone, corre- sponding with that of the Caryatides : it contains the statue of Juno, two Ca- nephnrse, busts of L. Verus and M. Aurelius, bas-reliefs of St)crates and Pertinax, the colossal head of a river, and an elegant vase of white marble with six figures of bacchantes. III. — The long Gallery of five chambers. 1. paved with ancient mosaic, and deco- rated with two columns of jaspar and alabaster. The latter is antique, and a solid mass : it was found near the an- cient Navalia, in the Vigna Cesarini : the other is of modern Sicilian jaspar, in three pieces. The sculptures in this chamber are the two Fauns ; a sarco- phagus of white marble, with the beau- tiful bas-reliefs of the marriage of Pe- leus and Thetis, pronounced by Winck- elmann to be one of the six finest bas- reliefs in the world : bas-reliefs of Phsedra and Hippolytus, a bacchana- lian procession, the rape of Proserpine, and the death of Alceste. 2. Bust of Berenice (?) in porphyry, with a head of green basalt ; busts of Caracalla, Pertinax, and Lucilla, in rosso antico ; Serapis in basalt; has reliefs of Dio- genes in his tub conversing with Alex- ander the Great ; a sacrifice to Cybele ; a hunter and his horse in a forest ; a grifiin between two Cupids, with the emblems of Apollo ; Polyphemus and Cupid ; Daedalus forming the wings of Icarus, in rosso antico ; Silenus, Cupid, and a Bacchante, in terra -cotta; two Hours, in terra-cotta ; Diana taking an arrow from her quiver ; the building of the Argo, in terra-cotta. 3. A marble statue, called Ptolemy (?), by Ste- phanus, the pupil of Praxiteles ; Mi- nerva, on a cippus, with the wolf of Romulus and Remus; a Venus; an- other Ptolemy ; Atlas supporting the heavens ; a small statue of a fisher- man (?) on the triangular base of a can- delabrum, with bas-reliefs of dancing women, supposed to represent the three seasons ; a vase of white marble, 22 feet in circumference, with bas-reliefs of the labours of Hercules, found on the Appian. 4. A Hermes of flowered alabaster, with a head of a Faun in giallo antico ; a Hermes of Priapus ; a bust of L. Verus; an antique mosaic representing the inundation of the Nile; Papal States.] r. 27. — rome. — Villas {Alhani). 469 and a small bas-relief representing Orestes and Pylades before Iphigenia. 5. A repetition of the Cupid of Prax- iteles (p. 407); Apollo sitting on a tripod; Leda; Mercury, &c. IV. — Fes- tibule. Bas-reliefs in stucco, copied from the antique ; four statues, repre- senting C. Caesar son of Agrippa C?), a Roman matron as Ceres, a nymph, and a slave to which the name of Brutus (?) has been given by the anti- quaries ; three colossal masks of Medusa, Bacchus, and Hercules. V. — Corridor at the foot of the stairs, a fine bas-relief of Rome triumphant, and an ancient painting representing two females called Livia and Octavia (?) sacrificing to Mars. On the Staircase are several bas-reliefs of great interest : the death of the children of Niobe ; Apollo (?), winged ; a female figure in a chair, with a child ; Leucothea and Bacchus, probably Etruscan. VI. — Upper Floor. 1. Oval Hall, with two fine columns of giallo antico ; between the columns is another repetition of the Faun of Prax- iteles ; the frieze represents the games of the Circus. 2. Hung with tapestries executed by one of Cardinal Albani's domestics, from designs by Flemish painters. 3. Gabinetto ; a small bronze statue of Minerva ; Diana, in alabaster, with the head, hands, and feet of bronze ; a very fine small bronze statue of the Farnese Hercules ; a small sta- tue of Diogenes ; a Silenus ; two small Fauns ; the celebrated Apollo Sauroc- tonos of Praxiteles, in bronze (p. 418), considered by Winckelmann the most exquisite bronze statue in the world ; he regarded it as the original statue of Praxiteles, so well described by Pliny; it was found on the Aventine : the beautiful bas-relief of a Faun and a Bacchante dancing; the bas-relief of the repose of Hercules; a sitting Egyp- tian figure, an Osiris, in "-plasma"; Serapis, &c. 4. Bas-reliefs of Bacchus carrying away tlie tripod, a work of very ancient art ; Bacchus educated by the Nymphs ; two Fauns dancing. Over the chimney is the gem of the collec- tion, the beautiful Antinous crowned with lotus flowers, which Winckelmann has described with rapture : *^ as fresh and as highly finished," he says, " as if it had just left the studio of the sculptor. This work, after the Apollo and the Laocoon, is perhaps the most beautiful monument of antiquity which time has transmitted to us.*' Its posi- tion shows how effective bas -reliefs may be made in the internal decorations of modern houses. 5. Galleria Nobile. On the ceiling is the Parnassus of Raphael Mengs, once esteemed one of the first paintings in Rome, but its reputation has fallen with that of the Eclectic School founded by this artist. Bas- reliefs of Hercules in the gardens of the Hesperides, one of the finest in the col- lection ; Daedalus and Icarus; Alex- ander and Bucephalus ; Marcus Au- relius sitting, with Faustina represented under the figure of Peace ; a sacrifice, with five female figures ; Ganymede and the eagle ; the statue of Jupiter ; and the fine and imposing statue of Minerva, perfectly preserved, and con- sidered by Winckelmann to be the only piece of sculpture at Rome in the sub- lime style of art which prevailed from the time of Phidias to that of Prax- iteles. 5. Over the chimney-piece, the bas-relief of Orpheus, Eurydice, and Mercury, in Pentelic marble, a speci- men of pure Greek sculpture of great interest : it was long supposed to re- present the mother parting her two sons who had quarrelled ; Orpheus holds the lyre, and Mercury his cap : there is a repetition of this relief at Naples. VII. — Garden. On the outer wall of the gallery are several interesting frag- ments, among which may be noticed the bas-relief of the combat between Achilles and Memnon, and a fragment of the Temple of Trajan, found in the ruins of his Forum in 1767. VIII. — Bigliardo, the billiard-room, with a por- tico of fourteen columns; statues of a priest, of Ptolemy (?), of Geta (?), of Maximus, of Bacchus, and of Hya- cinth us. In the opposite room, a bas- relief, supposed to represent Berenice. The adjoining room, ornamented with fourteen columns, contains a statue of Diana of Ephesus, and a female satyr. 470 R. 27. — ROME. — Villas (Aldobrandini, Borgliese). [Sect. I. IX. Coffee-house, a semicircular build- ing, sustained by pilasters and twenty- six columns of various marbles ; under the arcades are statues, busts, and hermes. Arcade 1. Hermes of. Her- cules; bust of ^sop, perhaps the only example of an ancient statue of deform- ity : there are two iron spots on the breast; Hermes of the orator Quintus Hortensius. 2. Hermes of Antisthenes. 3. Hermes of Chrysippus ; Socrates ; bust of Caligula. 4. Small statue of Nemesis ; Hermes of Hippocrates. 5. Two Canephorse ; Hadrian, a very fine bust, quite unbroken, and full of intel- ligence ; bust of Nerva. 6. A large ves- sel of Egyptian breccia ; colossal Egyp- tian statue of Amasis ; statue of an Egyptian goddess, in black granite. Over the door, a fine bas-relief of the birth of Arion. 7. Bust of Homer ; Hermes of Theophrastus. 8. Bust of M. Aiuelius. 9. Bust of Otho. 10. Hermes of the orator Lysias. 1 1 . Hermes of the orator Isocrates ; colossal statue of Bacchus. X. — Inne?^ Chamber, paved with ancient mosaics ; a statue of Juno ; on the pedestal an ancient mosaic, re- presenting a school of philosophers ; a statue of a nymph, with a mosaic on the pedestal, found at Atina, near Ar- pino, representing the deliverance of Hesione from the monster ; bas-reliefs of the death of Meleager ; and a drunken Hercules. Filla Aldohrandini, a few years ago the property of Gen. Miollis. who made it remarkable for the excellent order and arrangement of its gardens. It contains some antique sculptures, sta- tues, cippi, inscriptions, and a few paintings by Andrea delSarto, Gioigione, &c., none of which require particular notice. P^illa Borghese, beyond the Porta del Popolo, the great promenade, or rather the park of Rome. The liberality with which these noble grounds are thrown open to the public at all seasons, and without distinction of persons, has been already noticed. They are three miles in circuit, and are rich in every variety of park scenery, diversified by groves ol* ilex and laurels, by clumps of stone- pine, and by long avenues of cypresses, which supply the landscape artists with endless combinations for their pencil. Among its more remaikable objects are the lake, the temple of ^sculapius, and the Hippodrome. The Casino, built by Cardinal Scipione Borghese, from the designs of Giovanni Vansanzio, called II Fiammingo, was formerly rich in antiquities of the highest class ; but most of its treasures have passed into the Louvre and other galleries. Notwithstanding these losses, it retains some works of art which deserve a visit, independently of the magnifi- cence of the building and its numer- ous halls. (The custode resides at the Borghese Palace in Rome, where he is generally to be found from 2 to 4 in the afternoon.) The Po?^tico, 60 feet long and 17 broad, sustained by Doric pilasters, contains some bas-reliefs from the Arch of Claudius, now de- stroyed ; the Romulus and Remus suckled by the wolf; the bas-relief of Corvius Nasica, with the procession of lictors ; the colossal torso of an emperor seated ; another torso of Apollo bending the bow ; and various inscriptions found at Gabii. Saloon, 60 feet long and 50 high, with a roof painted in fresco by artists of the last century. Over the doors and windows are modern busts of the twelve Caesars. The principal an- tiques are the bas-relief of Curtius on horseback leaping into the gulf; the colossal bust of Isis, with the lotus; the bust of Vespasian ; the colossal head of Diana; Hadrian and Antoninus Pius; the statues of a priestess of Diana, a Faun, and Bacchus. I. — Camera del Faso, so called from the fine vase in the centre ornamented with bas-reliefs of the history of CEdipus. The most im- portant sculptures are the beautifully draped statue of Ceres, a Venus, a torso of Ganymede holding a vase, a hermes of Apollo, and a fine bas-relief found on the Via Labicana representing the education of Telephus. II. — Camera di Ercole. The fresco of the Fall of Phaeton, on the roof, is by Caccianiga ; the medallions, by Agricola. In the niches are three statues of Hercules. Papal States,"] r. 27. — rome. — Villas (Borghese). 471 The bas-reliefs of tlie labours of Her- cules, and those representing the march of the Amazons to the relief of Troy, have been illustrated by Winckelmann : they formed the sides of sarcophagi. The Greek hermes of Mercury, and the Antiope fighting against Hercules and Theseus, are also interesting. III. — Camera di Berni?ii. In the centre is the group of Apollo and Daphne, executed by Bernini at the age of eighteen. Among the other works are the ^neas and the David, still earlier performances of Bernini ; the statue of Sleep, by Ales- sandro Algardi; three children sleep- ing, attributed to the same sculptor: and four vases with bas-reliefs symbol- ical of the Seasons, by Laboureur. IV. — Galleria, corresponding in size with the saloon, and decorated with twenty pilasters of giallo antico, and medallions executed by Salimbeni, Pacetti, La- boureur, and other contemporary sculp- tors, from the designs of Tommaso Conca. In the niches are antique sta- tues of a Muse, of Thetis, two statues of Diana, and two of Bacchus. Among the other objects in this gallery are the porphyry busts of the emperors, the bronze hermes of Bacchus, and the por- phyry sarcophagus said to have been found in the Mausoleum of Hadrian. V. — Cabinet of the Hermaphrodite, so called from the remarkable statue, in Parian marble, said to have been found in the villa of Sallust. The other ob- jects to be noticed are the fine heads of Tiberius, of the Genius of Rome, of Sappho, and of Scipio Africanus, and a mosaic found at Castel Arcione, on the road to Tivoli. VI. — Camera del Gla- diatore. so called from the fine statue of Agasias, well known as the Borghese gladiator. Tlie other remarkable sculp- tures are the statues of Minerva, the Pythian Apollo, a vestal. Piety, and a sarcophagus with bas-reliefs of Tritons and Nereids. VII. — Camera Egizziaca, with statues of Isis, a nymph, a priest- ess, and a Ceres; the two latter are modern works. In the centre is the group of the Faun and dolphin, which formed part of an ancient fountain. The hermes of Bacchus crowned with ivy, and a fine vase of ophite marble, are also remarkable. The decorations of this room are very rich : the columns are of nero antico, Oriental granite, &c. ; the ]jaintings are by Conca. VIII. — Camera di Sileno. The group of Sile- rms, now in Paris, gave its name to this room. The principal sculptures a^e the group of the three Seasons, the Ceres, the Mercury, a Faun playing, another Faun reposing, Pluto, Antoninus Pius, Periander, and the group of Bacchus and Proserpine. Second floor, v/ith ceil- ings painted by artists of the last cen- tury. Among the pictures are the Rape of Helen, by Gavin Hamilton ; the St. John, by Mengs ; a bacchanalian scene, by N, Poussin ; a Holy Family, by Luca Giordano ; two remarkable snow- pieces, by Foschi ; and the portrait of Paul v., by Caravaggio. In the upper part of the grounds is the Villa Olgiati, better known by its traditional title of the Casino of Raphael. It consists of three rooms decorated with arabesques and medallions, in which a remarkable beauty of design is combined with the most delicate fancy. The third room, called the bed-room of Raphael, con- tains the most interesting of these fres- coes. The arabesques on the wall re- present Fauns and satyrs, Loves at play. Mercury, Minerva, &c. The cornice is supported by Caryatides in fresco. On the roof are the Sacrifice to Flora, the Marriage of Alexander and Roxana, and thearcliers shooting with the arrows of the sleeping Cupid, formerly attri- buted to Michael Angelo. The four medallions are said to be portraits of the Fornarina. It was formerly believed that all these works were executed by Raphael, but the tradition is not sup- ported by any early authority, and there appear to be some doubts whether the villa was ever inhabited by Raphael. The decorations are now supposed to have been copied from his designs, and from those of other masters : the beautiful imagination of the arabesques, the graceful play of the figures, and the festoons in the third chamber, de- note the style of the immortal painter, though the execution seems to be rather 412 R. 27. — ROME. — Villas (Ludovisi, Madam.a^8^c,). [Sect. L the work of his scholars than of his own hand. Filla Ludovisi, the most inaccessible of all the Roman villas. It was built by Cardinal Lodovico Ludovisi, the nephew of Gregory XV., and is now the property of the prince of Piombino, of the Buoncompagni family, without whose written order it is impossible to obtain admission. The grounds of the villa include a part of the gardens of Sallust. The villa consists of three casinos. The largest, on the left of the entrance, was built from the designs of Domenichino ; its facade is ornamented with statues, busts, and antique bas-re- liefs. The second cashio, on the right, contains a fine collection of ancient sculpture. Hall I. — The principal ob- jects in this hall are statues of -^s- culapius, Apollo, Venus, Antoninus Pius; busts of Claudius, Julius Cae- sar, and Antinous ; and a bas-relief of the rape of Europa. Hall II., contain- ing the statue of Mars sitting with a Cupid at his feet, found within the pre- cincts of the Portico of Octavia, and restored by Bernini ; a group of Apollo and Diana; a group of Pan and Syrinx ; a statue of Cleopatra ; a sitting gladia- tor ; a modern statue of Venus coming out of the bath ; statues of Hercules, Bacchus, Mercury, and Agrippina ; the beautiful colossal head of Juno, well known as the Ludovisi Juno ; the cele- brated group considered by Winckel- mann to represent Orestes discovered by Electra, bearing the name of Menelaos, the son of Stefanos, the Greek sculptor ; the group of Paetus and Aria, supposed by Winckelmann to represent Canace receiving the sword sent by her father ^olus ; a colossal figure of the Venus of Cnidos ; a head of Bacchus in relief ; the group of Pluto and Proserpine, by Bernini. In the small Casino is the ceil- ing with the celebrated fresco of Aurora, by Guercino, representing the goddess in her car driving away night and scattering flowers in her course. In one of the lunettes is Daybreak represented as a youth holding a torch in one hand and flowers in the other. In another lunette opposite is Evening, represented as a young female figure sleeping. In the adjoining room are four landscapes in fresco : two painted by Domenichino, and two by Guercino. In another room with a ceiling by the Zucca?^i, is a fine porphyry bust of Marcus Aurelius, with the head of bronze. In the upper room is a ceiling with a fresco of Fame, by Guercino. The garden contains many statues and antique marbles, and other sculptures ; among which are the statue of a senator, with the name of Zeno the sculptor on the drapery, and a satyr attributed to Michael Aiigelo. P^illa Latiti, on the Janiculum, built from the designs of Giulio Romano, and now the property of Prince Borghese, It contains four rooms painted in fresco by Giulio Romano and his scholars. The principal subjects are Clelia swimming over the Tiber, and the discovery of th(; Sibyl's books on the Janiculum. Among the arabesques are portraits of tlie For- narina, Dante, Petrarch, Tasso, and Boccaccio. Filla Madama, on the southern slopes of Monte Mario. This interesting villa derives its name from Margaret of Aus- tria, daughter of Charles V., and wife of Alessandro de' Medici, and afterwards of Ottavio Farnese, duke of Parma : it now belongs to the royal family of Na- ples. It was built by Cardinal Giulio de' Medici from the designs ol Raphael, and completed after his death by Giulio Romano and Giovanni da Udine, who painted the loggia and several of the rooms in fresco. In the interior is a beautiful frieze and a ceiling by Giulio Romano, representing the hunt of Diana, Apollo driving his chariot, sports of satyrs, and various subjects of ancient mytholog3^ These fine frescoes are de- scribed and illustrated in Ludwig Gru- ner's new work on * The Architectural Decorations of Rome during theFifteenth and Sixteenth Centuries.' The view from the villa commands the whole of modern Rome, and a great part of the Campagna. In the grounds of the Villa Madama, on the summit of the hill, is the FillaMellini, belonging to the Falconieri family. It was built by Mario Mellini, from whom the hill derived the name of Monte Mario. Papal States. 1 r.2*1-ro'me - Villas (3Iassimi, Pamfili-Doria). 473 In order to enter the casino the traveller must obtain an order in Rome, but it contains nothii)g to require notice. The view from the grounds is highly inte- resting, and may be enjoyed for a fee of a paul to the custode : it commands not only the modern city and many of the ancient monuments, but the im- mense plains of the Campagna from the Sabine hills to the sea-coast. Filla Massimi, formerly the Gmsti- niani, near the Lateran, remarkable for its interesting frescoes illustrative of Dante, Ariosto, and Tasso, by modern German masters. The first room contains subjects from the Divina Commedia, by Koch and Ph. Veit ; the subjects of the second room, by Schnorr, are taken from the Orlando Fui ioso ; those of the third, by Overheck and Filhrich, are from the Gerusalemme. Fil/a 3Iattei, on the Caelian, the well-known residence of the Prince of Peace, commanding an imposing view of the ruins. Over the entrance is a mosaic by Jacopo Cosimati, formerly belonging to the suppressed monastery of S. Tommaso. In the garden is the fragment of the obelisk already noticed at p. 329. Among the antique sculp- tures of this villa are the double hermes of Seneca and Socrates, and the sarco- phagus with reliefs of the Muses, and lions. Among the other works of art are the statue of Venus, and the bust of Nero, by Can ova ; and Camuccitiis copy of Laureti's picture of Horatius Codes on the Sublician bridge. Filla Medici. — This fine villa, now the seat of the French Academy, was built by Cardinal Ricci, of Montepul- ciano, from the designs of Annibale Lippi, with the exception of the garden facade, which is attributed to Michael Angelo. It was subsequently enlarged by Cardinal Alessandro de' Medici, prior to his accession to the tiara under the title of Leo XI. The situation is one of the finest in Rome, and the grounds of the villa are nearly a mile and a half in circuit. The French Aca- demy, founded in 1666 by Louis XIV., was established in this villa in the be- ginning of the present century. Villa Negroni^ or Massimi, near S. Maria Maggiore, formerly one of the most beautiful villas within the walls of Rome. It is now deserted, and its extensive grounds are used as kitchen- gardens. We have already mentioned the remains of the famous rampart of Servius Tullius, which may be traced through a great portion of this villa (p. 323). The upper part of the grounds, covered with cypresses and cedars, com- mands one of the most interesting views of ancient and modern Rome. Nearly all the antique statues and marbles which have been dug up at various times within the precincts of this villa are now in England. Filla Palatina, formerly the Villa Spada, and now frequently called the Villa Mills, from our countryman Mr. Mills, who has become proprietor of half the Palatine Hill. The remains of the Palace of the Csesars, still visible in the grounds of this interesting villa, and the Casino painted by Giulio Ro- mano, have been noticed in a previous page (278). The gardens are prettily laid out, and Mr. Mills has given to the whole villa an air of comfort, which makes our English habits and taste contrast in a striking manner with the ruins of the Imperial palace. Pllla Pamjili Doria, beyond the Porta S. Panerazio, the most extensive villa in Rome, the grounds exceeding four miles in circuit. It was begun by Prince Pamfili, in the pontificate of Innocent X., from the designs of An- tinori and Algardi. The grounds are laid out in gardens, alleys, terraces, and plantations, among which the lofty pines, which form so conspicuous a feature in all views of Rome from this side, add considerably to the beauty of the spot. The fountains and cascades are in the fantastic style of the last cen- tury. An organ worked by water is another relic of a taste now happily superseded by our improved systems of landscape gardening. In the Casi?w, built by Algardi, are some remarkable objects. Many of the stuccoes on the ceilings are by Algardi's own hand, and display the most elegant style and 474 R. 2*7. — ROME. — Local Arrangemeyit. [Sect. I. execution. Among the sculptures are the Marsyas ; the Hermaphrodite ; Clo- dius in a female dress ; Faustina ; Ves- pasian ; Bacchus, in rosso antico ; Cy- bele on the Lion ; the bas-relief of the Gladiator of Caracalla; a sarcophagus, with reliefs of the story of Meleager ; another, with reliefs of Diana and En- dymion ; a bust of Demosthenes ; and a bust of Olimpia Maidalchini Pam- fili, whose history and intrigues have been already noticed in our account of Viterbo (p. 201). The terrace and the upper rooms of the Casino command a fine view of Rome. From the extre- mity of the grounds overlooking St. Peter's, we have a more complete view of the flank of the basilica than can be obtained from any other quarter. The columbaria and tombs discovered in these grounds mark the line of the Via Amelia ; the most complete Colum.- barium has been recently destroyed (p. 319), but the inscriptions have been collected for preservation in one of the most picturesque corners of the park. The popular name of Belrespiro con- ferred upon tliis villa by the Romans, is said to allude not only to the de- lightful variety of its scenery, but to the salubrity of its climate. It appears, however, that the park is not altogether free from the suspicion of malaria. Local Arrangement. In order to supply the traveller with every possible facility for exploring the Mirabilia of Rome, we shall con- clude our description of them by ar- ranging the ditferent objects on the topographical i»lan. We have already stated, at p. 262, the disadvantages of a work written on this plan, and have pointed out the objections to the attempt to lionize Rome in eight days, on the principle laid down by Vasi about the middle of the last cen- tury. Upon these points, as we have there stated, the traveller will no doubt form his own judgment independently of books. By describing Rome on a classified system, we have enabled him to ascertain at once how much or how little it contains of any particular class of objects ; and by now supplying a topograpliical index to that description, with references to the pages in which each object occurs, we shall put it in his power to divide them into districts, and visit them according to his own convenience, and to the time at his dis- posal. In order to show how the Ro- man antiquaries distribute the wonders of the city among the eight da5^s, we shall adhere to their divisions, although the traveller may, of course, subdivide them on his own plan. I. Vonte Molle to the Capitol. — Ponte Molle, page 247.— Church of St. An- drew, 248. Porta del Popolo and Pi- azza,' 248. Obelisk, 327. S. Maria del Popolo, 375. S. Maria di Monte Santo and S. M. de' Miracoli, 374. Hospital of S. Giacomo, 463. S. Carlo, 365. Pal. Ruspoli, 451. S. Lorenzo hi Lucina, 369. Pal. Chigi, 442. Pi- azza Colonna and the Antonine Column (Col. of Marcus Aurelius), 299. Post- otiice, 250. Monte Citorio (Amphi- theatre of Statilius Taurus), 297. Obe- lisk, 329. Curia Irmocentiana, 445, Piazza di Pietra (Forum of Antoninus Pius), 277. Temple of Antoninus Pius (Custom-house), 280. S. Ignazio, 369. Collegio Romano, 460. Pal. Sciarra, 451. S. Marcello, 370. S. Maria in Via Lata, 378. Pal. Doria, 445. Pal. Buonaparte, 441. Piazza and Pal. di Venezia, 454. S. Marco, 371. Tomb of Bibulus, 311. Tomb of the Clau- dian Family, 312. House of Pietro da Cortona, 454. Pal. Torlonia, 453. Pal. Altieri, 437. Gesu, 367. II. The Capitol to the Latera7i, — Ca- pitoline Hill, 264. Piazza, 425. Foun- tain, 332. Pal.of Senator, 426. View from the Tower, 263. Pal. of the Con- servatori, 426. Gallery of Pictures, 430. Museum, 431. S. Maria d' Ara Coeli, 361. Temple of Jupiter Fere- trius, 284. Temple of Jupiter Capi- tolinus, 283. Tarpeian Rock, 321. Mamertine Prisons, 321. S. Giuseppe Falegnami, 368. Roman Forum, 272. Tabularium, 273. Milliarium Aure- um, 274. Clivus Asyli and C. Capi- tolinus, 274. Temple of Saturn, 289. Temple of Vespasian, 291. Temple Papal States ] r. 27. — rome. — Local Arrangement. 475 of Concord, 281. Arch of Septimius Severus, 303. Column of Phocas, 300. Academy of St. Luke, 461. Church of S. Luca, 370. S. Hadriano (Basi- lica iEmilia), 274 Temple of Mi- nerva Chalcidica, 284. Curia of Au- gustus, 275. S. Maria Liberatrice (T. of Vesta), 275. S. Teodoro, 385. (T. of Romulus, 289.) Via Sacra, 275. Temple of Antoninus and Faustina, 280. S. Cosimo e Damiano (T. of Remus), 288. Basilica of Constan- tine, 279. S. Francesca Romana, 366. Arch of Titus, 304. Palatine Hill, 265. Palace of the Csesars, 277. Far- nese Gardens, 278, Villa Palatina, 278, 473. Temple of Venus and Rome, 291. Coliseum, 294. Meta Sudans, 297. Arch of Constantine, 301. Cse- lian Hill, 265. S. Gregorio, 368. Passionist Convent of S. Giovanni e Paolo, 368. Vivarium and Spolia- rium, 324. Arch of Dolabella, 302. S. Maria della Navicella, 374. Villa Mattei, 473. Obelisk, 329. S. Sfe- fano Rotondo, 384. S. Clemente, 365. Villa Massimi, 473. III. The Later an to the Quirinal. — Obelisk, 327. Basilica of St, John La- teran, 347. Baptistery, 350. Palace, 351. Scala Santa, 351. Hospital of S. Giovanni, 463. Gate of S. Gio- vanni, 260. Basilica of Santa Croce in Gerusalemme, 353. Temple of Venus and Cupid, 290. Amphithe- atrum Castrense, 297. Porta Mag- giore, 259. Aqueducts, 324. Tomb of Eurysaces the Baker, 311. Tomb of the Empress Helena, beyond the gates, 314. Temple of Minerva Me- dica, 285. Columbarium of Lucius Arruntius, 319. Trophies of Marius, 325. S. Bibiana, 363. Porta S. Lo- renzo, 259. Basilica of S. Lorenzo, 355. Arch of Gallienus, 302. S. An- tonio Abate, 361. Basilica of S. Maria Maggiore, 351. Colonna della Ver- gine, 353. Obelisk, 327, S. Prassede, 382. S. Martino ai Monti, 378. S. Pudenziana, 383. S. Pietro in Vin- coli, 381. Vicus Sceleratus, 382. Baths of Titus, 308. Sette Sale, 309. Tor de' Conti, 330, Forum and Temple of Nerva, 285. Temple of Pallas Minerva, 285. Baths of Paulus ^milius, 307. Forum of Trajan, 276. Trajan's Co- lumn, 300. S. Maria di Loreto, 372. Colonna Palace and Gardens, 443. Temple of the Sun, 290. SS. Apostoli, 361. Pal. Odescalchi, 450. Pal. Muti, 450. IV. The Quirinal to the Mausoleum of Augustus. — Quirinal, 265. Monte Cavallo and Obelisk, 328. Fountain, 332. Pal. Pontificio, 450. Pal. della Consulta, 443. Pal. Rospigliosi, 450. Baths of Constantino, 306. S.Silvestro di Monte Cavallo, 384. Villa Aldo- brandini, 470. Torre delle Milizie, 330. S. Vitale (T. of Quirinus), 288. Viminal, 265. Pal. Albani, 437. S. Carlo alle Quattro Fontane, 365. S. Andrea al Noviziato, 359. S. Bernardo, 363. Font ana dell' Acqua Felice, 332. Baths of Diocletian, 306. S. Maria degli Angeli, 371. Agger of Servius Tullius, 323. Castrum Prsetorium, 324. S. Maria della Vittoria, 378. Porta Pia, 259. Columbarium of the Villa di Luzzano, 318. S. Agnese fuori le Mure, 358. S. Costanza, 366. Porta Salara, 259. Campus Sceleratus, 323. Villa Albani, 467. Villa Bar- berini, 323-4. Gardens and House of Sallust, 323. Circus of Sallust, 299. Temple of "\^enus Erycina, 291. Agger of Servius Tullius, 323. Villa Ludo- visi, 472. Piazza Barberini (Circus of Flora), 299. Fontana del Tritone, 331, Cappuccini, 364. Pal. Barberini, 437. House of Bernini, 454. Fontana Trevi, 331. S. Maria a Trevi (Crociferi), 377. S. Andrea delle Fratte, 359. Propaganda, 461. Piazza di Spagna and the Barcaccia, 332. Staircase, 332. Obelisk, 328. Trinita de' Monti, 385. Houses of the Zuccari and of Poussin, 455. Villa Medici (Academy of France), 462, 473. Obelisk, 329. PincianHill, 265. Villa Borghese, 470. Villa Olgiati (Casino of Raphael), 471, V. Mausoleum of Augustus to the Felahrum. — Mausoleum of Augustus, 310. Hospital of S. Rocco, 463. Pal. Borghese, 439. Pal di Firenze, 448, Tordinona Theatre, 252. Pantheon, 286. Obelisk, 328. S. Maria sopra Minerva, 373, Biblioteca Casanatense, 476 R. 27. — ROME. — Local Arrangement. [Sect. I. 374. Pal. Maccaraiii (Cenci), 442. Pal. Lanti, 449. Valle Theatre, 252. University of Rome (Collegio dellaSa- pieiiza), 459. Pal. Madama, 449. Baths of Nero, and of Alexander Severus, 308. Pal. Giustiniani, 449. S. Luigi de' Francesi, 370. S. Agostino, 358. An- gelica Library, 359. Pal. Altemps, 437. Pal. Lancellotti, 449. House of Raphael (Via de' Coronari), 454. Pal. Cicciaporci, 442. Pal. Niccolini, 450. S. Maria in Vallicella, 377. Pal. Sora, 452. S. Maria della Pace, 375. S. Maria delF Anima, 372. Pi- azza Navona (Circus Agonal is), 298. Fountains, 331. Obelisk, 328. Pal. Pamfili, 450. S. Agnese, 358. Pal. Rraschi, 441. Statue of Pasqu-n, 333. Pal. Massimi, 449. House of Conrad Svveynheini, 455. S. Andrea della Valle, 360. (Theatre of Pompey, 293.) Pal. V^idoni, 454. Argentina Theatre, 252. S. Niccolo ai Cesarini, belonging to the Sommischi Fathers (Temple of Hercules Custos), 282. Pal. Mattei (Circus Flaminius), 299. Fouritain of the Tartaruche, 331. Pal. Costaguti, 445. Portico of Octavia, 324. S. An- gelo in Pescheria, 360. Theatre of Marcellus, 293. Pal. Orsini, 450. Ghetto, 256. Pal. Cenci, 442. The- atre of Balbus, 292. Forum Olitorium, 277. S. Niccolo in Carcere (Temple of Juno Matuta, &c.), 283. Hospital of the Consolazione, 463. S. Giovanni Decollato, 368. VI. The Velahrum to the Fabrician Bridge. — Forum Boarium, 277. Arch of Janus Quadrifrons, 303. Arch of Septimius Severus, 303. vS. Giorgio, 367. Cloaca Maxima, 322. Acqua Argentina, 323. Circus Maximus, 297. Septizonium and Palace of the Caesars, 279. Baths of Caracalla, 304. S. Nereo ed Achilleo, 378. Tomb of Scipio, 317. Columbarium of Cn. Pomponius Hylas, 319. Arch of Drusus, 302. Porta S. Sebastiano, 260. Tomb of Priscilla, 318. Domine Quo Vadis, 356. Columbarium of the Slaves of Augustus, 319. Columb. of the Liberti of Li via, 319. Via Appia, 318 Basi- lica of S. Sebastiano, 356. Catacombs, 356. Circus of Romulus, 298. Tem- ple of Romulus, 289. Tomb of Caecilia Metella, 312. Tomb of the Servilii, 318. Temple of Bacchus, 281. Foun- tain of Kgeria, 325. Temple of the Divus Rediculus, 282. Basilica of San Paolo, 354. S. Paolo alleTre Fontane, 380. Porta S. Paolo, 260. Pyramid of Caius Cestius, 313. English Burial- ground, 464. Monte Testaccio, 266. Bastion of Sangallo, 260. Pons Subli- cius, 262. Aventine. 265. S. Prisca, 383. S. Saba, 383.' S. Sabina, 383. S. Maria Aventina, 384. S. Alessio, 384. S. Maria in Cosmedin, 372. (Temple of Ceres and Proserpine, 281.) Bocca di Verita, 281. Temple of Vesta, 292. Temple of Fortuna Viri- lis, 282. House of Rienzi, 329. Ponte Rotto, 262. Cloaca Maxima, 322. Pulchrum Littus, 323. VI L The Fabrinia?t Bridge to Ponte S. Angelo. — Ponte di Quattro Capi (Pons Fabricius), 261. Hospital of Benfratelli, 463. Island of the Tiber, 280. Temple of ^sculapius, 280. S. Bartolommeo, 363. Ponte di S. Bar- tolommeo (Pons Gratianus), 261. Tras- tevere, 256. S. Cecilia, 365. S. Maria del Orto, 374. Ripa Grande and Hos- pital of S. Michele, 464. Porta Por- tese, 260. S. Francesco a Ripa, 367. S. Maria in Trastevere, 376. Hospital of S. Gallicano, 463. S. Giovanni Gry- sogono, 368. S. Bonosa, 363. Jani- culum (Montorio), 265. S. Pietro in Montorio, 380. Fontana Paolina, 330. Porta S. Pancrazio, 260. S. Panc- razio, 379. Catacombs of Calepodius, 379. Acqua Paolina, 320. Villa Pam- fili-Doria, 473. Columbarium, 319. Pal. Corsini, 444. Farnesina, 447. Villa Lanti, 472. Botanic Garden, 460. S. Onofrio, 379. Ponte Sisto, 261. Fontana di Ponte Sisto, 332. Trinita de' Pellegrini, 386. Hospital, 463. Cav. Campana's Museum, 455. S. Carlo ai Catinari, 364. Cancelleria, 441. S. Lorenzo in Damaso, 369. Fountains, 332. Pal. Farnese, 446. Pal.Spada,452. Pal. Falconieri, 446. S. Tommaso degli Inglesi, 385. Pal. Sacchetti, 451. S. Giovanni de' Fio- rentini, 368. Pons Triumphalis, 261. VIII. Bridge of S. Angelo to Monte Papal States.] excursions from rome (Tivoli). 477 Mario. — Citta Leoniiia, 257. Ponte di S. Angelo, 261. Mausoleum of Ha- drian, 314. Circus of Hadrian, 299. Hospital of Santo Spirito, 463. Pal. Giraud, 448. Pal. degli Convertiti (Ra- phael's Palace), 443. Piazza of St. Peter's, Obelisk, 328. Fountains, 332. Colonnades, 337. Basilica, 334. Pa- lace of the Vatican, 386. Sistine Cha- pel, 388. Gallery, 399. Museum, 404. Library, 421. Gardens, 424. Circus of Nero, 299. Porta Caval- leggieri, 260. Porta Angelica, 261. Monte Mario, 265. Villas Madama and Mellini, 472. EXCURSIONS FROM ROME. The calamities which have swept away so many landmarks of ancient Rome have had no effect on the scenery of the surrounding country. The hills which bound the Campagna on the east present an endless source of en joyment to the traveller, and there is scarcely a spot which is not associated with the memory of illustrious names. Those beautiful landscapes which have inspired the first artists of modern times, are immortalised in the songs of the poets ; and in the imagination of the scholar they are still hallowed by the spirits of the great philosophers of Rome. It has frequently been a matter of regret that travellers unacquainted with the country, and in many instances imper- fectly versed in the Italian language, ha,ve been unable to explore the Envi- rons of Rome from the want of some intelligent person to direct their steps. This deficiency exists no longer, and travellers may now obtain the assist- ance of Signor Ignazio Pfyfl'er (74, Via della Croce), the son of the late cap- tain of the Swiss guard, whose gallant offer to defend the Castle of St. An- gelo, at the first French invasion, has been noticed at p. 317. Signor Pfyfl'er is not only personally acquainted with the localities which the stranger ought to explore, but he miites to this quali- fication the advantage of being an ar- tist (p. 252), and is therefore thoroughly conversant with the picturesque beau- ties of the country. To these recom- mendations we may add, what is of more value, that he is by education and by family a gentleman ; and that to those travellers who are studymg Italian, the society of such a man during their excursions cannot fail to be an acquisition. TivoLi, 18 Miles. There are few spots in the immediate environs of Rome which present so many objects of natural beauty as Tivoli and its surrounding valleys. The enjoyment of the excursion de- pends in a great measure on the time which the traveller may devote to it. It is not uncommon to start from Rome at an early hour, visit the cascades and the temples, and return in the evening of the same day. A hurried excur- sion of this kind is never satisfac- tory : the fine scenery of Tivoli can- not be properly explored in less than two or three days ; and those who are desirous of visiting the classical and historical sites among the neighbour- ing mountains will find it necessary to make arrangements for a still longer visit. The usual charge for a carriage to go and return in one day is from three to four scudi, exclusive of buona- mano. The road follows the Via Tibur- tina, and in some parts traverses the ancient pavement, formed of large blocks of lava. Leaving Rome by the Porta S. Lorenzo (p. 259), we soon pass the basilica of that name (p. 355) ; and at the distance of 4 miles from Rome cross the Anio, the modern Te- verone, by the Ponte Mammolo. This bridge, the ancient Pons Mammeus, derives its name from Mammea, the mother of Alexander Severus, by whom it was repaired. In later times it was destroyed by Totila, and rebuilt by Narses in its present form. The Anio, which we here cross for the first time, rises on the frontiers of Naples, and separates Latium from the country of the Sabines : after forming the cascades of Tivoli it falls into the Tiber 3 miles from Rome, near the Ponte Salara. EXCURSIONS FROM ROME (JwoH). [Sect. 1. About 8 miles beyond the bridge the monument of Giulia Stemma, erected by her children, was discovered a few years since. On the left hand, a short distance off tlie road, is the Lago di Tartaro, so called from the petrifying quality of its waters, which produce the stone called Iravertine, by depo- siting a calcareous crust on vegetable and other substances. The margin has been so much contracted by the gradual deposits of the water, that the lake is now almost covered by a thick crust of travertine. The sulphurous odour of the pool makes its position known long before the traveller approaches the spot. Near this an ancient branch of the Via Tiburtina leads to Tivoli by the Ponte del Acquoria, the Pons Aureus ; it is still practicable, but is superseded by the more recent road over the Ponte Lucano. A large portion of the pave- ment near the Ponte del Acquoria is well preserved. Beyond this the pre- sent road crosses the Solfatara canal, v/hich drains the lake of Solfatat^a, the ancient Aquse Albulse, and carries its sulphurous waters into the Anio. The canal is 9 feet broad, 4 feet deep, and 2 miles long. It was constructed by Cardinal Ippolito d'Este, while go- vernor of Tivoli, in order to prevent the inundations and malaria to which the country was liable from the over- flow of the lake. The water is of a milky colour : it runs in a strong cur- rent, and is always marked by a powerful smell of sulphur. The lake is about a mile from the bridge, and is filled with reeds and aquatic vegetables : its pe- trifying qualities are continually adding to the rocky margin around it. In the time of Father Kircher it was a mile in circuit, but is now so much contracted from this cause that its greatest dia- meter is little more than 500 feet. The floating masses of vegetable matter on its surface have given it the name of the " Isole Natante." The lake is men- tioned by Strabo, who says that it was used medicinally, and that it was much esteemed in various maladies. Near it are the ruins of the Baths of Agrippa, frequented by Augustus, and enlarged by Zenobia : they are still called " Bagni di Regina.'"' Tlie water was examined by Sir Humphry Davy, who ascer- tained that the temperature is 80° Fah- renheit, and that it contains more than its own volume of carbonic acid gas, with a small quantity of sulphuretted hydrogen. The sulphurous odour im- pregnates the air for a considerable distance, and the great depth of water may be proved by the immense volume of gas which it discharges for a long time after a stone has been thrown into it. Beyond it are two smaller lakes, one called delle Colonnelle," the other di S. Giovanni," both commu- nicating with the Solfatara. The clas- sical traveller will look in vain for any traces of the grove of the lofty Albunea, or of the Temple of the Faun, which Virgil celebrates in the seventh ^neid as the oracle of all Italy : — " liicosque sub alta Consulit Albimea ; nemorum quae maxima sacro Fonte sonat, ssevamque exlialat opaca me- ])liitim. Hinc Italse gentes, omnisque ^iiotria tellns. In dubiis responsa petunt." A short distance beyond the canal we cross the Anio by the Ponte Lucano, one of the most picturesque objects in the neighbourhood of Rome, which Poussin has made celebrated by his well-known picture in the Doria Palace. The tomb of Plautius Lucanus, which adds so much to the peculiar character of the landscape, is described in the general account of the Roman tombs at p. 317. Near this bridge, at Barco, and other places in the vicinity, are the quarries from which ancient and modern Rome has derived her supplies of travertine. The piers of the Ponte Lucano and nearly all the arches are ancient, but are not remarkable for their masonry. At this point the road divides ; one branch leads to Hadrian's villa, the other to Tivoli. Beyond the bridge some traces of the ancient road from Gabii to Tibur may be seen. Further on, between Ponte Lucano and Tivoli, are some sculptured piers, the remains probably of tombs, which some antiquaries sup- pose to have been the entrance to the Papal States,] excursions from rome (Villa of Hadrian), 4^/9 villa. The modem entrance is about a mile and a half from the bridge. Fil/a of Hadriati, on the plain at the base of the hill of Tivoli, built from the emperor's design, in order to include in one spot all he had seen most strik- ing in the course of his travels. It covered a space said by the Roman an- tiquaries to be from eight to ten miles in circuit ; when first built, it must have been more like a city than a villa. Nothing in Italy can be compared to its imposing ruins : the stranger is amazed by their size and extent, which far sur- pass the ruins of the Palace of tiie Cae- sars. It contained a Lyceum, an Aca- demy, a Pascile in imitation of that at Athens, a ^'ale of Tempe, a Serapeon of Can opus in imitation of that at Alex- andria, a stream called the Euripus, a Library, Barracks for the Guards, a Tartarus, Elysian Fields, and numerous temples. Hadrian was residing here when he was seized by the fatal illness of which he died at Baise. The villa is supposed to have been ruined during the siege of Tibur by Totila : for many centuries subsequently to this event it was plundered by the Romans, who burnt its marbles into lime, and removed its porphyry and marble columns to adorn their palaces and churches. The most remarkable ruins are the following : — 1. Greek Theatre^ one of three which formerly existed in the villa, and whose sites are still pointed out. The seats, the corridors beneath them, and a por- tion of the proscenium are still trace- able. Near it is a square court, sup- posed to be the portico of the theatre. The modern casino, iohabited by the custode, is said to stand on the Nymph- seum. On the right is, 2. The Pcecile, built in imitation of that at Athens, described by Pausanias. The lofty reticulated wall of the oblong portico, nearly COO feet in length, with a double row of columns, is still standing. 3, Temple of the Stoics (?), a name given on doubtful authority to a large hemi- cycle with seven niches for statues, sup- posed to have been lined with porphyry. 4. Teatro Maritimo (?), another doubt- ful name given to a round building, from the discovery of a mosaic with representations of sea-monsters. It was probably a l>ath. 5. On the left of this building are some ruins called the Li- brary, 6. On the left of the Temple of the Stoics (3) are two semicircular buildings, called the Temples of Diana and Veiius. 7. Imperial Palace, a name given to a ruin apparently of two stories : in the lower one are some remains of paintings, with crypts or cellars. The upper story has a large quadrangular portico: in many parts the walls are double. 8. Near this is a long line of arches communicating with a building with stuccoed ceilings, in a fine state of preservation, called the Palace of the Imperial Famihj. 9. Traversing the court of the Psecile (2) are the Ban^acks of the Prcotorian Guard, an immense number of chambers of two and three stories, called the Cento Camerelle, with remains of galleries on the outside from which they were originally entered. The doors communicating between each room are modern. 10. On the right of the barracks is the great square, nearly 600 feet in length, called the Nauma- chia^ supposed by some antiquaries to be the site of the Circus. 11. Serapeon of Canopifs, in imitation of the temple of the same name at Alexandria. The Atrium in front is supposed to have been filled with water, as several conduits and covered channels may be seen be- hind the temple. Some chambers, called the apartments of the priests, and a semicircular gallery with a painted ceiling are still standing. The works of art discovered among the ruins are preserved in the Chamber of Canopus in the museum of the Capitol (p. 431). 12. On the right of the Serapeon are the remains of the Academy and of an- other Theatre, 13. On tiie left is a fosse leading to four subterranean corridors, supposed to belong to the Tartarus ; and beyond them is the presumed site of the Elysian Fields, 14. The last ob- ject to be mentioned is the Fale of Tempe, which has little resemblance to the famous vale of Thessaly, although a small stream is carried through it in imitation of the Peneus. This brings 480 EXCURSIONS FRO M ROME (Tivoli). [Sect. I. us back to the modern casino between the Paecile and the Greek theatre, where we rejoin the road to Tivoli. The im- mense number of precious works of art discovered in Hadrian's villa adds greatly to the interest of the spot : the beautiful mosaic of Pliny s Doves in the Capitol, all the Egyptian antiquities in that museum, and numerous statues of the highest class, noticed in the ac- count of the Vatican and the Capitol, were found among its ruins. It disputes with the Portico of Octavia the honour of the discovery of the Venus de' Me- dici, and the museums of the great European capitals are indebted to it for some of their most valuable treasures. The ascent to Tivoli through a grove of olives is very steep, but picturesque. On the right are the ruins of the villa of Cassius, to which we shall recur hereafter. The principal entrance on this side is by the Porta di Santa Croce, from which there is a fine view over the Campagna of Rome. Tivoli. (^Tnns: LaSibilla; La Regina : neither of these inns are good, but the first is well situated close to the Temple of the Sibyl and the best views of the Falls : it is the favourite resort of the artists; the people are very civil, and anxious to make the traveller as com- fortable as the limited accommodations will allow). Tivoli, the ancient Tibur, the well-known city of the Sicani, founded nearly five centuries before Rome, was one of the early rivals of the Eternal City, and was reduced to obedience by Camillus. The Roman historians tell us that the Sicani were expelled by Tiburtiis, Corax, and Ca- tillus, grandsons of Amphiareus, who came from Greece with Evander ; and that the settlement derived its name from the eldest of these brothers. This circumstance is frequently alluded to by the poets : " Turn gemiui fratres Tiburtia moenia lin- qiiunt, Fratris Tiburli dictam cognomine gentem, Catillusque, acerqiie Covas, Argiva juven- tus.' Virg. JEn, vii. 670. " NuUam, Vare sacra vite prius severis ar- borem Circa mite solum Tiburis, et moenia Catili." Hot. Od. I.xviii. 1. The classical associations of Tivoli have made it a memorable spot in the estima- tion of the scholar : its beautiful scenery inspired some of the sweetest lyrics of Horace, who has sung its praises with all the enthusiasm of a fond attachment : " Me nec tarn patiens Lacedsemon, Nec tarn Laris^ae percussit campus opimse, Quam domus Alburiese resunantis, Et praeceps Anio, et Tiburni lucus, et uda Mobilibus pomaria rivis." Lib. I. vii. lOJ He tells us that he often composed his verses while wandering among the groves and cool pastures of the surrounding valleys, and expresses his anxious wish that it may be his lot to spend his old age in its retieats : " Tibur Argeo positum colono, Sit meae sedes utinam senectae, Sit modus lasso maris et viarum Militieeque." II. vi. 5. In the early ages of the empire Tibur was the favourite residence of many of the poets, philosophers, and statesmen of Rome, the ruins of whose villas are still shown in different parts of the valley. The epithet of ^' Superhum Ti- bur," given to it by Virgil, is still borne as the motto on the city arms ; and Catullus and Propertius have com- memorated the beauty of its position with a partiality scarcely less remark- able than that of Horace. Among the historical records of the city, we know that Syphax, king of Numidia, died at Tibur, B.C. 202, two years after his cap- tivity. He had been brought from Alba Fucensis to grace the triumph of Scipio, and was honoured, as Livy tells us, with a public funeral. Zenobia also, after gracing the triumph of Aurelian, spent the latter years of her life in the neigh- bourhood of Tibur, surrounded with all the pomp of an eastern princess. Dur- ing the Gothic war, when Rome was besieged by Narses, Tibur was occupied by the troops of Belisarius. It was afterwards defended by the Isaurians against Totila, and treacherously sur- rendered by the inhabitants, whom the Goths repaid with such fearful barbari- ties that Procopius declares it impossi- ble to record their cruelties. Totila, after being defeated in his attempt to Papal States, '] excursions from rome (Tivoli). take Rome, retired to Tibur and rebuilt the town and citadel. In the eighth century it lost its ancient name, and assumed that of Tivoli. Its history during the middle ages is a continued record of sieges and struggles against the emperors and the popes. Among these details, the most interesting to English travellers is the retreat it af- forded to Adrian IV. and Frederick Barbarossa after the insurrection caused at Rome, in 1155, by the coronation of the emperor; who is said by the cardi- nal of Aragon to have issued a diploma exhorting the people of Tivoli to ac- knowledge their allegiance to the pope. At this period Tivoli appears to have been an imperial city independent of Rome, and to have been the subject of frequent contention between the empe- rors and the Holy See. In 1241 it was seized by Frederick II., assisted by the powerful house of Colonna, and was for some time the stronghold of the Ghibeline party. During Frederick's residence at Tivoli he detained there, as hostages or as prisoners, Cardinal Od- done and the cardinal-bishop of Pales- trina. Tivoli appears to have been the head-quarters of the Ghibeline chiefs until the cardinals assembled at Anag- ni, and elected Sinibaldo de' Fieschi to the papal chair under the name of Inno- cent IV. In the fourteenth century Rienzi made it his head-quarters dur- ng his expedition against Palestrina : he resided there for some days, and harangued the people in the square of S. Lorenzo. In the following century it was occupied by Braccio Fortebraccio of Perugia and by the house of Colonna; and in order to control the people and reduce them to obedience, Pius II. built the citadel which we still see. In later times it became noted in the contests of the Orsini, the Garalfeschi, and the duke of Alba ; but the history of these events presents no facts which call for a de- tailed description. Modern Tivoli is one of the most important cities of the Comarca, the capital of a distretto of the same name. It is situated on the slopes of Monte Ripoli, supposed to have been so called from Rubellius, the proprietor of one of the Tiburtine villas. Its height above the level of the sea is 830 feet. The po- pulation of the district is about 17,000 souls ; that of the city itself, by the raccoltaof 1833, is 6323. The chief interest of Tivoli is derived from its picturesque position, from the falls of the Anio, and from the ruins of the temples and villas, which still attest its popularity among the rich patricians of ancient Rome. It has little modern interest, and indeed has rather an in- different character. Its uncertain and stormy climate, and the number of funerals, which give a bad impression of its salubrity, are commemorated in the popular distich : — Tivoli cli mal conforto, O piove, o tiravento, o suona amorto." The morals of the inhabitants are proved by the fact, that in a population of 17,000 souls there were brought before the magistrates of the district in 1838, no less than 1500 cases of fights, in which 180 persons were dangerously wounded, and 22 killed. Two of its churches, S. Andrea and La Caritst, date from the fifth century. Among the antiquities of the town the prin- cipal object is the Temple of the Tibur^ tine Sibi/l, a beautiful building of the best times of art, finely placed on a rock overhanging the valley of the cascades. The antiquaries of the last century endeavoured to supersede this title for that of the Temple of Vesta, on the ground that all the temples dedi- cated to the latter deity were round : but there is no proof that there was any temple at Tibur dedicated to Vesta; and to show how little faith can be placed in (he arguments of the anti- quaries, we may mention that Professor Nibby, in his last work, peremptorily rejects both titles, and contends that it is the Temple of Hercules Saxonus. In these cases the popular name promises to outlive the theories of the antiqua- ries, and we know of no arguments which have offered sufficient evidence to induce us to reject the ancient and poetical tradition. It is a circular tem- ple, 21-J feet in diameter, surrounded by Y 482 EXCURSIONS FROM ROME (TlVOll). [Sect. r. an open portico of eighteen columns, ten of which remain. They are of stuc- coed travertine, in the Corinthian order, and are 18 feet high without the capi- tals_, which are ornamented with lilies. The entablature is sculptured with fes- toons of flowers and heads of oxen; and the architrave bears the inscription L . GELMO . L. The cella is composed of small polygons of tufa and traver- tine, and has two small windows. On the left of this temple is that called by different writers the Temple of Drusilla, the Temple of the Sibyl, and the Temple of Fesfa. It is an oblong building of travertine, with an open portico of four columns of the Ionic order. It is now converted into a church dedicated to St. George, but its interior presents nothing to call for observation. From the Temple of the Sibyl a pretty path, made by General Miollis, leads to the Grottoes of Neptune and the Syrens, the two principal points from which the Falls of the Anio were seen, a few years since, to the greatest advantage. The water was carried over a massive wall built by Sixtus V., and fell into the black gulf called the Grotto of Nep- tune, producing by its contrast with the foam and spray of the cataract one of the most striking scenes of the kind in Europe. The inundation of 1826 com- pletely changed the character of the cascade : a great portion of the wall of Sixtus V. was destroyed by the rush of waters which swept away the church of S. Lucia, and thirty-six houses near the Temple of the Sibyl. It under* mined the base of the rock below the temple, and made it necessary to divert the course of the river, in order to pre- serve it from destruction. These changes have deprived the grottoes of their in- terest, and they are now hardly worth a visit except for the purpose of studying the fine sections of the travertine rock. The new Falls were formed by cutting a tunnel through Monte Catillo, imme- diately opposite the temple. This dif- ficult task was ably executed by the Roman engineer Folchi, and the Anio was turned into its new cliannel in 1834, in the presence of the pope. The river falls into the valley in a solid mass to the depth of about 80 feet. The effect of its cascade is scarcely inferior to that of the upper portion of the Falls of Temi. The catastrophe of 1826, by diverting the course of the river, laid open the ruins of two ancient bridges and an ancient cemetery. The first bridge is at the eastern extremity of the town, and was brought to light by the change of the current : it was at first supposed to be the Pons Valerius, over which the Via Valeria passed in its course up the valley. The subsequeiU; works of Folchi for the new passage disclosed the second bridge in 1832, near the mouth of the channel : it is better preserved than the one just men- tioned, and is more likely to have been the bridge of the Valerian Way. Nibby supposed, with great probability, that it was ruined by the inundation re- corded by Pliny, which took place a.d. 165. The cemetery near this ruin was discovered at the same time : it con- tained many sepulchral monuments and several skeletons ; the most remark- able monument was the cenotaph of Lucius Memmius Afer Senecio, pro- consul of Sicily, who died a.d. 107. Good walks have been cut on both sides of the valley leading to the differ- ent points which command the best views of the Falls. There is also a road leading by the circular terrace con- structed by General Miollis, and by the villa of L. Varro, to the best point for seeing the Cascatelle and theVilla of Mecaenas : it crosses the ancient bridge a little lower down, and returns by the Villa d'Este and the Villa of Mecaenas to the town. The Cascatelle, a series of pretty cas- cades formed by the waters of the Anio, after they have served the purposes of the iron manufactories. The first and largest stream forms two cascades; the otlier forms those which issue from the Villa of Mecaenas, and fall into the valley at the height of more than 100 feet. The effect of these cascades con- trasted with the brilliant vegetation of the valley and the rich colouring of the massive brickwork of the villa, produces Papal States.'] excursions from rome (Tivoli), 483 a scene of striking interest, which our countryman Dessoulavy has made fa- miliar in numerous private galleries of England. Near the Cascatelle are paint- ed out the ruins of the Filla of Catullus. At the church of S. Antonio are those of the Pllla of Sallust, attributed by the local ciceroni without a shadow of au- thority to Horace. The church of the Madonna di Quintiliolo, not far dis- tant, is built on the ruins of the Filla of Quintilius Faro, commemorated by Horace : its situation on the slopes of Monte Peschiavatore, is one of the most beautiful that can be imagined : the ruins are of great extent, and the upper terrace commands a fine view of the Villa of Mecaenas, the Cascatelle, and the Campagna of Rome, extending in fine weather to the sea. The magni- ficence of the villa is proved by the numerous statues, mosaics, and other works of art which have been found among its ruins, many of which have been already noticed in our description of the Vatican museum. Half a mile from this is the little stream of the Acquoria, which we pass by an ancient bridge in a good state of preservation, and afterwards cross the Anio by one of wood. In returning to Tivoli we pass over the ancient Via Tiburtina, of which several portions are still perfect : this leads us to the Filla of Mecfsnas, the most extensive ruin in the neigh- bourhood of Tivoli. Nibby considers it the great Temple of Hercules, for which Tibur was celebrated from the earliest times, and states with truth that there is no classical authority what- ever for its popular name. He con- tends also that an attentive examination of the ruin will prove that it has none of the elements of a Roman villa, and that it has a strong analogy with the Temple of Fortune at Palestrina. The extent of the edifice rendered it neces- sary to carry the road under a long corridor of great height, of which se- veral arches are still standing. The principal ruin now visible is a square building or cavcedium, with half co- lumns of the Doric order and arcades, forming the entrance to the portico. At one end of this is a small cascade, which adds to the picturesque beauty of the ruin. Behind are two suites of chambers, built upon a large subter- ranean apartment, supposed to have been a reservoir for water. On one side is a canal, through which a rapid torrent discharges itself under one of the arcades, forming another pretty fall. From the terrace is a fine view of the Campagna. The ruin was converted by Lucieri Buonaparte into an iron manufactory, still in operation : the articles manufactured are principally screws ; they are in great demand throughout the States, and the amount produced annually is valued at 12,000 scudi. In a vineyard near the Villa of Mecsenas are the ruins of a building, octagonal externally and circular inter- nally, resembling the Temple of Mi- nerva Medica at Rome. Its popular name is the Tempio della Tosse ; but some antiquaries, struck with the ab- surdity of a temple to such a goddess as Cough, have called it the sepulchre of the Tossia family. Nibby however ascertained that the name is not to be traced beyond the sixteenth century, and that the construction of the build- ing is not more ancient than the fourth century. He inclines to the idea that it was erected for christian worship : the remains of paintings in the interior representing the Saviour and the Virgin, give great probability to his opinion. The other villas which are known to have existed at Tivoli, and of which the local antiquaries profess to show the ruins or the sites, are those of Vopiscus, Piso, Cassius, Munatius Plancus, Ven- tidius Bassus, Fuscus, Propertius, &c. With the exception of the Villa of Cas- sius many of these ruins are mere con- jectures, and it would be an unpro- fitable task to follow the speculations upon which their doubtful authenticity depends. The walls which support the terraces of the villas of Brutus and of Bassus are polygonal ; and that of Fuscus, below the Strada di Carciano, is a fine specimen of Roman work, more than 100 feet in length. At Car- ciano, under the Casino of the Greek y2 484 EXCURSIONS FROM ROME (TivoU). [Sect. I. College, are the remains of the Filla of Cassim. Tlie ruins of this noble villa are still very extensive, and have con- tributed largely to the great museums of Europe. In the sixteenth century Cardmal Ferdinando de* Medici and the Archbishop Bandini of Siena made considerable excavations, which were attended with interesting results, and brought to light many beautiful speci- mens of ancient art The researches of De Angelis in 1774 were still more im- portant : the statues and marbles which he excavated were purchased by Pius VI. for the Vatican, and are justly classed among the most valuable trea- sures of that museum. Nearly all the statues and busts in the Hall of the Muses (p. 416) were found here, toge- ther with many other celebrated statues which have been noticed in our general description of the museum. Beyond the Porta S. Giovanni, about half a mile distant, are the remains of a circular tomb, supposed to be that of C. Aufestius Soter, the physician, whose inscription was found upon the spot. About a quarter of a mile beyond it the road passes under the arch of the Mar- cian aqueduct, composed of large blocks of tufa. Near this the specus of the Anio Vetus is visible. Farther on we see the magnificent arch of the Clau- dian aqueduct, surmounted by a tower of the middle ages, built by the Tibur- tines as a stronghold against the attacks of the Orsini, lords of Castel Madama : it is forty-five feet high and twenty-five feet broad. From the modern bridge we see the ruins of two other aqueducts, and beyond them from the higher ground we recognise a third : the first is the Claudian ; the second is the Marcian ; the third and highest is the Anio Nuovo. The ruins of these aqueducts combine with the romantic scenery of the valley to produce a succession of pictures which would afford occupation for many days to the landscape artist. Close to the entrance of Tivoli, at the Porta Romana, is the Filla cfEste, built in 1549 from the designs of Pirro Li- gorio by Cardinal IppoJito d'Este II., son of Alfonso duke of Ferrara, Though picturesquely situated, it is now deserted and fast falling into ruin. The casino, decorated with frescoes by Federigo Zuccari, Muziani, and other contem- porary painters, representing the history of Tivoli, is perishing from neglect. Its formal plantations and clipped hedges find few admirers after the natural beau- ties of the surrounding scenery ; and the water- works, called the Girandola, are now justly regarded as a strange per- version of taste in the neighbourhood of the grand cascades. Notwithstanding these defects, the beautiful pines and cypresses of the garden make it a fa- vourite resort of artists, and the view from the terrace over the plain of the Campagna is one of the finest scenes in Tivoli. The common tradition that Ariosto resided in this villa has been frequently repeated, but it has no found- ation in fact. The error no doubt arose from the confusion between the two car- dinals of the same name : Cardinal Ip- polito I., the patron of Ariosto, did not reside at Tivoli ; and this villa was not founded by Cardinal Ippolito II. until sixteen years after Ariosto's death. Travellers who are desirous of ex- ploring the picturesque and classical localities of the Sabine hills should make Tivoli their head-quarters for some days, and arrange a series of ex- cursions to the most interesting districts. It would be impossible within the limits of this work to describe the numerous objects of natural beauty for which every valley in the neighbourhood is remark- able. Many of these scenes are cele- brated by Horace, and others still retain in their names and ruins the traces of cities whose origin is anterior to that of Rome. The traveller who sets out to explore these valleys will be struck with the frequent recurrence of polygonal walls, exhibiting the usual character- istics of the Pelasgic style, which the Romans imitated as late as the first period of the empire. Many of these walls appear to have been constructed for the purpose of supporting the ancient roads, and occur in places where no cities could have existed. The most interesting excursions from Tivoli are Papal States.] excursions from rome {Subiaco). 485 those to Subiaco, up the vallej^ of the Anio ; to Licenza, the site of Horace's villa and Sabine farm ; and the ascent of Monte Genaro. The road to Subiaco, following for some miles the ancient Via Valeria, is practicable for carriages; but that to Licenza and the ascent of Monte Genaro must be accomplished on horseback or on foot. The pedestrian would find an endless source of enjoy- ment in the mountains around Tivoli. Subiaco, 28 miles from Tivoli, and 44 from Rome. The road during the whole distance as- cends the right bank of the Anio. About 6 miles from Tivoli, on the right hand, is a ruined tower of the thirteenth century called Saeco Muro, remarkable for some remains of polygonal walls, which pro- bably mark the site of some small town dependent on ancient Tibur at an early period of the empire. In 1821, an in- scription of the time of Tiberius was found there, recording the name of C. Nennius Bassus, praefect of the Fabri at Carthage under Marcus Silanus, the father-in-law of Caligula, whose name is so often mentioned by Tacitus. In the middle ages the castle belonged to the Orsini, and was abandoned towards the close of the fifteenth century. About 2 miles beyond Sacco Muro is Fieovaro, the ancient Varia, a small village of 1000 souls, pictureso^uely placed on a hill above the road, and distinguished by the fine old baronial castle of the Bolognetti family and by some remains of polygonal walls. Near it is the ancient bridge of the Claud ian aque- duct. 2 miles beyond Vicovaro is the convent of S. Cosimato, finely situated on a lofty rock above the deep glen of the Anio, and surrounded by cypresses. In the distance, behind the convent, is the village of Saracinesco, perched on the summit of a lofty conical hill co- vered with wood, which adds greatly to the beauty of the landscape, A local tradition refers the name to a colony of Saracens, and it is remarkable that many of the inhabitants have Arabic names, among which that of Almanzor is not uncommon. The valley of the Anio was desolated by the incursions of the Saracens about the year 876, and there is no doubt that a party of the invaders formed a settlement on this spot, as the name occurs in an inscrip- tion of the year 1052, preserved in the monastery of Santa Scolastica at Subi- aco, under the name of * Rocca Sarra- ceniscum.' Near Roviano the river makes a sudden bend almost at right angles. Below this town, the road to Subiaco branches off from the Via Valeria and pursues its course up the valley of the Anio. The Valerian Way continues in a direct line to the Abruzzi by Carsoli, the ancient city of Carseoli, and by the plains of Taglia- cozzo (see Route 38). It is the most direct road from Rome to the lake of Celano, but is traversed only on horse- back, or in the common cars of the country. The papal frontier-station is at the little village of Jrsoli, a short distance from Roviano. Another sta- tion for a bridle-path, which avoids the circuitous route by Arsoli, is at Rio Freddo. The road from Roviano to Subiaco is very beautiful. On the op- posite bank of the Anio is A?iticolt, prettily situated on the slopes of a hill above the river. Before reaching Agosta^ a picturesque little village of 600 souls on the left of the road, are the celebrated springs called LeSirene, which burst in large volumes of bright crystal water from the base of the mountains: the ancients believed that they issued by subterranean channels from the lake of Celano. Immediately opposite is Ma- ram, a small village on an insulated hill on the left bank. Farther on, Rocca di Mezzo is passed ; and beyond it, on a peak apparently inaccessible, is the populous village of Cerbara. Subiaco is seen for the first time near this spot : nothing can be imagined more pic- turesque than its position among the richly-wooded hills by which it is sur- rounded on all sides. Subiaco, the ancient Sublaqueum, is the chief town of a distretto of the Comarca, with a population of 5836 souls. It derived its ancient name from the artificial lakes of the Villa of Nero, below which EXCURSIONS FROM ROME (Subiaco). [Sect. I. (^stib laciim) it was built. The modern town is more remarkable for the unri- valled beauty of its scenery than for any object of interest within its walls. The falls of the river below the town, the fine old castle on the summit of the hill which for many ages was the sum- mer residence of the popes, the magnifi- cent forests of the valley, and the noble monasteries which have given it such celebrity in the ecclesiastical history of the middle ages, all combine to make it one of the favourite resorts of the land- scape painters of all countries. The dark and narrow streets of the town itself are by no means inviting to the stranger : the houses have an air of antiquity which carries us back to the middle ages more than any other town in the vicinity of Rome. The church was built by Pius VI., who was abbot of the monastery for many years before his elevation to the papal chair : the palace of the abbots was also enlarged and modernised by the same pontiff. About a mile from the town, on a hill above the river, we may still trace the ruins of Nero's Villa. It was in this villa, as we are told by Tacitus and Philostratus, that the cup of the tyrant was struck by lightning while he was in the act of drinking, and the table over- thrown by the shock. Near this is the celebratedil/o/?as/ery of Santa Scolastica, founded in the fifth century, and restored in 981 by the abbot Stefano. It has three cloisters : the first is modern, but contains some ancient monuments; among which may be noticed the sar- cophagus with bacchanalian bas-reliefs, a Bacchic head, a fine column of por- phyry and another of giallo antico, said to have been found in tlie ruins of Nero s villa. The second cloister dates from 1052, and is very interesting as one of the earliest examples of the in- troduction of Gothic architecture ; one of the arcades is of marble, ornamented with bas-reliefs, and surmounted by a statue of the Virgin throned between two lions. Under the portico is a curi- ous monument of two stags drinking: one bears an inscription recording the foundation of the building in 981 ; an- other inscription relates to the construc- tion of the tower, and enumerates the possessions of the monastery in 1052. The third cloister is also Gothic, but evidently not earlier than the thirteenth century. The church, dedicated to S, Scolastica, contains nothing which calls for particular description. The mo- nastery was once famous for its library, rich in MSS. and diplomas. Nearly all these treasures have been dispersed ; but it has obtained a lasting celebrity in the history of typography as the first place in Italy in which the printing- press was established by the German printers Sweynheim andPannartz. Their edition of Lactantius was their first pro- duction : it appeared in 1465, and a copy is still preserved in the monastery as an historical record. They remained at Subiaco until 1467, when they re- moved to Rome, in consequence, it is said, of some disagreement with the monks : their establishment in that city is noticed at p. 455. A mile from S. Scolastica is the Sacro Speco, the well- known monastery of St. Benedict. The ascent is steep, but the scenery is so grand that no description can do justice to it. St. Benedict retired here in his early youth, about a.d. 450. The mo- nastery was rebuilt in 847 ; the lower church dates froml053,the upperchurch from 1066, and the cloister from 1235. It is built against the rocky hill on nine arches of considerable height, and con- sists of two long stories. The cave in the lower part of the building is supposed to be of great antiquity, and is identified by some authorities with the oracle of Faunus. It contains a statue of St. Benedict by Bernini. The two chapels leading to it were painted in 1219 by Conciolo, one of the earliest Italian masters, who has recorded his name, Conxiolus pinxit. In the sacristy is a Holy Family, attributed to Correggio (?). The garden is still remarkable for its plantations of roses, said to be de- scended from those whicfi St. Benedict cultivated with his own hand. Another legend states that they were originally a bed of thorns on which St. Benedict rolled himself to extinguish the vio- Papal States.} excursions from rome (Horace^ s Sabine Farm). 487 lence of his passions, and were mira- culously converted into roses by St. Fraiicis when he visited the monastery in 1223. On the opposite bank of the river is the picturesque mass of Monte Carpi iieto, covered with hornbeams (carpini), from which it derives its name. On the slojies of the hill are the ruins of a Nymphseum, supposed to belong to Nero's Baths. From Subiaco a bridle-road leads over the lower slopes of Monte Carpineto to the picturesque villages of Olevano and Genazzano. Olevano is about 8 miles from Su- biaco ; but as it is more generally vi- sited from Palestrina, we shall reserve an account of it for our description of that place. Horace's Sabine Farm, and Monte Genaro. The distance from Tivoli to the Villa and Sabine Farm of Horace is 12 miles. The road, as far as the Convent of S. Cosimato, is described in the pre- ceding excursion. From that point it is no longer practicable for carriages, and travellers must therefore make arrange- ments at Tivoli, and perform the excur- sion either on horseback or on foot. Leaving S. Cosimato on the right, the road strikes oft' to the north-east, soon after passing Vicovaro. Near this point on the right hand is the little village of Bardella, the Mandela of Horace. About 2 miles far! her is Rocca Gio- vane^ situated on a steep rock above the road, and supposed to be the Arx Ju- nonis (^Rocca Giunone). In the church is preserved an ancient inscription, re- cording the restoration of the Temple of Victory by Vespasian. The antiquaries regard this fact as a proof that it is the Fanum Vacunae, or the Temple of Juno Victrix, celebrated by Horace, which would confirm the etymology of the mo- dern name. About 2 miles farther u]) the valley is Licenza, the ancient Digentia. " Me quoties reficit gelidus Digentia rivus, Quein Mandela bibit rugostis frigore pa- gus." //or. Ep. I. xviii. It is a small mountain- village of 700 souls, beautifully situated on the bright clear stream which Horace celebrates under the same name. The site of the Villa of Horace is placed on the right of the road, about midway between it and the river, a short distance before we reach the village. Nothing now re- mains but two capitals and some other fragments of Doric columns, and a white mosaic pavement partly covered by a vineyard. The names of many places in the neighbourhood preserve some record of classical times : gli Ora- sitii, on the slopes of the Monte Rotondo, cannot be mistaken ; and the village of La Rusfica, on the right side of the valley as we ascend, recalls the Ustica of the poet: — *' Utcimque dulci, Tynd iri, fistula Valles, et Usticae ciibantis Laevia personuere Saxa." Od. I. 17. Higher up the valley, in a beautiful and romantic spot under Monte Cornazzano, are tv/o springs, identified with the Fons Blandusiae : — " O Fons Blandusiae, splendidior vitro Dulci digne mero, nou sine floribus Cras donaberis haedo.'' Od.lll. 13. Above Licenza is the village of Civitella, from which a bridle-path leads over the mountains to Palombara^ a small vil- lage of 2694 souls, 6 miles distant. Travellers usually make the Ascent of Monte Genaro from this point. Those who ascend direct from Tivoli follow the route taken by the peasants in going to the festa of the Pratone, the little meadow between the two summits of the mountain. They take the road leading to Santo Polo, one of the most picturesque villages in the chain, situ- ated on a lofty hill, remarkable for the castellated mansion of the Borghese family. The road here ceases, and we follow for some distance a bridle-path commanding fine views of Rocca Gio- vane, and at length strike into the forest beneath the singular mass of in- sulated limestone called La Morva, The last ascent to the Pratone from this side is extremely steep, but the opening of the plain is so beautiful, that the contrast of scenery renders it by no means the least interesting portion of 488 EXCURSIONS FROM ROME (Frascati). [Sect. I. the journey. The ascent from the side of Licenza to the Pratone is less diffi- cult, and follows the depression in the chain between Monte Genaro and Monte Pennecchio. The Pratone is celebrated for its pastures, and the traveller gene- rally finds it covered with cattle. The ainiual festa at its little chapel is at- tended by the peasantry from all parts of the Sabine hills. From this plain we ascend to the summit of Monte Genaro, 4185 feet above the sea, and with the exception of Monte Guada- gnolo, south-east of Tivoli, the highest point of the chain which bounds the Campagna on the east. There is no doubt that the Mons Lucre tilis, which Horace has celebrated in his most beau- tiful ode already quoted, was one of the peaks of this ridge, and many wri- ters identify it with Monte Genaro itself. The view commanded during the ascent over the immense plains of the Campagna is one of the finest scenes in Italy, and amply repays the labour of the excursion. It embraces the line of coast as far as Monte Circello, the whole line of the Volscian mountains beyond the Alban hills, and commands nearly all the valleys of the Apennines from the Neapolitan frontier, beyond Monte Guadagnolo, to the monastery of Farfa on the north. On the summit is an ancient tumulus of loose stones. Travellers who are desirous to vary their route in returning to Tivoli may de- scend by the remarkable pass called La Scarpellafa, a mountain zigzag, con- structed in parts with solid masonry. During the descent we command some fine views of the small group of hills which stand detached from the Sabine chain, and form so conspicuous an ob- ject from Rome. On one of their summits are the picturesque town and feudal castle of Monticelli ; on another are the polygonal walls of the ancient city of Ameriola; and on the third is the village of Sant' Angelo, marking the site of Corniculnm (p. 164). The pass leads down to the hollow called La Marcellina, at the foot of the hill and castle of Monte Verde. Near this are some fine examples of polygonal walls marking the site of the ancient city of MeduUia. Between this and Tivoli the road passes Ceano^ the sup- posed representative of ancient Caenina, celebrated in the history of Romulus and the Sabine rape : some fragments of its polygonal walls are still stand- ing. Farther on, we pass some ruins of a Roman villa at a spot called Scalza- crme, opposite to which are the low hills called Colli Faiinelli. Between them and the road is a small valley, in which we may still see some ruins of a tem- ple, and a pedestal with the following inscription : — l. mvnativs . plancvs . TIB. cos . IMP. INTER VII. VR . EPVLON . TRIVMPH . EX . RH^TIS . EX TEMPLO . SATVRNI . ET . COS . IMP. ESERCITI . IN . ITALIA . ET . GALLIA. The name of the temple is no doubt given in this inscription which records the name of an illustrious Roman, whom the beau- tiful lines of Horace have made fami- liar to the scholar : — ** Sic tu sapiens finire memento Tristitiam vita?que labores MoUi Plance mero : seu te fuigeutia signis Castra tenent, seu densa tenebit Tibiuis umbra tui." Od. I. 7. Beyond this we leave the convent of Fitriano on the right, and enter the valley of Tivoli through the fine groves of olive which clothe the slopes of the Monte Quintiliola, as far as the Ponte deir Acquoria. Frascati, 12 Miles. This excursion is generally performed in a single day, but the best plan is to sleep at Frascati for at least two nights, and combine a visit to the ruins of Tus- culum, Grotta Ferrata, and Marino with an excursion to Monte Cavi and the site of Alba Longa. The charge for a carriage with two horses, to go to Fras- cati and return to Rome on the same day, is four scudi, exclusive of bziona- mano. Those who do not object to travel in a public carriage will find one daily attheTre Re near the Capitol : the charge is from four to five pauls for each seat. The road leaves Rome by the Porta S. Giovanni (p. 260) ; for a few hundred yards beyond the gate it traverses the Papal States.] excursions from rome (Frascati). 489 ancient Via Latina. It leaves the an- cient road soon after crossing the Mar- anna, but pursues a course nearly parallel to it for about half the dis- tance to Frascati. About 3 miles from the gate we pass the arch of the Acqua Felice, called the Porta Furba, con- structed on the line of the Claudian aqueduct (p. 320). Near it is the lofty tumulus called the Monte del Grano^ called without a shadow of authority the sepulchre of Alexander Severus. It is an immense mound, 200 feet in dia- meter at the base, and constructed of solid masonry. Towards the end of the sixteenth century it was explored from the summit of the tumulus: an entrance was made by removing the stones of the vaulted roof, and a sepulchral chamber was discovered containing the magnifi- cent sarcophagus of white marble which gives its name to one of the rooms of the museum of the Capitol, and is de- scribed in our account of that collec- tion (p. 432). The celebrated Portland Vase, preserved in the British Museum, was found in this sarcophagus. A short distance beyond the tumulus, on the right hand, close to the ancient Via Latina, which continues to run parallel to the present road, is the casale of Roma Fecchia, belonging to the banker Torlonia. It is interesting as marking, in the opinion of the modern antiquaries, the site of the famous temple of Fortuna Muliebris, erected in honour of the wife and mother of Coriolanus, who here dis- suaded him from his threatened attack on Rome. The distance from the capi- tal and the locality both agree with the accounts of Dionysius and Valerius Maximus, who place it at the fourth milestone on the Via Latina. There are no ruins of any consequence, al- though the walls of the casale are com- posed of fragments of marble, and numerous remains of columns, &c. have been found in the vicinity. There is no other spot to which the site of the temple can with so much probability be assigned, and we may therefore re- gard it as the scene where Coriolanus found that he was not '*of stronger earth than others f ' " Ladies, you deserve To have a temple built you : all the swords In Italy, and lier confederate arms. Could not have made this peace." About 2 miles beyond the Monte del Grano is the ruin called the Sette Bassi, on the farm of the Arco Tra- vertino, which also belongs to the banker Torlonia. The name is sup- posed to be a corruption of Septimius Bassus the consul, a.d. 317 ; but it is more interesting as marking the site of an imperial villa of great magnificence and extent. The ruins now visible are at least 4000 feet in circumference : their construction shows two distinct periods ; that portion towards Rome corresponds with the style of the Roman buildings under Hadrian, while that towards Frascati belongs to the time of the Antonines. The antiquaries agree in regarding it as the suburban villa of Hadrian or Commodus : the quantity of precious marbles discovered among the foundations attest the splendour of the edifice ; and a rare specimen of violet breccia occurs so frequently, that it has acquired the name of the "breccia di Sette Bassi," Near this is the Torre di Mezza Fia, the half-way house, where the road divides into two branches : that to the right leads to Grotta Ferrata, and that to the left to Frascati. At the foot of the hill of Frascati are the fountain and osteria of Fermicino, remarkable as the head-quarters of the Neapolitan army which invaded the new Roman republic under Mack in 1798, and seized the capital in November of that year. Beyond this point a road on the right hand leads to the Filla Muti, the favourite residence of Cardinal York. The high road now descends into a deep valley, from which a long and tedious ascent brings us to Frascati. — This interesting town is prettily situated on one of the lower eminences of the Alban hills, with a population of 4975 souls. (Inns: H. de Londres, very good ; H. de Paris ; Croce Bianca, now a lodging-house.) Frascati is one of the favourite resorts of the Roman families during the villeggi- atura, and in the summer months every 490 EXCURSIONS FROM ROME (^Frascati). [Sect. I. house IS filled with company. Many English fannilies wVio spend the summer in this part of Italy prefer it to every other place in the neighbourhood of Rome : the climate is pure and healthy, and the excursions in its neighbourhood, if not more beautiful, are more accessi- ble than those in the contorni of Tivoli. Frascati arose in the thirteenth century from the ruins of ancient Tusculum, which was situated on the hills above the town. The walls are built on the ruins of a villa of the Augustan period, which is said to have afforded shelter to the inhabitants after the cruel destruc- tion of their city by the Romans in 1191. The modern name is a corrup- tion of Frascata^ the appellation given to the hill as early as the eighth century, as a spot covered with trees and bushes. The town itself is less remarkable than the beautiful villas which surround it. Many of the older houses retain their architecture of the thirteenth and four- teenth centuries ; and the church of S. RocGO, formerly the cathedral of St. Sebastian, and still called the Duomo Vecchio, is supposed to have been built by tlieOrsini, lords of Marino, in 1309. The principal building of recent times is the Cathedral, dedicated to St. Peter, built by Carlo Fontana in the reigns of Innocent XII. and Clement XI. It was completed under the latter pontiff in the year of the Jubilee, 1700. It contains a monument to Cardinal York, who was for many years bishop of this diocese, and another erected by the car- dinal to his brother Prince Charles Ed- ward, the young Pretender, who died here January 31, 1788. The following is the inscription : — Hie situs est Carolus Odoardus cui Pater Jacobus III., Rex AnglicB, Scot ice, Francice, Hibernice, Pri- mus Nat or urn, paterni Juris, et Region dignitatis successor et heres, qui domicilio sibi Rornce delecto Comes Albaniensis die- t?/s est. Fixit annos 57 et mensem, de- cessit in pace — Pridie, Kal. Feb. Atvio 1787. The Duomo Fecchio, built in 1309, has a campanile built in the Gothic style of the period. Near it is the old castle, now the Palazzo Fesco- vikf a building of the fifteenth century, restored by Pius VI. The fountain near it bears the date 1480, and the name of Cardinal d'Estouteville, the ambassador of France and the founder of the church of S. Agostino at Rome, to whom the foundation of the castle is also attributed. The church of the Cappuccini, finely situated above the town, is remarkable for some interest- ing pictures : among these we may no- tice the Holy Family, attributed to Giulio Romano ; the St. Francis, by Paul Brill ; and the Crucifixion, by Muziani. In the sacristy is Guido's sketch for his celebrated picture of the Crucifixion in the church of S. Lorenzo in Lucina at Rome. Villas. — The villas of Frascati, which constitute its most remarkable feature, were built chiefly in the sixteenth cen- tury. The most important is the Filla Aldobrandini. Shortly before we arrive at the gate of this noble villa, we pass on the left hand the small casino of the Villa Piccolomini, remarkable as the retreat in which Cardinal Baronius com- posed his celebrated Annals. An inscrip- tion on one side of the building records this interesting fact: — Ccesar Card. Ba- ronius, Annalibus Ecclesice pertexendis^ hue secedere solitus locum monumento dig- num fecit. The Villa Aldobrandini was built by Cardinal Pietro Aldobrandini, nephew of Clement VIII., after he had succeeded in attaching the duchy of Ferrara to the States of the church. It was designed by Giacomo della Porta, and was the last work of that accom- plished architect. The buildings were completed by Giovanni Fontana, and the water-works were constructed by the same artist and finished by Olivieri of Tivoli. From the extreme beauty of its position, and the extensive pros- pect which it commands over the Cam- pagna, it was long known as the Belve- dere. The villa subsequently passed by inheritance into the Pamfili family, and in the last century became the pro- perty of Prince Borghese, who still pos- sesses it. The casino, built upon a massive terrace, is richly decorated with marbles and frescoes by Cav. d'Arpino, The subjects of these paintings are taken Papal States.] excursions from rome {Frascati). 491 from the Old Testament, and represent the death of Sisera, David and Abigail, the history of the Fall, the death of Go- liath, and Judith, The walls of the anterooms are hmig with maps of the vast manorial possessions of the house of Borghese. Opposite the casino to- wards the hill is a large hemi cycle with two wit]gs, and a fine cascade of water. Near it is a building called II Parnasso, once remarkable for its frescoes by Do- menichino. It contains a large relief of Parnassus with tlie different divini- ties, and a Pegasus. The water is made to turn an organ, one of those strange applications which seem to have been popular in the Roman villas of this period. The grounds of the villa can hardly be surpassed in picturesque beauty ; a path leads through them to the Cappuccini described above, and to the Villa Ruffinella.— ra/a Montalto, or Bracciano, now the property of the Propaganda, built on the ruins of an ancient villa towards the close of the sixteenth century. The casino is deco- rated with frescoes by the scholars of Domenichino, the Caracci and the Zuc- cari. Near it is the Figna del Seminar io^ with the episcopal seminary built and endowed by Cardinal York : it stands on the supposed site of the villa of Lucullus. — The fine circular ruin re- sembling the tomb of Caecilia Metella, and called the sepulchre of Lucullus, is in the Vigna Angelotti : it is the finest ruin at Frascati, constructed with im- mense blocks of stone, and about 100 feet in diameter ; it contains three se- pulchral chambers. Near it is an ex- tensive building with five divisions com- municating with each other, on the plan of the Sette Sale at Rome. — Filla Ludo- visi, or Conti, latterly the property of the duke of Sforza Cesarini, finely situ- ated beyond the Porta S. Pietro, and remarkable for its plantations and foun- tains. — Filla Taverna, built by the car- dinal of that name in the sixteenth cen- tury, from the designs of Girolamo Rainaldi. For many years it has been the property of the Borghese family, and was the favourite residence of Paul V. The casino contains the tapestries of Sergardi. Attached to this villa is the more extensive but deserted Fiila Mondragone, founded by Card. Altemps as an agreeable surprise to Gregory XIII. The casino, designed principally by Vansanzio, contains no less than 374 windows. The grand loggia of the gardens was designed by Vignola, and the portico by Flaminio Ponzio. The fountains and water- works were con- structed by Giovanni Fontana. — Filla Falconieriy formerly the Rifffina, the oldest of all the Frascati villas, founded by the bishop- Ruffini in 1548. The casino, built by Borromini, is remark- able for a ceiling by Cat lo Maratta, and an interesting series of caricatures by Pier Leone Ghezzi, well known by the engravings of Oestereich. — Filla Ruffinella, formerly belonging to the Jesuits, and latterly to Lucien Buona- parte, from whom it is sometimes called the villa of the Prince of Canino. It is now the property of the king of Sar- dinia. The casino, built by Vanvitelli, is supposed by some antiquaries to stand on the site of the Academia of Cicero's villa. Under the portico are collected numerous inscriptions and other fragments discovered among the ruins of Tusculum. The little chapel contains a monument erected by Lucien Buonaparte to his father, in whose bust many have recognised a likeness to Napoleon ; another monument to the first wife of the prince ; and a third to his eldest son. In one part of the grounds is a hill called Parnassus, ar- ranged by Lucien Buonaparte. On the slopes are planted in box the names of celebrated authors of ancient and modern times. The conceit and the arrangement are truly French : the list comprises fifty-five names, beginning with Ariosto, Voltaire, and Sophocles, and ending with Malherbe, Lopez de la Vega, Klopstock, and Marini. The following are the five Englishmen ad- mitted to the honours of this Parnassus, in the order in which they occur: — Pope, Milton, Shakspeare, Addison, and Dryden. In November 1818, the Villa Ruffinella obtained a disagreeable notoriety from a daring attack of ban- 492 EXCURSIONS FROM ROME (Tusculum). [Sect. 1. dittl, who obtained admission while the family were at dinner, intending to seize the daughter of Lucien Buonaparte, who was on the point of being married to Prince Ercolani of Bologna. The family made their escape, but the bri- gandsjselzed the secretary and two ser- vants, and carried them otf to the hills above Velletri, from which they were not released until the prince paid a ransom of 6000 scudi. Tusculum. — The ruins of this cele- brated city of ancient Latium, whose foundation is ascribed by the poets to Telegonus, the son of Ulysses and Circe, occupy the crest of the hill above the Villa Ruffinella. This hill forms a por- tion of the lip of the outer or more an- cient crater of Monte Albano, whose foun may be traced distinctly round the northern and eastern flanks of Monte Cavi. The position of Tusculum, for- tified by Pelasgic walls of great soli- dity, v/as so strong as to resist the attacks of Hannibal, and the Romans set so high a value on its alliance that they admitted its inhabitants to the privi- leges of Roman citizens. It afterwards became more memorable as the scene of Cicero's Tusculan Disputations, and as the birthplace of Cato. It is known from historical evidence that the city was entire at the close of the twelfth century, when it embraced the Imperial cause, and for some years maintained a gallant struggle with Rome. In 1167, on the march of Frederick I. into the Papal States, the Romans attacked Tusculum in the name of the pope. Count Rainone of Tusculum was as- sisted by the Ghibeline troops under Raynaldus archbishop of Cologne, and Christian archbishop of Mentz : a general engagement took place in the plain before the city, May 30, 1167, in which the Roman troops, 30,000 strong, were utterly overthrown. The slaughter was immense ; the Romans are stated to have left 2000 dead upon the field. Machiavelli says that Rome was never afterwards either rich or populous, and the contemporary historians con- firm the accounts of the carnage by calling the battle the Cannae of the mid- dle ages. The battle lasted from 9 in the morning until evening ; and on the next day, when the Romans came out to bury their dead, the Count of Tus- culum and the Archbishop of Mentz surrounded them, and refused to grant the privilege of burial except on the humiliating condition that they should count the number of the slain. In the following year the Romans again at- tacked the city, and the inhabitants, abandoned by their Count, uncondi- tionally surrendered to the pope (Alex- ander III.) The cause of the pope was not then the cause of the Roman people, and the surrender of Tusculum to the Church was regarded as an act of hostility by Rome, whose vengeance was deferred but not extinguished. The pope however repaired to Tuscu- lum, which became for many years his favourite residence. It was here, in 1178, that he received the ambassadors sent by Henry II. of England to assert his innocence of the death of Thomas a Becket. Alexander died in 1181, and Tusculum again became an imperial city : the Romans renewed their attacks, and in 1191 obtained possession of the citadel by the cession of Celestin III., and put the inhabitants to the sword. They razed the houses to their founda- tions, destroyed the fortifications, and re- duced the city to such a state of desola- tion that it was impossible to recover from its effects. No attempt was ever made to restore the city on its ancient site, and Frascati, as we have already stated, rose from its ruins on the lower slopes of the hill. A visit to the ruins, though much evidently remains buried, is highly in- teresting ; and the view alone is an in- ducement which even in this district of beautiful scenery amply repays the trouble of the ascent. The first object on the brow of the hill is the Amphi- theatre, of reticulated work, 225 feet long and 166i broad: the style does not show an antiquity corresponding to the other ruins, and it is regarded as the most recent building of Tusculum yet discovered. Near it, along a ridge of rocks commanding a fine panoramic view over the Campagna, including Papal States.'] excursions from rome {Grotta Ferratd). 493 Rome and the sea beyond Ostia, are the ruins of a long corridor and ten chambers, called the Scuola di Cicerone. They formed, apparently, the ground floor of an extensive building; and are regarded, Avith great probability, as tlie granaries of Cicero's villa. Near this we find the ancient pavement formed of polygonal masses of lava, some re- mains of baths, and the ground-floor of a house with the atrium and cistern. Proceeding along the ancient pavement we arrive at the theatre and the city walls, excavated by Lucien Buona- parte. The theatre is small, but its seats are tolerably perfect, and the plan and measurements can be ascertained without much difficulty. The citadel beyond this is extremely interesting : the position of the four gates may be traced, and the view over the Cam- pagna and the Alban hills is beautiful beyond description. On the north we see Monte Porzio, Monte Compatri. and Colonna, the ancient Labicum : towards the east we recognise in suc- cession, along the lip of the crater, Rocca Priore, Monte Fiore and Cava : on the south are Monte Pila, Monte Cavi, Rocca di Papa, the Camp of Han- nibal, Marino, and the ridge of Alba Longa, bounding the lake of Albano. At the base of the hill runs the ancient Via Latina, in a direct line from near Grotta Ferrata to Cava : part of it has been recently restored by Prince Bor- ghese, and we believe it will not be long before it is carried into the central road to Naples, below Segni. It tra- verses the property of Prince Borghese, who has established on the spot a co- lony of Tuscan agriculturists, and has now a large estate of beautiful and flourishing country, which a few years since was a barren wilderness. Below the northern wall is another street paved with large polygonal blocks, where we may examine a fountain with three troughs, supplied by a leaden pipe, of which some remains were lately visible. On the front of the fountain is an in- scription recording its construction by Q. Caelius Latinus and Marcus De- cumuSj at the command of the senate. Close to it is a singular chamber, ap- parently a subterranean reservoir. The roof has a pointed arch like the gate of entrance at Arpino (R. 41, Hand-Book for Southern Italy). This arch is not, as some writers have imagined, constructed on the well-known principle of a Gothic arch, but is composed of nine horizontal courses of great length, laid so as to ap- proach each other, and cut away from below in a pointed form. The water was brought into the chamber by a square conduit, whose specus is 5^ feet high and 2 feet broad. Farther on are the foundations of one of the city gates, some fine examples of Pelasgic walls, the remains of another theatre, and. a large piscina divided into four cham- hexs by pilasters arranged in three rows of five each. In returning to Frascati, travellers should visit the Camaldoli, one of the finest monasleries of the order in Italy, and certainly one of the most beautifully placed. It is remark- able as the retreat of the celebrated Cardinal Passionei, who built himself some cells on the plan of those occu- pied by the monks, decorated their walls with fine engravings, and con- verted a small spot of ground adjoining into a pretty garden, which he culti- vated with great taste. He collected in his garden no less than 800 inscrip- tions found among the ruins of Tus- culum, and indulged his classical tastes by the addition of a valuable library. One of his frequent guests in this re- treat was the Pretender, James III. of England ; and in 1741 he was ho- noured by a visit from Pope Bene- dict XIV. Gkotta Ferrata, about 2 miles from Frascati, in the direction of Albano. The road is beau- tiful, passing through the fine old wood of Grotta Ferrata, remarkable for its immense elms and plane trees. The village contains only 600 souls, and is a mere dependency of the immense castellated monastery of S. Basilio. This celebrated establishment of Basi- lian monks is the only one of the order in the Papal States. The tradition tells 494 EXCURSIONS FROM ROME (Grotta Ferratd). [Sect. I. us that it derives its name from an an- cient grotto closed with an iron grating, in which the miraculous image of the Virgin, now in the church of the mo- nastery, was formerly preserved. It was founded in the beginning of the tenth century by St. Nilus, who was invited to Rome by the Emperor Otho III., at the time when the shores of southern Italy, below Naples, were ra- vaged by the incursions of Ihe Sicilian Saracens. In the fifteenth century it was given by Sixtus IV., incornmendam, to a cardinal; and the first cardinal- abbot whom he appointed was his cele- brated nephew Giuliano della Rovere, afterwards Julius II. This warlike prelate converted it into a fortress, strengthening it with towers, and sur- rounding the whole building with a ditch. His armorial bearings may be seen on immerous parts of the castle, and even in the capitals of the columns in the palace of the abbot. The church was rebuilt in 1754 by Cardinal Gua- dagni, abbot of the monastery. The vestibule, which is much more ancient, is remarkable for the bas-reliefs of the outer entrance, said to have belonged to the original monastery of St. Nilus. The portion which forms the architrave appears to be part of an ancient sarco- phagus, an imperial work, of the time, probably, of Septimius Severus. The door of the church belonged also to the old building erected in the ele- venth century. The Greek inscription on the architrave, exhorting all who enter to put off impurity of thought, is evidently as early as this period. In the interior, on the vault of the high altar, are mosaics of the twelve apostles. In the right aisle is a curious Greek inscription, containing the names of the first twelve jj^ycy^svo;, or abbots, from the foundation of St. Nilus : the dates are reckoned in the Greek manner, from the creation of the world, the year 6513 being given for a.d. 1005, in which St. Nilus died. Another interesting mo- nument of the middle ages is the se- pulchral stone in the left aisle, with an eagle in mosaic, the armorial bearings of the counts of Tusculum. It is said by tradition to have belonged to the tomb of Benedict IX., who was a member of this family. The Chapel dedicated to St, Nilus and St, Bartho- lomew, both abbots of this monastery, is celebrated for its frescoes by Dome- nichino. He was employed by Odo- ardo Farnese, while cardinal-abbot, to decorate it with his pencil, at the par- ticular recommendation of his master Annibale Caracci. He was then in his twenty-ninth year, as we learn from the date 1610, which may be observed on the ceiling. These fine works have generally been classed among the mas- terpieces of Domenichino : they repre- sent the acts and miracles of St. Nilus and St. Bartholomew. Beginning from the left of the altar, the subjects occur in the following order : — 1. The demo- niac boy cured by the prayers of St, Nilus with oil taken by St. Bartho- lomew from the lamp of the Madonna. In the lunette above is the death of St. Nilus, surrounded by the monks. 2. The Virgin in glory, surrounded by angels, giving a golden apple to the two saints. 3. The meeting of St. Nilus and the Emperor Otho III., one of the best composed and most powerful paintings of the series : the trumpeters are justly regarded as a prodigy of ex- pression. The figure in green holding the emperor's horse is Domenichino himself, the figure leaning on the horso is Guido, and the one behind him is Guercino ; the courtier in a green dress dismotmting from his horse is Giam- battista Agucchi, one of Domenichino's early patrons ; the graceful youth with a blue cap and white plume, retreating before the prancing horse, is the young girl of Frascati whom Domenichino loved, but was unable to obtain from her parents. 4. Tlie miracle of the saint sustaining the falling column during the building of the monastery : a fine composition, remarkable for its perspective and for the great number of episodes introduced. 5. St. Nilus pray- ing for protection from a storm which threatens the harvest. 6. The saint praying before the crucifix. 7. The Annmiciation. These interesting fres- Papal States.] excursions from rome (^Marino). 495 coes, which had suffered greatly from damp and neglect, were cleaned and cleverly restored in 1819 by Camuc- cini, at the cost of Cardinal Consalvi, who died abbot of the monastery. This enlightened statesman at the same time placed in the church the marble bust of Domenicliino executed by Signora Teresa Benincampi, a favourite pupil of Canova. The altarpiece, an oil painting representing the two saints praying to the Virgin, is by Anjiihale Caracci. The service of this church is always performed in the Greek lan- guage and according to the Greek ri- tual. The principal Greek MSS. of the conventual library were removed a few years since to the library of the Vatican (p. 421). The Palace of the Abbot, remarkable for its fine archi- tecture, contains some interesting frag- ments of ancient sculpture found in the neighbourhood of the monastery among the ruins of a Roman villa, long supposed to be that of Cicero. In one of the rooms is a monument to the me- mory of Cardinal Consalvi, who died in the palace. The circumstances at- tending his death are still involved in painful mystery, and the few facts which have come to light confirm the popular impression that he was carried off by poison. Marino, about a quarter of a mile from Grotta Ferrata, prettily situated on an insu- lated hill at the foot of Monte Cavi. It occupies the site of ancient Castri- mcenium, mentioned by Pliny, and con- tains a population of 5078 souls. It is interesting in the history of the middle ages as the stronghold of the Orsini family, who first appear in the thir- teenth century in connexion with their castle of Marino. In 1347 it was at- tacked by Rienzi and gallantly de- fended by Giordano Orsini, whom the tribune had just expelled from Rome. In the following century Marino be- came the property of the Colonna family, who have retained it almost uninterruptedly to the present time. It was the residence of Martin V. in 1424. During the contests of the Co- lonna against Eugenius IV. it was be- sieged and captured by Giuliano Ricci, archbishop of Pisa, the commander of the papal troops. The Colonna, how- ever, recovered the town, and again fortified it against Sixtus IV. in 1480, by erecting the strong walls and towers which still surround the town, and add so much to its picturesque beauty. From the situation of Marino, on a hill high above the plain, the climate is par- ticularly healthy, and during the sum- mer it is frequented by numerous fami- lies from Rome, who are attracted by the cool pure air and by the shady walks in the neighbourhood. Before the restoration of the Via Appia by Pius VI,, the high post-road from Rome to Terracina passed through it, and it was often made one of the sleeping- places on that route. The long street called the Corso, the piazza of the Duo- mo, and the fountain, would do credit to many towns of more importance. The Cathedral, dedicated to St. Barna- bas, contains a fine picture of St. Bar- tholomew by Guercino, seriously injured by retouching ; and another, of St. Bar- nabas, by one of Guercino's scholars. The church of the Trinitd on the left of the Corso, has a picture of the Trinity, by Guido. In the Madonria delle Grazie is the St. Roch, by Domenichino, At the foot of the hill of Marino, lying between it and the ridge of Alba Longa, is a deep glen beautifully wood- ed, called the Parco di Colonna, This valley is highly interesting to the classi- cal tourist as the site of the Aqua Fe- rentina, memorable as the spot on which the Latin tribes held their general as- semblies, from the destruction of Alba to the consulship of P. Decius Mus, B.C. 338. Many councils of the con- federation which took place in this valley are mentioned by Dionysius and Livy : among these are the assemblies at which Tarquinius Superbus com- passed the death of Turnus Herdonius ; that at which the deputies decided on war with Rome to restore the Tarquins to the throne; that held during the siege of Fidenae ; and that which pre- 496 EXCURSIONS FROxAi ROME (Alba Lougo), [Sect. I. ceded the battle of the Lake Regillus. The most interesting fact connected with these meetings is that recorded by Livy in his first book, describing the death of Turnus Herdonius, the chieftain of Ari- cia. He says that Tarquinius Superbus had convened an assembly of the chiefs at daybreak, but did not arrive himself till evening, when Turnus, who had openly expressed his anger at the neglect, indignantly quitted the meeting. Tar- quin, to revenge himself for this pro- ceeding, hired a slave to conceal arms in the tent of Turnus, and then accused him of a conspiracy to assassinate his colleagues. The arms were of course discovered, and Turnus was thrown into the fountain, " caput aquae Ferentinse," where he was kept down by a grating and by large stones until he was drowned. The description of Livy, if written to record an event of our own time, could not apply more accurately to the ground. The traveller may trace the stream to the " caput aquse," which he will find rising in a clear volume at the base of a perpendicular mass of tufa : even the depth of the pool seems to have undergone no change, and it would be impossible to execute a sen- tence similar to that of the Latin con- federates without such a contrivance as they adopted. Alba Longa. ■For many years the Roman anti- quaries fixed the site of this famous city at Palazzola, on the south-eastern mar- gin of the lake of Albano, although the ground was far too limited to be recon- ciled with the descriptions of Livy and Dionysius. The remarkable expression of the former historian, quce ah situ porrectcB in dorso urhis Longa Alha ap- fellata^'' could never have applied to the insulated knoll of Palazzola ; and Sir William Gell, believing that the older antiquaries had not personally investigated the locality, undertook the examination of the ground for the pur- pose of deciding this doubtful point of classical topography. The discovery of the true site of Alba Longa is entirely due to our learned countryman. He foimd that it was situated on the ridge above Marino stretching along the north- eastern margin of the lake. A very beautiful path leads us from Marino to the base of Monte Cuccu, about half a mile north of Castel Gandolfo, near the spot where the Romans made the deep artificial cutting to carry the wa- ters of the lake into the Rivus Albanus before the construction of the Emissary. Here we begin to meet with the ancient road discovered by Sir William Gell, who traced it from near the ruins of Bovillae on the high post-road to Al- bano. He found its course marked by a line of ruined tombs, and traced it across the dry bed of the Rivus Albanus. The rocks in many places have been cut to assist the passage of the road, which may be traced along the edge of the precipice which borders the lake on this side. The accumulation of underwood in many places conceals the road, but wherever we can obtain access to it the marks of wheels are generally visible. At the point where the road terminates are massive walls composed of immense rectangular blocks of peperino, which may be traced for a considerable dis- tance along the ridge towards Palazzola. This ridge, bounded on one side by the precipices of the lake and on the other by the valley of the Aqua Ferentina, will explain to any one who will take the trouble to examine the ground, how appropriately a city so built was desig- nated by the term longa » There is room only for a single street, whose length, so far as the ruins enable us to ascertain it, cannot have been less than one mile. It is not improbable that Palazzola was one of the citadels which defended the town at the south-eastern extremity : Niebuhr's idea that Rocca di Papa was the chief citadel of Alba, and that Monte Cavi was its Capitoline hill, ap- pears quite irreconcileable with the localities. The road leading from the ruins to the plain across the Rivus Al- banus was supposed by Sir W. Gell to be the line of communication between Alba and Lavinium, whose site may easily be recognised by the high tower of Pratica^ the modern representative Papal States. 1 excursions from rome (Palazzola). 491 of that famous Trojan city. Professor Nibby, who subsequently verified the observations of Sir W. Gell, coincides entirely in his conclusions, and very justly commends the patience and abi- lity with which he examined the local- ities. There are few spots in the neigh- bourhood of Rome which the poetry of Virgil has made so familiar to the scholar as Alba Longa ; ** Signa tibi dicam : tu condita mente teneto. Qaum tibi sollicito secreti ad fluminis un- dam, Litoreis ingeiis iiiventa sub ilicibus sus Triginta capitum fcetus enixa jacebit. Alba, solo recubans, albi circum ubera nati. Is locus urbis erit; requies ea certa la- boium," j^n. iii. 385. It is unnecessary in this place to exa- mine the arguments by which Niebuhr has established the mythic character of the early history of Rome. By sepa- rating history from poetic fable, the great historian by no means questions the existence of the ancient cities which figure so conspicuously in the legends of the poets. No one who has explored the country, and has examined the gigantic ruins still standing on the spots described by the Roman writers, can regard their existence as a romance ; and the fact that the poets have asso- ciated them with the events of their legendary history, must at least be re- ceived as a proof of their high anti- quity. There can hardly be a doubt that Alba was a powerful city long anterior to the foundation of Rome : Niebuhr considers that it was the centre of a confederation, distinct from that of the Latins, but in alliance with it. The Roman writers state that Alba was de- stroyed by TuUus Hostilius (b.c. 650), after the famous contest of the Horatii and Curiatii ; but Niebuhr doubts whe- ther its destruction took place at that period, and believes that the city was first seized by the Latin confederation. All the authorities, however, agree that after the ruin of Alba its inhabitants removed to Rome, and settled on the Caelian hill ; and in later times the Julian and other illustrious families traced their descent from these Alban colonists. J From Alba the traveller may visit Castel Gandolfo and descend to the lake of Albano, for the purpose of exa- mining the ancient Emissary ; or he may proceed along the margin of the lake to Palazzola, and from thence to Rocca di Papa and Monte Cavi. Palazzola, a Franciscan monastery, beautifully situated on a knoll at the foot of Monte Cavi, overlooking the lake of Albano, and commanding beautiful views of Castel Gandolfo and the surrounding country. The garden of the monastery is remarkable for the magnificent con- sular tomb, well known by the en- gravings of Piranesi. It is cut in the solid rock, and is supposed upon good grounds to be as old as the period of the second Punic war. It was first discovered in 1463 by Pius IL (^neas Sylvius), who had it cleared of the ivy which had concealed it for ages. It was not excavated to the base until 1576, when considerable treasure is said to have been found in the interior. Tiie style of the monument closely re- sembles that observed in the Etruscan sepulchres — a fact which bespeaks its high antiquity, independently of the consular fasces and the insignia of the pontifex sculptured on the rock. Pro- fessor Nibby considers it the tomb of Cn. Cornelius Scipio, who is the only person recorded in the Fasti Con- sulares as having died while holding both these offices, and is mentioned by Livy as having been seized with apo- plexy while visiting the temple on the Alban mount. Near the monastery are the remains of extensive artificial ca- verns, supposed to be a Nymphaeum of Roman times. In the fifteenth cen- tury they were much visited during summer as a picturesque retreat, but the rock is so fragile, that large quan- tities have fallen in recent years, and part of the roof has entirely disap- peared. Rocca di Papa. From whatever side we approach this picturesque mountain-village, wliether 498 EXCURSIONS FROM ROME (MontC CaVl\ [Sect. T. from the valley of Grotta Ferrata and Marino, or through the magnificent woods of Palazzola, it is scarcely pos- sible to convey any idea of the scenery which presents itself at each turn of the road, Rocca di Papa occupies the site of the Latin city of Fabia, men- tioned by Pliny as existing in his time, and is generally supposed to mark the position of the Arx Albana of Livy, to which the Gauls were repulsed in their attack on Rome. Many antiquaries consider the modern name a corruption of the ancient Fabia, while others de- rive it from the fact that it was one of the strongholds of the popes as early as the twelfth century. It is a long strag- gling village of 2100 souls, built on a steep rock on the edge of the most an- cient crater of the Alban mount. It is first mentioned under its modern name in the chronicle of Fossanuova, in Mu- ratori's great collection, where it is stated that the pope, Lucius in.(118l), sent the Count Bertoldo, the Imperial lieu- tenant, to defend Tusculum against the Romans, and to recapture Rocca di Papa. In the thirteenth century it be- came, like Marino, a lordship of the Orsini family, who held it until the pontificate of Martin V. in 1424, when it passed into the family of the Colonna, who still possess it. During the two following centuries it was the stronghold of the Colonna, and was fre- quently besieged and captured in the wars of the Roman barons. In 1482 it was captured by the duke of Calabria ; in 1484, by the Orsini; and in 1557, during the contests between the Caraf- feschi and the duke of Alba, it was besieged by the people of Velletri, and compelled by famine to surrender. On the extreme point of the rock some ruins of the ancient citadel may still be seen. From this village we ascend to Monte Cavi, through chestnut forests of great luxuriance and beauty. Monte Cavi. Immediately above the village of Rocca di Papa is the semicircular plain called the Campo di Annibale, from a tradition that it was occu- pied by Hanni{)al in his march against Tusculum andj^-Rome. Il is more pro- bable that it was the position of the Roman garrison which, Livy tells us, was placed here to command the Ap- pian and the Latin Ways. The out- line of the crater may be distinctly traced during the ascent: the side near- est Rome has disappeared, but Rocca di Papa probably occupies a portion of its margin. It is generally supposed that the lava currents of Capo di Rove and Morena proceeded from this crater. In different parts of the plain are large roofed pits, fifty feet deep, in which the snow collected on the neighbouring heights for the supply of Rome is pre- served. Monte Cavi, or Monte Albano, the highest point of the chain of moun- tains which bound the Campagna on the east and south, is nearly 3000 feet above the level of the sea. On the summit stood the celebrated Temple of Jupiter Latialis, built by Tarquinius Superbus, aad memorable in Roman history as the scene of the Ferise La- tinae, the solemn assemblies of the forty- seven cities which formed the Latin con- federation. In the last portion of the ascent from the Campo di Annibale we join the ancient f^ia Triumphalis, the road by which the generals who were allowed the honours of the lesser tri- umph, or the Ovation, ascended on foot to the temple. Among those who en- joyed this triumph were Julius Caesar, as dictator ; M. Claudius Marcellus, after his victory at Syracuse ; and Q. Minutius Rufus, the conqueror of Li- guria. The pavement of this ancient road is nearly perfect : the curb-stones are entire throughout the greater part of the ascent, and the central curve, for which the Roman roads were remark- able, is still visible. Many of the large polygonal blocks of which it is com- posed bear the letters V. N., supposed to signify " Via Numinis." On the summit is a broad platform, on which stood the celebrated temple, command- ing the immense plains of ancient La- tium. In the beginning of the last century the ruins then existing were sufficient to show that the temple faced Papal States.] excursions from rome (Monte Cavi). 499 the south ; that it was 240 feet long and 120 feet broad ; and that it was richly decorated with columns of white marble and giallo antico. Many statues and bas-reliefs were also found upon the spot, which proved the magnificence of the edifice under the emperors. In 1783 all these remains were destroyed by Cardinal York for the purpose of rebuilding the church of the Passionist Convent. The Roman antiquaries justly denounced this proceeding as an act of Vandalism, and it is greatly to be re- gretted that so distinguished an admirer of ancient art as Pius VI. did not inter- pose to prevent it. The temple was one of the national monuments of Italy, and no profaning hand should have been allowed to remove a single stone of an edifice so important to the early history of Rome. The only fragment now visible is a portion of the massive wall, on the eastern side of the convent ter- race, composed of large rectangular blocks, and evidently a part of the an- cient foundations of the temple. The church, dedicated to the Holy Trinity by Cardinal York, contains nothing to require notice. The traveller will hardly expect to find any object of interest, either in the church or the adjoining convent, when he observes the pains taken by the monks to exclude from their windows the glorious panorama which captivates every stranger who has the opportunity of enjoying it. At the foot of the mountain are the lakes of Nemi and Albano, with the towns of Genzano, L'Ariccia, Albano, and the papal palace of Castel Gandolfo. Be- yond this rich foreground is the wide- spread plain of ancient Latium, on which, as upon a map, we may mark the battle-fields of the last six books of the ^neid, and the scenes of the first achievements of Rome. Immediately at the foot of the Alban hills we see the vine-clad hill of Monte Giove, the sup- posed site of Corioli, and Civita La- vinia, the modern representative of the Pelasgic city ofLanuvium. On the south the Pontine marshes are concealed by the ridge of Monte Arriano, but we may trace the line of coast from the promon- tory of Porto d'Anzo, the ancient An- tium, to Civita Vecchia ; and as the eye traverses the dark band of forests which spread along the shore for nearly sixty miles, we may recognise the position of ancient Ardea, near the mouth of the Rio Felice ; of Lavinium, the modern Pra- tica; of Laurentum, at Tor Paterno ; of Ostia, near the double mouth of the Tiber; of the Etruscan citadel of Caere or Agylla; the crater of the lake of Bracciano; and the hills ofTolfa in the distance. Towards the north and east we recognise the heights of Monte Ci- mini, the insulated mass of Soracte, Monte Genaro, the Lucretilis of Horace, and far beyond it the lofty outline of Monte Sarsatelli near Rieti. Within the Ihie of the Sabine hills we see Tus- culum, the lake of Gabii, and the heights of Tivoli ; but the view of Palestrina is intercepted by Monte Pila, wliich rises above the eastern extremity of the Campo ' di Annibale. Behind Monte Pila is the " gelidus Algidus" of Horace, on which Lord Beverley disco- vered a few 3^ears since the ruins of a circular temple. This may possibly be the famous temple of Diana which Ho- race celebrates in a well-known passage : " Qusecjue Aventinum tenet Algidumque, Quindecim Diana preces virorum Curet ; et votis pueronim arnicas Applicet aures." Beyond it, at the opening of the plain of the Sacco, is the little town of Val- montone. The last and greatest feature of the landscape is Rome itself, which is seen from this point to great advan- tage : " Quaque iter estLatiis ad summam fascibus Albam, Excelsa de rupe procul jam conspicit Ur- bem." Lucnn, v. The summit of this hill is well known to the classical tourist as the spot on which Virgil makes Juno survey the contending armies previous to the last battle of the ^neid : " At Juno e summo, qui nunc Albanus liabe- tur, Turn neque nomen erat, nec honos, aut gloria, mouti, Prospiciens tumulo, campum adspectabat, et ambas Laurentum Troumque acies, urbemqne La- tini." , xii. 134. 500 EXCURSIONS FROM ROME {Lake of Alhajio). [Sect. I. Lake of Albano. The ascent from Marino to Castel Gandolfo through the forests which clothe this side of the lake, is one of the most beautiful scenes in Italy : it crosses the ancient paved road leading from Bovillse to Alba Longa, described in a previous page, and passes near the base of Monte Cuccu, the deep arti- ficial channel at the lowest edge of the crater to which we have before adverted. This channel is about 250 yards wide and 30 feet deep ; it is cut in the tufa rock, and evidently served to carry off the waters of the lake into the course of the Rivus Albanus, prior to the con- struction of the Emissary. The Rivus Albanus is now a mere dry bed, which the high post-road from Rome to Na- ples crosses shortly before it reaches Albano. Another road leads from Rocca di Papa to Castel Gandolfo, through Pa- lazzola, and along the southern margin of the lake, traversing the lower ^a//erm below the picturesque convent of the Cappuccini. From whatever quarter the lake is approached, the traveller cannot fail to be struck by its exceeding beauty. No one who has not explored the mag- nificent scenery of the Alban and the Sabine hills can form any idea of the re- sources of Rome as a summer residence. Castel Gandolfo, a small village of 1000 souls, derives its chief importance from the summer palace of the popes, which forms so conspicuous an object from all parts of the lake. In the twelfth century it was the property of the Gandolfi family, whose Turris or Castrum de Gandulphis is mentioned in many documents of the period. Under Honorius III., in 1218, it appears to have passed to the Savelli, who held it as their stronghold for nearly 400 years, defying alternately the popes, the barons, and the neighbouring towns, although they were occasionally driven from their position by superior force. In 1436 it was sacked and burnt by the troops of Eugenius IV., because Cola Savelli had given an asylum to Anto- nio Pontedera, who had rebelled against the pope. On this occasion the castle was confiscated ; but the Savelli again obtained possession of it in 1447, in the pontificate of Nicholas V. This illus- trious family continued to hold it with occasional interruptions until 1596, about which time Sixtus V. had made it a duchy in favour of Bernardino Savelli ; but the fortunes of his noble house were too much reduced to sup- port the dignity, and he sold the pro- perty to the Camera Apostolica, in that year, for 150,000 scudi, an immense sum for the period. In 1604 Clement VIII., by a decree of the Consistory, incorporated it with the temporal pos- sessions of the Holy See. Urban Vill., about 1630, determined to convert it into a summer residence for the sove- reign pontiffs, and began the palace in that year from the designs of Carlo Maderno, Bartolommeo Breccioli, and Domenico Castelli. In 1660 the plans were enlarged and improved by Alex- ander VII., and the whole building was restored and reduced to its present form by Clement XIII. in the last cen- tury. Since that time several Roman families, and particularly the Bar be - rini, the Ludovisi, the Albani, and the Torlonia, have erected villas in the vicinity, which have added considerably to the beauty of tlie lake. The situation of Castel Gandolfo is extremely pic- turesque : it occupies a volcanic peak above the north-western margin of the lake; and from its lofty position, 1350 feet above the Mediterranean and 431 above the lake, its climate is pure and bracing. The Papal Palace, the only country-house belonging to the pope, is a plain, unornamented building, with some large and convenient apartments : the view from it, over the lake, is ex- tremely fine. The church adjoining, dedicated to St. Thomas of Villanuova, was built in 1661 by Alexander VII., from the designs of Bernini, in the form of a Greek cross. It is surmounted with a cupola, and ornamented with Doric pilasters. The interior presents an altar- piece by Pietro da Corfona, and an Assumption by Carlo Marat ta. A pretty path leads down the hill to the Papal States. 1 excvrswss from kome (Lake of Alb ano), 501 lake, the shores of which literally swarm with frogs. " The lake of Albano," says Sir W. Gell, one of the most beautiful pieces of water in the world, and in respect to scenery, beyond com- parison the finest of those of purely volcanic origin in Italy, is about two miles and a third in length, one and a third in width, and more than six miles in circuit. The most remarkable cir- cumstance connected with it was the formation of the Emissary, by which the Romans, while engaged in their con- test with the Veieutes, a.u.c. 359 (b.c. 394), succeeded in lowering the waters, which they imagined were in danger of bursting their banks and destroying the adjacent country. This Emissary is a subterraneous canal, more than a mile and a half in length, excavated generally in the tufa : it varies in height from about seven and a half to nine or ten feet, and is never less than four feet in width. Tlie upper end of the emissary is of course nearly on a level with the surface of the lake, or 919 feet above the sea. The tunnel runs under the hill and town of Castel Gandoifo, which is 431 feet above the lake. The summit of Mont' Albano, on the opposite side of the lake, rises 2046 feet from its waters. Certain holes, such as were called by the Latins Spiramina, and Spiracula, evidently intended to give air to the tunnel below, may be still observed in various parts of the hill. In summer, the water is now seldom more than two feet deep, and does not run at that season with rapidity, as may be observed by means of a candle placed upon afloat and carried down the current. Over the stream is a low flat arch of seven stones ; the blocks with which it is con- structed are large, and of the stone of the country. They have all the appearance of antiquity; for though not only an arch, but a flat arch is used, which would seem to appertain to a late period, yet their antiquity is evidenced by the want of skill manifested in the shape of the stones, which not being sufficiently cruciform, it is surprising that the arch has existed so long. It is now indeed supported by a modern one below, and by a wall of modern workmanship^ Within the enclosure formed by this arch and wall are some ancient stone seats, with a bold moulding, the place having evidently been of that sacred description which the ancients termed a Nymphaeum. Possibly it might have been dedicated to the nymphs as a pro- pitiation, when the tunnel was exca- vated : it certainly existed when Do- mi tian and others of the emperors took so much delight in this region. A quadrilateral court, well walled in with large stones in parallelograms, succeeds to the flat arch ; opposite to which the water enters a narrower passage, and then passes into the interior of the mountain. Over this smaller passage is a vault, but this may possibly be of more recent construction, and from the form of a range of blocks just below the arch it seems not improbable that the original covering might have been by what are called approaching stones. The fir^e old trees which overshadow the spot render the Aiban lake a cool and delightful summer retreat : and the number of blocks, the remains of terraces and buildings, at the water's edge all round the basin, prove how much the Romans, during the brilliant period of the first emperors, enjoyesula), and the heights of Tivoli. Im- mediately behind the citadel are Rocca di Cavi, and Capranica. Among the antiquities discovered at Palestrina, we may mention the fragments of the Fasti of Verrius Flaccus, mentioned by Suetonius, found here in 1773 by Cardinal Stoppani, and well known to scholars by the learned illustrations of Professor Nibby. They are now pre- served in the Yidoni palace (p. 454). About a mile from the lower town are the immense ruins of the Villa built by Hadrian, and enlarged by Antoninus Pius : they give name to the church of S. Maria della Filla, and cover the surface for nearly three- quarters of a mile. The style of their construction presents a great similarity to that of Hadrian's villa at Tivoli : the celebrated colossal statue of Antinous, now in the Braschi palace (p. 441), was discovered in the ruins. On the road to Cavi, a mile beyond the Porta del Sole, we cross the Fosso di Pales- trina by the Ponte dello Spedalato, near which is an octagonal ruin bearing a Papal States.] excursions from rome (Cavi Genazzano) . 513 remarkable analogy to that of the so- called Tempio della Tosse at Tivoli (p. 483). The older antiquaries de- scribed it as a Serapion, as a Temple of the Sun, and as the Schola Faustiniana ; but it is now considered to be a christian church of the fourth or fifth century. In all parts of the country immediately around the lower town are numerous ruins and traces of foundations, the remains probably of patrician villas; but the description of their imperfect fragments would have little interest and would involve many antiquarian theories which it would be a hopeless task to attempt to reconcile. The tra- veller will be more gratified with the examination of the fine fragment of the ancient road which connected the Via Prsenestina with the Via Labicana: it is paved with massive polygonal blocks of lava, and is still perfect for a con- siderable distance. From Palestrina an interesting ex- cursion may be made to Cavi, Genaz- zano, Olevano, and Paliano. At Ole- vano and Paliano the traveller has be- fore him the choice cf two excursions, each of great beauty : in the first, he may proceed from Olevano to Subiaco (p. 487), and return to Rome by Tivoli, visiting on his v/ay the site of Horace's Sabine farm, and ascending Monte Ge- naro — the classical Lucretilis (p. 488) : in the second, from Paliano he may visit Anagni, Ferentino, Segni, and the fine valley of the Sacco (Route 40, in ^Hand-Book for Southern Italy'), and either extend his tour to the mag- nificent Pelasgic fortresses of Alatri and Arpino, on the Neapolitan frontier, or return to Rome by Cora, Velletri, and Albano. Cavi, distant 3 miles from Palestrina, a town of about 2000 souls, finely built on a tufa rock on the slopes of the Monte di Mentorella, one of the most picturesque places in this beautiful dis- trict. The road is ancient, and was probably the line of communication between Palestrina and Anagni : in many parts the polygonal pavement is quite perfect. In pursuing this road we traverse the battle-field on which C. Aquilius Tuscus defeated the Hernici, B.C. 487. We cross the Ponte dello Spedalato, mentioned above ; and near Cavi pass the fine modern bridge of seven arches, built in 1827 over a deep torrent, one of the tributaries of the Sacco. The town was built by the Colonna, who held it as early as the eleventh century: it was one of the dependencies of Palestrina, and shared its fortunes. It is memorable for the treaty of peace signed there in 1557, in the Casa Leoncelli, between the Duke of Alba and the Caraflfeschi. Above Cavi is Rocca di Cavi, 3 miles distant, situated on the summit of a commanding hill. It is a small mountain-village of 500 souls, and has been in the possession of the Colorma family since the thirteenth century. The road from Cavi to Pa- liano is good, and one of the most beautiful in this district. A steep de- scent on leaving Cavi brings us into the valley, whence the road again ascends to the church of S. Giacomo and S. Anna, finely situated on a hill overlooking the plain of the Sacco. Beyond it a road on the left hand, through the 01m ata, leads to Genaz- zano, a mile distant from the road. Genazzano, about 4 miles from Cavi, a highly picturesque but dilapidated town of 2400 souls, built on the slopes of a steep hill above the Rivotano torrent, and surmounted by a baronial castle which is cut off from the hill and pro- tected by a drawbridge. It derives its name from the ancient Roman family of Genucia, the ruins of whose villa are still visible. It passed to the Colonna at the same time as Palestrina and Co- lonna, and was for many centuries the fortress of a branch of their family. It is said to have been the birthplace of Martin V., who received there the am- bassadors of the Count de Armagnac. It is also remarkable for the treacherous murder of his kinsman Stefano Colonna in 1433. In the following year it was occupied by Fortebraccio, during his z3 514 EXCURSIONS FROM ROME {Olevauo Paliauo). [Sect. T. attack on Rome. In 1461, Pius II. re- 1 sided there for some time, and in 1557 it ' was the head-quarters of the Duke of i Alba prior to the treaty of Cavi. It is | now remarkable only for the beauty of its position, and for the rich chapel of the Madonna di Buon Consiglio, one of the most famous shrines in this part of Italy. At the festa of the Madonna the peasantry assemble from all parts of the surrounding hills, and from the Neapolitan frontier ; and there is pro- bably no place in the neighbourhood of Rome in which the artist could find so many subjects for his pencil, as during the continuance of this festa. Olevano, 6 miles from Genazzano, another pic- turesque town of 3000 souls, built on a rocky hill at the foot of Monte del Corso, in the midst of the most romantic scenery, which has been for ages the study of the landscape paint- ers of Rome, who reside there in sum- mer for weeks together. It is entirely a town of the middle ages, and de- rived its name from the appropriation of its revenues to provide the churches, on which its territory depended, with incense, called in low Latin Olihcmum, In the twelfth century it was the ba- ronial castle of the Frangipani, who subsequently exchanged it for the castle of Tivera, near Velletri, when Olevano became the property of the Benedictine monastery of Subiaco. In the thirteenth century it passed to the Colonna, who held it till the seventeenth century, when they sold it to the Borghese, who still possess it, with the title of marquis. The approach to Olevano from the side of Subiaco is extremely fine : the old baronial castle of the thirteenth cen- tury built by the Colonna on a massive rock of Apennine limestone, is seen to great advantage; and the insulated hill of Paliano, with the distant chain of the Volscian mountains, combine to form one of the most beautiful scenes in Italy. A view of Olevano from this side is given in Mr. Brockedon's new work on Italy, from a sketch by Mr. East- lake. In the Piazza Maggiore is a fountain with a mutilated inscription recording the formation of an aqueduct by Pius VI., and its restoration in 1820 by Benedetto Greco, " for the love of his country an example of local patriotism which might be advanta- geously followed in many of the large capitals. The church, dedicated to Sta. Margherita, is one of the finest buildings in the town. On the east of Olevano are the ruins of an imperial villa, in which numerous fragments of marble and a marble urn with bas-reliefs, now preserved in the castle of the Coloima at Genazzano, were discovered. A rough but interesting and very beau- tiful path cut in the volcanic tufa as far as Rojate, leads from Olevano to SuVjiaco, through that village and Aflftle. Rojate, a mountain-village of 750 souls, appears, from some remains of walls built of large rectangular blocks, to occupy the site of an ancient city. Jffile is mentioned by Pliny, and its antiquity is confirmed by numerous inscriptions and marble frag- ments discovered in its neighbourhood, which are preserved in the walls of the churches and other buildings. Atiile is frequently mentioned in ecclesiastical documents of the middle ages as one of the temporal possessions of the monastery of Subiaco. The distance from Olevano to Rojate is 4 miles, from Rojate to Affile 5 miles, from Affile to Subiaco 5^ miles : the road between the latter places is very rough, and the excursion can hardly be performed in less than four hours. Paliano, 8 miles from Cavi by the direct road, and 5 miles from Genazzano, finely situ- ated on an insulated rocky hill, in the territory of the ancient Hernici, and one of the strongest positions at the entrance of the valley of the Sacco. Indeed it is rather a fortress than a town, for it is strongly fortified by towers and bastions of the sixteenth century, and it has only one approach by means of a drawbridge. The population is 3688. Paliano ap- pears to have risen in the tenth century, from which time its natural strength Papal States.] excursions from rome (Zagaroio S^^ Gabii). 515 made it an important post In the contests of the Roman barons. It was one of the strongholds of the Counts of Segni, until the pontificate of Martin V., who conferred it on his nephews Antonio and Odoardo Colonna. It is celebrated by the contemporary chroniclers for its defence by Prospero Colonna against Sixtus IV., when Prospero fearing treachery on the part of the inhabitants, seized the children of the principal citizens and sent them to Genazzano as hostages. It remained in their family until 1556, when Paul IV. in his quarrel with Marc Antonio Colonna, deprived him of his feudal possessions, and conferred Paliano on his nephew Giov'^amii Caratfa, the baron who was afterwards beheaded by Pius IV. With this donation, Paul IV. raised Paliano to the rank of a duchy. The fortifica- tions, which now form the chief feature of the town, were built by the Carafla family, and were so perfectly impreg- nable by the warfare of that time, that Paliano became a position of some consequence as a frontier-fortress against Naples. After the memorable victory of Marc Antonio Coloima II. over the Turks at Lepanto, the Colonna were reinstated in their baronial property, and have ever since held Paliano undisturbed. A tolerable road leads from Paliano to Anagiii, below wliich we fall into the road to Naples, by Ferentino and Frosinone (Route 40). Zagarolo. Travellers who have visited Colonna (p. 508) on their road to Palestrina, should return by Zagarolo and the lake of Gabii. Zagar^olo is 6 miles from Palestrina, about 19 miles from Rome by the ancient Via Prsenestina, and about 1 mile from the modern road to Naples, which follows the Via Labicana. It is a small town of 3600 souls, situated on the summit of a long neck of land, almost insulated in the plain midway between Palestrina and Co- lonna. It is the feudal property of the Rospigliosi family, on whom it confers the title of duke. The town consists of one narrow street nearly a mile in length, and from the numerous anti- quities discovered on the hill is sup- posed to occupy the site of an imperial villa. One of these antiquities, a sitting statue of Jupiter with the eagle and thunderbolts, is placed over the Roman gate. Many of the houses are as old as the thirteenth century ; the churches and piazze are decorated with marble columns and inscriptions found upon the spot. Zagarolo was a place of some interest in the history of the middle ages. In the twelfth century it belonged to the Colonna : in the contest of Boniface VIII. with that family it was destroyed by the papal party, and restored by the Colonna on their recovery of Palestrina. It was besieged and captured by Cardinal Vitelleschi in the pontificate of Euge- nius IV., after a siege of three months, and partly destroyed. In 1586 Sixtus V. resided there to watch the progress of his new Aqueduct called the Acqua Felice (p. 320). It became more me- morable under Gregory XIV, as the scene of the celebrated conference of theologians who were commissioned by that pontiff to revise the edition of the Bible now known as the ^"ulgate. An inscription in the palace records this interesting fact, and gives the names of the prelates. In the seventeenth century it became the property of the Rospigliosi, in whose fine baronial palace Charles III. lodged in 1734 on his march to Naples. The palace, situated in the middle of the town, commands on one side an extensive view of the Campagna. Gabii, 7 miles from Zagarolo, and 12 miles from Rome. In visiting the site of this celebrated city from Rome, we leave the city by the Porta Maggiore (p. 259). We have here the choice of two roads : one is the ancient Via Gabina or Preenestina ; the other is the Via Labicana as far as Finocchio, where a branch road passing by the Torre di S. Antonio, a ruined tower of the twelfth century, joins the Via Gabina near the Osteria dell' Osa. Following the Via Gabina, at the distance of 2 516 EXCURSIONS FROM ROME (Gabu) , [Sect. I. miles from the Porta Maggiore, we pass the Acque BoUicante, the supposed limits of the territory of ancient Rome, where the Arvales sang their well- known hymn. About a mile and half beyond this we pass the Tor-re di Schiavi, the site of the villa of the emperor Gordian, of which a large reservoir and other ruins are still visible. The road for many miles is lined with tombs on each side, and still retains its ancient pavement, composed of large polygonal blocks of lava. Beyond the Torre di Schiavi we pass the Torre Tre Teste, and at the distance of 8 miles from Rome cross a deep ravine by the Po?ite di Nono, an ancient bridge in a remarkable state of preser- vation. It is so flat that it frequently escapes the notice of travellers, but it is a noble structure and well worthy of being examined. On descending into the ravine, we see seven lofty arches constructed with great solidity in hori- zontal courses of quadrilateral stones, perfectly Etruscan in their style. The pavement and part of the ancient para- pet are also still preserved. Beyond this we arrive at the Osteria dell' Osa, on the bank of the little stream of that name. In proceeding from the osteria to the ruins, we traverse the spot where the subterranean noises on the passage of horses or a carriage over the hollow ground, are still heard as described by Pliny : qucedam wro terrce ad gressus tremunff stent in Gahinensi agro non procul urhe Roma jvgera ferme ducenta equitantimn cursu,'* We pass in front of the Osteria di Pantano, cross the emissary of the lake near an ancient tomb, and immediately arrive at the ruins of Gabii, marked by the modern village of Castiglione, The site of this ancient city was fully ascertained by Prince Marcantonio Borghese in 1792, when many of the valuable sculptures now in the Louvre were discovered. It is supposed that Castiglione occupies the site of the ancient citadel, and that the city extended from Pantano along the ridge above the eastern side of the lake, the highest portion of the lip of the crater. The history of Gabii is too well known to require repetition : it will be sufficient to state that it was of Greek origin ; that it is celebrated by the Roman historians as the place to which Romulus and Remus were sent to learn the Greek language; that it was ob- tained by Tarquinius Superbus by the treachery of his son Sextus, and conse- quently fell under the power of Rome without a struggle. It was subse- quently ruined in the wars of Sylla, and Horace describes it as depopulated in his time : " Scis Lebedos quid sit? Gabiis desertior atque Fidenis vicus." Ep. i.W. The city does not appear to have been deserted for a long time subsequently, and its name is found in ecclesiastical documents as late as the tenth century. On the rocks above the lake we may trace considerable remains of the ancient walls, arranged in parallelograms. The principal ruin is that of the Temple of Juno Gabina, celebrated by Virgil in the seventh -^neid : quique arva GabinrB Junonis, gelidumque Anienem, et roscida rivis Hernica saxa colunt." The walls of the cella are still perfect, composed of rectangular masses of ga- bina without cement, in the pure Etrus- can style ; many of these blocks are four feet long and two feet high. The interior of the cella, nearly fifty feet in length, still retains its ancient pavement of white mosaic, with the sacrarium six feet deep. Close to this interesting ruin are some fragments of fluted columns of gabina in the Ionic style, on which the stucco coating is still visible. Near this are the ruins of the Greek theatre, with remains of a f ew seats constructed entirely of gabina. Near the Osteria di Pantano are some vestiges of the aque- duct constructed by Hadrian. There are no remains of the baths which were celebrated from the time of Augustus to that of Domitian; the classical tourist, however, will not forget the allusion oJf Horace : " Sane myrteta relinqui, Dictaque cessantein nervis elidere morbum Papal States.'] excursions from roue (Lake of Gabii, Veil). 517 Sulfura contemni, vicusgemit, invidus eegris, Qui caput et stomachum supponere fontibus audent Clusiuis, Gabiosque petunt etfrigida rura." Bp. i. 15.5. Between Castiglione and the lake are the ruins of an ancient church dedicated to S. Primitivo in the eleventh century, with some remains of paintings in the tribune. On the right of the neck of land leading to Castiglione is a conti- nuous series of excavations, from which both ancient and modern Rome have derived their supply of the volcanic stone so often mentioned as the gabina, and of which the earlier republican monuments of Rome appear to have been constructed. Castiglione retains some of its middle-age walls and its ruined tower of the fourteenth century, built on the ancient walls of Gabii. A fine fragment of these walls, composed of rectangular blocks five or six courses deep, may be seen at the north-west an- gle of the tower. The Lake of Gabii is the crater of an extinct volcano. Professor Nibby re marks the singular fact, that though the city is noticed by all the classical writers, no mention of the lake occurs until the fifth century, when it is found in some of the ecclesiastical documents in the Vatican relating to the martyr- dom of S. Primitivo, who was beheaded at Gabii, and his body thrown into the lake. In the eighth century it was < called the Lago di Burrano ; and in the fourteenth century, after the building of Castiglione, it took the name of that village. The whole property formerly belonged to the Colonna, who sold it in 1614 to Cardinal Scipio Borghese, in whose family it has since remained. The lake was drained a few years ago by Prince Borghese, who has converted it from the state of a pestilential marsh into a district of great fertility. About half a mile from Gabii, lower down the valley of the Osa, is Castel d? Osa, formerly supposed to be the site of the Alban city of Collatia, which gave name to one of the gates of Rome, and became celebrated as the scene of the death of Lucretia. The walk through this pretty valley is very agreeable, and the traveller should extend it to Lun- ghezza lower down, on the junction of the Osa with the Anio, where he may explore the fine baronial mansion of the Strozzi family. Lunghezza is beauti- fully situated above these streams, and is more likely to be the site of Collatia than Castel d'Osa. Veii, About 12 miles from Rome, close to the high road to Florence, between the post- station of La Storta and Baccano (p. 247). A carriage for four persons, to go and return in the same day, may be hired for three scudi. The traveller who visits it in a carriage must proceed direct to the Osteria del Fosso, a short distance beyond La Storta, where he will find an ancient road leading to Isola Farnese, and to the site of the ancient city. Those who proceed on horseback or on foot will turn off from the high road near the so-called Tomb of Nero (p. 247), where an ancient road bi'anches ofi' on the right hand, and appears, from the numerous vestiges of massive pavement which were lately visible, to be the Via Veientana. This road is marked on either side by numerous foundations of tombs, one of which, near the building called Ospedaletto. is remarkable for the size and imposing character of its ruins. After crossing two branches of the torrent called the Turia, the road turns almost at right angles, and from thence runs parallel to the valley of the Cremera. Almost opposite this bend, on the other side of the stream, is La Valca^ the supposed site of the camp of the Fabii. Ascending the valley above the junction of the Cremera with the Fosso de' due Fossi, the two streams which surround the site of Veii, we pass the Arco di Pino, a fine arch in the tufa, by which the road in ancient times is supposed to have descended to the Cremera. The elevated ridge on this side of the valley is supposed by Sir W. Gell to be the position of the Roman camp during the siege. The discovery of the true site of Veii is one of those interesting results for which we are indebted to the study of 518 EXCURSIONS FROM ROME (Veil). [Sect. I. Etruscan antiquities, which has made such rapid progress within the last few years. The recent researches among the buried cities of Etruria have done more to elucidate the early history of Italy than the speculations of the an- tiquaries, or the uncertain records hand- ed down to us by the Romaiis them- selves. As early as the fifteenth century the Italian antiquaries began to discuss the locality of this famous Etruscan city ; and from that period to the be- ginning of the present century no spot on the map of Italy has been so much the subject of speculation and dispute. The recent discoveries have added Veii to the number of those ancient cities whose existence is proved to be no fable, and have established beyond a doubt that it was situated between the two streams above mentioned, below the rocky citadel of Isola Farnese. Inde- pendently of the evidence afforded by the ruins, numerous inscriptions bear- ing the names of well-known Etruscan families have been discovered. The most remarkable of these are the in- scriptions of the Tarquitii celebrated by Virgil, and mentioned by Livy among those families which embraced the cause of Rome during the siege : they gave name to theLibri Tarquitiani used by the auruspices, and consulted as late as the fourth century by the Emperor Julian in his expedition against the Persians. Before we proceed to the details of the antiquities, we may re- mind trie scholar of the description of Dionysius, who says that the third war in which Romulus engaged was against Veii, the most powerful city of the Etruscan people, distant from Rome 100 stadia, situated on a lofty and in- sulated rock, and as large as Athens. The distance of 100 stadia is exactly 12^ miles from Rome, calculating 8 stadia to the modern mile : the other points of the description will be adverted to hereafter. We shall not dwell on the facts of the early history of Veii : every traveller may be presumed to be ac- quainted with th^ long wars it sustained against Rome, and with its celebrated siege and capture by Camillus, who entered the citadel by means of amine, B.C. 393, after a ten years' siege. The connection of this mine with the emis- sary of the lake of Albano has already been adverted to at p. 502, and need not be again repeated. On the fall of the Etruscan city the site was long deserted and apparently forgotten until the time of Caesar, when an Imperial municipium arose in the heart of the city, far within the circuit of the ancient walls. Propertius tells us that the an- cient area was converted into pastures in his day : ** Nunc intra muros pastoris buccina lenti Cantat, et in vestris ossibus arva me- tunt." Eleg. iv. 11. In the age of Hadrian, Florus says, Who now knows the site of Veii ? What ruins, what vestiges of it are visible ? It is difRcult for the faith of our annals to make us believe in the existence of Veii a remarkable passage, as the Roman municipium was then flou- rishing within a short distance of the Etruscan walls which we shall pre- sently describe. In the middle ages the situation of the ruins, so near the Roman road, was not likely to escape the notice of the barons in their system of predatory warfare. The ecclesiastical MSS. in the Vatican tell us that in the beginning of the tenth century a castle existed on the isolated rock which we consider to have formed the fortress of the ancient city. It derived from its position the name of Isola, being called in the documents of the tenth century the Isola di Ponte Veneno, and in more recent times the Isola Farnese. This tower was evidently a position of some strength, as the hostages sent by the emperor Henry V. to pope Paschal II. were placed in it for security. In the fourteenth century it was held by the Orsini, and in 1485 was captured by Prospero Colonna. In the contests of Alexander VI. with the Orsini, Isola was besieged by Caesar Borgia, and captured after twelve days' siege, when a great portion of the castle was de- stroyed. It appears at a later period to have been incorporated with the duchies of Castro and Ronciglione, and to have Papal States.'] excursions from rome (Veii). 519 derived from their possessors the title of Farnese. In the seventeenth century it passed to the Camera Apostolica, and was sold in 1820 to the Duchess of Chablais, at whose death it came into the possession of the Rospigliosi family, who are its present proprietors. Although Nardini and Holstenius had both tixed the site of Veii at the Isola Farnese, Sir William Gell was the first antiquary who gave a map of Veii, and published an Italian account of the locality in the Transactions of the Ar- chaeological Institute. He examined and traced the ancient walls throughout their entire course : he ascertained that their circuit was not less than four miles, and was convinced that the account of Dionysius, quoted above, describing the city as being as large as Athens, was not exaggerated. The masses of wall thus discovered, concealed among tufts of brushwood and by accumulations of soil, are composed of quadrilateral blocks of tufa, some of which, particu- larly on the northern and eastern flanks, are from nine to eleven feet in length. Sir W. Gell considered that a mass of rock at the south-east point, above the junction of the Cremera with the Fosso de' due Fossi or the Fosso delF Isola, called by the peasants the Piazza d^Armi, was the ancient citadel, and that Isola was beyond the walls. Professor Nibby thought that Isola was too commanding and too important an elevation to be allowed to remain without the walls by a people so warlike as the Etruscans, and consequently regarded it as the ancient Arx, on which stood the cele- brated Temple of Juno, into which the mine of Camillus penetrated. We are disposed to agree with him • in this opinion, as the position at that time must have been impregnable, when it was approachable only on one side. The Piazza d'Armi may have been a second Arx, and the modern name has perhaps preserved a record of the fact. In the flanks of Isola are nume- rous sepulchral chambers, but in neither of the two rocks has any trace of the mine of Camillus been discovered. The site of Veii, as we have stated above, lies between two streams. The first of these, the principal stream of the valley below Isola, is the Fosso di For- mello, the ancient Cremera, well-known in the history of the wars of Veii with the Fabii : it rises under the Moiite del Sorbo near the lake of Bracciano, and is still connected with the emissary by which it discharged its waters The second stream rises near Torre tta, on the left of the Via Cassia, and is traversed by the modern road near the Osteria del Fosso, 12 miles from Rome : near Veii it precipitates itself in a fine cascade over a rock 80 feet high, and then proceeds along a deep channel, sepa- rating Isola from the rest of Veii ; at the south-eastern extremity of Isola it receives two small torrents, called the Pino and the Storta, and is thence called the Fosso de' due Fossi : it unites with the Cremera below the Piazza d'Armi. These two streams very clearly define the outline of the ancient city. We shall now proceed to trace the circuit of the walls, and point out the position of the gates which may still be recognised. Beginning with the road from the Osteria del Fosso, we find the west gate of the city near the Ponte deir Isola, an ancient bridge of a single arch : this gate is sujjposed by the antiquaries to have been the entrance of the road from the Septem Pagi, and they call it from that circumstance the Porta de" Sette Pagi. Near the Fosso dell' Isola, is a gate which appears to have been formed in the walls which united the town with the citadel on the rock of Isola, and called the Porta delV Arce, East of Isola, on the plain below the rock, near the junction of the Fosso del Pino with that of Isola, are some mineral springs, and another gate called the Porta Campana. Beyond, on the south-east, are the ruins of a gate in the direction of Fidense, called the Porta Fidenate. Beyond the Piazza d'Armi, ascending the valley of the Cremera, we may trace the gates in the eastern and northern circuit of the city : the first is the Porta di Pietra Pertusa, in the direction of Vaccareccia and the 520 EXCURSIONS FROM ROME (Veil), [Sect. I. Pietra Pertusa, a remarkable cutting by which the road from Veii joined the Flaminian Way : on the road outside this gate is a large tumulus. At the north-east angle of the walls is the Porta delle Are Muzie : all the internal fortifications of this gate, forming a kind of piazza, have been preserved, together with the remains of a massive bridge composed of quadrangular blocks of tufa ; two roads led out of it, one to Pietra Pertusa, the other to Monte Musino, a remarkable conical hill east- ward of BaccanOj whose summit, clothed with fine groves of oaks, is still crowned with the ruins of a circular building supposed to be the Ara Mutiae, the Temple of the Etruscan Venus. Between this and the next gate, are some remarkable fragments of the ancient walls, composed of enormous blocks of tufa, many of wliich are ten feet long and five feet high : the walls rest on a triple course of bricks each about a yard in length, a peculiarity of con- struction which we believe has not been observed in any other Etruscan city. The next gate is the Porta Capenate^ a double gate flanked by a tower, close to the Ponte Sodo, a bridge excavated artificially in the tufa, 70 feet long, 20 feet broad, and 15 feet high : it is covered with trees and brushwood, and forms one of the most picturesque objects of the locality. This gate was without doubt the principal entrance to Veii, and that by which the roads from Capena, Falerii, Nepe, &c. passed into the city. Near it are the remains of an aqueduct of imperial times and a warm mineral spring. The tumuli in the neighbourhood of the Ponte Sodo have been explored by the Prince of Canino, who discovered in them some of the most beautiful gold ornaments in his collection. The gate is still used for the passage of the modern road from Isola to Formello, Monte Musino, &c. Beyond this is the Porta del Colombario, which derives its name from the ruined Columbarium near it. Farther on are some fine fragments of the city walls, resting on bricks like the portion already described. The last gate to be men- tioned is the Porta Sutrina, a short distance from the Ponte di Formello. The ancient road which entered Veii by the gate of Fidense passed out of it after traversing the whole length of the city, and fell into the Via Cassia near the twelfth milestone on the modern road from Rome. The gate faces Sutri (p. 204), and probably led to it. This brings us back to the Ponte delV Isola, from which we commenced our survey. The circuit of the walls we have now described is supposed to be about four or five miles. In the centre of the plain which they enclose are some vestiges of tombs and a columbarium marking the site of the Roman municipium, founded by the emperors after the destruction of the Etruscan city. It was about two miles in circumference, and was so far within the ancient walls, that the inhabitants seem to have been ignorant of their existence. The Colum- barium is now the only representative of the Roman settlement : it was found entire, the interior was ornamented with stucco and pictures, all of which are destroyed, and only one of its three chambers is now accessible. Near it were found the two colossal heads of Tiberius and Augustus, the sitting co- lossal statue of Tiberius, preserved in the Vatican Museum, a mutilated statue of Germanicus, and other inte- resting fragments, among which are the columns of marmo higio, now used to adorn the Capella del SS. Sacrtimento in the Basilica of S. Paolo. The modern village of Isola is in a state of complete decay. The buildings are chiefly of the fifteenth century ; the appearance of the population, which seldom exceeds 100 souls, bears suffi- cient evidence of the prevalence of ma- laria during the hot months. The church, dedicated to the Virgin and to St. Pancras, was built in the fifteenth century, after the siege of Caesar Borgia : it contains a fresco of the Coronation of the Virgin, the work probably of that period. The village was formerly ap- proached only on one side, and was entered by a gate called the Portonaccio : it has now another gate of later con- Papal States.'] excursions from rome {Lake of Bracciano) . 521 structlon cut in the tufa rock, and com- manding a picturesque view of the cascade, and of the fine precipices which bound the city on this side. Lake of Bracciano. 25 miles from Rome. An excursion to the lake of Bracciano, although seldom thought of by the passing tra- veller, is an agreeable digression from the beaten tract, The scenery of the lake differs in every respect from that of the smaller lakes around Rome ; and the baronial castles which still frown upon ifs banks carry us back into the feudal times more completely than any other objects within so short a distance of the capital. The road to Bracciano is very good ; it branches off from the post-road to Florence, beyond La Storta, and then traverses the ancient Via Clau- dia to the walls of the town. The country is dull and uninteresting until we approach the deserted town of Ga- lera, the representative of the ancient Galeria, beautifully situated on a hill of volcanic tufa above the pretty valley of the Arrone, the natural emissary of the lake of Bracciano. In the tenth century it gave title to the counts of Galera, who held many important towns at this extremity of the Campagna : in the thirteenth century it passed to the Orsini, whose armorial bearings are still visible on the gates. Many of its houses are built in the Gothic style of the thirteenth century, and the walls which surround the town are probably two centuries older. The site has been deserted for many generations on ac- count of the malaria, and is now in ruins. The position is exceedingly ro- mantic, and its complete solitude is one of the most impressive examples of the influence of malaria which it is possible to conceive. Beyond Galera the road traverses a bare and dreary district of uninteresting country, skirting the bar- ren hills which form the southern margin of the crater of the lake. As we approach Bracciano we pass on the left hand a small pestilential lake called the Lago Morfo, beyond which the road divides into two branches ; one leading direct to Bracciano, the other to the Ca- puccini, from whence a straight and very beautiful road a mile in length brings us to the piazza of the castle. Near the Lago Morto we enjoy the first view of the lake, terminated by the picturesque village of Trevignano on the opposite shore, and backed by the forked peak of Monte Rocca Romana, while on the extreme right we see the promontory crowned with the village of Anguil- lara. Bracciano is a well-built town of about 1500 souls, with a thriving paper manufactory, and a magnificent baronial castle in the Gothic style, built by the Orsini in the fifteenth cen- tury, on a commanding rocky emi- nence above the lake. It is generally considered to be the finest feudal castle in Italy : it is defended by four lofty towers, machicolations, and battlements, all in the most perfect order, and lighted by large Gothic windows. It is built of black volcanic stone, said to have been taken from the pavement of the Via Claudia, and the effect of its sombre colour is increased by the im- mense size and proportions of the out- works. The front facing the lake is entered by a projecting gateway leading into a spacious court, resembling in its style the Palazzo di Venezia at Rome. On numerous parts of the building the armorial bearings of the Orsini are still visible. In the interior many of the rooms are hung with tapestry and silk hangings of the time of the Orsini, and the old family portraits, the mas- sive chimney-pieces, and the heavy an- tiquated furniture, complete the picture of a baronial residence of the fifteenth century. The Orsini appear to have been deprived of the property prior to the accession of Martin V., of the house of Colonna, in 1417, but they were re- instated in their possessions by that pon- tiff with the title of counts. In the wars of the Colonna with Sixtus IV. and Innocent VIII. in 1485, Bracciano was captured and sacked by the Co- lonna. The castle appears to have been built about this time, and Paul IV. in 1564 confirmed the Orsini in their fief, and raised it to the rank of a duchy. 522 EXCURSIONS FROM ROME {Lake of Bracciano). [Sect. I. They retained possession of it until the close^of tiie last century, when they sold it to the Odescalchi, who sold it in the beginning of the present century to Gio- vanni Torlonia, tlie banker, for 500,000 scudi. His son still holds the property, and derives from it the title of Duke of Bracciano. The feudal privileges of the castle were not surrendered to the government at the French invasion, and are consequently in full force: the hall of justice is still shown at the summit of the castle, in which the duke has the power of sitting in judgment on his vas- sals. It would be difficult to find in any part of Europe a more perfect real- ization of baronial times than the castle of Bracciano : it seems made to be the scene of some story of romance, and we believe that it was the first place in the neighbourhood of Rome which Sir Wal- ter Scott expressed his anxiety to visit. The town of Bracciano is divided into two portions, the borgo vecchio and the borgo nuovo : the old town includes the castle and its dependencies, but although situated high above the lake it shares with the lov/er quarter the suspi- cion of malaria. The Lake^ a beautiful sheet of water, twenty-two miles in cir- cumference, presents all the characteris- tics of an extinct crater : it is the Lacus Sabatinus of the Romans, and derived its name from an ancient Etruscan city of Sabate, which was supposed by the Roman historians to have been submerged by the waters of the lake. An interest- ing road leads from Bracciano to the little village of Oriolo^ remarkable for the villa of the Altieri family : it passes through a pretty country on the skirts of the great forest in which the Acqua Paola has its origin. On the right hand, between the road and the lake, is the church of San Liberato, distant about a mile from Bracciano ; from whence there is a direct path above the shores of the lake, traversing the ancient pavement of the Via Claudia, which was extended in this direction. The church is beautifully placed on a hill commanding the whole of the lake : it dates from the eighth or ninth century, and occupies the site of a Roman villa called Pausilypon, built by Metia the wife of Titus LH^etius Hedonius, as we may see from the inscription preserved under the portico. The pavement is composed of ancient fragments, among which is an inscribed stone with the name of Germanicus. A road along the margin of the lake leads to Vica- rello and Trevignano. Vicarello^ the ancient Vicus Aurelii. is distant 5 miles from Bracciano : it is remark- able for the ruins of an imperial villa of the time of Trajan, and for the mineral waters known in ancient times as the Thermae Aureliae, and restored by the German College in the ponti- ficate of Clement XII. (17370 under the name of the Bagiii di Vicarello, In the middle ages, as early as the thirteenth century, Vicarello was a for- tified village belonging to the monas- tery of S. Gregorio on the Caelian. It is supposed to have been ruined in the contests of the Roman barons with Ri- enzi, and in later times it became the property of the German College, who have made great eftbrts to bring its baths into repute, in spite of the suspected character of the climate. About 3 miles from Vicarello is Trevignano^ a picturesque village of 500 souls, situ- ated on a projecting rock of lava, and crowned by the ruins of a feudal castle of the thirteenth century. It occupies the site of the Etruscan city of Triboni- anum, of which some remains of walls are still visible. Trevignano is one of the old feudal possessions of the Orsini family, to whom it gave the title of count in the fourteenth century, when its importance was sufficient to confer its name on the lake. The Orsini were besieged here in the fifteenth century by the Colonna and by Caesar Borgia, who took the castle and sacked the town, from which it never afterwards reco- vered. In 1691 it became the property of the ducal family of Grillo, of Genoa, who held it until a few years back, when it passed to the Tuscan family of de' Conti with the title of marquis. In 1835 the present pope raised it to the ^dignity of a principality in favour of Prince Cosimo de' Conti, who has re- Papal States.] excursions from rome (Ostia), 523 stored the town, and introduced into the property the Tuscan system of agricul- ture, so that it now presents a striking contrast to every other baronial property in the neighbourhood of Rome, with the exception of the estates of Prince Bor- ghese at Frascati (p. 490), where the same admirable system has been for some years in progress. The ehurch contains two pictures of more interest than we might expect to find in so re- mote a place : one represents the As- sumption of the Virgin, and is attri- buted to the school of Raphael : the other, representing the Virgin, St. Je- rome, and St. Francis, is by the school of Perugino. From Trevignano a steep and difficult path leads us through the deep ravine called the Val d' Inferno, to the hamlet of Pol/ine, on the ridge which separates the lake of Bracciano from the smaller craters of Martlgnano and Stracciacappe, on the western side of the crater of Baccano. About 5 miles beyond Polline we cross the Ar- rone, already mentioned as the outlet of the lake of Bracciano ; a mile and half beyond which is Anguillara^ a village of 700 souls, anciently called Angularia from the angle formed by the lofty in- sulated rock on which it stands above the north-eastern margin of the lake. In the fourteenth century it gave its name to the lake, and conferred the title of count on that branch of the Orsini family which figures so consyncuously in the history of the period as the Counts of Anguillara. Their baronial castle, crowned and defended by towers of the fifteenth century, still retains their ar- morial bearings, and is remarkable for its successful resistance to the forces of the duke of Calabria in I486, who was compelled to raise the siege and retire with the loss of forty men. The pro- perty passed from the Orsini to the Grillo family, and is now by inlierit- ance the possession of the Duchess of Mondragone and Eboli, their last re- presentative in the direct line. The church, dedicated to S. Maria Assunta, occupies the highest point of the rock : it was rebuilt in bad taste in 1780, and is remarkable only for its fine view over the lake. The Villa Mondragone with its cypress plantations is prettily situ- ated, and adds considerably to the pic- turesque beauty of the town. Near it and in various parts of the neighbour- hood are vestiges of ancient foundations, and numerous fragments of antique marbles and inscriptions, supposed to mark the sites of Roman villas. The most important ruin in the neighbour- hood of the lake was discovered by Pro- fessor Nibby at the deserted church of San Stefano, about two miles south-west of Anguillara: it is of great extent, and is considered by that industrious antiquary to belong to an ancient villa of the first century of our era. Anguil- lara is 20 miles from Rome : the road is practicable for carriages, and falls into the Via Claudia, the high road from Rome to Bracciano, at the Osteria Nuova near Galera. After leaving An- guillara, shortly before we arrive at the point where the cross-roads from Cesano, S, Stefano, and Bracciano fall into this line, the view looking back over the lake is one of the finest scenes of the kind in Italy. OSTIA, AND THE CiTIES ON THE CoAST OF ANCIENT LaTIUM. This excursion, though less performed by the passing traveller than any other in the neighbourhood of Rome, is by no means one of the least interesting, though a journey through the forest is not unat- tended with difficulty and danger. Artists and scholars are occasionall)^ tempted by the classical associations of the spot to make a pedestrian tour to Ostia, and explore the picturesque but deserted coast between it and Nettuno, visiting the sites of Lavinium, Ardea, and Antium on their way. The road from Rome to Ostia is practicable for carriages, and those who are unwilling to encounter the fatigues of the excur- sion along the coast generally go and return on the same day. Travellers whose classical enthusiasm and love of the picturesque may lead them to ex- tend their tour, will find it more desir- able to hire horses at Rome than to en- cumber themselves with a carriage, or 524 EXCURSIONS FROM ROME (Ostia). [Sect. I. risk the fatigues of a pedestrian excur- sion. It is also desirable to obtain per- mission from Prince Chigi to make Castel Fusano the resting-place for the first night, and to be provided before- hand with letters to residents atPratica, Ardea, and Porto d'Anzo. Those who intend to visit Porto and Fiumicino had better do so on their way to Ostia : they must therefore leave Rome by the Porta Portese, and proceed direct to Fiumi- cino by a road described in a subse- quent page, unless they take advantage of the steamers which were lately built in England for the papal government, and now ply regularly upon the Tiber. If this route be pursued, the best plan will be to sleep at the good inn of Fiu- micino on the first night, and at Castel Fusano on the second. Ostia is distant 16 miles from Rome. A carriage for four persons to go and return in the same day may be hired for five scudi. The journey from Rome occupies 3J hours, and that on the re- turn four hours. The road leaves Rome by the Porta San Paolo, and follows the Via Ostiensis, running parallel to the left bank of the Tiber for the greater part of the distance. Soon after passing the basilica of S. Paolo we see the ruins of the Plcus Jlexandi'i^ an ancient Ro- man village discovered a few years since by Professor Nibby. About 4 miles from the gate the ancient Via Lauren- tina, still used as the carriage -road to Decimo and Pratica, branches off on the left hand. At the distance of 9 miles from Rome, after passing the soli- tary osteria of Malafede, we cross a small stream, a tributary of the Tiber, by an ancient bridge called the Ponte della Refolta. The road gradually de- scends as we approach the coast, and traverses a district of melancholy deso- lation, presenting nothing to divert the monotony of the scene except some finely-preserved fragments of the an- cient pavement. As we draw nearer to Ostia we see the salt-marshes which Livy mentions as existing in the time of A.ncus Martins. The road crosses their northern extremity by an ancient bridge, and immediately afterwards we reach the modern village of Ostia. Of all the towns in the contorni of Rome this is one of the most melancholy. The population by the official Raccolta of 1835 comprises only fifty souls; and during the summer heats, when the neighbouring coast is severely afflicted with malaria, this small amount is still further reduced by the emigration of those who are able to leave the spot. The destruction of ancient Ostia by the Saracens in the fifth century was so complete that no attempt was ever made to restore it, and the neighbour- hood appears to have been deserted until A. D. 830, when the present town was founded by Gregory IV. at a dis- tance of more than a mile from the ori- ginal city. The pope surrounded it with walls, and it is mentioned in many ecclesiastical documents of the period under the name of Gregoriopoli. In the pontificate of Leo IV. it became famous for the defeat of the Saracens, which Raphael has immortalized in the third Stanza of the Vatican. For many centuries it was a position of some im- portance in the warfare of the middle ages, and the population appears to have been considerable as late as the fifteenth century, when it was besieged and taken by Ladislaus king of Naples. The fortifications were subsequently re- stored by Martin V., whose arms may yet be recognised on some portions of the walls. About the same time Car- dinal Estouteville, bishop of the dio- cese, restored (he town, and probably laid the foundation of the present Castle^ which was built and fortified by his successor. Cardinal Giuliano della Ro- vere, afterwards Julius II., from the designs of Giuliano Sangallo, who lived at Ostia, as Vasari tells us, for two years in the service of the cardinal. This castle, the picturesque fortress of modern Ostia, consists of massive semi- circular towers in the style of the fif- teenth century, united by a curtain and defended by a ditch. The arms of the della Rovere family are still seen upon the gate : coins were struck in comme- moration of its erection, and the cardi- nal employed Baldassare Peruzzi to Papal States.l excursions fro decorate the interior with frescoes ; but all traces of his works have been de- stroyed by the damp and neglect of upwards of three centuries. In 1494 the cardinal made it memorable for his gallant defeat of the French troops, which had landed and occupied it in the previous year. He also built as an additional defence the Torre Bovacci- ana, lower down the river, but within the circuit of the ancient walls, and continued to improve and strengthen the town after his accession to the papal chair. The appearance of the old for- tress of Ostia, with the two solitary pines which stand in front of it, is ex- ceedingly picturesque, and is well known by numerous engravings. Many of the private houses retain their architecture of this period almost without change. Modern Ostia after the death of Julius II. gradually declined, and was finally ruined in 1612, when Paul V. re-opened the right arm of the Tiber, precisely as the ancient city was ruined by the con- struction of the port of Claudius. It now contains nothing to detain the tra- veller except the castle described above, and the church or cathedral of St. Aurea, rebuilt by Cardinal della Ro- vere from the designs of Baccio Pintelli : it still retains his armorial bearings, and the trophies of his victory over the French. The episcopal palace has been converted by Cardinal Pacca, the pre- sent bishop, into a small museum of antiquities, which contains some frag- ments of inscriptions found among the ruins of the ancient city. The bishopric of Ostia is one of the most celebrated in the Papal States : the church tradition tells us that it was founded in the time of the apostles, while other accounts refer its establishment to the pontificate of S. Urban I., a. d. 229, and regard S. Ciriaco as its first bishop. From the earliest times, as St. Augustin mentions, the pope, when not already a bishop at his election, is consecrated by the bishop of Ostia, who is always a cardinal and the senior member of the Sacred College. The see was united to that of Velletri by Eugenius III. in 1150, and is still held in conjunction with that diocese. •M ROME {Ostia). 525 The chief interest of Ostia at the pre- sent time is derived from the excava- tions begun among the ruins of the ancient city at the close of the last cen- tury. The site of ancient Ostia is a mile and half from the modern vil- lage. This celebrated city, according to the united testimony of the Latin historians, was founded by Ancus Mar- tins as the port of Rome, and for many centuries was the scene of the em- barkation of several im})ortant expedi- tions to the distant provinces of the em- pire. Of these, the most remarkable were the embarkation of Scipio Afri- canus for Spain, and that of Claudius on his expedition to Britain. The port, however, had even then become seri- ously affected by the increasing deposi- tion of the Tiber : Claudius had al- ready begun the new harbour of Porto on the right arm of the river ; and in the time of Strabo the port of Ostia was almost, if not entirely filled up. The fame of the great temple of Castor and Pollux, the ^des Castrorum of Am- mian, the numerous villas of the Roman patricians abundantly scattered on the coast, and the crowds of people who frequented its shores for the benefit of sea-bathing, sustained the prosperity of the city for some time after the destruc - tion of its harbour ; but the growing importance of the new town of Porto gradually led to its decay, and in the time of Procopius it had lost its walls and was nearly deserted. The incursion of the Saracens in the fifth century is the last event to be recorded, and from that time Ostia, which once contained 80,000 inhabitants, fell into a state of utter ruin. The site is now marked by foundations of buildings of inferior architecture, in a great measure concealed by brambles and thickets. It is more remarkable for the excava- tions which have been made upon the spot than for the interest of the ruins. The most important buildings of which any vestiges remain are a temple and a theatre. The Temple was built of brick, and decorated Vv'ith columns of the Co- rinthian order : the niches of the in- terior, and some remains of the portico 526 EXCURSIONS FROM ROME {OsHo). [Sect I. which surrounded the court, may still be traced. Near it is a round subterra- iiean chamber with niches, called the Area di Mercurio, which retains some ancient paintings tolerably preserved. The Theatre, near the modern church of St. Sebastian, is remarkable as the spot on which many early Christians suffered martyrdom : the semicircular walls, a few of the seats and pilasters, are still visible. The only other ruins which deserve mention are the remains of a piscina, and some unimportant foundations of the city walls. Tiie ex- cavations from which these ruins derive their greatest interest were begun, as we have already stated, about the close of the last century. Among the earliest discoverers were our countrymen, Ga- vin Hamilton and Mr. Fagan, the Bri- tish consul at Rome, by whose researches the well-known bust of the young Au- gustus, the Ganymede of Phsedimus, and other beautiful sculptures in the Vatican Museum were brought to light. In 1803 the great excavations were be- gun under the direction of Pius VI 1., and continued for three successive years with the most satisfactory results : in- deed there is scarcely a page of our account of the A atican collection which does not bear record of the important works which were thus recovered. Not- withstanding these discoveries, there is no doubt that the numerous lime- kilns in the wood of Ostia have for centuries been supplied with ancient marbles. When Poggio visited Ostia with Cosmo de' Medici, they found the people occupied with burning an entire temple into lime, and it is of course impossible to estimate the immense number of antiquities which must have been consumed since the period of their visit. In 1824 Signor Cartoni of Rome undertook a series of excavations on the west side of modern Ostia, beyond the walls of the ancient city. The result of his researches was the discovery of a necropolis containing immerous inscriptions and some fine sarcophagi. In one of the tombs he found the most beautiful sarcophagus which has yet been obtained from the ruins of Ostia : it is of white marble, covered with exquisite bas-reliefs repre- senting the visit of Diana to Endymion. The Commissioners of the Fine Arts immediately claimed it for the Vatican ; but through the interest of the cardinal- bishop, on whose territories it was found, S. Cartoni was permitted to sell it to Lord Western, and it is now in England in his lordship's museum at Felix Hall. The Torre Bovacciana, mentioned above as having been built by.TuliusII. while cardinal-bishop of the diocese, is also remarkable for the excavations made in its vicinity by Mr. Fagan in 1797. The fine statues of Fortune and Antinous in the Nuovo Braccio of the Vatican, the three Hermes of Mercury, the colossal busts of Claudius and An- toninus Pius, the busts of Lucius Verus, Tiberius, and Commodus, the Hygeia, and the semi-colossal statue of Minerva in the same museum, were the results of these researches, which do honour to the skill and enterprise of our country- man. The view from the summit of the Torre Bovacciana commands the course of the left branch of the Tiber by which ^neas is made to approach after his flight from Troy. The view is so re- markable that the classical tourist will not fail to ascend for the purpose of comparing it with the well-known de- scription of Virgil, which still applies to the locality in all respects but the woods, which have entirely disappeared from the river- banks : " Jamque rubescebat radiis mare, et aetliere ab alto Aurora in roseis fulgebat lutea bigis : Quum venti posuere, omuisque repente resedit Flatus, et in lento luctantur marmore tonsse. Atque hie ^Eneas ingentem ex aequore lucum Prospicit. Hunc inter fluvio Tiberinus amaeno, Vorticibus rapidis, et multa flavus arena In mare prorumpit: variae circumque su- praque Assuetae vipis volucres et fluminis alveo iEthera mulcebant eantu lucoque volabant. Flectere iter sociis, terraeque advertere pro- ras Imperat, et laetus fluvio succedit opaco." ^n. vii. 24. Although the banks of the Tiber are now destitute of wood, the pine forest of Papal States.'] excursions from ROME {Fiumicino 8^ Porto) . 527 Castel Fusaiio is visible from this tower, and adds greatlytothe picturesque cha- racter of the shores south of Ostia. We shall notice this casino in a subsequent page, when we describe the excursion to Pratica, &c. ; but if the traveller does not intend to prolong his excursion in that direction, we may at once state that he ought on no account to leave Ostia without visiting Castel Fusano, and that many persons consider it the most inte- resting object in the excursion. Between modern Ostia and the Torre Bovacciana the Tiber makes a bend at the south-eastern angle of the Isola Sacra : in this bay many antiquaries have fixed the position of the ancient roadstead, while others with more pro- bability have recognised it in the semi- circular bank of sand close to Torre Bovacciana. This latter locality agrees more accurately with the account of the ancient writers respecting the mouth of the Tiber, which is now no less than three miles distant from the modern village. It is also confirmed by the supposition that the Cilician corsairs, who surprised and destroyed the Roman fleet com- manded by a consul while it was sta- tioned in the harbour, would not have ventured to attack it if the harbour had been so near the city as the other locality would assume. This exploit of the corsairs, which led to the expedition of Pompey against Cilicia, is well known to scholars by the indignant denuncia- tian of Cicero in his oration "pro Lege Manilia :'' — Namquid ego Ostiense in- commodum atque illam labem atque igno- miniam reipublicce qucerar, quum prope i/ispecta/itibus vobis classis ea, ci/i consul populi Romani prcepositus esset, a prcd- donibus capta afque oppressa est. About a mile below Torre Bovacciana, and midway between it and the mouth of the river, is another tower called the Tor di San Michele, an octagonal structure built in 1569 by Pius V. according to an inscription over the entrance door. It is frequently attributed to Michael Angelo, but the date given by this in- scription sufficiently proves that it is considerably later than his time. Near the Torre Bovacciana is a ferry to the Isola Sacra, a sandy and desolate tract, twelve miles in circumference, lying between the two branches of the Tiber. It is supposed to have been first insulated when Trajan constructed the canal of Porto : it is not mentioned by any classical autliorities, and the Tem- ple of Apollo, from vvhicli Volpi ima- gined that it derived the name of Insula Sacra, has no existence but in the fancy of that antiquary and his followers. It is noticed for the first time by an ano- nymous geographer of the fifth century under tlie name of " Libanus Almse Ve- neris/' and is described as abounding in summer with fresh pastures, and co- vered in the spring with roses and flowers. Procopius is the first writer who calls it Sacra ; and Professor Nibby supposes that the epithet was derived either from the donation of the district to the church of Ostia by Constantine, or from the church and tomb of S. Ip- polito, bishop of Porto, whose tower is still standing. Crossing the island we arrive at the right branch of the Tiber, and cross by a ferry to Fiumicino and I'orto. Fiumicino and Porto. By the direct road from Rome Fiu- micino is rather more than 17 miles from the Porta Portese. It is built on the right or western branch of the Tiber, an arti- ficial cutting supposed to have been originally formed by Trajan as a canal for his new colony of Porto, and now the principal channel of communication between the capital and the sea. The road leaves Rome by the Porta Portese, and for about a mile and half traverses the ancient Via Portuensis, when it branches ofl" to the right, and })roceeds in a direct line over the hills of S. An- tonio and Capo di Ferro to Ponte Ga- lera, where it crosses the Acqua Sona, noticed in the journey from Civita Vec- chia to Rome. A long uninteresting tract of flat sandy country, five miles in length, brings us to the ruins of Porto, the ancient Portus Trajanus, founded by Claudius and enlarged by Trajan as the great naval arsenal of Rome. The basin constructed by Claudius was cir- 528 EXCURSIONS FROM ROME {Flumicino Porto), [Sect. I. cular, and formed the outer harbour ; the larger basin of Trajan was hexa- gonal. For many centuries this re- markable undertaking has been the admiration of engineers and men of science. Pius II. and Sixtus IV. were so much impressed with its magnifi- cence and solidity, that they were anxi- ous to restore it to its ancient purpose. Biondo and Maffei described it as one of the wonders of Italy, and Plrro Li- gorio published a plan of the ruins as they were visible in his day. The moles formed for the external defence of the harbour are still traceable, and the sup- posed site of the Pharos constructed by Claudius on the wreck of the ship which brought his two obelisks from Egypt, is also pointed out ; but without the assistance of a ground-plan no ac- count of the ruins would be intelligible, and even then much would necessarily be mere conjecture. The hexagonal basin of Trajan, called by the country- ])eople // Trajajio^ communicates with that of Claudius by a canal : it is not less than a mile and a half in circum- ference! Volpi describes some of the mooring-posts, with their numbers, as still entire in his time. In different parts of the basin are the remains of enormous magazines, and numerous slips for building and repairing vessels; and we know no spot where extensive excavations would be productive of more valuable information regarding the naval establishments of the Roman empire. The ruins of the city of Porto are so irregular and encumbered, that it would be useless to attempt to de- scribe them in detail : the outline of the city, the foundations of a circular tem- ple, and some other unimportant ruins are traceable, but chey present no ob- jects of striking interest. Under the lower empire Porto was a place of con- siderable consequence : it was the seat of a bishopric as early as the third cen- tury, and became remarkable for the martyrdom of S. Ippolito, in the pon- tificate of S. Calixtus I. The city was enlarged by Constantine, and was for many centuries the most important position in the neighbourhood of Rome, on account of the supplies of grain which were landed there from various parts of the Mediterranean. It was be- sieged and captured several times dur- ing the Gothic war : in 408 it was taken by Alaric; in 455, by Genseric ; in 537, by Vitiges ; in 515, by Totila; in the same year it was taken by Belisa- rius ; in 548 it was recaptured by To- tila, and soon afterwards passed to the Greek emperors. In the ninth century it was seized by the Saracens, who re- tained it only for a few years, when the site was finally abandoned. FiuMiciNO is about a mile and half beyond the ruins. The road passes by the Vescovato, or castellated mansion which served as the residence of the bishops of Porto, and on which we still see the arms of Alexander VI., who restored and strengthened it. The navi- gation of the right branch of the Tiber was re-opened in 1612 by Paul V., and as one of the immediate consequences of that measure a small village gra- dually formed at the mouth of the river, which took the name Fiumicino from the new channel, which was so called by the navigators of the Tiber. In 1825 a line of convenient houses and a good inn were erected here by the treasurer -general Cristaldi, and the Ro- mans frequently make it the object of a day's excursion, dining at the inn and returning to Rome in the evening. The landlord relates with pleasure the sump- tuous dinner provided there for the Grand-Duchess Helena, when she vi- sited Ostia a few years since : it is said, and we believe with truth, that it was the only agreeable part of her expe- dition. The entrance to the channel of Fiumicino is very narrow and occasion- ally difficult : the current of the river, though deep, is extremely rapid, and it has been found necessary to protect the banks by piles for a considerable dis- tance. The navigation of the stream was formerly a work of great labour, but the employment of steam-vessels has lately removed many of these im- pediments, and vessels are now regu- larly towed up the river to the Ripa Grande. The tower of Fiumicino, built Papal States, 1 excursions from rome (Castel Fusano), 529 by Alexander VI., is a large square structure five stories high, and sur- mounted by a beacon to point out the narrow entrance of the river. Castel Fusano. An agreeable walk of 2 miles brings us from Ostia to Castel Fusano, the old castellated casino belonging to the Chigi family. It is prettily situated in the midst of a pine plantation, not so venerable as the Pineta of Ravenna, but bearing a great similarity to that classical forest. The casino was built in the seventeenth century by the Mar- quis Sacchetti, who was then proprietor of the district, and is one of the most curious examples of the fortified coun- try villas of that period. In order to protect it from the incursions of the pirates it has low towers at the angles fortified with loopholes, and the stair- case in the interior is little better than a ladder by which only one person can ascend at a time. On the summit of the central tower are two stone figures of sentinels, placed there to deceive the pirates by an appearance of protection. Notwithstanding these precautions the apartments are decorated with paint- ings, and fitted up in the usual style of the Roman palaces. In the last cen- tury the property was sold by the Mar- quis Sacchetti to the Chigi family, who improved the pine plantations and con- tributed to the embellishment of the casino. In front of the house is a fine avenue leading in a direct line to the sea-shore, opened by Prince Sigismondo Chigi, and paved with large polygonal blocks of lava taken from the ancient Via Severiana. The same prince, who was well known for his literary tastes, placed in this avenue eight terminal cippi to mark the distance of eight stadia, or an ancient Roman mile. The casino is interesting to the scholar as marking the site of Pliny's Laurentine villa, which he describes with so much enthusiasm. Some remains of founda- tions are still visible, and some inscrip- tions relating to the limits of Laurentum and Ostia are preserved in the cottage of the guardiano, and in different parts of the casino. The rosemary, for which it was celebrated in the time of Pliny, still grows abundantly on the coast. The proper season for enjoying a resid- ence at Castel Fusano is the spring ; in summer it swarms with mosquitoes, and is not free from the suspicion of malaria. Proceeding along the shore we enter the Laurentine forest, which skirts the shores of the Mediterranean in an almost uninterrupted line for nearly sixty miles. It spreads inland to the distance of three miles from the coast, and abounds with buffaloes, wild boars, and occasionally with wolves. As we draw near Tor Paterno it is filled with gigantic groves of the stone-pine, the ilex, the wild olive, &c., and is utterly deserted except by the professed hunter or a few char- coal-burners, whose fires are now and then seen among the dense thickets of the forest : " Bis senos pepigere dies, et, pace sequestra. Per sylvas Teucri mixtique impune Latini, Erravere jugis. Ferro sonat iota bipeuni Fraxiuus ; evertunt actas ad sidera pinus ; Robora, nec cuneis et olentem scindere cedrum, Nec plaustris cessant vectare gementibus ornos." j^n. xi. 133. Tor Paterno (Laurentum), about 7 miles from Castel Fusano, a solitary tower, distant about half a mile from the sea, built upon the ruins of an Imperial villa, and now inhabited by a few sickly soldiers belonging to the coast-guard. The Italian antiquaries for many generations have identified this spot with the site of the famous city of Laurentum, the most ancient capital of Latium, founded eighty years before the taking of Troy, and celebrated by Virgil as the residence of Father Latinus at the arrival of ^neas on the shores of Italy. There can be no doubt that Laurentum must have stood in the vici- nity of Tor Paterno ; but the flatness of the ground and its proximity to the sea have led those writers who wish to apply the descriptions of the poet to the modern topography of the coast, to doubt whether Tor Paterno can be re- garded as the exact locality. The 2 A 530 EXCURSIONS FROM ROME (Pratico). [Scct. I. "vastapalus" and the " ardua moenia " of the twelfth ^neid. would doubtless indicate a city built upon an eminence overlooking an extensive marsh ; and hence Professor Nibby, who examined every foot of ground for miles between Pratica and Ostia, peremptorily rejects Tor Paterno, and fixes the site at the hamlet of Capocotta^ on the Borghese property, about a mile farther inland. There is no trace of any ruins at Capo- cotta, although the ground is covered with fragments turned up by the plough, and the abundance of water will easily explain the possibility of a large tract of marsh having intervened between it and the sea at that distant period. Tor Paterno stands, as we have already stated, on the ruins of an ancient villa : from the peculiarities of its construction there is reason for regarding it as the villa to which Com modus was sent by his physicians. The laurel-groves in its vicinity, from which it derived its name, were supposed to contribute to the salu- brity of its climate. The old brick tower, which still forms a conspicuous object from all parts of the Alban hills, was a place of some strength even in recent years, and was dismantled by the English cruizers during the war of 1809. The shores of Laurentum are still remarkable for the frogs, whose an- cestors were celebrated by Martial as the sole inhabitants of the coast : " An Laurentino tiirpes in littore ranas, Et satius tenues ducere, credis, acos ?" Ep. X. 37. A road through the forest, which a car- riage cannot traverse on account of the accumulations of loose sand, leads us by the ancient V'ia Laurentina to Rome, })assing through the hamlet of Decimo. The ancient pavement is perfect for several miles, but the trees have so en- croached upon it in many places that the immense polygonal blocks have been displaced by their roots. It is much to be regretted that this road has not been kept open : the views in dif- ferent parts of the forest are of the grandest character, and if the road were practicable, it would be more like a continuous avenue than any other road to which it can be compared. Between Tor Paterno and Decimo we pass the ruined arches of an aqueduct of impe- rial times. The distance to Rome by this route is about 16 miles : there is another but longer road through Por- cigliano, which falls into tlie high road from Rome to Ostia at the Osteria di Malafede. Before we proceed south- ward it will be desirable to obtain a guide at Tor Paterno, who may con- duct the traveller through the forest to Pratica, five miles distant, as the tracks of the charcoal-burners are not always sufficient to guide him through the de- solate wilderness which lies between them. Pratica (Lavinium). [There is a small locanda here where a bed may be obtained, but it is very miserable, and the traveller must be prepared to put up with the discomfort, which is certainly not greater than he might expect to find in such a place.] Pratica is distant about 1 8 miles from Rome, 3 from the sea-coast, and 5 from Ardea. It is the modern representative of the city of Lavinium, founded by ^neas in honour of his wife Lavinia, the daughter of Latinus, and the metro- polis of the Latin confederation after the decay of Laurentum, precisely as Alba Longa afterwards became their capital when Lavinium was too small for the increasing population. It is situated on a strip of table-land about 650 yards long by 1 30 broad, and cut off from the rest of the })lain by deep glens, ex- cept at the point where it is connected with it by a natural bridge of rock. The modern name is a corruption of civitas Pah'ica, or Pafras, the names by which it is mentioned in ecclesiastical documents as early as the fourth cen- tury. We may easily recognise in this name the record of the Patris Dei Indi-- getis^ the title by which the Heroum was dedicated to ^neas after he dis- appeared in the Numicus. Some ves- tiges of the ancient city walls may be traced, but the antiquities now visible are very few and.unimpoi tant, Pratica contains a population of about sixty Papal States,'] excursions from rome (Ardea). 531 souls, of whom more than two-thirds are peasants who come from distant parts to seek occupation in the fields. The place is heavily afflicted with mal- aria, of whose fatal influence the coun- tenances of the inhabitants bear a me- lancholy proof. The large baronial mansion of the Borghese family, built in the seventeenth century, contains a few inscriptions discovered on the spot, and valuable as placing beyond a doubt the site of the Trojan city. Its lofty tower, rising from the centre of the building, commands one of the most imposing panoramas which the scholar or the artist can enjoy in this part of Italy. It embraces the whole coast from Ostia to Porto d'Anzo, the Cir- caean promontory, the Volscian moun- tains, the group of the Alban mount, the Sabine hills and the ridge of Monte Cimini, the cupolas and palaces of Rome, and the whole plain of the Campagna. There is a direct road practicable for carriages from Pratica to Rome, distant 18 miles: it joins the ancient Via Ardeatina at the Solfatara, and proceeds thence in a straight line to Rome, passing the Tre Fontane and the basilica of S. Paolo. Another road leads across the country from the Sol- fatara to Albano. About midway between Pratica and Ardea is the torrent correctly called the Rio Torto, identified by the best mo- dern antiquaries with the classical Nu- micus in which ^neas was drowned. If we follow this torrent to its junctio^i with the sea, we shall find that it forms an immense tract of marsh, well known by the engraving in the Duchess of Devonshire's beautiful edition of the ^neid of Annibale Caro. Virgil com- memorates the " fontis stagna Numici;" and Ovid, describing the fate of Anna Perenna, mentions the same fact ; " Corniger hanc cupidis rapuisse Numicius undis Creditur et stagnis occoluisse suis." Fasti iii. 647- On the right bank of this stream is the plain called the Campo Jemini, in which the antiquaries place the site of the great sanctuaries of ancient Latium, the grove of Pater Indiges, the temple of Anna Perenna, the Aphrodisium, and the great temple of Venus which was common to all the Latin tribes. That part of the Campo Jemini which is nearest to the Torre Vajanico was ex- cavated in 1794 at the cost of H. R. H. the Duke of Sussex, when several im- portant sculptures were brought to light, among which was a statue of Venus in Greek marble. The Roman emperors kept an establishment for breeding ele- phants in the territory between Ardea and Laurentum. Ardea, 6 miles from Pratica, still retains the " mighty name " of the Argive capital of Turnus, king of the Rutuli, though its population has dwindled down to less than 100 souls : " Locus Ardea quondam Dictus avis, et nunc magnum mauet Ardea nomen." jTJn. vii. 411. [There is a small wine shop at Ardea where travellers may obtain refresh- ments ; but the best plan is to procure an order from the Cesarini family at Rome, which will obtain accommoda- tion in their castle.] Ardea occupies the crest of a lofty rock of tufa, distant four miles from the sea, and insulated by deep natural ravines except at one point, where it is united to the table- land by a natural isthmus, in which three deep ditches have been cut. The rock on which the modern village is built was the ancient citadel, the city having extended over a large tract of the plain below, where some lofty mounds resembling the agger of Ser- vius Tullius at Rome remain to show how strongly it was fortified. The en- trance-gate is under the north extremity of the baronial mansion of the dukes of Cesarini, to whom the whole country belongs, from the lake of Nemi to the coast. The approach to the gate and the appearance of the rock from all parts of the plain is exceedingly pic- turesque, but the malaria is so severe in summer that the village is almost deserted. On the edge of the rock forming the boundary of the modern 2 A 2 532 EXCURSIONS FROM ROME (^Porto d'^Anzo), [Sect. I. village, we may trace some highly in- structive fragments of the walls of the ancient citadel : they are composed of parallelograms of tufa, irregularly put together without cement, and are cer- tainly to be classed among the earliest examples of this kind of construction. Ardea. as the capital of Turn us, is con- spicuous in the wars of the ^neid : it is remarkable also for its siege by Tar- quinius Superbus, and for the asylum it afforded to Camillus during his exile ; he defeated the Gauls beneath its walls, and was residing there when he was elected dictator and summoned to return to Rome to undertake the siege of Veii. It is about 22 miles from Rome ; the road follows the Via Arde- atina, which is still perfect in many parts. It passes the Rio Torto at the church of Santa Procula, and is joined by the cross-road from Pratica at the Solfatara, whence it proceeds to Rome by Tre Fontane and S. Paolo. Leaving Ardea, we descend the valley of the Rio Felice to the sea- shore, and after crossing the stream of the Fonte della Moleta arrive at a large tower called the Tor di S. Lorenzo. From this point we continue our excursion in a line with the coast, and enter the country of the Volsci. The road lies through dense but picturesque forests of oak and ilex, here and there interspersed with cork-trees and myrtles. The sea in bright weather exhibits the most beautiful effects of colour, sometimes appearing of a deep ultramarine, and at others, where the water is shallow, assuming a tint of brilliant green which it is impossible to exaggerate. Porto d"Anzo (Antium), 16 miles from Ardea, the representative of the celebrated city of Antium, the capital of the Volsci, and one of the most important ports of Imperial Rome. [There is a small inn where travellers may find tolerable accommodation.] Antium, in the early history of Italy, was the most flourishing city on this coast, and is distinguished by Diony- sius by the epithet "most splendid." It is more interesting to the traveller as the spot where Coriolanus, " a name un- musical to the Volscians' ears," stood in the palace of his enemy, and vowed vengeance against his ungrateful coun- trymen : " A goodly city is this Antium : City, 'Tis 1 that made thy widows ; many an hoir Of these fair edifices 'fore my wars Have I heard groan and drop : then know me not, Lest that thy wives with spits, and boys with stones In puny battle slay me." The piratical expeditions of the inha- bitants led to frequent contests with Rome ; the city was captured by Ca- millus and C. Msenius Nepos, B.C. 337, and the rostra of their ships were sus- pended in the Forum. After this period it remained comparatively depopulated for four centuries, although the climate and scenery still attracted the Romans to its neighbourhood. Cicero had a villa at Antium, and another at As- tura, lower down the coast, which he describes in his letters to Atticus. The city was the birthplace of Nero, who restored it on a scale far surpassing its ancient grandeur : he adorned it with magnificent temples, and induced many of the rich patricians to build villas on its shores. The two moles constructed by Nero still remain, a fine example of imperial architecture. They are about thirty feet in thickness, built of large blocks of tufa united by pozzolana ; and stand, like all the ancient moles of which we have any record, upon arches. One of them is 2700 feet in length, the other 1600 : they inclosed an immense basin, nearly as broad as the length of the largest mole. A pharos is supposed to have stood on the insulated rock at the southern entrance of the harbour. About the close of the seventeenth cen- tury Lmocent XII. formed a new port from the designs of Zinaghi, who added a short pier at right angles with the east- ern mole, and filled up the open arches of the Roman construction. The result, as might have been anticipated, was the rapid deposition of sand, which has accumulated to so great an extent that both ports are now useless except for Papal States.'] excursions from rome {Porto d'Anzo), 533 vessels of small tonnage. Beyond this we see beneath the Villa Borghese the remains of the Pamlilian mole, con- structed some years afterwards in the belief that it would prevent the deposi- tions ; but it has only added to the evil, and the magnificent harbour is now completely ruined. The old tower and fortifications were dismantled by the English cruizers during their operations on the coast in the war of 1813. Porto d'Anzo was an important station inter- mediate between Gaeta and Leghorn, and it was considered necessary to de- stroy it in order to prevent its afi'ording shelter to the small craft of the enemy. The ruins of ancient Antium have not been thoroughly explored, and some high mounds seen on entering the town probably conceal interesting fragments which may still be brought to light. The only ruins of the Volscian city now visible are some remains of the walls, in the quarter called the Vignac- cie : they are built of quadrilateral masses irregularly put together, but not of very large size. They are interesting as showing that the Volscian city stood on the rocky eminence above the shore, while the town which arose under the Roman emperors was situated on the sea-side. Near the entrance of the town, on the right hand, we have a fine ruin of imperial construction, supposed to be the villa of Nero : it is imme- diately opposite the modern barracks. It consists of several rooms and baths, which still retain their mosaic pave- ment and their painted walls. The villa appears to have been of great ex- tent, but its chief interest is derived from the large number of works of art which have been found among its ruins. The Apollo Belvedere was found here in the time of Julius II. ; the Borghese Gladiator was discovered about a cen- tury later ; and our account of the Vatican Museum shows how many valuable sculptures have been subse- quently disinterred. There are no re- mains of the temples of Apollo and j^sculapius, celebrated in the history of the voyage of the Sacred Serpent from Epidaurus to Rome ; nor of the more fiimous shrine of Equestrian For tune, which Horace has commemorated in the beautiful ode in which he in- vokes the favour of the goddess for the projected expedition of Augustus into Britain : " O Diva gratum quae regis Antium, Prffisens vel imo toUere de gradu Mortale corpus, vel superbos Vertere funeribus triumphos." Od. I. XXXV. The modern village and harbour of Porto d'A.nzo belong to Prince Bor- ghese, whose villa, formerly the pro- perty of the Costaguti family, stands upon the acropolis of the Volscian city. The climate is considered good, and during the winter and spring nothing can be more delightful as a residence. The beautiful scenery of the neighbour- hood atibrds abundant occupation to the artist, and the lofty and well- wooded banks which bound the coast effectually protect it from the north winds. Be- sides the Villa Borghese the town con- tains a villa belonging to the Mencacci family, who purchased it in 1820 from the Corsini for 20,000 scudi. Don Mi- guel frequently resides here, and makes Porto d'Anzo his head-quarters in his sporting expeditions. The view from the tower of the Villa Borghese is ex- tremely fine : on the left it commands the line of coast towards Nettuno and the Circaean promontory ; further in- land the eye ranges along the Volscian mountains, studded with picturesque villages, among which may be recog- nised Norba, Sermon eta, and Sezza. On the north-east we see the well-known localities of the Alban mount: first, we recognise Velletri, with the citadel of Palestrina and Rocca di Cavi in the distance; then Civita Lavinia, nearly in a line with Nemi ; and farther on, Albano, Castel Gandolfo, Genzano, Rocca di Papa, and the other villages in the neighbourhood, which the tra- veller will hardly require to be particu- larised. The old tower or castle of Porto d'Anzo, which the English dis- mantled in 1813, is supposed to have been built by the Frangipani, who were lords of Astura in the thirteenth cen- 534 EXCURSIONS FROM ROME (NettuTio 8f Asturo). [Sect. I. tury : it bears the arms of Innocent X., of the Pamftli family, who repaired its outworks about the middle of the seven- teenth century. The fortress was parti- ally restored by Pius VII. as a prison for criminals. It will hold 200 per- sons : the number actually confined there, by the last returns, was 191, none of whom were prisoners for life. Of this number 63 were condemned for ho- micides, 18 for wounding, and 79 for theft. Porto d'Anzo is 38 miles from Rome. There are two roads : one leading in a direct line through the forest to Carro- ceto and Fonte di Papa, and falling into the high road from Rome to Albano at Frattocchie; the other passing through Ardea, and already described. The direct route in its passage through the forest is not a regular road, but a mere track for the country carts : the im- mense quantity of loose sand and the abundance of mosquitoes add seriously to the labour of the journey, and with- out a guide it is extremely difficult to recognise the line of route in many places where it is crossed and ro-crossed by the tracks of the charcoal-burners. Nettuno, about a mile south of Porto d'Anzo, with a small inn where travellers will find beds. This is the largest town on the coast of Latium, although the popu- lation is not more than 10 00 souls. It is generally supposed that it marks the site of Ceno, the ancient port of Antium, mentioned by Dionysius ; but on exa- mining the coast it is difficult to ima- gine the necessity which could induce the Volscians to form a harbour at this spot, when their own promontory at An- tium must have alforded more effectual shelter and better accommodation, long before the Roman mole or even the Roman fleet had an existence. In fact there appear no good grounds for as- signing to the Ceno of Dionysius any other locality than that of the modern ! harbour of Porto d'Anzo. We have | already stated that Antium was situ- | ated on the high ground above the pre- I sent village, and hence the city and the port would naturally be mentioned as two distinct objects. The whole coast between Porto d'Anzo and Nettuno is covered with ruins of Roman villas. The first object which attracts attention at Nettuno is the fortress founded by Alexander VI., and restored by Urban VIII. and Alexander VII., whose arms are conspicuous on its walls. It is greatly dilapidated, and is only tenanted by a few soldiers employed in the service of the coast-guard. The town with the immense territory which bears its name belongs to the Borghese family, who purchased it in 1831 from the Camera Apostolica for 400,000 scudi. It con- tains a few antiquities, fragments of columns and capitals, the remains pro- bably of the Temple of Neptune, from which it is supposed to have derived its name. The traveller will be more in- terested with the picturesque costume of the women, which differs altogether from that of the other villages of La- tium, and is quite Oriental in its cha- racter. The common tradition tells us that the inhabitants are descended from a Saracenic colony, probably from one of the piratical bands which infested this coast of Italy in the eighth and ninth centuries. Nettuno was the birth- place of Andrea Sacchi, the painter, who was born in 1600 ; and of Paolo Segneri, called the " flower of Italian eloquence," born in 1624. ASTURA, 7 miles from Nettuno. The road pro- ceeds along the sea-coast, and is very interesting. After leaving Nettuno we cross a stream supposed to be the Lora- cina of Livy : beyond it we cross a branch of the same torrent called the Rio di S. Rocco, and farther on the Foglino, the most considerable stream of this coast, which is passed by a mo- dern bridge of two arches. Beyond this we see numerous ruins of Roman villas and baths, which continue all the way to Astura. This classical village is built on the extremity of a peninsula, to which the ancients gave the name of Papal States. 1 excursions from rome (Etruscan Cities). 535 the Insula Asturae. A lofty tower, visi- ble from all parts of the coast, stands upon its highest point, and is built on the ruins of an ancient edifice supposed with great probability to be the villa of Cicero. He describes it in his letters to Atticus as situated in the sea : Est hie qindem locus amcenus^ et in mari ipso, qui et Antio et Circceiis aspici possit. The illustrious orator embarked here Avhen he lied from the proscription of the triumvirate. The island of Astura as early as the twelfth century was the stronghold of the Frangipani family, from whom it passed successively to the Gaetani, Conti, Orsini, and Co- lonna. In the sixteenth century it became the property of the Camera, and was sohl with Nettuno to Prince Borghese in 1831. The tower, built in the fifteenth century on the supposed foundations of Cicero's villa, includes within its walls the vaults of the Fran- gipani fortress, the melancholy scene of an act of treachery which has made the name of Astura and that of the Frangi- pani infamous in Italian history. In 1268, after the fatal battle of Taglia- cozzo, the young Conradin, the last of the house of Hohenstaufen, took refuge at Astura in order to secure his safety by flight. Jacopo Frangipani, who was then lord of Astura, seized the royal fugitive and betrayed him into the hands of Charles of Anjou, by whom he was basely executed in the great square of the Carmine at Naples. Close to Astura is the stream of the same name, mentioned by Pliny ; and below the village are the remains of the ancient mole, constructed, like that of Antium, upon arches. Travellers who intend to proceed southward will pro- bably be indisposed to traverse the long succession of sandy diines and pestilent swamps, which spread between the sea and the immense forests of the Pontine marshes for a coast-line of twenty-four miles : they may therefore embark at Astura for Terracina, visiting the Cir- csean promontory on their way. For a description of this classical headland, and of Terracina, see Route 41, in the Hand-Book for Southern Italy. Excursion to the Etruscan Cities OF C.*:re, Tarquinii, Vulci, Tus- CANIAj &C. We shall conclude our account of the contorni of Rome with a sketch of an excursion to the sites of those cities of ancient Etruria which have not been already noticed in the preceding routes. Civita Vecchia may be considered the head- quarters of the traveller for this excursion, but we have reserved our ac- count of it for this place, because it seldom happens that travellers, on land- ing at that port, and particularly if they are visiting Italy for the first time, are prepared to make so important a digres- sion from their route. They would also, in many instances, enter upon the tour without that preliminary study which we believe to be necessary in order to appreciate the antiquities. A visit to the Museo Gregoriano, to the Museo Campana, and to the other Etruscan collections in Rome, will prepare the traveller for this excursion more com - pletely than any descriptions in books, and make the journey trebly interesting to the intelligent tourist. The traveller v»^ho has explored the route from Florence to Rome by Siena as described in the preceding pages, will no doubt have visited Volterra, one of the most instructive Etruscan cities which he will meet with in central Italy ; and it is not impossible that he may have made an excursion from Vi- terbo to the cavern-sepulchres of Castel d"Asso, and have explored the sites of Sutri and of Veii on the same route. On the road from Florence by Perugia he will have had an opportunity of exa- mining the Etruscan walls of Cortona and ArezzOj the Etruscan remains at Perugia, and the ruins of the fortified city of Falerii near Civita Castellana. If he have traversed the central road from Perugia to Montefiascone by Citta della Pieve and Orvieto, he will have no doubt examined the remains of the capital of Porsenna at Chiusi. These interesting cities are better known and more accessible than those we are about to describe, but they are not more inte- 536 EXCURSIONS FROM ROME (Cerveteri). [Sect. I. resting or instructive. The cities which may be made the object of an excursion from Rome are Ccere and Pi/rgos, lying near the road to Civita Vecchia ; and those situated between Civita Vecchia and Viterbo, viz. Corneto, Musignano, Vulcif and Tuscania. If the traveller have not visited Viterbo, he may do so on his return to Rome, exploring Castel d'Asso and Veii on his way. As many of these places have no inns, the tra- veller should not fail to furnish himself with introductions at Rome either to the resident proprietors, or to the learned ecclesiastics who have zealously la- boured to illustrate their respective localities, and are always ready to ex- tend their assistance to strangers. It is scarcely less necessary to carry a small stock of provisions, particularly if the traveller intend to make any digres- sions from the high road. Those per- sons who have either not had time or opportunity to study the Etruscan col- lections at Rome will derive a great deal of information from Mrs. Hamilton Gray's ' Tour to the Sepulchres of Etru- ria,' a work which has done much to call attention to this interesting district. It contains also some valuable maps and plates which add greatly to its utility. The road from Rome to Civita Vec- chia is described in Route 25. Those who are disposed to linger by the way must make Civita \'ecchia the resting- place for the first night : it is, however, possible to proceed from Rome to Cor- neto in one day, without stopping at Civita Vecchia ; but these arrangements must of course depend on the conveni- ence of the traveller. The first Etrus- can antiquities which occur are at Mon- terone^ the half-way house, where some remarkable tumuli, opened in 1838 by the Duchess of Sermoneta, may be ex- amined : they are described at page 168, and present nothing which calls for a more detailed notice than has there been given. Cerveteri (Agylla, Cere), 27 miles from Rome. The road to this classical city turns off from the high post-road about six miles beyond Mon- terone, and is practicable for light car- riages. There is no inn there, and introductions are necessary if the tra- veller intend to pay more than a pass- ing visit. Cerveteri is the representative of a city whose antiquity is at least thirteen centuries and a half anterior to our era. It is the Agylla of the Pelasgi and the Caere of the Etruscans, and is celebrated as one of the twelve cities of the Etruscan league, and as the capital of Mezentius when ^neas arrived in Italy. In regard to its ancient names, it is remarkable that Herodotus, Lyco- phron, and all the Greek writers before the Augustan age, call it Agylla, and all the Latin writers call it Caere, ex- cept when the poets introduce the more ancient name for the sake of the metre. The Agylla of the Greeks was founded by the Pelasgi in conjunction with the aborigines, if it were not previously founded by the Siculi. Dionysius mentions it as one of the chief cities of Etruria in the time of Tarquinius Pris- cus, and says that it changed its name when subdued by the Etruscans. Strabo, however, tells us (lib. v., c. ii.), that the new name was derived from the salutation ;^a/^£, with which the Lydians on their invasion were hailed by the Pelasgi from the walls. When Rome was invaded by the Gauls, Caere afforded an asylum to the vestal virgins, who were sent here for safety with the perpetual fire ; and it is supposed that the Romans were first initiated in the mysteries of the Etruscan worship by the priests of Caere, a circumstance from which the antiquaries derive the etymology of the word ccoremonia. In the time of Augus- tus the town had lost nearly all its im- portance ; and Strabo says that in his day it had preserved scarcely any ves- tige of its ancient splendour. It appears, however, from inscriptions still extant, and especially from one of remarkable beauty on Carrara marble, preserved in the Studj at Naples, that Caere obtained great popularity in the time of Trajan for its mineral waters, called the Aquae Caeretanae : they are still in some repute under the name of the Bagni di Sasso, and are situated about four miles west of Cerveteri. In the middle ages the Papal States.] excursions from rome (Cerveteri), 537 town was the seat of a bishopric, and is mentioned as such in church documents as late as the eleventh century, when it had considerably declined. It appears to have remained in comparative ob- scurity until the beginning of the thir- teenth century, when the new settlement of Cere Nuovo was founded, and the present name of Cerveteri was applied to the ancient site. At this time it be- longed to the Bonaventura or Venturini family, from whom it passed to the Or- sini. It was sold by them in 1674 to the princely family of Ruspoli, in whose possession it still remains. The descrip- tion of Virgil, who tells us that Mezen- tius led a thousand men from it to the assistance of Turnus, is still applicable to the locality : " Hand procul hinc saxo incolitiir fundata vetusto Urbis Agyllmae sedes, ubi Lydia quondam Gens belio praeclara jugis insedit Etmscis." j^n. viii. 478. It stands on a long strip of table-land naturally isolated on all sides, except towards the west, by perpendicular precipices, which are not less in some places than fifty feet in height. On the western side, an artificial cutting completed the natural strength of its position. The modern village of Cerveteri is supposed to occupy the site of the ancient Acropolis : it is a poor village of 750 souls, with a Gothic gateway, and a large deserted palace of the Ruspoli family, on whose eldest son it confers the title of Prince of Cerveteri. The town of ancient Ca3re stood on the table-land beyond the point on which Cerveteri is built, between Monte Abetone and the hill of the Necropolis. The Venturini and Orsini surrounded Cerveteri with forti- fications, built of large blocks of tufa taken from the ancient Pelasgic walls, of which considerable remains are visible on the western side of the hill. The four gates may be traced, with two roads leading to them ; one a paved road to Veil, the other leading to Pyrgos, now Santa Severa, on the coast, the ancient port of Caere. The hill of the Necropolis is divided from the town by a small stream called the Ruscello della Madonna de' Caneti, and its surface is excavated into pits called the Bandilaccia, from the num- ber of bandits who formerly inhabiteil them. In 1829, the attention of the antiquaries was directed to the tombs of this Necropolis, by the great number of curious remains which were brought to light. Among these were numerous small figures of black earthenware, with four wings, supposed to represent the Dea Cupra of the Etruscans, On the other side of Cerveteri is the celebrated tomb, excavated in 1836 by Monsignore Reguliiii and General Galassi. It originally formed an immense mound, the base of which was surrounded by a wall with sepulchral chambers for per- sons of inferior rank. The summit was surmounted by the figure of a large lion, and by excavating from the top Monsignore Regulini discovered the sepulchral chamber, which has often been described as the " tomb of General Galassi." It is a long and narrow chamber, with a roof formed of ap- proaching stones of enormous size, and put together in the most substantial style of Etruscan architecture. In this tomb were found the bronze bier, the shields, the arrows, the breastplate of solid gold, the funeral car or hearse, the tripod, &c., which now form so in- teresting a feature in the Gregorian Museum, and are described in our account of that collection at p. 419. Beyond it is another tomb, highly in- teresting as that of a female princess, in which some of the most valuable gold ornaments which gave celebrity to General Galassi's collection were dis- covered, together with some vases bear- ing the name of " Larthia." As all the treasures of these tombs have been removed to Rome, the traveller will see nothing but the remarkable architecture of the chambers, which I he constant accumulation of rubbish is fast ren- dering inaccessible. The discovery of , the tombs has led to a great deal of an- tiquarian speculation, into which it would be unprofitable to enter : it will be sufficient for us to state, that the 538 EXCURSIONS FROM ROME (Comefo), [Sect. I. able antiquary Canina considers that they are at least 3000 years old, or about coeval with the Trojan war; and that, like the circular tombs at Tar- quinii, and the Cucumella at Vulci, they were erected in honour of chiefs slain in war. Ceri Nuovoy a small baronial village of 70 souls, is picturesquely situated on a hill of tufa. It Avas founded, as we have remarked above, in the thirteenth century : in the contests of the Roman barons, it was a place of some strength, and was for a brief period subject to Rienzi. In the fifteenth century it be- longed to the Orsini of Anguillara, who built there a new fortress in 1470. It afterwards passed to the families of Cesi, Borromeo, and Odescalchi, who sold it in 1833 to the banker Torlonia for 230,000 scudi. It has also some tombs in its vicinity, but they contain nothing to call for a detailed descrip- tion. The site of Pyrgos^ the ancient port and arsenal of Cfere, is placed by the antiquaries at Santa Severa, situated on the coast, on the left of the high road to Civita Vecchia, and described at page 167, under Route 25. The tra- veller is also referred to that Route for an account of the town and harbour of Civita Vecchia, the representative of the Roman settlement of Centumcellse, where he may obtain a light carriage for the rest of the excursion. CORNETO (TaRQUINII), 12 miles from Civita Vecchia. [The inn at Corneto is clean, and affords very tolerable quarters.] The road follows the coast line, and is generally in good order. It crosses the Mignone about midway between the two towns, and after leaving Taccone di Mezzo on the right proceeds almost in a straight line to Corneto. On the coast, on the left hand, between the mouths of the Mig- none and the Marta, Torre Clementina, a small custom-house station is a con- spicuous object. The hills on the right of the road are filled with wild boars, which aflbrd excellent sporting during the winter. Corneto^ an epis- copal city of 3800 souls, rose in the middle ages from the ruins of the Etrus- can city of Tarquinii, whose site is about a mile and a half distant. Cor- neto was made a city by Eugenius IV. in 1432, and is surrounded by walls and towers, which belong probably to a much earlier period. The first bishop of Tarquinii, was Apulejus, a.d. 465, but after the death of the fourth bishop the see was transferred to Corneto, which must therefore have been a place of some consequence before the close of the sixth century. It was remarkable during the struggles of the Guelphs and Ghibelines for its attachment to the popes, and was the place where Gregory XI. landed when he brought back the Holy See from Avignon to Rome. The city stands on a lofty hill overlooking the Mediterranean, and from all parts of the coast is a picturesque and im- posing object. The old Gothic cathe- dral of the ninth century, called S. Maria di Castello, was so seriously in- jured by lightning in 1810 that it is now deserted : it is remarkable for its fine dome, and for a doorway with a round arch formerly covered with mosaics : on each side of the door are some Latin inscriptions, recording the names of the bishops of Tarquinii, prior to the change of diocese. The lofty tower is still surmounted by one of the four statues of horses which were found among the ruins of Tarquinii and placed at the angles of the tower. The other three -were struck down by lightning when the cathedral was injured in 1810. Many of the private houses and churches of Corneto are ornamented with mar- bles and columns from the ancient city, and are interesting as affording a good example of Italian Gothic. The large palace of Cardinal Vitelleschi, now a dirty inn, presents some fine and characteristic details of the domestic Gothic architecture of the fifteenth century. The Palazzo Comunale con- tains some frescoes illustrative of the history of Corneto, among which is one tracing the origin of the city to the ancient Corytus, an assumption of an- tiquity to which Corneto has no kind Papal States.] excursions from rome (Corneto). 539 of pretension. Among the private pa- laces may be mentioned the P. Bras- chi, with its charming gardens, liberally- thrown open to the inhabitants ; the P. Falsacappa, containing a small museum of antiques found among the ruins in the neighbourhood; and the collections of Cav. Manzi, most of which are, we believe, for sale. One of the convents of nuns contains a small chapel, in which Madame Mere, the mother of Napoleon, and Cardinal Fesch, are buried. The body of the former is contained in a plain sarco- phagus of white marble, without any inscription; but they will both be re- moved to the church founded by the Cardinal at Ajaccio in Corsica, as soon as it is ready for their reception. The site of Tarquinii is about a mile and a half from the modern city. It occupies a flat table-land still called Turchina, and is surrounded by lofty precipices throughout nearly its entire circuit. At the two extremities of the hill were formerly two towers called Civitella and Castellina ; the latter is occupied by a deserted convent. Nothing now remains of the ancient city but some foundations of walls at the highest part of the hill, built of parallelograms of soft stone, in the massive style of Etrus- can masonry. The position of six gates may be recognised : from that on the south side a paved road leads to Monte Rozzi, the ancient Necropolis. Tarqui- nii was more intimately connected with Rome than any other city of ancient Etruria. It was founded nearly 1200 years before the Christian era by Tar- chon, who assisted ^neas against Tur- nus. Tarquinius Priscus, the son of Demaratus of Corinth, settled there about B.C. 658, and introduced many of the arts and customs of Greece. His first name was Lucumo^ which he ex- changed for that of Tarquinius, at the suggestion of his wife Tanaqud, when he migrated to Rome. The fact is in- teresting, not only in reference to the early history of Rome, but because the names of Lucumo and Tanaquil are of frequent occurrence in inscriptions found among the sepulchres. A deep and broad valley separates the rocky hill of Turchina from that of Monte Rozzi, the ancient Necropolis of Tar- quinii. This hill is one of the most instructive monuments of Etruria, and is alon^ suflicient to repay the labour of the journey. Its surface is covered with an extraordinary collection of sepulchres, amounting in number to many hundreds. A few years ago they were covered by tumuli, which have entirely disappeared, and the uneven surface now presents only a number of open pits leading to the sepulchres. It is from these tombs that the Etruscan student has derived the greater part of his acquaintance with the religious customs, the games, and the costumes, of one of the most extraordinary nations of ancient Europe. The first discoveries were made here in the last century, by Mr. Byres, an Englishman, resident at Rome ; and most of the objects dis- covered were sent to England, either to the British Museum or to private col- lections. The excavations were not pursued on a systematic plan, until Lucien Buonaparte purchased the prin- cipalities of Canino and Musignano, and gave an impulse to the work by his own most interesting researches. The great discoverer has been Signor Avolta, who considers that the Necropolis extended over sixteen square miles, and conjectures, from the 2000 tombs which have been opened in recent years, that their total number could not have been less than two millions. It would be out of place in a work of this kind, if we were to describe in detail the ob- jects which have been discovered in these tombs : most of them have passed into tlie great museums of Europe, or into private collections, and many have been already noticed in our account of the Etruscan museums at Rome. Even the tombs, if their names be not changed by the different ciceroni, are not always shown to travellers in the same succes- sion, so that the student must necessa- rily depend more upon the intelligence of his local cicerone, than upon any descriptions in books. The principal tombs shown to travellers are the fol- 540 EXCURSIONS FROM ROME (Corneto), [Sect. I. lowing, arranged in the order in which they are generally visited: — 1, Grotto vet^so il Mare, consisting of two cham- beis, with two leopards over the door, and a vaulted roof in the inner cham- ber, painted red and blue. — 2. Grotta delta Biga, a single chamber, with a vaulted roof, painted white, black, red, and blue, with ivy wreaths: over the door are two leopards and two geese. The walls are covered with paintings arranged in two compartments. On the lower one, on the right wall, is a group of dancers ; in the upper one are seen the preparations for a chariot race. On the left wall, in the lower compart- ment, is another group of dancers ; in the upper one are various gymnastic sports. On the wall opposite the door, the lower division has a representation of the funeral banquet, with figures crowned with myrtle; above, is another series of games, wrestling, leaping, &c., all highly curious as studies of costume and manners. — 3. Grotta del Barone,dis- covered by Baron Stackelberg, in 1827 ; remarkable for some very interesting paintings of horses in various attitudes and exercises : over the door are a sea- horse and dolphin. — 4. Grotta delle in- scrizioni, one of the most interesting of the series : over the door are two tigers ; on one side is a sacrifice (?), a group of two figures, one of whom is holding a fish in his hand over a gridiron. On the other side, two persons are playing at dice at a hollow table. The walls are covered with groups of figures, in- cluding dancers, horsemen, attendants bearing vases, wrestlers, boxers, &c., with representations of animals, lions, leopards, stags, dogs, &c. Almost every figure bears an inscription, but although they are still legible, the meaning of the words is either altogether unknown, or merely a matter of conjecture. — 5. Ca- mera del Morto, a small tomb, copied in the Gregorian Museum of the Vati- can (p. 419), and remarkable for the painting representing a young girl and a lad laying out the dead body of an old man. The costumes are rich and very interesting, and the whole scene, though perfectly simple in its character, is extremely touching. The other paint- ings represent the funeral dances, and other ceremonies. — 6. Grotta del Tri- clinio, a fine chamber with a vaulted roof : it derives its name from the paint- ings on the walls, in which several male and female figures are seen reclining on couches at a funeral banquet. The costumes and the arrangement of the tables, &c. form a valuable illustration of Etruscan manners. On one of the walls is a lively representation of a dance, in which the arms and hands appear as if playing the castanets. — 7. Grotta delta Querciola, one of the largest and most magnificent of all the tombs of Tarquinii, although much in- jured by damp. The subjects of the paintings are groups of dancers, horse- men, games, boar-hunts, &c. A very accurate coloured engraving of them is given in Mrs. Gray's work already men- tioned. — 8. Grotta del Cardinale, first discovered by our countryman, Mr. Byres, and made known by Micali in 1S08: this tomb consists of a single chamber of great size, with a roof sup- ported on four square pillars, orna- mented with medallions. It appears to have been left unfinished ; the outlines of the figures on the walls may still be traced, but the colours have disappear- ed. The most interesting groups are those on the frieze, representing the good and evil spirits in the act of draw- ing in a car the soul of a deceased per- son to judgment : they are also engraved in Mrs. Gray"s book. The evil genii are painted black with their hair stand- ing on end, and with black buskins; most of thena carry hammers in their hands. This painting is extremely curious, and it is m uch to be regretted that it has been seriously damaged in recent years. — 9. Grotta del Tifone, one of the largest tombs, with a roof sup- ported by a square pillar, bearing on three of its sides the figure of the typhon, or angel of death, from which it takes its name. The sides of the chamber have three ledges, one over the other, on which eight sarcophagi still remain, with recumbent figures on the lids. Two of them are Roman with Latin inscrip- Papal States.] excursions from rome (Ponte delP Abadia). 541 tions, supposed to be those of persons descended from the ancient Etruscan family ; but they seem to be mere in- truders. The Typhon represented here is a winged figure, with folded arms, the lower extremities terminating in serpents. On the right wall is one of the most remarkable paintings at Tar- quinii, a procession of souls with good and evil genii. Mrs. Gray has given a representation of this subject in her work, but it has greatly perished since her drawing was made. The evil genius is black, with his head wreathed with serpents ; he holds an enormous ham- mer in one hand, and the other, which terminates in a claw, is fastened on the shoulder of a youth : a female figure, still bearing marks of great beauty, follows, attended by another evil genius with a serpent twined around his head. About a mile from Corneto, at the upper extremity of the valley, is an ancient circular temple, cut out of the solid rock and carved with pilasters and friezes containing figures of griffins. The roads leading from Corneto to Ponte deir Abadia, the site of Vulci, and to Toscanella, the ancient Tuscania, are practicable only for a very light carriage ; so that in this as in many other excursions in the neighbourhood of Rome, the traveller who visits the district on foot or on horseback will be much less impeded than those who are encumbered with a carriage unsuited to the nature of the ground. Those who cannot ride had better provide themselves with a light carriage at Civita Vecchia. MUSIGNANO. In proceeding from Corneto to Ponte deir Abadia, the traveller should pay a visit to this interesting chateau, the property and favourite residence of Charles Lucien Buonaparte, the Prince of Canino. It is a drive of about four hours from Corneto. The chateau is a plain and unpretending building, and is not only remarkable for its museum of antiquities found on the site of Vulci, but is interesting as a specimen of an estate arranged with taste and farmed with great skill, by one of the most distinguished men of science of our time. The collection of antiques differs from almost all the others which the stranger will have an opportunity of examining out of Rome, in the Egyp- tian character of the monuments it contains. Some of the finest vases and bronzes which have yet been discovered in any part of Etruria were formerly in the prince's museum, but he found it necessary to sell them, and they are now to be sought for in the British Museum, in Paris, and in Munich. Musignano was purchased by Lucien Buonaparte in the ])ontificate of Pius VII. and constitutes, with Canino, the joint principality from which he derives his title as a Roman prince. Ponte dell' Abadia (Vulci), about three hours' drive beyond Mu- signano. The castle of Ponte dell' Abadia, a fine Gothic fortress of the middle ages, with towers and battle- ments, forms a picturesque object in the approach. It is situated on the pre- cipitous banks of the Flora, which is still spanned by the magnificent Etrus- can bridge from which it derives its name. It consists of a single arch, about 115 feet in height, and is built of immense masses of tufa without cement, with a channel on one side of it to serve for the passage of an aqueduct. In the steep valley below it is a large cavern filled with stalactites. The for- tress is still garrisoned by a few soldiers and custom-house officers, and is one of the frontier-stations on this side of the Papal States. There is no doubt that Ponte dell' Abadia occupies the site of ancient V ulci, a city destroyed by Titus Coruncanus after the fall of Tarquinii, but scarcely any remains are now visible. The most beautiful and elaborate specimens of Etruscan workmanship have been found here, and Micali has shewn that many of its vases are of Greek Workmanship, and bear the artists' names, which are visible on the vases of Nola and Cam- pania. On the opposite side of the 542 EXCURSIONS FROM ROME {Toscanello) . [Sect. I. valley, immediately in front of the castle, is the ancient Necropolis. A few miles inland, towards Toscanella, is the village of Canino, remarkable only for the excavations made there by Lucien Buonaparte. Farther north, and within the Tuscan frontier^ near Orbetello, is Cosa, the only city of Etruria whose walls are built in the polygonal style which characterises Pelasgic architecture. The walls are more perfectly preserved than those of any other city of ancient Italy, and it is remarkable that the polygonal con- struction, in this instance, does not denote that high antiquity of which it is the sign in cities of Pelasgic ori- gin ; Cosa being a more recent Etruscan city than Cortona, Vol terra, Tarquinii, and the other capitals in which the horizontal style is found in its greatest purity. This circumstance has given rise to much conjecture, and some anti- quaries are disposed to consider that Cosa was originally a Pelasgic city, which the Etruscans subsequently colo- nized. It is supposed to have been occupied by the Etruscans as the port of Vulci : in later times, it became the seat of a Roman colony planted there to keep the people of Vulci in subjec- tion, after the second memorable over- throw at the lake Vadimon. In order to reach Toscanella, travellers will find it the best way to return to Corneto : on their way they may vary their route by visiting, near the road, at the distance of two miles from Ponte dell' Abadia, the singular tomb called the Cucumella. It consists of a mound of earth, which has been opened and found to contain one circular and one square tower, the whole of which was surrounded by a massive circle of masonry. Toscanella (Tuscania). Before the traveller undertakes this excursion, he should endeavour to pro- vide himself with introductions to some resident family at Toscanella, for there is no inn of any kind at which he may calculate on accommodation. The road is extremely bad, and nothing but a light carriage of the country can ven- ture to traverse it. The journey occu- pies from four to five hours, and is more easily performed on horseback than in any other way. Leaving Corneto, the road descends into the valley, winding round the base of the hill on which the town is built. It then enters on a dreary country, which offers no attraction except the pic- turesque turrets and battlemented walls of Toscanella, which burst upon the view almost immediately after we leave Corneto. A large chamber in- the rock, near which the road passes between the two towns, supplied many antiquities to the British Museum. The foundation of Tuscania is attri- buted by some authorities to Ascanius, the son of ^neas, but its early history is involved in the general obscurity which hangs over so many cities of Etruria. The modern name is traced to the beginning of ihe fourteenth cen- tury, when Toscanella, from its com- manding position on a hill overlooking the plain, was a place of considerable strength. Nothing can be imagined more picturesque than the appearance of the town, surrounded by its walls and towers, which carry the mind back to the middle ages, when it was one of the strongholds of Francesco Sforza, and sustained many a siege in the eventful struggles of that period. The antiquities of this spot have been thoroughly explored by Signor Cam- panari, a native, we believe, of Tos- canella, who has the credit of being the first labourer in the field of Etruscan art who diffused a knowledge of it in England. Signor Campanari's resi- dence is one of the most interesting in the town, and contains some valuable treasures discovered in the recent exca- vations : a tomb in his garden, built on the exact model of one he had brought to light, is well worth a visit. Opposite the town is the hill of the Tombs, which commands a noble view of the embattled walls of Toscanella, and of the higher hill beyond them crowned by the cathedral of San Pietro, a very interesting edifice in the earliest styl-e of Italian Gothic, and attributed Papal States.] excursions from rome {Toscanella). 543 to the eighth century. It is built of fragmeats of ancient buildings: the great doorway has a round-headed arch of singular richness, with a rose window above, and some very curious sculp- tures in the walls, which appear to be Etruscan. The interior was once co- vered with frescoes, but they have nearly disappeared, from damp and neglect. The pillars which support the roof were evidently taken from ancient buildings. The font rests on an antique altar. From the nave a flight of steps leads to the high altar, below which is the crypt, a highly curious and instructive fragment of the Christian architecture of the middle ages. Its immense assemblage of marble columns seems to have been collected from all kinds of buildings, of Roman as well as Etruscan origin. It is sup- posed to have been an ancient Roman bath, built on the foundations of an Etruscan temple. Near the church are two lofty towers of peculiar construc- tion, and apparently Etruscan. From Toscanella a road leads us direct to Viterbo, distant about five hours drive. On leaving Toscanella the road winds up a valley filled with ancient tombs, excavated in the rocks like those which occur so abundantly in all the valleys of this district. From some parts of the road, the four Etrus- can cities of Corneto, Toscanella, Vi- terbo, and Montefiascone are visible at the same time, and form one of the most striking panoramas of the journey. About half way between Toscanella and Viterbo, considerably off the road, is Castel d' Asso, whose cavern-sepul- chres are described at page 201. It will perhaps be more desirable to pro- ceed direct to Viterbo, and make Castel d' Asso the subject of a separate excursion from that town. The tra- veller may advantageously make Vi- terbo his head -quarters for a day or two, and explore the many interesting objects in the town and neighbourhood. On his return to Rome he may visit Sutri and Veii, both of which have already been described. For an ac- count of Viterbo, the Fant/m Voltumncc of the Etruscans, and of the historical associations which make it peculiarly interesting to au English traveller, see Route 25. I N D Abbadia di Campo Reggiano, 152 Abbut of Clugny's cure, 194 Abbot's palace at Grotta Ferrata, 494 Academy of Arts at Perugia, 225 at Siena, l82 at Ravenna, 91 of the Lincei, 426 of ht. Luke, 461 of Antiquities, at Cortona, 212 of Roman painters, 274 at Hadrian's villa, 4/9 , Philharmonic, in Rome, 449 Acciajoli, Niccolo, 169 Accounts in Papal States, 4 Acid, boracic, works of, 17B Acilius Glabrio the duumvir, 283 Acqualagna village, 131 Acquapendente town, 194 Acque Bollicante, 516 Acquoria stream at Tivoli, 483 Adrian I. destroys the Temples at Rome, 271 IV. the English pope, i99 ; bishopric of, 504 VL, tomb of, 372 iEdes Penatium, 275, 288 iEmilia Basilica, 274 /Esculapius, temple of, 280 ^sula, site of, 512 Atlile, marble ruins at, 514 Affliano mountain, 512 Agate of Maffei, 35 ring at Perugia, 218 Agger of Serv. TuUius, 323 Agonalis, circus of, 298 Agostino, works of, 362 Agrario garden at Bologna, 35 Agricola, popular style of, 458 Agriculture of Papal States, xii Agrippa, baths of, 30-i, 478 Agrippina, statue of, 433 Agylla of the Pelasgi, 168, 536 Alabaster manufactories, 177 quarries, 178 Alaric, entrance of, to Rome, 259 Alba Longa city, 496 Alban mount, crater of, 512 Albani, paintings by, 27, 45, 50, 56, 444, 451, 453 Palace, 437 villa, -i68; galleries —paintings, 468; statues, 469 Albano, pictures by, 91, 430, 440 town — historical events, 503 ; villas — pine groves— wine, cathedral, 504 , Lake of, 500 , plain of, 264 to Rome, 502 Alberoni, Cardinal, 108 , bridge built by, 94 Alberti, Giovanni, the engraver, 150 the architect, discoveries of, 507 , Cherubino, paintings by, 373 Albornoz, Cardinal, 128 Alcuinus, Latin Bible of, 377 Aldine Greek Hible, 424 Aldines, series of, 227 Aldini, Prof., legacy of, 63 Aldrobandini, Nozze, 403 villa at Frascati, beautiful situation of, 490 Aldrovandi, palace of, 58 * Aldrovando, MSS. of, 35 Alessi, Galeasso, the architect, 218, 221 Alexander III., triumph of, 188 v.. Pontificate of, 114 VI., Pope, 102 , Pvraraid destroyed by, 271 VII., Pope, 20 , works destroyed by, 271 Alexandri, circus of, 29« ; ruins of, 524 Alexandria, steamers to, 119 Alfani, Paris, paintings of, 225 , Orazio, works of, 220 Alfieri, memorandum of, 18 at the tomb of Dante, 89 Algardi, palace of, 60 , bas-reliefs of, 358 , frescoes of, 4 j 3 Aliense, pictures by, '^22 Alsietina aqueduct, 260 Al temps palace, 437 Altieri palace, 437 ; villa, 503 Alum works at Tolfa, 167 Alunno, Niccolo, pictures by, 229 Alvarez, sculptures of, 461 Amalasentha, murder of, 196 Amazon, grand figure of an, 436 Ameriola City, polygonal walls of, 488 Amphitheatre at Terni, 238 , the Flavian, 269, 294 of Statilius Taurus, 297 Castrense, 297 of Domitian, 503 at Civita Lavinia, 506 Anagni mountain, 512 to Palestrina, 513 to Paliano, 515 Anchera, Card., tomb of, 382 Ancona, 2; situation, 116; history — port, 117 ; Arch of Trajan — mole — harbour — cathedral—churches, 118 ; palaces, 119; prisons— Jews — steamers, &c. to Bologna, 9/ to Foligno, 119, 121 Andreocci, the historian, 146 Anemo river, 98 Angel i, Sta. Maria degli, 229 Angelica Bibliotheca, 359 Angelico, Beato, works of, 158, 373 Angela, Michael, works of, 91, 101, 165, 248, 358, 374 , statues by, 41, 185 , birth-place of, 151 , Moses of, 381 2 B 546 INDEX. Angela, Micliael, Sistine Chapel by, 388 , bust of, by himself, 429 , cliarcoal head by, 4^^8 ' . Sant, castle of, 269, 314 , village of, 164,^88 Anghiari, battle of, 151 Anglo-Saxon pilgrims, famous prophecy by, 295 Anguillara -village, 522 Animals, Hall of, in Vatican, 415 Anio Novus aqueduct, 320 Anio Vetus aqueduct, 259, 320 Annius of Viterbo, 201 Anticoli, vilLige, 485 Antinosi, designs of, 473 Antinous, famous statue of, 436, 441, 512 Antiquities, early Christian, 94 • , Museum of, 422 at Bagnacavallo, 77 at Chiusi, 161 at Civita Vecchia, 166 at Terni, 238 of Rome described, 29, 263, 289— 329 ■ of Tivoli,481 Antium city, 532 Antonelli, Sig., work of, 19 Antonine column, 269 Antonines, the, birth-place of, 506 Antoninus, forum of, 2/7 Antoninus and Faustina, temple of, 280 Antonio da Feirara, 11 Anzo, port of, 533 Apennines, scenery of, 5, 70 ApoUinaire, St., Basilica of, 94 ApoUinaris, the Circus, 299 Apollo, temple of, 94 Apollo Belvidere, 414 ; of Praxiteles, 418 ApoUodorus, works of, 276 Apothecaries at Rome, 251 Appeal courts of the Roman States, 25 Appian way, 267, 312 Aqua Marcia, 320 Tepula, 320 Ferentia, site, 495 Appia, 319 ; Julia, 320 Aquae Tauri of Pliny, 167 Aqueduct at Recanati, 126 of Trajan, 167 , subterranean, at Siena, 189 of Spoleto, 237 of Trevi, 259 at Rome, 260, 319 at 01e\ ano, 514 . at Decimo, 530 of Sixtus v., 515 of Hadrian, 516 Aquila Nera, 155 Aquileja, destruction of, 10 Arabesques, antique, 37, 124 at Loreto, l2l at Caprarolo, 203 of Etruria, 225 Arbia, valley of the, 193 Arcadian Academy, 461 Arch of Augustus, 111, 223 Sept. Severus, 269, 274. 303 . Fabius, 275 Constantine, 270, 301 Dolabella, 302 Drusus, 260, 302 Arch of GallienMs, 302 Janus Q\iadrifrons, 269, 303 Titus, 269, 276, 304 at Ancona, 117 at ('arsoli, 155 at Veii, 517 Archeological Academy, 461 Institute, 462 Architectural antiquities at Bologna, 62 Architecture, illustrations of, xix, 47 , Italian Gothic, 47, 62 , early Christian, xxiii , Pelas>.'ic, xiv, 509 at Siena, 182 , Etruscan, 172 Archives at Siena, 188 of Viterbo, 199 Arciveseovile palace, 58 Ardea village, 532 Arezzo, 72; Etruscan remains — churches, 207 ; cathedral, 208; palaces — museum, 209 ; eminent natives— wine— environs, 210 Ariano, Isola d', 74 Arians, council of, 105 Ariccia, ancient town of, 504 ■ , modern, 505 Ariosto, MSS. of, 18 ; tomb of, 19 , house of, ib. ; retreat of, 10 on the house of D'Este, 13 • at the battle of Frances!, 96 , quotations from, 72, 75 Aristophanes, codex of, 91 Armadj, ai abesques of, 124 Arms of Buoncampagni, 508 Army of Papal States, ix A mo, vale of, 71 Arpino, frescoes by, 226, 490 Arrangement, local, of Rome, 474—477 Arretium City, 207 Arruntius, Lucius, Columbarium of, 319 Arsenal of Caere, 167 ; of Rome, 527 Arsoli village, 485 Art, museum of, 176 , school of, at Ferrara, 10 , school of, at Bologna, 26 Artena, Volscian city of, 512 Artists' festival at Rome, 253 studios at Rome, 457 Arts, Academy of, at Ra>v(*nna, 91 at Siena, 182 ; at Perugia, 225 , Academy of fine, 461 Aruns, tomb of, 161 Arvales.hymn of the, 516 Arx Albana of Livy, 264 As, Roman, collection of, 460 Ascent of the Genaro, 487 to Tivoli, 480 Asdrubal, defeat of, 130 Asinelli Tower, 62 Ass-drivers, day of the, 69 Assemblies of the Latin Tribes, 495 Assisi— scenery, 229; convent— churches, 230 ; relics. 231 ; cathedral. 232 ; fairs- manufactories, 233 . sanctuary of, 217 Asso, Castle of, 202 Assumption of the Virgin, mosaic copy of, 124 Astrone river, 162 Astura, classical village of, 534 INDEX. 547 Astura to Teriacina, 535 Asylum for lunatics at Perugia under the non-restraint s\stem, 227 Athanasians, council of, 105 Athens, steamers to, 119 Augustus, arch of, at Fano, 111 at Rimini, 105 at Ferrugia, 223 , bridge of, at Narni, 241 , bridge of, at Rimini, 105 , mausoleum of, 310 , pillar erected by, 274 , Columbarium of the slaves of, 319 Aurelian way, 167 Aurelian, history of, 258, 269 Aurelio, Fra, works ot, 123 Aurelius, statue of, 425 ; vicus, 522 Aurora of Guido, 451 Austrian Visa, when desirable, 2 Autograph letters at Siena, 190 Autographs of Tasso, 424 of Petrarch, ib. of Galileo. 439 ; of Dante, ib. of Bellarmin, ib of Queen Christina, 445 Aventine hill at Rome, 265 Avenue at Genzauo, 506 Avolta, Sig., discoveries of, 539 Azzo d'Este, commission by, 11 Azzurri, Professor, important discoveries bv, 273 Babbage, Mr., remarks of, 178 Baccano, 205, 246 Bacchus, Temple of, 281, 325 Bacci Museum, 209 Baciccio, paintings by, 359, 367 Biglioni, Atalanta, 227 Family, 217 Bagnacavallo town, 77 Bagni valley, 160 de Ferrata, 167 a Morba at Monte Corboli, 1"9 di Regna, 478 Bajocchi, Roman, 4 Baibus, theatre of, 292 Baldassare's masterpiece, 449 Baluucci, Giovanni, 1.5 Baize near Volterra, 177 Bambocci, paintings by, 453 Bankers at Rome, 251 Baptistery, ancient Lombard, 37 at Bologna, 38 at Loreto, 123 at Ravenna, 82 at Santa Casa, 123 at Siena, la5 of St. Peter s, 350 Barbara of Austria, 17 Barbermi, castle of the, 164 Fountain, 3^1 Palace, 437 ; at Palestrina, 511 Library, Frescoes, Gallery, Ti- tian, Raphael, Beatrice Cenci, 43d ; Library, Autographs, MSS. of Dante, 439 Villa, 323, 503 , works of art destroyed by, 271 Barbieri, grave of, 55 Barbogo, the preceptor of Ariosto, 17 Barcaccia, fountain, 332 I Barclay, John, grave of, 379 Bardella village, 4«7 Barile, Giovanni, carvings by, 397 Baroccio, 124, 226, 227, 373, b77, 402, 45 , masterpiece of, 218 Baronius, Cardinal, retreat of, 490 , tomb ol. 3/7 Barron-hill, collection at, 219 Barthelemy, Abbe, opinions of, 511 Bartola, Taddeo, remarkable paintings bv, 219, 225 ' Bartolomeo, Fra, 124, 446 Basaltic cohimns at Bolsena, 196 Basilica Emilia, 274 of Constantine, 270 , 275, 2/9 Julia, 2/3, 275 at Ravenna, 94 Basilicas at Rome, 334 Basilio, S., castellated monastery of, 493 Bas reliefs at Ferrara, 13, 17 , tine specimen of, 435 of Santa Casa, 123 ofTribolo, 123 at Olevano, 514 Bassanello, site of, 201 Bassano, Jacopo, paintings by, 222, 441, 444, 445 Bastaruolo, paintings by, 17 Bastianino, paintings lay, 13, 14, 16, 17, Bathing places in Tuscany, 162 Baths of Caracalla, 269, 304 of Agrippa, 304, 478 of Constantine, 269, 306 of Diocletian, 296, 306, 323 of Livia, 2/8 of Pozzetta, 68 of Titus, 308 of Paulus Emilius, 307 of Nero, 308 of Vicarello, 522 Battle of Fossalta, 26 of Ravenna, 81, 85 scenes described, 94, 98, 102, 128, 131, 133, 134, 135, 151. 181, 203, 513 Bayard, Chevalier, letter of, 96 Beauharnois, Eugene, offerings at Loreto by, 124 Beccafumi, house of, 189 Beckford, Mr., observations on Bologna, 69 Bede, Venerable, fragments of, 294 Belcaro, castle of, 191 Belisarius repairs Rome, 258, 270 , degradation of, 259 Bell, John, travels of, xxix, 71 , grave of, 464 on the dying Gladiator, 435 on the Caracci, 29 on Boloi^na, 57 Bellini, Giovanni, paintings by, 110, 451, 456 Bellon, discoveries by, 280 Belrespiro, villa, 474 Behidere, hemicycle of, 410 villa at Frascati, 490 Bembo, Cardinal, tomb of, 373 Benedetto, San Inn., 73 Benedict IX., tomb of, 494; XL, tomb of, 220 XIII., tomb of, 374 2 B 2 548 INDEX. Benedict XIV., liberality of, 38 , donation of, 35 , pontilicate of, 121 Benincampi, bust by, 495 Bentivoijlio palace, 59 , death of, 69 Benveiiuli, paintings by, 209 Bergamo Draraanda, works of, 222 Berghem, paintings by, 92 Bernini, works uf, 359, 363, 366,376, 388, 429, 500, 505, 512 , masterpiece of, 362 , house of, 454 Bertinoro, paintings by, 102 Beschreibung, tfie, of Bunsen, 276, 285 Bevagna, paintings by, 234 BeA erley, Earl of, collection of, 411 Bevilacqua palace, 59 Biagio of Siena, anecdote of, 390 Bianchi, the Austrian General, 128 Bibienna. works of, Bible, MS. Hebrew, of 13th century, 98 , vulgate edition of, 515 Biblical varieties at Perugia, 219 Bibliotheca Angelica, 359 Bibulus, tomb of, 311 Bienaime, works of, 458 Biga, hall of the, 417 Bisentina Island, 196 Boarium forum, 277 Boccaccio, house and tomb of, I70 on the Ravenna forest, 96 Bojardo the poet, 10 Boletta di Viaggio, 6 Bologna, 24 ; Apennines — Etruscan origin, 25; the stolen bucket — Guelphs and Ghi- belines, 26 ^ School of Art, 27 ; the Ca- racci,29; Picture Gallery, 32 ; University, 33 ; Museum, 34 ; Library, 35 ; Public Gardens — Hospitals, 36; San Stefano, 37; Churches, 37 — 55 ; Piazza — Fountain, 5(3; Palaces, 57; Asinelli Towers, 62; Colleges. "^3 ; Theatres — Academy of Mu- i sic, 64; Environs — Convents — Certosa — C(^metery, 67 ; Baths of Porretta, 68 ; Sausages — Climate, 63 to Florence, 70 to Modena, 24 to Ferrara, 22 to Ravenna, 77 to Ancoua, 97 Bolsena, antiquities, Etruscan remains, 195 —Lake of. 196 Bondeno town, 9 Bonfigli, Benedict, paintings of, 220, 222 Bontioli palace, 60 Boniface VHL, bronze statue of, 34 Bonome, Carlo, paintings of, 12, 15, 16, 112 Book-keeping in the Papal States, 4 Books in Papal States, xxviii , rare, at Bologna, 35 Boracic acid works, 178 Borghese palace, 439; gallery, Holbein, Raphael, 440 ; Vandyke, Titian, 441 villa — the Lake — Temple of -^ilsculapius— the Hippodrome— tlie (ca- sino — Paintings, Statues — Frescoes— Va- ses, 471 , Cavaliere, 109 Borghetto, post station, 243 Borgia, Csesar, 102, 113 , Lucrezia, tomb of, 17 Borgo, San Sepolcro, 5, 149 , near San Marino, 108 Borgognone, pictures by, 359,450, 505 Borromei, designs of, 359 Borromeo, St. Carlo, 201 Borromini, capricious taste of, 452 Botanical gardens at Bologna, 35 at Rome, 460 Both, paintings by, 445, 452 Bracciano, lake of, 168, 521 Braccio Fortebraccio da Montone, 217, 511 , 513 , skull and bones of. 221 Bramante, designs uf, 57, 121, 128 ■ , bii th- place of, 139 , temple of, 380 , cloisters by, 375 Braschi palace, imposing staircase — gallery — Murillo — Titian —Tintoretto — colossal statue of Autinous — statue of Pasquin, 3^3 441, 538 Brenta, the, 74 Bresca family, privilege of, 327 Breviary MSS. at Perugia, 2l9 Bridge. Roman, at Savignano, 104 of Augustus at Rimini, 105 of Nero at Narni, 160 of Codes, 262 of San Gennarello, 507 of Cavi, 513 Bridges at Rome, 261—263 , flying, 9 rill, Paul, landscapes by, 445, 449, 451, 452, 490 Brine springs of Volterra, 178 Briola, Inno., pictures by, 99 Brockedon on Italian scenery, xxix, 211, 239, 514 Bronze, table of, 434 wolf of Capitol, 428 • statue by Manno, 34 by Calcagni, 124 by Bindelli, 14 by Marescotti, 14 at Gubbio, 132 Bronzino, 441 Brun, Charles le, painting by, 124 Brui), M., of Bologna, 25 Bulicame lake, 197 Bunsen, Chevalier, researches of the, 273, 2, 5, 276,285, 291 Buonamano of Postillions, 7 of Vetturini, 8 Buonaparte, Lucien, iron-works of at Tivoli, 4«3 , Joseph, offerings at Loretoby, 124 the saint, 51 palace — Zoological Museum, 441 Buoncampagni arms, 598 Buonconvento, castle and town, 198 Buoninsegna, Duccio di, painting by, 182 Buonporto,9 Burgess, remarks on Roman remains by, 270, 272 Burial ground, English, 464 Burnet, Bishop, 66 Burton on the Forum Romanum, 272 Busts, antique, at the Rospiglieri palace, 451 INDEX. 549 Busts at Ludovisi villa, 472 at Villa Albani, 470 , hall of, 415 Bustum of Strabo, 311 Buzio, statues by, 573 Byres, Mr., discoveries of, 539 Byron, Lord, quotations from the poems of, 15, 22, 35, 88, 96, 170, 216, 235, 239. 272, 296, 326 at the tomb of Dante, 89 Byzantine MSS. in Vatican, 423 Byzantiaus, Steph., MSS. of, 227 Cabrera on the antiquities of Rome, 387 Cabriolets in Fii\Mi\ States, 6 Caeciatori challenge at Rome, 252 Cacus, cave of, 266 Csecilia, Metellus, tomb of, 312 Caere, port and arsenal of, 167 Csereianus amnis of Pliny, 167 Caesar, Julius, at Ravenna, 78 , forum of, 277 , villa of, at Nemi, 507 Caesars, the palace ol, 277 Cafe Novo at Rome, 451 Calfaggiolo post station, 71 Cagli tow a, 131 Cagliostro the impostor, 107 Caius Ces(ius, pyramid of, 313 Calcagni, bronzes by, 121, 123, 124 Calcagnini, Celio, bequest of, i6 Calcinelli, works of, ioO, 133 Calendar of V. Fiaccus, -i54 Calepodius, catacombs of, 380 Caligula, circus of, 269 Calvart, pictures by, 40, 43 Calvin at Ferrara, 1 2 , rooms of, 1 8 Caraaldolese monastery, 177 Camaldoli monastery, 493 Camassei, Andr., worKs of, 364 Camerino city, 129 Camillus, capture of Veii by, 518 Camp of Hannibal, 498 Campagna of Rome, 4, 483, 488 Museum, 455 Campanari, Sig., residence of, 542 Campanile of Loreto, 121 of Viterbo, 200 Campelli, Agostino, frescoes of, 363 Campo Santos, 9, 17, 67 Vacchino, 272 Campus Scelnratus, 323 ; Martins, 254 Camuccini, Baron, works of, 2/8, 286, 453, 456, 458 Carauscia village, 211 Canal of SoU'atara, 478 Canals in Italy, 23 , PampiLio, 9 di Loreo, 74 , the Zanelli, 100 Candelabra, gallery of the, 420 Canevari, the portrait painter, 459 Canino palace, 541 Canopus, chamber of, 431 , Serapeon of, 479 Canova, works of, 361, 427, 454, 473 Cantiano, works of, 132 Capitol of Rome, tower, 263 ; colossal statues — milestone of Vespasian — the Marcus Aurelius statue, ^25 ; bronze wolf of, 428 ; galleries of pictures, 430 ; museum, 431 Capitoline hill, 265 Capo d'Argine, 22 Capocotta hamlet, 530 Cappelette, ruins at, 508 Cappucini convent, 5u6 Capranica, 512 Capraroia castle, 203 Caprese town, 151 Caracalla, baths of, 269, 304 , circus of, 298 Caracci, school of the, 27, 29 , Agostino, pictures by, 18, 45, 50, 430, 439, 452 , Annibal, works of, 49, 53, 59, 61, 125, 148, 159, 227, 2::;7, 367, 368, 376, 430, 439, 445, 453, 495 , Ludovico, 38, 44, 45, 46, 48, 49, 52, 59, 61, 112, 430, 444, 451 Caravaggio, paintings by, 61, 222, 226, 359, 376, 401, 430,^38, 441, 444, i45, 446, 4a0, 452, 471 Cardinals, college of, 253 Carloni, frescoes by, 220 Came, Sir E , tomb of, 369 Carneades the Athenian philosopher, 509 • Carnival at Rome, 253 Caroline, Queen, residence of, 241 Carpaccio, Vittore, works of, 15 Carpi, paintings of, 15 Carsoli, triumphal arch at, 155 Carsulae, Umbrian city of, 155 Carthusian convent, 169 Cartoons at Montefiascone, 159 of Raphael, 394 Casalecchio, battle of, 68 Cascatelle at 'I'ivoli, 482 Case Nueve, 130 Case del Piano, 214 Casino letterario at Perugia, 228 at Borghese villa, 4<0 at Macerata, 127 Casolani, 185, 187 Cassana to Ferrara, 9 Cassian way, 247 Cassius, villa of at Tivoli, 416 Castel franco, frontier, 24 Castelli, Bernard, works of, 373 Castiglioncello, 180 Casliglione, near Gabii, 516 Castle of Ferrara, 17 of Bolognese, 98 of Rocca di Vasano, 129 di Guido, 168 ; of Balcaro, 191 of Asso, 202 of Capraroia, 203 of Narni, 241 of St. Angelo. 269, 314 of Monte Verde, 488 of Gandoltb, 497 Castor and Pollux, temple of, 275 , statue of, 425 Castrense amphitlieaire, 297 Castrimoeniuui ot Pliny, 495 Casucchini, Sig., museum of, 161 Catel, landsca])es of, 459 Cathf^dral of Ferrara, 13 ; Bologna, 33 Bagnacavallo, 77 ; Ravenna, 81 Imola, 98 ; Faenza, 99 ; Forli, 101 Pesari, 110; Fano, ill; Osimo, 120 550 INDEX. Cathedral of Ancona, 117; Macerata, 127 — r— Tolentino, 128 ; Camerino, 129 La Schieggia, 132 ; Urbino, 137 Urbania, lb9 ; Citta del Castello, 141 Borgo ^^ati Sepolchro, 149 Gubbio. 152; Todi, 154; Orvieto, 156 Chiusi, 161 ; Cotte, 171 ; Volterra, 1^3 Siena, 182; Montefiascone, 197 Viteibo, 198 ; Cortona, 202 Giovanni, 206; Are/.zo, 208 Perugia, t218 ; Assisi, 232; Spetto, 233 Spoleto, 237 ; Terni, 238 ; Narni, 242 Frascati, 490 ; Marino, 495 ; Ostia, 524 Corneto, 538 ; Toscanella, 542 Catini, copper-mines of, 178 Cato of Utica's villa, 508 Cattolica, La, 109 Catullus, villa of, 483 Causeway, maguificent, near Genzano, 506 Cavalleri, the portrait painter, 459 Cavallino, Piet., 231 Cavalucci, Antonio, painting by, 150 Cave of Cacus, 266 Cavedone, works of, 48 , misfortunes and death of, 51 Cavern at Sigillo, 132 at Borgo, 109 Caverns, artificial, at Palazzola, 497 Cavi mountain, h98, 512 ; town — polygonal pavement — battle-field — treaty, 513 Ceano, polygonal walls of, 488 Ceccarelli, masterpiece of, 112 Cecconi, suggestions of, 511 Ceciua, works on ti>e, 178 Cellini, Benvenuto, works of, 62 Cemetery near Bologna, 68 for Protestants at Rome, 268, 464 Cenci, Beatrice, history of, 438 palace, 442 Cento canal, 9 to Ferrara, 22 to Bologna, 24 Centum Cellse, settlement of, 508 Cerbara village, 485 Ceres and Proserpine temple, 281 Ceri Nuovo village, 538 Certosa, near Bologna, 67 , near Galluzzi, lt9 Cervellato of Bologna, 69 Cervetere town, 168 Cerveteri city— ancient and modern history, 536; gates— tombs— temples, 537 Cervia town, 97 Cesanni, Duke of, palace of, 506 Cesena town — MSS . — palaces — churches — sulphur mines, 103 Cesenatico, town, 97 Cesi, Piet. Donato, frescoes by, 43, 63, 96 Cestius, pyramid of, 268 Cetona, geology of, 162 Chancellor's palace in Rome — double por- tico — saloon — frescoes, 441 Chapel of the English at Rome, 248, 251 , subterranean, at Galluzzo, 169 of the Madonna at Cavi, 514 Charcoal, colossal head in, by Michael Angelo, 448 Charles I., portrait of by Vandyke, 449 v., coronation of, 41 Chateaubriand at the tomb of Dante, 89 Chutelain, Car., paintings of, 459 Chaupy, researches of, 511 Chendra, picture by, 16 Cliianciano, bathing-place of, 162 Chianti tract, 180 Chiaroscuro, paintings in, 121 ; by Tinto- retto, 124 Chienti river, 129 Chigi the banker, residence and anecdotes of, 448 , Princess, monument of, 316 palace — paintings — library, MSS., 442 Childe Harold, quotations from, 22, 235, 277, 283, 286, 312, 359, 414, 452 Chinese MSS. at Rome, 359 Chioggia town, 74 Chioza town, 74 Chiusa, ferrugineous springs of, 100 Chiusi, city, museum — monuments — anti- quities — cathedral, 161 to Montepulciano, 162 Choir books at Ferrara, 19 Christina of Sweden, 23 ; library of, 421 , autograph letters or, 445 Church of St. Francesco, 14 ot St. Luca at Rome, 274 festivals at Rome, 253 Churches at Ferrara, 13; Bologna, 36 Ravenna, 84—87 ; Forli, 101 — —Rimini, 106; Fano, 112; Ancona, 117 Urbino, 137 ; Citta di Castello, 143 Montepulciano, 162; Volterra, 175 Siena, 185 ; Viterbo, 200 Cortona, 213; Perugia, 219 Assisi, 230—233 ; Spoleto, 237 Rome, 357—386 ; Subiaco, 486 , early Christian, 513 Cicciaporci palace, 442 Cicero, school of, 493; orations of, 527; villa of, at Antium, 532; flight of, 535 Cicognara, Count Girolamo, 19 Cignani, Carlo, works of, 101 Cignaroli, pictures by, 17 Cigoli, works of, 22b, 368 Cimabue, painting by, 230 Cimbric wars, frescoes of the, 428 Cimino, volcanic hill of, 203 Circignani, fine picture by, 175 Circus of Caligula, 269 Maximus, 297 Agonalis, 298 ; of Caracalla, ib. of Romulus, 298 ; of Flora, 299 of Sallust, 299 ; of Nero, ib. of Bovillae, 502 Cisterna, forest of, 252 Citadel of Forli, 10 L at Siena, 191 ; of Spoleto, 237 of Volterra, 176 ; of Civita Cast ell ana, 243; of Tusculum, 493; at Palestrina, 512 ; of Isola Farnese, 518 Citta di Castello, 140 ; historical events - paintings — cathedral, 141 ; churches, 143 ; hospitals — palaces — environs, 145 to Urbino, 139 ; to Gubbio, 152 to Perugia, 154 della Piere, 160 City prisons at Rome, 426 Civita Castellana, 243 , route from to Rome, 245 Lavinia town, 506 Civita Vecchia, 2 ; the port — steamers, 165 ; INDEX. 551 prisons, 166 ; antiquities — alum-works — mineral waters, 16'/ ; to Rome, 536 Civitella Ramieri, 152 villa, 487 Claude, works of, 430, 438, 446. 452, 450 Clatidian, quotations of, 131, 132 Claudian aqueduct, 259, 320 , family tomb of, 312 Clark, Sir James, on Climate, 192, 249, 465 Classis, ancient town of, 95 Clav-luUs of Siena, 192 Clement VIII., pontificate of, 10, 113 , bridge of, lOcJ XII., pontificate of, 22, 108 , statue of, 92 XIV., birtli-place of, 139 Clergy, English, at Rome, 251 Climate of Bologna, 69 ; of Siena, 192 ; of Rome, 465 Clitumnus river, 235 Clivis Asyli, 274 Cloaca Maxima at Rome, 322 Cloisters, Gothic, 144; of St. Peter's, 351 Codes, Horatio, bridge of, 262 Codex of Aristophanes, 91 Coelian hill at Rome, 265 Comage oi the Papal States, 3 Coins, ancient, cabinets of, 35, 455 Colfionto, lake of, 130 Coliseum at Rome, t269, 294-297 Colizzi, Prof., the Jurist, 22/ CoUatia, Alban city of, 517 Colle, paper-mills of, I7I Collections, private, in Rome, 455 College at Faenza, 99 at Perugia, 227 at Rome — della Sapienza, 459; Ro- mano, 4i)0 ; de Propaganda Fide, 4(>1 Colli, Fariuelli, 488 Colonna, Sciarra, adventures and revenge of, 510 , Fr., sells Palestrina, 511 , Stef., murder of, 513 Colonna palace — pictures — sculptures — Columna Bellica, 443 — Gardens, 2t)9 443 , Parco di, glen, 495 , reward of, 45 Colonnades at St. Peter's, 38? Colossus of Nero, 297 Columbaria of Rome, 318 Columbus, ex voto offerings of, 186 Columella, 100 Column of Phocas, 270, 275 of Trajan, 269, 301 ; of Ant. Pius, 299 of Antoninus, 299; of Duilius, 300 of Phociis, 300 Comacchio town, 75 Comarca, province of Rome, 253 Commercial clul) at Siena, 188 Commerce, chamber of, 62 Commerce of Papal States, x Commissioners of roads in Italy, 5 Compatri mountain, 508, 512 Conca, works of, 3/0 ; torrent, 109 Concord, temple of, 274, 281 Consalvi, Cardinal, monument of, 370, 495 Conservatori palace — colossal statues, 426, Protomoteca — busts by Canova, 427 ; Dui- lian column, 428 ; Illustrated history of Rome — Cimbric wars — bronze wolf — Fasti Consul ares — bust by Augelo— de- signs of Rubens, 429 ; paintings, 430 Consimati, woiks of, 3,2 Constantia, St., sarcophagus of, 416 Constantine, baths of, 209, 306 , arch of, 270, 301 , basilica of, 270, 275, 279 Constantinople, steamers to, 119 Consular roads, 5 Couti, the tower, 330 Convent of Mount Senario, 71 ; at Assisi, 230 ; at Narni, 242 , Dominican, at Viterbo, 201 of the Cappucini, 506 Convertiti palace, 4 43 Copper-mines of Monte Catini, 178 Coptic MSS. at Rome, 359 Cordieri, picture by, .^73 Corelli, birth-place of, 77 Corfu, steam navigation to, 119 Coriolanus at Corioli, 5U5 ; sacks Labicum, 508 _ Corioli, ruins of, 505 Cornelius, painting by, 455 Corneto town, 16/, 538; excavations, 539; grottoes, 540 ; to Orbetello, I80 to Ponte deir Abadia, 541 Cornufelle lake, 508 Corporal of Bolsena, reliquiary, 158 Correggio, pictures by, 60, 124, 125, SyO, 430, 441, 444 Correse town, 162 Corsini palace — double staircase — marble sarcophagus — gallery — library, 444; au- tograph papers — celebrated view, 445 Corso at Rome, ii48, 249, 252, 2.;)4 Cortoua city, 2 i 1 ; Etruscan remains — cathe- dral, 212; churches, 213 , Peter de, works of, 124, 188, 226,364, 445, 450, 454, 500, 5.2 Cosimato, Sant., village, 485 Cosme, paintings of, li, 14, 18 Costaguti palace, 445 Cough, goddess ol", 483 Council of Arians and Alhanasians, 105 Court of Ferrara in sixteenth century, 10 Courts of Appeal. 25 of law at Siena, 188 Couttsaud Co., notes of, 3 Covigliajo, 71 Cramer, Dr., on ancient Italy, 24, 234, 236, 240 Credit, letters of, 3 Cremera valley, 517 Cremonesi, Gius., fine paintings by, 15 Crescimbeni, birth place of, 128 ^ Creti, Donati, picture by, 38 Crevelli, the artist, 237 Cristoforo, San., baths of, 100 Cromek, the architectural artist, 459 Cromer, Giulio, works of, 12 Crypt, Gothic, at Ficullo, 160 Cucumella tomb, 542 Cunio, castle of, 77 Cupid of Praxiteles, 407 Cures, a Sabine city, 163 Curia Hostilia, 275 Custom-houses in Italy, 2 Cyclopean architecture, xix Cypresses of M. Angelo, 31 2 552 INDEX. Daddi, Cosirao, paintings bv, 175 Dante, poetry of, 17. 63, 80, 99, 101, 196, 199, 229 ; on the Pin eta, 95 , tomb of, 88 ; prophecy of, 90 in MS. of 14th century. 91,439 , Vincent, works of, 223 D'Arpino, picture by, 226 Daubeny, Dr., on volcanoes, 196 David, paintings by, 359 Davy, Sir H., on the baths of Agrippa, 478 Deeimo hamlet, 530 Demosthenes, statue of, 409 Dentatus, Curius, 240 Desgodetz on Roman topography, 285 Despuig, Cardinal, discoveries of, 505 Dessoulavy, Thos , landscapes of, 456 D'Este, house of, 10 family found the school at Ferrara, 10 Devonshire, Duchess, researches of, 275 Dialect of Bologna, 69 Diana, temple of, at Corioli, 505 Diary of an Invalid, 62, 361 Dicomano town, 73 Diehd, v-aintings of, 17 Diligence from Bologna to Rome, 70 to Milan, 70 Diocletian, baths of, 269, 306, 323 Dionysius of Halicavnassus, 75 Discobolus statue, 449 District divisions of Rome, 255 Doctors of the church, fine painting of the, 15 Dodvvell, Mr., collection of, 225 Doganas, 2, 9, 70, 73 of Bologna, 64 Dolabella, arch of, 268, 302 Dolci, Carlo, paintings of, 441 — 444 Dollar, the Spanish, 4 Domenichino, works of, 27, 30, 60, 61, 112, 113, 174, 226, 3G0, 364, 369, 370, 376, 384, 401,430, 438, 440, 444, 446,447,450, 456, 469, 472, 494, 495 , Cartoons by, 159 Domitiau family, tomb of, 258 , Amphitheatre of, 503 Donatello, remarks of, 14 Doni, Adone. paintings of, 222, 231, 232 Doria, Cardinal, palace of, 216 Pamphili palace, 445 gallery, Titian, Vandyke, Raphael, Rubens, P. Veronese, Claude^ Murillo, Teniers, 446 Dossi, Dos>so, paintings of, 15, 18, 222 Dovddola town, 73 Dow, Gerard, paintings of, 92 Druggists at Rome, 251 Drusus, arch of, 2ti0, 302 Dryden on Ravenna Forest, 95 Ducat, Neapolitan, 4 Duilian Column restored, 300, 428 Didwich College collection, 219 Durand, Bishop, lomb of, 374 Durer, Albert, paintings by, 92, 439, 444, 453 Earthenware pavement, 40 , first manufacture of, 99 Earthquakes at Rome, 270 Eastlake on painting, xxix , sketch by, 514 Ecclesiastical Chamber at Rome, 253 Department of Papal States, viii Echo, famous, at Ferrara, 14 Education of Papal States, ix Edward I. of England at Viterbo, 199 Egeria, fountain of, :-s25, 507 Elagabalus, works of, 269 Elm, gigantic, near Arezzo, 211 Elsa, paper-mills on the, 17 1 Elvella stream, 194 Emperor Charles V., 41 Empoli to Florence, 180 England, kings of, their palace in Rome, 448 English chapel at Rome, 248, 251 , burial ground of, 264 Engravers at Rome, 251 Engravings, collection of, 252 Enigma at Bologna, 35 Enzius, king, lomb of, 43 ; prison of, 58 Ercole da Ferrara, 11 Esquiline hill at Rome, 265 Est on Montefiascoue wines, 197 Etruscan Academy at Cortona, 212 antiquities, 161 bridge at Abadia, 541 bronzes and arabesques, 225 coins, 456 jewellery, 453 league, 217 remains, 195, 243,266, 537 at Albano, 504 at Arezzo, 207 at Cei vetere, 168 near Corneto, 167 at Orvieto, 155 at Perugia, 224, 535 at Todi, 154 at Volterra, 171, 177 in Gregorian Museum in the Vatican, 418 tombs, 162, 200, 497 vases imitated, 99 Etrusc.ms, historv of the, xxii Eugene IV.. Pontificate of, 221 , bull of, 58 Eugubian tables, 132 atGubbio, 152 Eurysaces the baker, tomb of, 259, 311 Exarchs of Ravenna, 10 — 79 Excursions from Rome, 477 — 541 " Palestrina, 513 Fahii, Camn of the, 517 Fabius, arch of, 275 Fabretti, monument of, 374 Fabriano, Gentile da, Madonna by, 158, 159 Fabris, Car., busts, &c., of, 458 Facondino town, 154 Facnza city, its history, 98 ; Liceo — catliedral — hospital — lunatic asylum — palaces, 100 ; to Ravenna, 73 Fagan, Mr., discoveries of, 526 Fairs of Assisi, 233 ; of Cento, 24 of Citta di Castello, 148 of Sinigallia, 1 14 ; of Perugia, 228 Falconieri palace, 446 Falconiero, Ott., discoveries of, 313 Falerium, city of, 243 Falls of Terni, 238, 241 INDEX. 553 Fano, situation. 111 ; scenery— triumphal arch— cathedral— churches, 112; college- theatre — port 113 ■ to Foligno, 130; to Rimini, 109 to Sinigallia, 113; to Urbino, 133 Farm, Sabine, of Horace, 487 Farnese palace — Piazza — Sarcophagi — Sta- tues, 4iG — Frescoes of A. Caracci — Do- menichino — Gabinetto cabinet, 447 palace of Caprarola, 204 gardens, 278 Faruesina, frescoes by Raphael, 447; head in charcoal by M. Angelo — Agostino Chigi— Anecdotes, 448 Fasti Cons iilares, marbles of the, 429 of Verrius, fragments of, 512 Faun of Praxiteles, 410 Fava palace, 59 Faventia town, 98 Fea, Abbe, on the ruins of Palestrina, 511 Feast of the Madonna at Cavi, 514 Fede, la, ceriiticate, 6 Felix Hall, collection at, 407 Ferentina aqua, site of, 496 Fermo to Macerata, 128 Ferrara citv-School of Art, 10; Reformation, 12 ; Cathedral, 13 ; Churches, 14 ; Castle- palace, 17 ; public library, Id; Tomb and house of Ariosto, 19 ; Tasso's prison, 21 to Padua, 9 ; to Cento, 23 to Bologna, 22; to Venice, ih. , Duke of, his skill, 97 , Alf. da, works of, 49 Ferrata, Ercole, 359 Ferreri, Andrea, sculptures of, 13 Fenetli, birth-place of, 119 Fesch, Cardinal, gallery of, 141, 446 , burial-place of, 5 39 Festivals at Rome, 252 of Church of Rome, 359 at Sieua, 191 at Genzano, 506 Fevers at Rome, 466 Fiammiugo, works by, 222, 372,452 Ficulle, town of, 160 Fidenate porta, 519 Fiesole, Mino da, sculptures by, 174 , B. A., works of, 399, 402 Figs of Pesaro, 111 Filigare, frontier station, 70 to Bologna, 70 to Florence, 71 Finale, town of, 9 Finelli, w^orks of, 458 Flora, ban!. ; Melozzo da, 402 Forlimpopoli town, 102 , battle at, 103 Forsyth, 381 , remarks by, xxix, 17 on Italy, 235, 336 on dialects of, 69 on Bologna, 56 on Ferrara, 10 on the women at Ancona, 119 on Rome, 282 Fortebraccio, Braccio, 21?, 511, 513 Fortino mountain, 512 Fortress of Ferrara, 22 of Perugia, 227 of Ravenna, 92 • of Sania Severa, 169 Fortubano fortress, 24 Fortune, temple of, 282, 511 Forum AUieni, 9 of Julius Caesar, 277 of Nerva, 269, 276 , the^ Roman, 272, 274 • of Trajan, 276 Foschi, snow pieces by, 471 Fossalta, battle of, 26 Fossanuova of Muratori, 498 Fossil geology, 148 at Monte Carlo, 206 remains at Sigillo, 133 at Furlo, 131 Fossombrone, 130 — 133; cathedral— vici- nity — bridges, 131 Fossombroni, Count, 179 , birth place of, 207 Foundling hospital at Rome, 463 Fountain, the conical, 297 , ancient, at Tusculam,493 of Egeria, 507 at Ferrugia, 223 of Giants, 56 of Marius, 325 at Rome, 330, 333 at Siena, 189 at Viterbo, 200 France, academy of, 461 Franceschini, 38, 45, 46, 50, 55 Francescone the Tuscan, 4 Francesca, Pietro della, 149 Francesco Maria II. of Urbino, 124 Fraucesi, column of, 96 Francia, Francesco, paintings of, 27,28 46, 48, 56. 103 2 C 554 INDEX. Fiangipani, baronial castle of the, 514 Frascaii inns, 489 ; antiquities— cathedral — paintins^s — tomb of Cardinal York — villas, 490; Parnassus of Lucien Buonapaite, 491 to Colonna, 503 Fraser, Dr., travels of, 75 , remarks by, 100 Fraternita of Arezzo, 209 Fratocchie, 502 Fratta town, 152, 154 Frederick Barbarossa, contest of, with the Pope, 188, 199 Frederick II. Emperor, 25 Fredis, Fel. de, fortunate discovery of, 412 Frescoes, ancient, 456 by Caracci, 59, 447 of Canedone, 48 by Cesi, 63 by Carloni, 220 at Citta di Castella, 143 by Cortona, 124 by Domenichino, 112 in Farnese palace, 446 bj Imola, 36 by Lombardelli, 123 at Loreto, 124 by Lippi, 236 of Montetiascone, 158 by Raphael, 448 by Romano, 139 at Siena, J 86. 188 by Signorelli, 124, 193 of the Sposalizio at Viterbo, 200 by Zuccari, 124, 248 Friachi family, extinction of, 234 Frizzi, Dr., history by, 17 Fruits of Bologna, 69 Fulginium, ancient town of, 23i Furlo, pass of, 131 Fusano castle, 524, 529 Fusignano town, 77 Futa station, 71 Gabii city, 515 ; temples — lakes, 517 Gabina lapis, the, 274 Gabiuetto, statue by, 469 Cabinet, 4i7 Gaetani, Cardiiial, bronze figure of, 124 Gaetani fortress, ruins of, 3 13 Galassi, General, collection of, 537 Galassi, Gal., works of, 11 Galera, deserted town of, 521 Galeria, deserted town of, 521 Gallere, town, 201 Galleria di S*jpra, 502 Gallery of pictures in Capitol, Velasquez — Caracci — Correggio — Tintoretto — Dome- nichino — Poussin — Rubens — [Claude — Guido — Titian — Perugino— Salvator Rosa — P. Veronese, 431 of the Vatican, 399 at Bologna, 29 at Perugia, 226 of Cardinal Fesch, 446 ot Doria Pamlili Palace, 445 Gallisenus, arch of, 302 Galluzzo sta'ion, 169 Gamberini, Cardinal. 6, 7 Gandolfo, Castel, village of, 500 Ganganelli, Pope, 139 G isperini of Marana, works of, 124 Gasperoni the brigand, prison of, 166 Gastaldi, Cardinal, churches of, 248 Gaston de Foix, death of, 81 Gardens, the Farnese, 278 , the Roncioni, 278 of the Vatican, 424 at Rome, 235 Garisenda Tower, 62 Garofalo, pictures by, 13, 14, 16, 18. 430, 440, 441, 444, 450, 451. 452 Gates of Rome, 258, 261 at Siena, 190 Gazzoli theatre, 241 Gell, Sir W., on Roman topography, 163/ 165, 202, 243, 496, 501, 51?, 519 Gen iro, Monte, 487 Genazzano town, 513 Genero moiintains, 487 Geneva, Robert of, 103 Genezzano, village, 487 mountain, 512 Genius of the V.atican, 415 Gennarello, San, bridge at, 507 Gennari, picture by, 222 Genucia, Roman family of, 513 Genzano town, 506 Geology of the Apennines, 148 of Cetona, 162 • of Radicofani mountain, 194 George IV., presents of, 410 Gerdil, Cardinal, tomb of, 365 Gessi, bust by, 226 Ghibelines, 26 Ghiberti, Lorenzo, 185 Ghiilandajo, Domenic, altar-piece by, 176 Giamiicola, pictures by, 220, 223 Giants, fountain of, at Bologna, 56 Gibbon, History of, 79, 120, 133 Gibson, John, studio of, 457 Gieremei, lends of the, 26 Gimignani, paintings by, 222, 505 Giore Monte, 505 Giorgio, Fr.m., MS. notes of, 190 Giorgione, pictures by, 440 Giotto, frescoes by, 93, 174 , triumphs of, 229 Giovanni, San, discoveries at, 206 Giraldi, the m\thologist, 14 Giraud palace , 448 Girolamo, Lombardo, bronzes by, 121 Giulio Romano's works, 397 Giustiniani palace, 449 Gladiator, d\ing, celebrated statue of, 435 Glasses, ancient, 456 Godfrey, fresco of, 12i Godoreccia club at Siena, 189 Gordian, Emperor, villa of the, 516 Gotliic architecture, 40, 42, 62 church, 160 Gott, works of, 458 Government of the Papal States, iv Rome, 253 Govern olo town, 9 Gozzadino, Cardinal, tomb of , 360 Gozzoli. Benozzo« 225 Grano, Monte del, 489 Gray. Mrs. H., tour, 536, 540 Graziani, fine painting of, 38 villa. 241 Gregorian college at Bologna, 60 INDEX. 555 Gregory VII., bull of, 51 X., tomb of, 208 XL, turbulent pontificate of, 98, 103 XIII., 26 ; village built by, 503 XV., tomb of, 369 XVI., liberality of, 3, 35 Groecostasis at Rome, 268 Grotta Ferrata village, 493 Grotto of Pythagoras, 212 Grottos at Corneto, 540 Grove of Diana at Nemi, 507 of Pater Indiges, 531 Gruner, admirable engraving by, 141 Guadagnolo, high mountain of, 488 Guarnacci, M., the scholar, tomb of, 175 Gubbio, 152; bronzes at, 132; cathedral — Eugubian tables, 153 to Citta di Castello, 152 Gubbio, the missal painter, 27 Guelphic league, 25 Guercino, birth-place of, 22 ; paintings by, 31, 43, 62, 91, lOi. 125. 187, 219, 226, 359, 382, 402, 430, 438, 441, 444, 432, 453, 472, 495 Guerra, designs of, 359 Guicciardiiii, liistory of, 96 Guidi the poet, — works of, 358; tomb of 379 ; Egypti.m museum of, 410 family, tomb of, 175 Guido, scholars of, 32; tomb of, 43; paint- ings by, 24, 27, 30, 44, 45, 47, 52, 55, 60, 67. 91. 99, 110, 112, 119, 148, 226, 364, 368, 370, 377, 378, 386, 401, 430. 431, 441, 444,449, 451, 453, 495 , beautiful picture l)y, at Loreto, 124 de Montefeltro, 232 Guido tti ])alace, 59 Guiscard, Normans of, 270 Guistino, San, to Urbino, 139 Gustavus Adolphus, library of, 421 Hadrian, villa of— imposing ruins — Greek Theatre — the Paecile — Temple of the Stoics — Imperial Palace — Barracks of the Praetorian Guard— Seiapeon of Canopus — Elysian fields — Vale of Tempe, 479, 512 ; Aqueduct of, 516 • , medals of, 261 ' , works of, 269, 276 , mausoleum of, 314 Hamilton, Gavin, pictures by, 471 , discoveries, 526 Hand-book of Painting, xxiv, 26, 218 of North Italy, 206 of South Italy, 502, 510 Hannibal, camp of, 264 Harbour of Caere, 167 Hawkwood, Sir John, 98 Heidelberg library, MSS. of, 42 Heliodorus, stanza of the, 394 Hemicycle of the Belvidere, 410 Henry Prince of England, murder of, 198 VII., emperor, death of, 193 VIII., letters of to Ann Boleyn, in the Vatican, 424 , present of, 60 Hensius of Sardinia, 25 Herbareum of Pliny, 155 Hercolani palace, 60 Hercules Gustos, temples of, 238, 282 Herdonius, Turnus, death of, 496 Hernici, territory of tiie, 514 , defeat of the, 513 Herries and Co., circular notes of, 3 Hexagonal lake near Frascati, 508 Hills, seven, of Rome, 264 Hobhouse, Sir John, remarks by, 20, 21. 214, 235, 452 Hogan, works of, 458 Holbein, picture by, 440 Holstenius, collection of, 359 Hompesch, presents of, 122 Honorius, works of, 259, 288 Hope, Mr., remarks ou Architecture, 182 185 , temple of, 283 Horace, quotations from, 131, 499; ou Praeneste, 509 ; on Gabii, 516 , Sabine farm of, 487 Horatia, tomb of, 318 H orse races at Rome, 252 Siena, 188 Hospitals at Bologna, 36 Faenza, 99 Siena. 190 Rome, 462 ; — Santo Spirito— Foundling Asylum — S. Giovanni — .3. Gallicano — La Cousolazione — S. Gia- como— Benfratelli — S. Rocco, 463; Sau Michele, 464 Hot springs near Pietramala, 71 House of Ariosto, 19 of Bernini, ib. of Boccaccio, 170 of P. da Cortona, ib. of Poussin, ib. of Raphael in Rome, 454 of C. Sweynheim, ib. of the Zucchari, 455 Howard, Cardinal, tomb of, 373 Hungarian college at Bologna, 64 Huns, invasion of the, 10 Hydraulic works of Chiana, 162, 211 Hylas, columbarium of, 319 Idiee river, 97 Iguvium, city, 152 Illuminated works at Ferrugia, 222 Illuminations of St. Peter, ii46 Imola, 77; City, 97; theatre — cathedral — public library, 98 to Ravenna, 98 da Innocentia, works by, 36, 92, 99, 101 ; keys of, at Bologna, 37 Imperiali, Card., bridge of, 243 Incisa, town, 206 Innocent X., tomb of, 358 Inns, character of, in Papal States, 8 Insanity, asylums for, 99, 227 Inscriptions, hall of, 431 , early Christian, 404 , Pagan, 405 Institute of Bologna, 63 Intaglio, by Magano, 124 Invalid, Diary of, quoted, 29, 62, 361 Iron manufactory at Tivoli, 483 Isola d'Ariano, 74 Farnese citadel, 518 Maggiore, 215 Sara, tract of, 527 Italian Gothic architecture, 47, 62 2C 2 556 iND Jacometti, works by, 121 — 125 James III., palace of, in Rome, 450 Jamt t, l*yon, at Feirara, 12 Janiculum at Rome, 265 Janus, aicli of, 269 Quadrifioiis, 303 Jemitii plain, 531 Jewellers at Rome, 251 Jews at Ancona, 119 John XIX., Pontificate of, 133 , St., Martyrdom of, 260 Jubilee of Reinhait, 253 Judgment, the Last, by M. Angtlo, 389 Juliau Aqueduct at Rome, 260 Julius II., Pope, 26; offerinc^ of, 122 , statue of, by M. Angelo, 41 , warlike proceedings of, 494 ; III., bronze statue of, 223 saves the celebrated statue of Pom- pey, 452 Juno, statue of, 245 Matuta, temple, 283 , temple of, 506, 516, 519 Jupiter Stator, temple of, 268 Feretrins, 264—284 Capitolinus, 265—283 Latiales, temple of, 498 Tonans, 289 Justice, administration of, in Papal States, vi KauflTmann, Angelica, mosaic by, 123 , tomb of, 359 Keats, John, epitaph on, 464 Knight. Mr. R. P., collection of, 225 , Mr. Gaily, Ecclesiastical Architecture, xxix Koch, paintings by, 475 Kugler's Hand-book of Painting, xxix, 26, 218 La, stream of, 312 Labicaua Via, 509 Labicum, Latin city of, 503 Labyrinth of Porseuna, 161 La Ca frontier, "tO La Cattolica, 109 I,acus Nemoren^is, ."06 Ladislaus, king of Naples, 217 Lake of Bolsena, 195 Colfiorito, 130 Tartara, 478 Chiusi, 162 Gabii, shores of the, 274 Coinufelle, 508 , sulphureous, at Viterbo, 197 Regillus, 508 of Bracciano, 522 of Thrasimene, 214 of Nemi, 506 Lambertazzi, 26 Lamone river, 98 Laucelliotti Palace, 449 Lanfranco, works of, 360, 368, 449 Language of the Sienese, 192 Lanti Palace at Rome, 449 Villa, 472 Lanuvium, site of, 506 Lanzi, remarks of, 10, 13, 27, 125, 152,395 Lanzoni, Sig., collection by, 1/1 Laocoon, the, at the Vatican, 413 :x. Lapidarian Museum, 111 Lapis Gabiuus, 274 L'Ariccia town, 504 L;iscia-Passare, 2 La Spagna, 222 La Storta, 205, 247 La Strettura post station, 2.38 Latina Via, 493 I/aurel groves of Capocotto, 530 Laurentine forest. 529 Laurentum, capital of Latium, 520 Lava, polygonal blocks of ,516 Lavello, Tartaglia da, 217 Lavinium city, 530 Lavino river, 24 Law, courts of, at Siena, 188 Lear, lithograpliic drawings of, 459 Lebrun, statue by, 365 Legros, statue by, 360 Leigh Court, Raphael's picture at, 219 Lely, Sir Peter, 62 Lemoine, Cardinal, 220 Leno river, 24 Leo X. taken prisoner, 96, 97 XII., ordonnance of, 252 Le Sette Vene, 246 Le Tavernelle, 162 Letters of credit, 3 Levane, 207 Le Vene posthouse, 235 Liberti of Livia, 319 Library at jHologna University, 35 , Corsini, 44-1- , public, at Ferrara, 17 of the Minerva, 374 at Perugia, 219, 227 at Pesaro, 110 public, at Rome, 250 at Rimini, 107 at Siena, 190 of the University, 460 of the Vatican— Books— MSS — En- trance to Great Hall — Museum of Chris- tian Antiquiiies— MSS. — Treasures, 423 , public, at Volterra, 173 Licence lor sporting at Rome, 252 Licenza, 487 Limestone secondary, productions of, 178 Lincei, academy of, 426, 461 Lippi, Filippo, frescoes by, 236 , Lorenzo, birthplace of, 171 Lira, tlie Tuscan, 4 Littus pulchrum Quay, 323 Livery stables at Rome, 252 Livia baths, 278 Livy, works of, 325 Logano, view at, 70 Lombardelli, frescoes by, 121, 123 Lombardo, Alf., masterpiece of, 51 Venetian kingdom, 9 Lombards, sieges of Rome by, 270 Longa Alba city, 496 Longhi, Luca, works of, 15 Loienzetto, 376 Lorenzo, Forenz. di, 221 Loreo, canal di, 74 Loreto City, history, 120 — Antiquities — Churches, 121— Santa Casa, 121, 124— Palace, 125— Charities — Population, ib. Lorenzini, prison of, 176 Lorraine, Claude, house of, 455 INDEX. 557 Lo Spagna, works of, 242 Lotto, Lorenzi, painting by, 123 Louis XIV., medallion portrait of, 51 Louis of Bavaria at Palestrina, 511 Luca, Giordana, 471 Lucano bridge, 478 Lucien Buonaparte, excavations of, 493 , iron-works of, 483 Lucretia, death of, 517 Lucretilis mouiitain, 488, 513 Ludovisi Villa — Casino — Galleries — De signs of Doraenichino — Classical figures, 472 Luggage, extra cost of, 6 Lugo town, 77, 98 Luitprand, king of Lombardy, 95 Lunatic Asylum at Faenza, 99 of Perugia, 227 Lunghezza near Gabii, 517 Luughi, M., works of, 451 Luti, Bened., 361 Luzzano, Villa di. 318 Lyceum at Bologna, 65 M*Crie, Dr., on the Reformation, 12 Macdonald, General, at Otricoli, 242 , busts of, 457 Macerata, 127 — Population— University — C.ithedral — Theatre— Palaces— Environs, 128 ; to Fermo, ib. Machiavel, villa of, 169 Madama Palace, 449 Maderno, Stef.,, sculpture by, 365 Madonna di Loreto, pictures, &c., 121 Malfei, Agate, 35 on Etruscan antiquities, 171 Magione tower, 216 Maguavacca, 75 Majano, Bened da, intaglio by, 124 Malalbergo town, 22 Malamocco canal, 74 Malaria at Rome, 466 Malatesta, establishment of, 103 Malvasia, Canon Count, 51 Mamertine prisons, 2^4, 321 M mcini, masterpiece of, 112 Mauetti, fine work of, 187 Manfred, 296 Manfredi, works of, 55 Manno, bronze by, 34 Mantua to Fervara, 9 Manutius, Paul, tomb of, 374 Manutactories of alabaster, 177 of mosaics, 4'24 Manufactures of Papal States, xi; ofPesaro, 111 ; of Poggibonsi, 170; for dyeing cloth, 189; Assisi,233 Maps, gallery of, at the Vatican, 421 Maratta, Carlo, works by. 10 1, 123. 148, 176, 198, 359, 365, 3^57, 368, 451, 500 , birthplace of, 129 , tomb of, 371 Marcellus, theatre of. 268, 293. 450 Marchi the en<;ineer, discoveries of, 507 Marcian aqueduct at Rome, 260 Marco, com})Ositions of, 4'>9 Miiremma, the drainage of, 167, 119 Marescalciii palace, 60 Marforio, statue of, 333 Margaret ot Navarre, court of, 12 Margaritoue, Crucifixion by, 220 Maviani, painting by, 373 Maiignano, Marquis de, cruelty of, 181 Marino, San, city, excursion to, 107— Cus- toms— Government, 103 ; historical events —Cathedrals — Pictures — Wooded glen, 495 Marinoni, paintings of, 459 Marias, fountain of, 325 Marot, Clement, at Ferrara, 12 Marotta, La, 1 13 Mars, temple of, 274 Marsigli, Count, 34 Marta river, 196 Martana island, 193 Martial, 98 Martin IV., Pope, death of, 196 V,, birth-place of, 513 . Pontificate of, 515 Martyrdom of St. John, 260 Marullo, tomb of, 119 Masaccio, frescoes by, 363 , birthplace of, 206 Masks, cabinet of the, 416 Massa, Lombard town, 77 Massari. Lucio, works of, 45 Massilla family, bronze portraits of the, 123 Massimi Palace, 449; Villa, 473 Mastelletta, 53 Masters, at Rome— Italian — French — Mu- MattJiVilla, 473 ; Palace, 449 Mausoleum of Augustus, 310 of Hadrian, 209, 314 of Octavius, 268 of Porseuna, ] 61 of the Savelli, 362 of Theodoric, 9 Maury, Cardinal, tomb of. 377 Mazzolini, Ludovico, works of, 11,459 Mecoenas, Villa of, 483 Medals at Bologna, 35 , cabinet of, 143 at Collegio R,omano, 460 Ravenna, 91 Medici villa, 473 Medicinal springs and baths, 100 Mellini villa. 47 2 Mengs, Raph., paintings of, 469, 471 Mentorella mountain, 513 Mercatello town, 139 Mercury, statue of, 410 Merle, Van, of Leyden, 69 Mesola town, 74 ' to Venice, 75 Meta Sudaus, ruins of, 297 Metastasio, birth-place of, 233 Metauro stream, 130 Me tell a, Cecilia, tomb of, 268, 502 Meunier, General, 116 Me;i er, comic subjects of, 459 Mezentius, capital of, 536 Mezzoianti, Cardinal, 35 , abode of, 446 Middle ages, Rome during the, 270 Milan, school of, 33 Milani, Aurelio, 51 Mile, Roman, length of, 7; Italian, ib ; Neapolitan, ih. ; Tuscan, ih. Miles, Mr., collection of, 219 Milliarium Aureum, discovery of the, 273 Millingen, Mr., collection of, 225 558 INDEX. Mills, Mr., residence at Rome, 278 , gardens of, 473 Milo, birth-place of, 506 Minardi, Madonnas of, 459 Mineral sprinj^s at Nocera, 133 waters at Volterra, 177 of Chianciano, 162 Monte Cerboli, 179 Minerva, temples of, 230, 268, 275, 284, 265 library, 374 Mines of copper at Monte Catini, 178 Miniature army, 108 Mint of Bologna, 64 Mirabilia of Rome, 474, 477 Mirandol.a, siege of. 122 Mochi. statues t)y, 248, 267 Modena to Bologna, 24 . Ferrara, 9 Mona, Dominico, works of, 12, 14 Monastery of Basilian monks, 494 of the Camaldoli, 177, 493 at Ferrara, 15 atSpoleto, 238 • of St. Scolastica, 486 of St. Salvi, 206 Money in Papal states. 3 Mongiovino village, 162 Monte Cavi, 498 Montecatino, tombof, 16 M.mte del Grano, 489 Montecelli, feudal castle of ,483 Montefalco town, 234 Montefeltro, Guido da. 510 Monteliascone — Town — Cathedral — Monu- ment- — Wines, 197 to Orvieto, 155 to Viterbo, 197 Monte Giove, 505 Monte Fincio, 248 Montepulciano — Church — Roman remains. 162 ; to Porzio, ?>08 Monterone, 193— Tumuli at, 168 Monterosi. 205, 246 Montesquieu, 104 M-ontevavchi market-town, 206 Monte- Verde hill and castle, 488 Montfancon on the Palestrina ruins, 511 Montfort, Guy de, murder by, 198 Monti; Vicenzo, birthplace of, 77 Montmorency, Anne de, 96 Montone, Braccio da, 217 Monuments, Museum of, 404 at Chiusi, 161 Moore, Thos., poetry of, 33 Morandi, Gio. M., masterpiece of, 375 Morata, Fulvio Peregr., of Ferrara, 13 Morez, the Jura frontier, 2 Mortadella of Bologna, 69 Mosaic Eagle at the Basilian Monastery, 494-, of Palestrina. 511 Mdsaics, manufactory of, 424 • of Pliny's Doves, 433 of Flowers at Geuzano, 50S Mosca, Simon, works of 122 Moses of Michael Angelo, 381 Motone stream, 100 Mountains near Tivoli, 485 Urbino, 139 MSS. of Aldrovando, 35; of Ariosto, 18 at Cesena, 103 MSS. at Borgo San Sepolchro, 149 in Chigi Palace, 442; at Cortona, 212 at Imola. 98 ; at Perugia, 217,227 at Ravenna. 91 ; at Rimini, 107 at Pesaro, 1 10 ; at Rome, 374 , Chinese and Coptic. 359 ; at Siena, 190 at the Vatican, 422, 518 Mulberry plantations in Tuscany, 162 Muraena, birth-place of, 506 Murat's donations to Lureto, 124 execution, 128 Muratori, D., collection of, 361, 498 Murazze of Venice, 74 Murillo, pictures by, 416,441, 444, 446 Museum of the Academy, 460; at Arezzo,209 at Campana; Coins, 455 ; Sarcophagi — Terracottas— ancient frescoes — bronzes — glasses— urns and vases, 456 of the Capitol ; Chamber of Canopiis — Hall of Inscriptions, 431— Hall of the Sarcophagus — Pianta Capi tolina — Ga l- lery— Hall of the Vase, 432— Pliny's Doves— Hall of the Emperors — Hall of the Philosophers, 433 ; The Saloon— Hall of the Faun, 434— Dying Gladiator. 435 of Christian Antiquities of Chiusi, 161 at Perugia, 225 ; at Pesaro, 1 1 1 at Ravenna, 91 ; of the University, 34 at Volterra, 172 Musignano, 541 Mutatorium Caesaris, 289 Muti Palace, 450 Muziani, paintings by, 490 Muziano, Girolamo, pictures bv, 124, 159, 362 Naples, academy of, 461 Napoleon at Terni, 239 , value of a, 4 Nar, valley of the, 241 Narni, castle, ruined bridge, 241 cathedral, environs, 242 to Perugia, 154 N.irses overthrows the Goths, 133 Navarra, Pedro, the engineer, 96 Navarre, Court of, 12 Navy of the Papal States, ix Necropolis, paved road of, 539 Needles of Assisi, 233 Negroni villa, 473 Nemi, Lake, 506 village, 507 Nemorensis Lacus, 506 Nepi, position, Etruscan ruins, churcli, townhall, 246 Neptune, temple of, 534 Nero, baths of, 308 , bridge of, 160 buildings of. 268 , circus of, 299 , colossus of, 297 , tomb of, 247, 517 , villa of, 4o6 , mole of, 532 Nerola village, 163 Nerva, temple of, 285 , Forum of, 269, 285 Nettuno town — fortress— antiquities, 534; forest, 252 Newbold, paintings of, 459 INDEX. 559 Nibby, Professor, remarks of, 272, 279, 507, 508, 512,517, 519, 523,524 , discoveries of, 505 Niccolini pal.ice, 450 Niccolo, St., 97 , Gelasio di, painter, 11 Nicholas Hi. Pope, 26 — v., salt magazine of, 273 Niebuhr on Roman Forum, 272 — , history of Rome by, 497 Nocera city, 133 Nogara, 9 Notes of Herries, or Coutts, 3 Notte, Gherardo del la, paintings by, 444, 451 Nozze Aldobrandini, 403 Nugent, General, at Bologna, 26 NymphcEum of Alexander, 290 ■ , ancient, 497 Oak of Tasso, 379 ■ groves near La Chigna, 162 Obelisk of Rhamses, 248 of Saint Mary Maggiore, 327 Obelisks, Zoegaoti, 359 at Rome, 326—329 Octavia, portico of, 268, 324 Octavius, mausoleum of, 268 October festival at Rome, 253 Odescalchi p alace, ':i50 Olevano village, 487 town — castle —limestone rock — church, &c.,514 to Subiaco, 487, 513 Olibarura town, 514 Olitorium forum, 277 Olivieri, designs of, 367 Olm.ito avenue of Genzano, 506 to Genazzavo, 513 Olmo village, 211 Onofri, Anionio, 108 Onyx ring at Perugia, 218 Ordelaffi family, 100 Organs played by water, 450, 473 Oriolo village, 522 Orsiri, Cardinal, 220 palace, 450 Orte town, 201 Ortolano, works of, 14 Orvieto. Etruscan remains, 155 ; cathedral, 156 ; Well of St. Patrick, 159 ; palaces — environs, 160 to Montefiascone, 1 55 Osa, valley of the, 517 04mo town, 120 Ospedaletto building at Veii, 517 Ossaga st ition-house, 213 Ostia, 524 ; historical events — excavations — temples, 525 ; theatre— tower, 526 ; en- virons, 52; Ostiensis Via, 524 Ostiglia, 9 Ostricoli, 242 Otterboni, library of the, 421 Over beck, paintings by, 229, 455; stvle of, 458 Ovid, Metamorphoses of, 507 Pacchiarotto, paintings by, 185, 187 Pacetti, works of, 359 Padua to Ferrara, 9 Paecile at Hadrian's Villa, 49 Pagani of Faenza, 99 Paglia river, 194 Paintings by Le Brun, 124 Palaces, private, in Rome, 436 ; — Albani — Altemps— Altieri— Barberini, 437 ; Bor- ghese, 439 ;—Braschi— Buonaparte— Can- cellaria — Arciprete,441;— Cenci— Chigi — Cicciaporci, 442; Colonna— Consulta— Convertiti, 443 ; Corsini, 444; Costaguti — Doria Pamfili, s45; Falconieri — Farnese, 446 ; Farnesina, 447 ; Firense — Giraud, 448 ; Giustiniani— lianceilotte ; Lanti — Madama — Massimi — Mattel, 449 ; Muti — Niccolini ; Odescalchi — Orsini — Pamfili — Ponteticeo — Rospigliosi, 450 ; Ruspoli— Sacchetti — Sciarra, 451; Sora — Spada, 452; Torlonia, 453 — Venetian— Vidoni. 454 of L'Ariccia, 505 of Ancona, 117 of the Barberini at Palestrina, 511 at Bologna, 33, 57, 58 at Cesena, 103 of the Duke of Cesarini, 506 of the Conservatori, 426 at Faenza, iOO of Ferrara, 17 of Macerata, 127 of Merchandise, 62 at Montefiascone, 159 at Pesaro, IJO at Ravenna. 90 at Rome, 277, 280 of the Senator, 426 of Siena, 189 , ofTheodoric. 328 at Vol terra, 172 ducal, at Urbino, 136 Palatina villa, 473 Palatine hill at Rome, 265 Palazza monastery, 497 Paleologus, Emperor John, 19 Palestrina, Princess Emilia of, 508 Paliano town— drawbridge, 514 ; historical events, 515 mountain, 512 to Anagni, 515 Paiio of Siena, 188 Pallas Minerva temple, 285 Pallavicini palace, 60 , Cardinal, presents by, 125 Palm, Roman, length of, 7 Pal ma, bas-relief at, 505 Palo, village of, 168 Palombara village, 487 Pamfili Doria villa, 319 ;— grounds - A 1- gardi — a water organ, 473 Columbaria, 474; Palace, 450 Pamfilian mole, remains of, 533 Panaro river, 9, 24 Pancras, St., Martyrdom of, 380 Pauetti, paintings by, 15 Panfilio canal, 9 Panini, views by, 450 Panoramic sketch of Rome by Vasi, 445 Pantano, Osteria di, 516 Pantheon at Rome, 268, 286 I'aolo the Sculptor, 377 Paolozzi, Signor, collection of, 161 l*apa, Rocca di, village, 497 560 INDEX. Papacy, disputed succession to, 270 Papal stat^^s, entrance at Santa Bianca, 9 Pay)er mills at Colle, 171 ; at Faenza, 99 Papip;no, 241 Paradise Regained of Milton, 247 Parasina, dungeon of, 17 Paicae, temple ot the, 2/4 Parchment, manufacture of, 234 Parma, school of, 32 Parmegiano, 32, 40, 222 Parolini, paintings by, 13, 17 Parrhasius on Dialect of Bolognese, 69 Parlhenai, Jean de, the Huguenot, 12 Pasquin on the Barberini ravages, 271 , statue and history of, 333 Passerotti, pictures by, 449 Passignano, 216, 383 Passionei, Cardinal, retreat of, 493 Passports for the Papal States, 2 at Rome, 168 Patrick, St , well of, at Orvieto, 159 Paul III., I'ontificate of, 2l7 .ravages of, 271 , Salt Tax of, 271 v., Pontificate of, 121 , Aqueduct of, at Recanati, 126 , works of art destroyed by, 271 Paulus J^milius, baths of, 307 Pausilypon villa of Metia, 522 Pavement of ancient earthenware, 40 Peace, temple of, 276 Pelasgic walls at Tusculum, 493; architec- ture, 5u9 Penitenzieria at Rome, 253 Pentelic marble, columns of, 284 Peperino, massive walls of, 506 Pepoli, Guldo, bust of, 41 . Palace of, 60 , Taddeo, the demagogue, 26 , tomb of, 42 Perazzi, picture by, 187 Perugia — historical events — illustrious na- tives — population— school of Umbria, 217 ; cathedral , 218 ; — churches — con- vents, 219; fountain — piazzas — arch ol Augustus, 223 ; palaces, 224 ; galleries of pictures, 225 ; library — college — fortress, 227 ; fairs— environs, 228 to Citta di Castello, 154 ; — to Foligno, 228 to Narni, 154 ;— to Citta della Piere, 162 Perugino, Pietro, birth-place of, 160 -. works of, 112. 185, 219, 221, 222, 233. 402, 437, 451 Perusia Antiqua, 217 Peruzzi, works of, 186, 187, 189, 375 Pesaro City described, 109; cathedral, 110 ; litjrarv, palaces, fortress, manufactures, 111 , Niccolo da, painting by, 110 Peter's, St., described, 334—345 Petitot, medallion portrait by, 51 Pctrarcli's birth-place, 20/ ; autographs, 424 Petrucci, Pandulf, tomb of, 191 PfyfTer, Captain, anecdote of, 317 Phenomenon near Pietramala, 70 Philharmonic academy, in Rome, 449, 462 society at Bologna, 64 Philippe le'Hardi at Viterbo, 199 Philip le Bel, 220 Phocas, column of, 270, 275, 300 Physicians at Bologna, 69 at Rome, 251 Piadre, Neapolitan, 4 Pianoro, 70 Pianta Capitolina, 432 Piazza del Campidoglio, 425 — of Ferrugia, 223 Maggiore of Bologna, 56 del Popolo at Rome, 248 at Rome, 330 Piccolomini villa, 490 palace, 189 Piella Palace, 60 Pienza to Montepulciano, 162 Pietramala, phenomenon of, 70, 71 Piety, temple of, 283 , of Scalza, 158 Pila mountain, 512 Pilate, Pontius, birth-place of, 205 Pincio. Monte, 248 Pine forest near Ravenna, 75, 95 groves of Barberini, 503 Pino, arch of, 517 Pinturicchio, pictures by, 219, 225, 233,234, 361, 362, 375, 430 Pisa, Giovanni di, statues by, 218, 220 , Niccolo di, works of, 42, 182 Pisanello, Vittore, 221 Pitulum, site of, 152 Pius, Antoninus, temple of, 269 , death of, 168 II., chapel of, 247 , bull of, 271 VI., birth-place of, 103 , Pontificate of, 124 , treaty of, 129 , retreat of, 169 , aqueduct of, 514 VII., 3, 98, 236 , Chalice of, 125 ■ — , Egyptian museum of, 410 , retreat of, 103 Plagues of Perugia. 217 Plains of Terni, 238 Plautus, tomb of, 371 Pliny's Doves, mosaic of, 433 Po river, 9 Poderina, 193 Podesti, the historical painter, 459 Poggibonsi — manufactures — sepulchre of Boccaccio, 170 , excursion from, 171 to Siena, 180 Poggio, San Lorenzo, 163 Police of Rome, 253 Polignac, Cardinal, researches of, 511 PoUajolo, Pietro, 185 Polline near Bracciano, 522 Polygonal pavement at Cavi, 513 Pomarancio, works of, 159, 175, 449 Pombal, Marquis de, 110 Pompey, celebrated statue of— anecdote of its discovery — controversies r«'si;ecting — Gibbon, 452; Childe Harold— Hob- house —French Tragedians — Winckelman, &c.. ib. Pompey, theatre of, 293 ; tomb of, 503 Pomnosa. 'i5 Pons, Antoine de. Count de Marennes, 12 INDEX. 561 Pontassiena to^vn, 206 Piinte Ceiitesimo, 1H3 Ponte Centiuo Custom-house, 194 Pontedera, 180 Pontelicio Palace — situation — garden — frescoes — bas-reliefs— paintings — private chapel— casino — organ played by water, 450 ■ — — Lucano, 478 • St. Angelo, 269 Ponticino, post station, 207 Pontine Marsh forests, 535 Popes, destruction of buildings by, 271 Population of Rome, 253 Porcupines at Rome, 252 Pordenone, picture by, 450 Porphyry Urn iu the Lateran, 316 Porretta, baths of, ti8 Porsenna, capital of, 161 , Mausoleum of, ib. Port of Civita Vecchia, 165; of Caere, 167 Pesaro, 110 • the Po, 9 llecauati, 127 Ravenna, 92 Ancona, 117 Porta, GuHhI. della, works of, 122 Portico of Octavia, 268, 324 Portioncula Church, 229 Porto City, ruins of, 528 Portas Trajanus, the arsenal of Rome, 527 Porzio mountain, 508 Posi, P., sculpture by, 376 Post, Roman, length of, 7 Postmaster in the Papal States, 5 Postillions' tees in the Papal "-tates, 7 Posting in the Papal States, 5 Poussin, Caspar and Nicholas, works by, 378, 401, 430, 438, 444, 452 ' , house of, 455 , tomb of, 370 Pratica, 530 Praeneste City, 509 Praetorian Guards, barracks of, 479 ; camp of, 503 camp of Tiberius, 268 Pratolino villa, 71 Pratica tower, 496 Praxiteles, Faun of, 410 Pi ison, the Mamertine, 321 Procopius, travels of, 315 , description by, 258 Prodigals, club of, 190 Promenade at Siena, 191 Pesaro, 1 1 1 Promoteca Gallery, 426* Propertius quoted, 518 Protestant Rurial Ground at Rome, 268 Provincial Roads, 5 Padding, fa\ ourite, of Bologna, 69 Pulpit of marble at Siena, 182 Punicum, the ancient, 167 Pyramid of Cains Cestius, 268, 313 Pyrgos, site of, 167 , ancient port of, 538 Pythagoras, grotto of, 212 Quarterly Review, 136, 149, 288 Quays at Rome, 323 Querela, Jac. della, statues by, 187 Quesney, du, sculptures by, 372 Quiririal Hill at Rome, 265 Quirinus, temple of, 288 Races at Rome, 252 Racine, death of, 21 Radicofani mountain, geology of, 193, 194 Raftaeledcl CoUe, 145, 150 Ragi,a, stuccoes of, 505 Railway from Naples to Rome, 5 Rainaldi, woiks of, 370 Ranuzzi palace, 60 Raphael, works of, 32, 136, 140, 145, \4S, 219. 222, 224, 225, 226, 375, 376. 399, 403, 438. 440, 444, 445, 452. 456, 471, 524 , birth-place of, 136 , earliest work of, 222 , divine picture of, 49 , frescoes by, 448 , house of, 138 , letter of, 27 , stanza of, 392 , death of, 443 , burial-place of, 287 Rasina, 15 i Ravenna, 10, 77; early history, 78 ; modern history, 80 ; cathedral, 81; baptistery, 82 ; San Vitale, 83 ; churches, 84 ; Galla Pla- cidia, 87; palace of Theodoric. 88; tomb of Dante, 89; palaces, 90; museum, 91 ; academies — hospitals, 92 ; theatres — for- t'-ess — port — tomb of Theodoric, 93; en- virons, 9i to Faenza, 73 to Forli, ib. to Mesola, 74 ; Venice, 76 to Bologna, 77 ; Rimini, 97 Recanati, aqueduct at, 126 , Cardinal, tomb of, 376 Record office at Rome, 273 Redi, poetry of, 180 Reduction of Roman Scudi to Italian and Tuscan coinage, 4 Reformation, the, 12 Regillus lake, 508 Keguliiii, discoveries of, 537 Reinhart, historical landscapes of, 458 Reliquiary of Bolsena, 158 Remus, temple of, 288 Reno canal, 25 Republic of San Marino, 107 Republican relics at Rome, 266, 268 Reynolds, Sir Joshua, 28 Rhamses I., obelisk of, at Rome, 248 Riccardi of Terni, the architect, 241 Ricci, Matt., birth-place of, 128 Ricorsi, 193 Riddle at Bologna, 35 Rienzi, church of, 367 , house of, 329 Rieti, rich plains of the, 210 to Rome, 162 Rigutino, 211 Rimanetown, 163 Rimini, 103; Roman bridge— its history- triumphal arch— churches, 106 ; library — environs, 107 to Fano, 109 , Malatesta, lord of, 217 to Ravenna, 97 Rio Torto torrent, 531 Rioni of Rome, 255 562 INDEX. Rivotano torrent, 513 Roads in the Papal States, 4 Robbia, Agostino della, 220 , Luca della, interesting works of, 124 Rocca, Cardinal, library of, 359 di Papa, 264, 497 Vaiano, castle, 129 di Cavi. 513 Rock, the Tarpeian, 321 Rogate village, 514 Rogati family, bronze portraits of the, 123 Rogers, Samuel, Esq., collection of, 219 Roma Vecchia, castle of, 489 Roman con(iuits, 132 bridge of Savignano, 104 Forum, the, 272, 274 mile, 7 ; post, ib. gate at Ronciglione, 204 remains, 77, 111, 161, 172, 233, 237 sarcophagus, 195 school of painting, 32 Romarello, 430, 445 Romano, Giulio, works by, 137, 139, 440, 451,456, 472 Rome — ages of the antiquities — kingly, 266 ; republican — the Empire, 268 ; Papal, 270 , academies, 459 , agger of Servius Tullius, 323 , amphitheatres, 29/ , antiquities, shops for, 251 , apothecary, ib. , aqueducts, 319—321 , arches, 301—304 , arrangement of Mirabilia, 474 , artists' studios, 457 ' , bankers, 2.^1 , Basilica of Constantine, 279 • St. Peter's, 334, 346 • St. John Lateran, 347 Sta. Maria Maggiore, 351 St. Croce in Gerusalemme, 353 St. Paolo fuore le Mure, 354 San Lorenzo, 355 , baths, 304, 309 , bridges,— Ponte MoUe — S. Angelo — Triumphalis— Sisto — di Quattro Capi — S. Bartolommeo— Rotto — Sublicius, 261, 262 , bronzes, shops for, 251 , cafes, 250 , casts in sulphur, 251 , Campagna described — Sabine hills — Volscian mountains — Pontine marshes — Albano lake — camp of Hannibal, 263, &c. • , Campus Sceleratus, 323 , Capitol, 425 , carriers to England, 251 • , chapels of the English, 251 , charities, 462 , chocolate shops, 2i0 ■ , Churches : S. Agnese, 358 ■ , S. Agostino, 358; S. Andrea, 359 , S. Andrea della Valle, 360 ■ •, S. Angelo in Pescheria, ib. — , S. Antonio Abate, 361 — , SS. Apostoli, 361 ; Ara Coeli,t&. , S. Bartolommeo, 363 — , S. Bernardo, ib. ; S, Bibiana, ib. , S. Honosa, ib. ; Capuccini, 364 , S. Carlo ai Catinari, ib. Rome— Churches: S. Carlo in the Corso,.?65 , S. Cecilia, ib. ; San Clemente, ib. , S. Costanza, 366 , S. Cosimo e Damiano, ib. , S. Francesca Homana, ib. , S. Francesco a Ripa, 367 ; Gesu, ib. , S. Giorgio in Velabro, ib. , S. Giovanni Decollate, 368 Grysogono, ib. e Paolo, ib. , S. Giuseppe de' Falegnami, ib. , S. Gregorio, ib. ; S. Ignazio, 369 , S. Lorenzo in Damaso, ib. in Lucina, ib. , S. Luca, 370 , S. Luigi de' Francesi, ib. , S. Marcello, ib. ; S. Marco, 371 , S. Maria degli Angdi, ib. dell' Anima, 372 in Cosmedin, ib. di Loroto, ib. sopra Minerva, 373 di Monte Santo, 374 della Navicella, ib. del Orto, ib. della Pace, 375 ^ in Trastevere, 376 aTrevi, 377 in Vallicella, ib. in Via Lata, 378 della Vittoria, ib. , Martino ai Monte, ib. , SS, Nereo ed AchiUeo, ib. , S. Onofrio, 3; 9 , S. Panerazio, t6. , S. Paolo alle tre Fontane, 380 , S. Pietro in Montorio, ib. in Vincoli, 381 , S. Prassede, 382 ; S. Prisca, 383 , S. Pudenziana, ib. ; S. Saba, ib. , S. Sabina, ib. , S. Silvestro di Monte Cavallo,384 , S. Stefano Rotondo, ib. , S. Teodoro, 385 , S. Tommaso degli Inglesi, ib. , Trinita de' Monti, ib. Pellegrini, 386 , ciceroni, 250 , cigar shops, 252 , circus, 297—299 , clergy, resident, 251 , climate, 465 , cloaca maxima, 322 , clocks, regulation of, 252 , Cloliseum, 294—296 , colleges, 459 , Columbaria, 318 , columns, 299—301 , Comarca — extent — population — sub- divisions, 253 , dinner-houses, 250 , druggists, 251 , Districts, 254; [Rioui]— CampoMarzo — Colonna— Trevi — Pigna — S, Eustachio, 256 ; Ponte — Parione — Regola—S. Angelo in Pischeria — Trastevere — Borgo, 257? Monti — Campitelli — H ipa , Egerian fountain, 325 , Engravers, 251 , Engravings, collections of, 252 , English chapel , 251 INDEX. 563 Rome — English warehouse, 252 • burial grouud, 464 , Etruscan iiitagU workers, 251 , Excursions from, 477 ; to Tivoli, 478 to Subiaco, 485 to Monte Genaro, 487 to Frascati, 488 to Gr(jtt;i Far rata, 493 to Marino, 495 • to Alba Louga, 496 to Palazzola, 497 to Hocca dv Papa, ib. to Monte Cavi, 498 to Lake of Albano, 500 to Albano town, 503 to L'Ariccia, 504 to Corioli, 505 • to Genzano,506 to Lake of Nemi, 507 to Coloiina, 508 to Palestrina, 509 to Cavi, 513 to Genazzano, 513 to Olevano, 514 to Paliauo, ib. to Zagaroli, 515 to Gabii, ih. to Veii, 517 to Lake of Bracciano, 521 to Ostia. 523 to cities of ancient Latium, ib. • to Fiumicino, 527 t^ Porto, ?h. to Castel Forano, 529 to Pratica, 530 . to Ardea, 531 ■ to Porto d'Anzo, 532 to Musignano, 511 ■ to Poiite deir Abadia, ib. to Toscanella, 542 ; to Nettuno, 534 to Astura, ib. > to Etruscan cities, 535 to Cerveteri, 536 to Corneto, 538 , Festivals, public, 253; Carnival — Oc- tober — artists — church , Forums — the Roman, 272; — Trajan — Nero — Augustus, 273 ; Caesar — Boarium — Olitorum — Antoninus, 277 , Fountains, 330, 333 , French masters, 251 , fuel, 250 , Gates— Porta. 258 ; del Popolo— Pin- ciana, 259 ; — Salara — Pia — S. Lorenzo — Maggiore — San Giovanni, 260 ; — Latina — ?5an Sebastiano — Sau Paolo — Portese — Sun Pancrazio — Cavalloggieri — Fabrica — Angelica, 261 ; — Castello, ib. , gems, shops for, 251 , government, form of, 253 ; Sacred Col- — lege — Camera Apostolica — Cancellaria Datana — Penitenzieria , hackney carriages, 250 , Hills, the Seven, 265; Capitoline— Palatine — Aventine — Caelian — Esquiline — Quirinal — ^Virainal , hospitals, 462 , hotels, 248 , hours, regulation of, 251 Rome, — inns, 248 , Italian masters, 251 , jewellers, ib. , Janiculum, 255 , licence for sporting, 252 , livery stables, ib. , lodging houses, 249 , Mamertine prisons, 321 , Mosaic works, 251 , music masters, ib. , obelisks, 3^6-329 , Octavia's portico, 324 , palaces, 277, 386, 453 , Pantlieon, 286 , partridge sViooting, 252 , physicians, 251 , piazze, 332 — ^334 , Pilate's house, 329 , police, 253 , population, 253 , porcupine hunting, 252 , post office, 250 , province, extent of, 253 , reading rooms, 249 , Rienzi's house, 329 , Sallust's house, 323 , scagliola shops, 251 , sculptors' studios, 45/ , snuff shops, 252 , shooting licence, 252 , streets, 254 , Spoliarium, 324 , St. Peter's, — foundation, 334; archi- tecture, 335; general sketch, 336; co- lonnades — fagade, 337 ; measurements, 338 ; nave — dome, 339 ; Baldacchino, 340 ; tribune — monuments, 342 ; Grotle Vatican, 344; sacristy — ascent of the dome, 345; illuminations -ceremonies — religious festivals , Tarpeian rock, 321 , Tliarius, trophies of, 325 , Tiber, 254 , temples, 280, 292 , theatres, ancient, 292—294 , mudern, 253 , tombs, 310, 318 , Vivarium, 324 , views, engraved, 252 , vetturino carriages, 250, 252 , valets de place, 250 , Villas, 467, 474 , walls, circuit of the, 257 , various repairs of, 25 , woodcock shooting, 252 Rome to Castellana, 245 Florence, 5, 169 Rieti, 162 Tivoli, 477 Civita Vecchia. 165, 536 Romulus, circus of, 298 , temple of, 270. 275, 289 Roncalli, paintings hy, 121, 125 Ronciglione town — Gothic castle— trade, 204 Roncioni gardens, 278 Roofless palace at Viterbo, 199 Rosa, Salvator, works of, 61, 148, 200, 227, 430, 437, 442, 445, 446. 453 , , house of, 455 , tomb of, 371 564 INDEX. Roscius, birth-place of, 506 Rospigliosi palace — Aurora of Guido — antique sculptures and paintings, 451 Rosselli, Matteo, 174 , Nic, my^teries by, 17 , Paolo, works of, 176 the architect, 13 Russi museum, 209 , Professor de, death of, 41 Rostra at Rome, 275 Rovere, dukes of, 109 Rubens, works of, 92, 377, 430, 440, 445, 446 Rubicon, the, 97, 104 Ruins of Rome— kingly period — republican period, 265 ; the Empire, 268 Ruspoii palace — splendid marble staircase, 451, 537 Rustichiuo, picture by, 187 Sabatelli, the artist, 209 Sabine hills, 484 Sacchetti palace, 451 Sacchi, And., 365. 401, 452; birth-place of, 534 Sacco, rich valley of, 512 Sacred College of Cardinals, 253 Sacristy of San Domenico, 44 San Petrorio, 41 St. Peter, 345 Sacro Speco monastery, 486 Salimberii Ventura, 187, 222 Sallust, circus of, 299 , house and garden of, 323 , villa of, 483 Salt magazine of Nicholas V., 273 works of Volterra, 178 Cervia, 97 Salviati, Franc, paintings by, 368, 380 Sambuca, 169 Sambucheto, 127 Samoggia village, 24 Sam\)ievi palace, 60 San Benedetto inn, 73 • Casciano, 73, 169 Geunarello bridge, 507 Sandstone, tertiary, at Siena, 192 Sangallo, Antonio, works of, 122, 125, 159, 260 , house of, 451 San Giustino, 140 Lorenzo Nuovo village, 195 Sansovino, works of, 122, 376 Santa Severa, fortress of, 167 Santi, Dr., of Perugia, 227 Santo Polo, picturesque village of, 437 Saracinesco, -]85 Sarcophagi at Rome, 405 at Bologna, 38 • Chiusi, 161 Volterra, 172 Sarcophagus ot St. Constantia, 416 at Farnese palace, 312 of Greek marble, 95 , Roman, 195 ■ of Scipia, 411 Sardinia, Hensius, king of, 25 Sarteano, Etruscan tombs at, 162 Sarto, Andrea del, works bv, 124, 147, 206, 440, 444, 445, 456 Sassatelli, Count. 98 Sassoferrata, works of, 112, 124, 222, 384 Saturn, temple of, 268, 289 Savelli, Gothic mausoleum of the, 362 family, 313 Saveno river, 25, 97 Savignano town, 104 , Roman bridge, 104 Savio river, 103 Sausage of Bologna, 69 Saute rne river, 71 Saxony, king of, wedding dress of. 124 ScaUa* the sculptor, works of, 158, 159, 218 Scalzacane villa, 488 Scarpellata, La, route, 488 Scarsellino, works of, 14 — 17 Schadow the Prussian sculptor, tomb of, 359 , works of, 455 Schiassi, Professor, 35 Schiavi tower, 516 Schidone, pamtings by, 125, 450 Schiegyia, La , — cathedral — palace —en- virons, 132 Scholastica, S.. monastery, 485 School of art at Ferrara, 10 ; of Milan, 33 ; of Siena, 182 ; of Umbria, 217 Sciarra palace— select gallery, 451 Scipio, tomb of, 317 Scott, Sir Walter, on Childe Harold, 312 Scudi, value of the, 4 Sebastiani, Prof., on the plants of Rome, 29b Sedazzi palace, 61 Segni mountain, 512 Semenza, works of, 53 Seminario, Vigna del, 491 Sena, Gallica, 113 Senator palace — fountain of Sixtus V.— - statues — tower — Lincti academy — city — prisoiis, 426 ; discoveries in, 273 Septimius Severiis, arch of, 303 Serapeon of Canopus, 4/9 Sermide post fetation, 9 Sermonte, 152 Serpent, voyage of the sacred, 533 Serravallo town, 10j<,"130 Serri, pictures by, 187. ServiUi, tomb of the, 318 Sette Sale ruin, 309 Settignano, Balsamelli da, works of, 175 , sculptures by, 175 Severus, Sept., arch of, 269, 274 Sforza, Altendolo, birth-place of, 77 , Cardinal, tomb of, 376 , Catherine, intrepidity of, 102 , death of, 221 Shakspeare, illustrations of, 506 Shelley on Beatrice Cenci, 438 , grave of, 464 Shooting season at Rome, 252 Sibyls by Raphael, 3/5 , Tiburtine, temple of, 481 Siege of Perugia, 217 Siena— situation, 180 ; history— school, 181 ; academy of arts, 182; cathedral, 183; churches, 185 ; courts of law, 187 ; arch- ives, 188; palace, 189; university — INDEX. 565 ' library — hospital, 190 ; gates— citadel — environs, 191 Sienese, manners and lanj^uage of, 192 Sienno to Poggibonsi, 180 Sigillo, city and mountains, 132 Signorelli. Luca. works of, 121, 124, 158, 174, 186, 193,213,218 Silk, spinning and weaving of, 99 Sillaro town, 97 Sinigallia town. 1 13 ; history of, ib. Siiani, Eliz., death and tomb of, 43 Sismondi, 26, 98, 103, 181, 193 Sixtus IV., 101 V. builds the walls of Loreto, 121 ; aqueduct of, 615 Slaves of Augustus, Columbarium of, 319 Smaragdus the exarch, 275 Smyrna, steamers to, 119 Sobieski, Prince, tomb of, 364 Sodoma, 185, 186, 187 Solfatara canal, 478 Solimene, paintings by, 232 Sora palace, 452 Sotec, tomb of, 484 Soubise, Madame de, 12 Spada palace — celebrated statue of Pompey, 294, 452 ; antiques— gallery, 433 , Lionello, works of, 43, 452 Spagnoletto, 185, 438, 439, 450 Spedalato bridge, 513 Spezeria of Loreto, 125 Spina city. 75 Spinning girl of Schadow, 359 Spoleto —history, 236 ; antiquities — cathe- dral, 237; churches — citadel — palaces — aqueduct — Roman remains, ib. ; mo- nasteries — environs, 238 Spoletium of ihe Romans, 236 Spoliarium, ruins of the, 324 Sporting period at Rome, 252 Springs of brine on the Cecina, 178 St. Angelo, castle of, 314 Constantia, tomb of, 313 Helena, Empress, tomb of, 314 JohnLateran obelisk, 327 John, martyrdom of, 260 Louis of France, portrait of, 124 Patrick's well at Orvieto, 159 Peter's at Rome, 334—345 Stabbing, cases of, at Bologna, 36 Stables of the Circus, 289 Staggia, the, valley of, 180 Stagio, statues by, 175 Stanze of Raphael, 392 Statilius Taurus, amphitheatre of, 297 Statistics of Rome, 253 Statue of Agrippina, 433 Demosthenes, 409 Pasquin, 333 , colossal, of Pompey, 294,452 Steamers between Mai'seilles and Naples, 165 ; of Lloyd's on the Adriatic, 119 Stellata town, 9 Stertinus, precepts of, 261 Sterza, rocky bed of, 180 Stoics, temple of the, 479 Strabo, bustum of, 311 Streets of Rome, 254 Strozzi of Feriara, 15 family, baronial mansion of, 517 Studios of artists at Rome, 457 — 459 Subapennine marl at Radicofani, 194 Subiaco — population, 485; falls of the river — villa of Nero — MSS. — library — churches, 486; monastery — cloisters — printing office, ib. to Olevano, 487, 513 to Athle, 514 Subterranean chapel at Galuzzo, 169 church, 1 12 Sulphur lake at Viterbo, 197 mines, 103 Sumach, cultivation of, 129 Sun. temple of the, 174, 238, 269. 290 Sutri town, 204 Swevnheim, Conrad, house of, 455 Sybils, paintings of the, 122, 124, 127 Sylla, wars of, 509, 516 Table of bronze, 434 Tables, Eugubian, at Gubbio, 132 Tabularium at Rome, 273 Tacitus, birth-place of, 238 Tadoiini, the Sculptor, 458 Tagliaferro village, 71 Tagliocozzo, fatal battle of, 535 Tanara palace at Bologna, 61 Tapestries of Raphael, 398 Tarcagnota, tomb of, 1 19 Tariff for Posts in Papal States, 7 Tarlati, the warrior bishop, 208 Tarpeian Rock, 321 Tarquinii, site of, 539 Tarsia, specimens of, by Bergamo, 222 Tartaglia da Lavello, 217 Tartaro Lagodi, 478 Tartavuchi, frontier of, 331 Tasso, quotations from, 72, 75, 110, 130 , autographs of, 424 — , grave of, 379 , oak of, 379 , residence of, 109 on the shrine of Loreto, 126 retreat of, 10 , prison of, 20 Tassoni, quotations from, 10, 69 Tavernelle, 170 Tazze Argonautiche at the Vatican, 420 Tedesco, sculptures of, 65 Tempe, vale of, 479 Tempesta, works of, 204, 449, -^^Sl Temples of Antoninus and Faustina, 269 2/5 of Anna Pevenna, 531 of Apollo, 533 of Bramante, 380 of Castor and Pollux, 2T5 of Concord, 274, 281 at Corneto, 541 of Diana, 505 of Fortune, 509 in Forum Roman um, 274 of Juno, 506, 516. 519 uf Jupiter, 265, 2'o8, 498 at Le Vene,235 of Mars. 237, 274 of Minerva. 232. 268, 275 of Neptune, 534 at Ostia, 525 of the Parcae, 274 of Peace, 276 566 INDEX. Temples of Rome described, 280—292 of Romulus, 275 of Saturn, 268 of the Stoics, 479 of the Sun, 174, 238. 269, 290 at Terni, 238 of Tiburtine Sibyl, 481 of Venus, 269, 276, 520 • of Vespasian, 274 of Vesta, 482 Tenerani, monument by, 185 ; style of, 458 Teniers, works of, 92, 446, 453 Tepulan aqueduct at Rome, 260 Terence of the 4th century, 423 Terni — cathedral — antiquities, 238 ; falls described, 239 ; their height disputed, 241 ; Cascades, ib. Terra cottas, Roman, 456 statues at Bologna, 58 Siena, 187 Terracina to Astura, 535 harbour, 111 Terribilia, beautiful work by, 57 Testaccio, Mount, 313 Theatre at Bovillse, 502 at Bologna, 64 at Fano, 113 at Ferrara, 22 , Greek, 479, 516 , the Gazzoli, 241 at Imola, 98 of Marcellus, 268, 450 at Montefiascone, 159 at Raveima, 92 at Rome. 252, 292 at Tusculum, 493 at Ostia, 526 • at Urbiuo, 139 Theed. sculpture of. 458 Theodoric, palace of, 238 , tomb of, 75. 93 Theologians, conferences of, at Zagarolo, 515 Thermae at Volterra, 172; Aurelise, 522 Thorwaldsen, Cav., Gallery of, 456 , noble action of, 359 , studio of, 457 , works of, 90, 450 Thrasimene lake, 214 ; battle at, 215 Thrupp, Fred., style of, 458 Tiarini, Christ by, 124 Tibal.li, paintings by, 118, 119 , Pellegrino, paintings by, 27, 124 Tiber at Rome, 254 , source of the, 228 . inundations of the, 270 Tiberina academy, 461 Tiberius, colossal statue of, 520 Tibur to Gabii, 477 Time at Rome, 251 Tintoretto, chiaroscuro bv, 124 , paintings of, 33, 61, 91, 430, 444, 446, 449 Tiraboschi, 14 Titian, letter of, to Ariosto, 18 , pictures by, 61, 119, 125, 147, 222, 226, 227, 401, 403, 430, 431,438, 44o, 442. 444, 446. 451—453, 456, 461 , arch of. 269, 276, 304 , baths of, 308, 403 completes Coliseum, 294 Tivoli — inns, 479 ; historical events, 480 ; population, 481 ; temples— falls— Casca- telle, 482 ; villas— iron- works, 483 ; tombs, 484 ; heights of, 512 , villa of Hadrian at, 269 , valley of, 488 to Rimini, 477 Todi, 154; Etruscan remains — Cathedral i6. Tolentino, battle of, 103, 12S cathedral, events of, 129 , treaty of, 124 Tolfa, alum works of, 167 Toloraei College, 185 Tomb of Ariosto, 19 of Boccaccio. 170 of Bibulus, 311 of Claudian family, 311 near Chiusi, 161 of Dante. 88 of Colonna family, 511 , Etruscan, at Sarteano, 162 of Lucanus, 478 of Metella, 268 of Nero, 247 of Plautus, 317 of Scipio, 317 of the Servilii, 318 of Bishop Tarlati, 208 of Theodoric, 93 Topino river, 234 , valley of, 133 Topography of Rome, 254 Toricella, 216 Torlonia palace — ceilings, 453 the banker, entertainments of, 448 Tor Paterno, 529 Torrinieri, 193 Torso Belvedere, 410 Toscanella tomb, 542 Toti, Fabiano, statues by, 158 Totila, ravages by, 270 Tower of the Capitol, 263 , leaning, at Bologna, 62 Trajan, aqueduct of, 167 , baths of, 378 , beautiful column of, 269, 300 , Forum of, 276 , inscription of, 261 , triumphal arch of, 117 , works of, 269 , hexagonal basin of, 528 . imperial villa of, 522 Trasimeno Lago,215 Trastevere district at Rome, 255 Travertine, blocks of, 311 Treaty of Cavi, 513. 514 Treves, fountains of, 331 Trevi, aqueduct of, 259 Trevignano, picturesque village of, 521 Tribolo, Nicolo, bas-relief of, 123 Triboniarium City. 522 Tribunal of Commerce at Siena, 188 Trieste, steamers from, 119 Triumphal arch at Fano, 111 ; at Ancona, 117; at Carsoli, 155; of Titus, 276. 304 column of Trajan, 269. 300 Trophies of Marius, 325 Tufa in quadrangular masses, 502 TulUus, Servius, rampart of. 266 ; agger of, 323 , the prisons of, 321 INDEX. 567 Tumuli at Monterone, 168 Tunnel at Rome, 322 at Cai^tel Gandolfo, 501 Turamini, residence of, 191 Turano river, 162 Tuichina table land, 539 Turia torrent, 517 Turkish pirates, 121 Turnus of Aricia. death of, 495 Tuseania town, 542 Tusei villa, 148 Tusculum ruins, 492 Ulpian Basilica, 276 of Trajan, 269 Umbria Autiqua, 228 , School of, i217 University of Bologna, 33 of Camerino, 129 of Macerata, 127 museum, 34 of Perugia, 224 of Rome, 459 of Siena, 190 Urban III., tomb of, 14 VIII., 24, 109 despoils the Roman monuments, 27] Urbania, town of, 139 Urbino, town, 5 — 134; history, 135; pa- lace, 136; cathedral — churches, 137; house of Raphael, 138 ; theatre, ib. , court of, 10 , Princess of, 109 to Fano, 133 to San Giustino, 139 Utens, the stream, 100 Vacchino, Campo, 272 Val di Chiana, hydraulic works at, 162 Valadier, Chevalier, designs of, 359 Valclmmara, 129 Vale of Tempe, 479 Valentin, paintings of, 401 Valery, remarks of, 16, 21, 24, 97 Vallati, subjects of, 459 , boar hunts of, 252 Vallericcia Crater, 505 Valley of Commachio, 75 Castel d'Asso, 202 the Nar, 241 Vellinus,240 Valmontese town, 499, 512 Vandervelde, paintings of, 92 Vandyke, portraits by, 111, 147,441,445, 449, 450 Vanni, Francesco, paintings by, 185, 186, 375 ; tomb of, 186 , Raff., 505 Vanvitelli. designs of, 121, 359 Varano, Duke, tomb of, 17 Castle, 129 Varignana, works of, 123 Varo, Quintilius, villa of, 483 Varro, painting by, 100 Vasari, paintings by, 32, 208, 222, 368, 450 on Cathedral of Arezzo, 208 , birth-place of, 207 Vase of Ophite marble, 471 Vases, gallery of, 420 Vasi, Itineraire of. 298 , Panorama of Rome by, 445 Vassal va, birth-place of, 93 Vatican, obelisk of the, 326 Vatican Palace — buildings, 386 ; extent, 387 ; the famous staircase — the Sistine chapel, 388; the roof-paintings of M. Augelo — the Last Judgment, 389; altera- tions, 390 ; Paolina chapel — frescoes — Du- cal Saloon— the Loggie, 391; Stanze of Raphael, 392; School of Athens, 393; Stanza of the Heliodorus, 394; Stanza of the Incendio del Borgo, 396 ; Hall of Coustantine, designs of Raphael, 397; Tapestries of Raphael — injuries at French Revolution, 398 ; Chapel of San Lorenzo — Gallery of Pictures, 399 ; Raphael, 400 ; Domenichino — Sacchi — Poussin — Guido Valentin — Caravaggio — Titian, 401 ; Baroccio — Perugino — Guercino — Fievioli— Pinturicchio— Forli, 402: Cri- velli— P. Veronese — Raphael — Nozze Aldohrandini, 403 ; Museum of I\Ionu- ments, 404 ; of Pius VII., 405 ; Cupid of Praxiteles, s07; statue of Demosthenes — Minerva Medica, 409 ; Faun of Praxi- teles—Statue of Mercury — Hemicycle of the Belvidere —Egyptian Museum — Mu- seo Pio Clementino, 410; Torso Belvi- dere — Sarcophagus of Scipio, 411; The Lancnun, 412 ; Apollo Belvidere, 414 ; Hall of Animals — ilall of Busts — Genius of the Vatican, 415 ; Cabinet of Masks- Hall of the Muses — Circular Hall — Sar- cophagus of St. Constantia, 416 ; Hall of the Biga, 417; Apollo Sauroctonus of Praxiteles — Gregorian Museum, 418; Etruscan remains — ( hamber of the Tombs, 419 ; Gallery of the vases — Tazze — Candelabra, 420 ; of Maps — Library vols, and MSS.— Museum of Christian antiquities, 422; MSS. treasures, 423; Manufactory of Mosaics — Gardens of the Vatican, 424 ; statues, 526 Vecchietta, bas reliefs by, 185 Vecchio, Palma, paintings l)y, 15 Veii City — Etruscan remains, 518; re- searches of Gell and Nibby, 519 ; temples —gates, 520 Veit, Ph., paintings by, 455, 473 Velasquez, paintings by, 430, 444 Velletri, legation of, 507 Velliuo, falls of. at Terni, 239 Veue, Le Sette, 246 Venetian Palace, 454 School, 33 Venice to Ravenna, 73 Venus and Cupid, temple of, 290 Erycina Temple, 291—324 and Rome Temple, 269—276—291 , temple of, 520 Venusti, Marcelli, 200 Veri, Ugolino, works of, 153 Vermicino, fountain and osteria, 489 Vtrmiglioli, Signor, Professor, 225 Vernet, Horace, paintings of, 252 Veronese, Paul, of Ferrara, 11, 431,440, 441, 453 Verrius Flaccus, calendar of, 454 Verzelli, Tiburzio, casts by, 12i Vespasian, buildings of, 2t>9 568 INDEX. Vespasian founds the Coliseum, 294 , milestone of, 425 , order of. 131 , temple of, 274—291 Vest a, temple of, 292—482 • Vettiirini in Papal States, 8 Via Appia, 267 Aurelia, 168 Cassia. 197 Claudia, 521,522 Emilia, 24 Flaminia. 248, 253 LaV)icana, 509 Ivitina, 488, 493 Ostiensis, 524 Sacra, 275 Salavia, 162 Severiana, 529 Triumphalis, 490 Veientana, 517 Vicarello town, 522 Vicentini, Aless., bust of, 16 Vicenza, Ferreto of, 220 Vicovaro, village, 485 Vidoni Palace, 454, 512 View, splendid, at Fervugia, 222 , finest in Italy. 488 Vigarano, 9 Vigua del seminario, 491 Vignola, masterpiece of, 203 , elegant designs of, 248 Vigorenza, bishopric of, 10 Villa Farnese, grounds of the, 277 of Cato of Utica, 508 Graziani, 2i i of Hadrian, 269, 479 di Luzzaro, columbarium in the, 318 , Maichese de, tomb of, 14 of Pliny, junr., 148 Villas near Rome : Albani, 467 . Aldobrandini, 269,470 Borghese, ib. Ludovisi, 472 Lanti, ib. Madama, ib. Mossimi, 473 Mattel, ib. Medici, ?6. Negroni, ib. Palatina, ib, Pamfili Doria, 319, 473 Viminal Hill at Rome, 265 Vinci, Leonardo da, paintings of, 91, 379, 444 Vineyards of Tuscany, 162 Virgil, quotations from, 163,228,235,310, 497, 499, 508, 516, 526 of the 4th century, 423 Visconti, Cardinal, tomb of, 124 Vitalina, columbarium of, 319 Vitelleschi, Cardinal, 234 Vitelli Palace, 146 Viterbo, situation — cathedral — historical events, 198 ; churches, 199 ; palaces — fovmtains, 200 Viterbo to Montefiascone, 197 Viti, Timoteo, painting by, 441 Vitiges, siege of Rome by, 259 Vitriano, convent of, 488 Vivarium, remains of the, 297 , ruins of the. 324 Volcanic hill of Cimino, 203 peak of Gandolfo, 500 rock of Sutri, 205 Volpi, remarks of, 511, 528 Volscian city of Artena, 512 Volterra, Etruscan remains, 171 ; Roman antiquities, 172; palaces, cathedral, 173; churches, 175 ; citadel, hospitals, 176 ; manuffictories, environs, 177 Votary offerings at Siena, 186 Vouet, Simon, works by, 123, 125 Vulci city, 541 Wales, Princess of, residence of, 241 Wall, great, of Venice, 74 Walls of Rome, 257 Walton's polyglott, 359 Warehouses in Rome, 252 Weaving silk at Faenza. 99 Weld, Cardinal, church of, 371 Well of St. Patrick at Orvieto, 159 Western, Lord, collection of, 407, 526 Westphalia, MSS. relating to treaty of, 442 Whyte, Mr., collection of, 219 Wicar, painting by, 222 Williams, Penry, the artist, 458 Winckelmann on the Apollo, 414 on sculpture, 325, 511 Wines of Bologna, 69 of Albatio, 504 Wiseman, Dr., remarks of, 78, 115 Wolf, the Prussian artist, 458 , bronze, of the Capitol, 428 ; Contro- versies on its antiquity, 429 Wolsey, Cardinal, residence of, 448 Woods, works of, 14 Wyatt, sculpture of, 457 XXX of London brewers, 197 York, Cardinal, residence of, 442 —, statues and bas-reliefs destroyed by, Zabaglia the engineer, 371 Zagarolo town, 515 Zambecari, painting by, 61 Zanelli canal, 100 Zanetti, remarks of, 10 Zanotti, Gampiero, 52 , paintings by, 3 Zinagbi, designs of, 532 Zoccolanti convent, 242 Zolga the Danish antiquary, tomb of, 359 Zueca, Jacopo del, works of, 368 Zuccari, paintings of, 398, 472 , frescoes by, 124, 248 , house of, 455 , Taddeo, works of, 159 London : Printed by William Clowes and Sons, Stamford-street. 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TACCHrS SUCCESSORS, LATE FRANCIS STEIGERWALD, ZEIL D, No. 17, p. A. TACCHI'S SUCCESSORS beg to acquaint the Public, that they have become the Purchasers of Mr. F. Sti^igerwald's. Establishment in this Town, for the Sale of Bohemian Fancy Cut Glass and Crystals. They have always an extensive and choice Assortment of the newest and most Elegant Patterns of ORNAMEIVTAL CUT, ENGRAVED, GILT, AND PAINTED GLASS, Both White and Coloured, in Dessert Services, Chandeliers, Articles for the Table and Toilet, and every possible variety of objects in this beautiful branch of manufacture. They solicit, and v^rill endeavour to merit, a con- tinuance of the favours of the Public, which the late well-known House enjoyed in an eminent degree during a considerable number of years. P. A. Tacchi's Successors have Branch Establishments during the season at WIESBADEN A N D E M where will always be found Selections of the newest Articles from their principal Establishment. Their Agents in England, to whom they undertake to forward purchases made of them, are Messrs. J. and R. M^Cracken, 7 Old Jewry, London. m Mv* MnvxK^'^ |^antf5i00]fe <^htvti^tv. 7 FRANKFORT O. M. BING BROTHERS DEPOT OF DRESDEN CHINA, Messrs. BING Brothers beg respectfully to invite the Public to visit their Establishment, where they have always on show, and for sale, a most extensive Assortment of Articles in Stag's Horn, of their own manufacture ; consisting of Brooches, Ear -rings, Bracelets, Pen and Pencil-holders, Seals, Inkstands, Watch-stands, Snuff-boxes, Cigar-boxes, Whips, Walking-sticks, Knives, Card-cases, and every description of article for the Writing and Work Table, besides Vases and other ornamental objects too various to be here enumerated. Messrs. BING have also the finest Copies, both in Biscuit- china and Bronze, of the Statue of Ariadne, the Chef-d'oeuvre of the Sculptor Dan- NECKER, of which the original is in Bethman's Museum at Frankfort O. M. Messrs. BING have likewise the Sole Depot in Frankfort of the Porcelain of the Royal Manufactory of Dresden ; and at their Establishment may be seen the most splendid assortment of Figures after the Ancient Models, ornamented with Lace-work of the most extraordinary fineness ; likewise Dinner, Dessert, and Tea Services; Plates, Vases, Candelabras, Baskets, &c. &c. in the Antique Style, ornamented with flowers in relief, and the finest paintings. Besides the above-named objects, they have a superb assortment of Clocks, Bronzes, Porcelain, and other Fancy Objects, the productions of Germany, France, and England. Depot of the veritable Eau de Cologne of Jean Maria Farina of Cologne, Their Agents in London are J. and R. M^Cracken, 7 Old Jewry. COPY OF THE STATUE OF ARIADNE, All kinds of Parisian Fancy Articles. '0 8 Mv* MnvvKif^ ^j^mtfhao'k ^Xihtvii^tv. COLOC1ME O. RHINE. JOHN MARIA FARINA, OPPOSITE THE JULICH'S PLACE, PURVEYOR TO HER MAJESTY QUEEN VICTORIA, TO HIS MAJESTY THE KING OF PRUSSIA, ETC. OF THE ONLY GENUINE EAU DE COLOGNE. The frequency of mistakes, which are sometimes accidental, but for the most part the result of deception practised by interested individuals, induces me to request the attention of all English travellers to the following statement : — Since the first establishment of my house in 1706, there has never been any partner in the business who did not bear the name of Farina, nor has the manufacture of a second and cheaper quality of Eau de Cologne ever been attempted. Since 1827, however, several inhabitants of Cologne have entered into engagements with Italians of the name of Farina, and, by employing that name, have succeeded to a very great extent in foisting an inferior and spurious article upon the Public. In the year 1836 a Mrs. Aldenbruck established a manufactory of Eau de Cologne under the firm of *' J. M. Farina," at 2 Frederick Wilhelm Street; and, in order to render the deception more complete, carried on the business for some time under the firm and address of J. M. Farina, opposite the Julich's Place, No. 2. This imposition was speedily put a stop to by the interference of the authorities ; but Mrs. Aldenbruck has since taken a shop in the neigh- bourhood of my house, Unter Goldschmidt, No. 6, and has now opened another, in a small house near the Julich's Place, No. 4. I therefore beg to inform all strangers visiting Cologne that my Establishment, which has existed since 1706, is exactly opposite the Julich's Place, forming the corner of the two streets, Unter Goldschmidt and Oben Marspforten, F. No. 23; and, that it may be the more easily recognised, I have had the Arms of England and Prussia put up in front of the house. By calling the attention of the Public to this notice, I hope to check that system of imposition which has been so long practised towards foreigners, by coachmen, valets de place, and others, who receive bribes from the vendors of the many spurious com- pounds sold under my name. J. M. FARINA. My Custom-House Agents in London are MESSRS. J. and R. MCCRACKEN, 7 OLD JEWRY. Mr. Mnvran'^ ?i?aii5j)&00& fmtiertts'er. 9 MUNICH. FRANCIS STEIGERWALD, MANUFACTURER OF ALL KINDS OF FANCY ARTICLES AND SERVICES IN CUT, OR ORNAMENTED WITH GILDING, PAINTING, OR ENGRAVING, Begs respectfully to inform the Public that his large Stock at MUNICH, THE ACKNOWLEDGED SEAT OF THE FINE ARTS IN GERMANY, Is, as it has been for many years, carefully supplied with the NEWEST and CHOICEST PRODUCE of his FACTORY. F. S. has also an Establishment at Kissingen during the Season, Requesting liis Customers and Correspondents in ENGLAND to continue to this Establishment the favour and confidence they have been pleased to bestow on his former one at FRANKFORT ON THE MAINE, he begs to state that Purchases or Orders will be transmitted on the shortest notice, and without any further trouble, through the medium of his Agents, Messrs. J. and R. M^Cracken, No. 7 Old Jewry, London. 10 Mv* Mxivv^}}'^ ^unXi'boa'k mhtvti^tv. MUNICH. J. M. DE HERMANN, MAGAZINE OF OBJECTS OF FINE ARTS, PICTURES, PRINTS, DRAWINGS, & LITHOGRAPHS. J. M. DE HERMANN has always on Sale a Collection of Pictures by- Modern Artists (German and others), of Miniatures, and Drawings, En- gravings, and Lithographs. The latter comprises the Collections of the Pinacothek, of the Galleries of Schleissheim and the Duke of Leuchtenberg at Munich, as well as that of the Royal Gallery of Dresden: also the Collection of the Works of the Old School, better known as the Col- lection of the Freres Boissere;" the Frescoes in the Church of All- Saints, and generally of whatever relates to the Fine Arts. J. M. DE HERMANN undertakes to forward to England all Purchases made at his Establishment, through his Agents, Messrs. J. and R. M^Cracken, 7 Old Jewry. FLORENCE. G. BIANCHINI, MANUFACTURER OF TABLES AND LADIES' ORNAMENTS OF JTloreittine JHo^aic, No. 4844 VIA DE' NELLI, OPPOSITE THE ROYAL CHAPEL OF THE MEDICI, Invites the English Nobility and Gentry to visit his Establishment, where may always be seen numerous Specimens of this celebrated and beautiful Manufacture, in every description of Rare and Precious Stones. Orders for Tables and other Ornaments executed to any Design. M. G. Bianchini's Agents in England are Messrs. J. and R. M^Cracken. 7 Old Jewry, London. Mv. MnvvKv'^ l^antilinn]^ mhevti^tv. 11 LEGHORN. HIAfilNTH mTcALI & SON, VIA FERDINANDA, No. 1230. 'Manufactory of Marble, Alabaster, and Scagliola Tables, and Depot of Objects of Fine Arts. Their extensive Show-rooms are always . open to Visitors. Their Agents in England are Messrs. J. and R. M'Cracken, 7 Old Jewry, London. BRUXELLES. PLACE DES WALLONS, No. 1. MARIN VAN EEGKHOUT, Fabrique de Dentelles de Bruxelles, Fleurs pour application, Chiffres et Ar- moires, Malines et Valenciennes. ATHSNS, Five Days by Steamer from TRIE STE. HOTEL D'ANGLETERRE ; BESSON AND ELIAS Offer the best House, and the best simation ; extensive views ; cool airy saloons and terrace; cleanliness; comfort and good living. Baths and Bil- liards. English, French, and Italian spoken. ELIA and YANl (vide Murray s Handbook) continue to accompany Travellers from this Hotel. TOU RS. GMND HOTEL DH I/UNIVEES. AUGUSTE PARIS Has the honour to inform English Travellers that this Hotel has been newly built, and is close to the tJailway Station The Apartments, large and small, are elegantly furnished, the Kitchen good, and the charges moderate. The Hotel is fitted up with etTry English comfort. A Table d'Hote at 5 o'clock. English Spoken. BLOIS. HOTEL DE LA TETE NOIBE, KEPT BY LE SEAULNIER VERNAT. This Hotel, newly fitted up, is beauti- fully situated, facmg the Kiver Loire, and close to the Bridge. The Apartments, large and small, are fur- nished with every regard to English comfort, and the proprietor will feel honoured by Englisli patronage. Charges very moderat .'. Table d'Hote at 5 o'c ock, and Carriages supplied to visit Chamborde, &c. Third Edition, with 600 Illustrations, 5 vols., 8vo, £4, 4s. THE PRIVATE LIFE, MANNERS, CUSTOMS, &c., OF THE ANCIENT EGYPTIANS: DERIVED FROM THE STUDY OF HIEROGLYPHICS, SCULPTURE, PAINTINGS, AND OTHER WORKS OF ART, STILL EXISTING, COMPARED WITH THE ACCOUNTS OF ANCIENT AUTHORS. By sir GARDNER V^ILKINSON. " Indefatigable in research, full of learning, accurate in facts, and logical in the appli- cation of his facts and his learning, Sir Gardner Wilkinson lias at the same time treated his subject with the enthusiasm of Genius and the liveliness of Poetry." — Lord Ripon s Address to the Royal Society of Literature. JOHN MURRAY, ALBEMARLE STREET. 12 Mr. MnxxK^'^ IganUlioflfe mhcxti^tv. RA5V1SGATE TO OSTEND, THE SHORTEST ROUTE. The South Eastern Railway to Ramsgate, and the Harbour of Ranisgate, the nearest point to Ostend ; the splendid Steam Vessels of the South Eastern Co, being removed to that Port, performing the distance in 4^ hours, Passen- gers can always land at the pier, at low water, without the use of small boats. HISCOCKS' HOYAl HOTEL, RAMSGATE, POST MASTSRS TO HEU MAJESTY. B. R H. having added an additional wing to their extensive Hotel, continue to oifer to the Public first-rate apartments, combined with economy in price. Servants' fees chaj'ged at a fixed price. FRIBURC, IN BREISCAU. FOIHEFJBICH'S HOTIL Table d'Hote at One and Five o'clock every day, BefresJinients to be had at any hour. The Hotel has been newly erected by the present proprietor, on the high road leading to Basel, Hollenthal, and SchafFhausen, and adjoining the Fri- burg Station of the Baden Railway. The Carriage Entrance is enclosed with Gates, and is l0a]fe mbtxU^tv. 19 DINNEFORD'S PURE FLUID mAGl^ESSA, NOW GREATLY IMPROVED IN PURITY AND CONDENSATION. " The most convenient form for the exhibition of Carbonate of Magnesia is the solution." — Dr. Neligan. "Mr Dinneford's solution may fairly be taken as a type of what the preparation ought to be." — Phahm. JouRN. May, lSi6. Prepared by DINNEFORD AND EARLAND, 172 BOND STREET, CHEMISTS 10 HER MAJESTY THE QUEEN DOWAGER AND H.R.H. THE DUKE OF CAMBRIDGE, AND SOLD BY ALL RESPECTABLE CHEMISTS. GERMAN BOOKS. WILLIAMS AND NOEGATE, €5-erman B0ofi0^cHcr^, 14 HENRIETTA STREET, COVENT GARDEN, Have published a Catalogue of their Stock of German Books, the prices of which have been reduced in consequence of the recent alteration of duties. It may be advisable for Travellers to take notice, that upon all Books which they may purchase upon the Continent, they will pay at the Custom House the old high duties £2 12 6 and £5 5 0 per cwt., unless they have been duly Stamped at the Chief Stamp Office of the province in which they are bought, a tedious and expensive process, which may be avoided hy purchasing in London ; the difference between the German prices and those charged by Williams & Norgate being only the amount of the present low duty, and, in many instances, no advance being made on the original price. 14 Henrietta Street, Covent Garden, London. FRENCH TOURIST 'S GUiDE. Eighth Edition, with Three Maps, in Royal I8mo., 4s., half-bound, SUKENNE'S NEW EEENCH MANUAL. AND TRAVELLER'S COMPANION: Containing an Introduction to French Pronunciation; a copious Vocabulary ; a Selec- tion of Phrases ; a Series of Conversations on Tours through France, Holland, Belgium, Germany, and Switzerland; vdth a Description of the Public Buildings, Institutions, Curiosities, Manners, and Amusements, of the French Capital, &c. ; also Models of Epistolary Correspondence, and Directions to Travellers. To which are added, Tables of French and British Monies, Weights and Measures, &;c. ** English holiday travellers about to visit France, with but a slight knowledge of the language, could not do better than put this work in their pockets. They would find it practically of the greatest use, as it relates to all objects of such excursions." — Westminster Review. Edinburgh : OLIVER & BOYD. London : SIMPKIN, MARSHALL, & CO. m 20 JMr. Mnvvm'^ |^antfli00fe m^tvU^tr. BLACK'S GUIDE-BOOKS, AND TRAVELLING MAPS. In a handsome portable Volume, price Ss. 6d., BLACK S PICTURESQUE TOURIST OF SCOTLAND. 5th Edition, Corrected and Improved. Containing an accurate Travelling Map ; Engraved Charts of Roads, Railroads, and interesting Localities; Plans of Edinburgh and Glasgow; 50 Views of the Scenery on Wood and Steel ; and a copious Itinerary. " A comprehensive, intelligent, and -vvell arranged Guide Book. "We have been furnished with an incidental proof of the remarkable accuracy of the Charts and Descriptions in the personal testimony of a pedestrian, who has traversed a considerable space, book in hand." — Specta,tok.. In a neat closely-printed pocl^et volume, price 35. Qd., BLACK^S ECONOMICAL TOURIST OF SCOTLAND. 3rd Edition, Corrected and Improved, Containing an accurate Travelling Map and Itinerary, with Descriptive Notices of all the remarkable objects along the several roads, and Four Engraved Charts of those Localities which possess peculiar Historical or Picturesque Interest. " A Work most carefully and elaborately compiled, containing the greatest possible amount of informa- tion in the smallest possible space." — Scotsman. In a closely-printed portable Volume, price 10.9. 6d. BLACK'S PICTURESQUE TOURIST AND ROAD-BOOK OF ENGLAND I WALES. Containing a general Travelling Map, with the Roads and Railways distinctly laid down ; besides sections of the most important Districts on an enlarged scale, and engraved Charts of Roads, Railways, and interesting Localities. " A carefully executed Work, and prettily arranged, Avith useful Maps." — Athenjeum. "The characteristics of ' Black's Picturesque Tourist of England and Wales' are, a more compact and handy form, a more modern style of letter-press,, getting up, and illustration, with a very moderate price. "^ — Spkctator. "A decided improvement upon the old Road-Book."— John Bull.. In a neat Pocket Volume, price 5s. BLACK'S PICTURESQUE GUIDE TO THE ENGLISH LAKES. ^rd Edition, Enlarged and Improved. With a Map of the District, by Sidney Hall; Charts of the Lakes, and Views of the Scenery; and an ample Itinerary of aU the Routes, with the distances accurately laid down. " This Guide to the Lakes has been compiled upon the Same, elaborate plan as ' The Picturesque Tourist of Scotland,' governed by the sam.e resolution to spare no cost or trouble to achieve a successful result. It needs no higher commendation. It is a picturesque Guide in every sense. — its descriptions are charmingly Written — its intelligence is ample and minute— and its illustrations are admirable specimens sf art.*^ — .A-»las. In a neat portable case, price 4^. Gd., BLACK'S TRAVELLING MAP OF SCOTLAND. Carefully Constructed from the best Authorities, with all the Roads and Railroads accurately laid down. Size, 32 inches by 22|. *5f* From the care bestowed on the construction of the present Map, and the means which have been used to correct the original drawings, by reference to individuals conver- sant with the topography of their respective localities, the publishers are satisfied that it will be found the most accurate and beautiful Map of Scotland extant. " A handsome-looking Map, of large dimensions, yet so well mounted, that it folds tip into the size of a pocket-book, and admits at the same time of a pai'tial examination." — Spectator. In a neat portable case, price 4^. Qd., BLOCK'S TRAVELLING MAP OF ENGLAND AND WALES. Carefully compiled from the Maps of the Ordnance Surveys, and beautifully engraved by Sidney Hall; with all the Roads, Railroads, and other Topographical Information re- quired by the Tourist or Traveller on Business. Size, 32 by 22|. " A beautifully executed Map of England and Wales, which, after careful observation and reference, we can characterize as being among the most correct ever issued." — Mining Journal. Smaller Maps ot England, of Scotland, and of Ireland, in pocket cases, price 2s, Qd. each. A. AND C. BLACK, Edinburgh ; and sold by all Booksellers. ig : ' — — ^ i^n Mnvvh^'^ |§ani3ft0afe mhtvii^tr. 21 THE ATH ENVEU M: JOURNAL OF LITERATURE, SCIENCE, AND ART. Price 4!d, or Stamped for Post, 5d. Contains : — REVIEWS, with copious extracts, of every important New English Book, and of the more important Foreign Works. REPORTS of the Proceedings of the Learned and Scientific Societies, with Abstracts of all Papers of Interest. AUTHENTIC ACCOUNTS of all Scientific Voyages and Expeditions. CRITICISMS ON ART, with Critical Notices of Exhibitions, Picture Collections, New Prints, &c'. FOREIGN CORRESPONDENCE on subjects relating to Literature, Science, and Art. MUSIC AND DRAMA, including Repoits on the Opera, Concerts, Theatres, New Music, Slc. BIOGRAPHICAL NOTICES of Men distinguished in Literature, Science, and Art. ORIGINAL PAPERS AND POExMS. MISCELLANEA, including all that is likely to interest the informed and intelligent. THE ATHENiEUM is so conducted, that the reader however far distant, is, in respect to Literature, Science, and the Arts, on an equality in point of information with the best-inforaied circles of the Metropolis. The ATHENiEUM is pubhshed every Satubday, but is re-issued each Month stitched in a wrapper. Agents: for Fkance, M. Baudry, 3 Quai Malaquais, Paris ; for Belgium, Mr. Browne, 73 Rue Montague de la Cour, Bruxelles. Office, 14 Wellington Street North, Strand, London. ROUEESA. &E1ID H0T1l1)'1I()IETEEE1; KEPT BY HIPPOLYTE DELAFOSSE ; THE ONLY one SITUATED BOTH ON THE QUAY AND LA PROMENADE BOIELDIEU. Large and small Apartments. A first-rate Table d'Hote and Restaurant- a la carte. Charges : — Dinner, 3 Francs. Rooms, 2 or 3 francs, according to the floor. This Hotel, splendidly fitted up, is situated in the most pleasant part of the town, facing the Suspension Bridge, close by the Exchange and Theatres, and commanding a beautiful prospect of the Seine and surrounding country. Diligences going to Dieppe and Havre take up passengers at the Hotel, which isthe nearestone to the Parisand Havre Railways. There are at both sta- tions Omnibuses in regular attendance, which set down passengers at the Hotel. His Grace the Duke of Devonshire, the Royal Family of France, and many other distinguished visitors of all countries, have honoured this Hotel with their presence on different occasions. Every attention is paid to Travellers by Mr. Delafosse, from whom they are sure to obtain all sorts of information respecting the town, and every place that is worth seeing. N.B. The band of the regiment gives a concert every Saturday, in the Exchange, just below the windows of the Hotel. Co-respondents in London, Messrs. Holl/vnd & Co., Custom House, Forwarding Agents, 66 Lower Thames Street. 22 iJflr. MurvH^'g l^auUIionft mbtttiSer. COGHLAN'S MONTHLY HOME & FOREIGN MILWAY GUIDE, Through Belgium, Holland, France, Germany (North and South), and Italy, and the English, Scotch, and Irish Lines : to which is added A STEAM PACKET DIRECTORY, including all Steam Vessels sailing between England and Foreign Ports, and the prin- cipal Continental Rivers, with the Hours of Departure, Fares, and other useful Information to Travellers. Collected and compiled by the Author during a personal survey in the Summer and Autumn, 1846. With hints respecting Passports, best Hotels, objects of interest in each place of importance, &c. &:c. With a Railway Map of central Europe and Italy, One Shilling, Published by J. Lee, 440 West Strand, London. FRANKFORT 0. M. MK. GRORGE SCHEPELGE, AT THE ROSSMATIKT, FRANKFORT O. M., Keeps a general Warehouse and Shop of Tea, Coffee, Sugar, and all sorts of English, French, Italian, German, and Foreign Ar- ticles and Groceries, inclusive of Tobacco, Havana Cigars, and all sorts of Rhenish, French, and Spanish Wines and Liquors. The greatest part of the English Resi- dents here are accustomed to apply to the said Warehouse for their waiits, with 'great confidence, finding themselves in every respect perfectly contented there. VISITORS TO OXFORD (One Hour and Twenty-t^vo Minutes from London.) Will find at SPIERS and SON'S Establish- ment, a very extensive variety of goods suitable for presents, or for remembrance of Oxford. Guide-books of every descrip- tion published. Views on Letter-paper, Ornament;al Stationery, Writing-desks, Pa- pier Mache Goods, with Paintings of every College and Public Building, by eminent Artists ; Ornamental China, Glass, Bronze, and Marble Goods ; Fancy Manufactures in general ; and every description of Furni- ture for the Writing-table, Mantelpiece, and Toilet. 102 AND 103 HIGH STREET, and 1 AND 2 ORIEL STREET, OXFORD. CONSTANTINOPLE. HOTEL D'AIGLETEREE, GRANDE RUE PERA, Commanding a beautiful View of Constantinople, Galata, Scutari? and the Golden Horn. ME. J. MTSSIKIE Solicits the patronage of the English Nobility and Gentry. FRANCE, SWITZERLAND, ITALY. New Edition, 2 Vols., Post 8vo. CONTINENTAL IMPRESSIONS. By John Edmund Reade, Author of *' Catiline," Italy," &c. " Baiae, with its inexhaustible memories; the Elysian fields; Cuma, -with the deep magic of its name, have found but scanty illustratoi s. The generality of tourists appear scarcely to have entered the Cumean gates. Few also have visited Paestum. The temples, in their grand preservation, on their grander site, rank among the most impressive monuments on earth. My hope is that my pages may induce many to visit this Ultima Thule of Neapolitan travel."— Preface. " The superiority of this work consists in the superiority of the author to the common roll of tourists." — SrECTATOR, o. Ml . Louis Getaz. Messrs Thomann and Snell. Mr. Ramuz-Vuilleumier. Mr. Ls. McE. Panchaud. Messrs. Fjc. Knorr and Son. Mr. A. Trum PY. {Mr. BhNOiT La Roche. Messrs. .)ean PREiswERKand Son. r Mess's. Charles Higgs and Co. \ Mr. SiLVA, Bookseller, Place D. Pedro, 82, 83. Mr. W, 1. Smith, Jun. Messrs. Curti, Rissetti, and Co. Mr. LuiGi EAMACCi,Yia del Ma- rino, No. Ilb9. Mr. Flavio Perotti, British Vice- Consul. ( Mr. H. Dunn. ■j Messrs. T. Pate and Sons. ^ Messrs. Gio. Galliani and Co. / Mr. LuiGi Ramacci. \ Messrs. Macuuay & Pakenham. Messrs. Freeborn and Co. Mr. J, T. Lo WE, Jun., British Vice- Consul. Mr. Charles Vanotti, 5 Cappella Yecchia. Messrs. T.vtam and Mudie, British Consulate. Mr.RoBERT Jeans, British Consul. Mr. G. MciR, Bookseller. Mr G. Zarb. Cephalonia Alexandri. Mr. Gmo. Corgialegno. Mr. P. R. Wilkinson . . Messrs. Joyce, Thureurn, & Co. Constantinople Mr. J. Missirie, Hotel d'Angle- terre, Pera. Messrs. Maltass Brothers, and RoUTH. Messrs C. Roquerbe and Co. Messrs. Asher & Co., Booksellers. Mr. MoRiTz Mayer, Porcelain Manufacturer. Mr. F. L. Behrens. Mr. F. Breul, Jun., in the Bazaar. Messrs. Bolzano, Brothers. Mr. F. Thiergaertner, Post- master. Messrs. Hummel and Co Mr.L. Meder, Printseller, &c. C. 54, High Street, near the Market Place. Smyrna . . . Beyrout . . . Berlin . . . Dresden . . . Hamburg . . Munich . . . KlSSINGEN . , Baden«Baden , Kehl . . . . Heidelberg Manheim Worms / Messrs. Hummel and Co. FrankfortS.M. M.AY-l*5. MODERN DOMESTIC MEDICINE. A Popular Treatise, exhibiting the S3 mptoms, Causes, and most efficacious Treatment of Diseases; with a collection of approved Prescriptions, Management of Cluldren, Doses of Medicines, &c. Forming a comprehensive Medical Guide for the Clergy. Families, and Invalids, in the absence of their Medical Adviser. By T. J. GRAHAM, M.D., &c. " It is evidently the result of great professional talent, experience, aud judgment; the author everywhere appears conscientious and candid. One object is prominently evident — a sincere desire to benefit his sufler- ini; fellow creatures. To recom.mend a work like the present to our readers, is only to manifest a proper regard for their welfare." — Litekary Journal, Feb. 1843. " It is altogether deserving of permanent popularity." — London Weekly Review. Simpkin and Co., Paternoster ilow ; Hatcnards, 187 Piccadily ; and Tegg, 73 Cheapside. Sold by all Booksellers. Also, by the same Author, II*. boards. Fourth Edition, ON THE DISEASES OF FEMALES: A Treatise describing their Symptoms, Causes. Varieties, and Treatment, with numerous Cases, and a Medical Glossary. Including Lyini,^-in. " It contains a mass of information indispensable to those for whom it is intended, and surpasses in value any other book of its character." - Blackwood's Lady's M ag azin e. LAYS FROM THE GiMBRlO LUl, WITH VARIOUS VERSES, BY GOEONVA CAM LAN. London : W. Pickering. 1846. '* We are disposed to hail with very con- siderable satisfaction this scholar-like per- formance. Not only are many of the Poems founded upon the national history, and illustrdtive oftlie national superstitions, which are thus made more accessible to the English reader, but several of the more interesting questions connected with the Principality are treate I of in the body of the work, and discussed with a zeal and warmth which are refreshing ; more espe- cially so, as they are tempered by sound judgment, and expressed with elegance and ease." — The Ecclesiastic of March, 1847. THE njE^RTS. SKETCHES OF THE HISTORY Oi^' ClllllSTlAlS AJM'. BY LORD LINDSAY. Three vols. 8vo. 31 ^. 6d. ** One of the most laborious and erudite pieces of research on the subject of the Fine Ar s that has appeared in the English lan- i-;a<;ge. Lord Lindsay's classihcation of scho >ls and artists is, perhaps, the most unique and valuable of its kind that has ever appeared, and proves the exteiisue knowledge, discrimination, zeal, and in- dustry of its author. ' — AthencEum. John Murray, Albemarle Street. MAUiND'8 BOTAiNlO GAHDEN AND FKUITJST; With faithfully coloured Engravings of FLOWERS, directions for culture, &c., is now enlarged, without increase of price, by the addition of Engravings of Apples, I e-srs. and other FRUITS, their history, qualities, culture, &c. The Floral Register, Dictionary, ^c, are given in it as usual. 'J he commencement of the volume by the number for January, 1847, affords a cou- yenient opportunity for all who are fond of Fruits and Flowers to begin taking this complete assistant to the garden. May be ordered of any Bookseller. Large, Fruit coloured, \s 6d. ; Small, Fruit plain. Is.; Gardeners' Edition, without Fruitist, ijd. The volume for 1846, complete, handsome boards, gilt edges. 20*. Groombuidge and Sons, London. Mr« X^dwin l^ee on Continental ISaths, &c. Third Reissue, Price 6s., THE BATHS OF GERMANY, With notices of the French and Swiss Baths Also a New Edition, HYDROPATHY km HQMEQPJ^THY Impartially appreciated. Whittaker and Co. THE FREJCH^GENDERS. A NEW and EASY METHOD of LEARNING the FRENCH GENDERS in a few hours. By J. Rowbotham, author of " A Practical French Grammar," &c. New Edition, revised. Price Is. GRANT & GRIFFITHS (Successors to J. Harris). Corner of St. Paul's Church- yard, London. Murray's and other Guide Books, Map^, Diction- aries, and Interpreters for Travellers. 28 Mt. JMunau'S $]aii3J6oa& ^^It)E^•tt^£r. BONN ON THE RHINE. MR. SCHMITZ, Begs leave to recommend his Hotel to English Travellers. The apart- ments are furnished throughout in the English style ; the rooms are car- peted, and the attendance, as well as the kitchen and the wine-cellar, are well provided. The STAR HOTEL has heen honoured by the visits of the following Members of the English Royal Family : — 1846. June 18. H. M. Adelaide, Queen Dowager of Great Britain, accompanied by His Highness Prince Edward of Saxf: Wk.imar, Lord and Lady Barrington, Sir David Davis, M.D., Rev. J. R. Wood, M. 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